Robert Jordan, Pianist | Robert Jordan, Pianist Plays Schubert And Schumann

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Robert Jordan, Pianist Plays Schubert And Schumann

by Robert Jordan, Pianist

This album is an excellent addition to any musical collection.
Genre: Classical: Piano solo
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  Song Share Time Download
1. Wanderer-Fantasie C Major, Op. 15: I. Allegro con fuoco, ma non troppo, II. Adagio, III. Presto, IV. Allegro
20:36 $0.99
2. Six Moments Musicaux, Op. 94: I. Moderato
3:23 $0.99
3. Six Moments Musicaux, Op. 94: II. Andantino
6:11 $0.99
4. Six Moments Musicaux, Op. 94: III. Allegro Moderato
1:37 $0.99
5. Six Moments Musicaux, Op. 94: IV. Moderato
4:13 $0.99
6. Six Moments Musicaux, Op. 94: V. Allegro vivace
1:21 $0.99
7. Six Moments Musicaux, Op. 94: VI. Allegretto
4:55 $0.99
8. Sonata No.2 In G Minor, Op. 22: I. Prestissimo (so rasch wie moglich)
5:05 $0.99
9. Sonata No.2 In G Minor, Op. 22: II. Andantino
4:21 $0.99
10. Sonata No.2 In G Minor, Op. 22: III. Scherzo Allegro molto
1:50 $0.99
11. Sonata No.2 In G Minor, Op. 22: IV. Rondo Presto
5:38 $0.99
Downloads are available as MP3-320 files.


Album Notes
To create the illusion of a disarming simplicity and song-like spontaneity,
so characteristic of much of Schubert’s piano music, requires a kind of concealed
virtuosity. This kind of writing is prevalent in both his miniatures as well as in
many of the piano sonatas including the mighty last three, published
posthumously. The Wanderer-Fantasy, with its extroverted style and dazzling
pianistic brilliance, stands alone and is unique among Schubert’s output. It is, too,
an extremely tightly-knit work – a kind of theme and transformation – whereby
Schubert molds or transforms the character of the recurring thematic and rhythmic
motive to meet the musical demands of each movement, thereby creating a work
of considerable emotional range, power and eloquence.
Robert Jordan-The Piano Fantasy:Some Reflections
The Schubert Moments Musicaux is a set of six impeccably tailored short
pieces which demonstrate a high degree of thematic development in spite of their
relative brevity. Despite the overall consistency of style, the six Moments were not
composed as a unit. The third Moment was first published as “Air Russe” in 1823.
The sixth Moment was published as “Plainte d’ unTroubadour” in 1824. The other
four were composed during 1827. They were gathered together by Schubert’s
publisher in 1828, and issued under the title “Moments Musicaux”.
The Moments Musicaux readily illustrate how Schubert’s mastery of the
song form carried over into his piano composition. All six Moments have
memorable, song-like melodies of a very distinct quality. Each conveys a mood
and an emotional character as surely as if they had words. It does not appear,
however, that Schubert had a particular “program” in mind while composing them.
Nevertheless, it is not at all difficult to envision the opening theme as the
call of a hunting horn, and the first Moment as a whole as a musing on nature.
The second Moment begins with an almost hymn-like simplicity, contrasting yet
eventually blending with the romantic wistfulness of the second theme. The brief
third Moment has emerged as the most familiar of the six pieces throughout the
years, thanks to its bouncing rhythm and appealing Eastern European-flavored
melody. The first theme of the fourth Moment features ear-catching interplay
between the left and right hands, which contrasts effectively with a more lyrical
middle section. The fifth Moment is also brief, but is by far the most dramatic of
the six. The last Moment has a yearning, nostalgic quality which is thoroughly
Robert Schumann’s Second Piano Sonata, published in 1839, may be
taken as representative of what might be termed the restlessly confessional
nature of the composer. The Sonata is a highly emotional, richly expressive work,
generating a palpable excitement at times, conveying a passionate melancholy in
other passages. This unabashed display of emotions invests the music with an
undeniable power to sway the listener, even though musicologists have perceived
the work as somewhat lacking from a purely emotional viewpoint. Be that as it
may, the Sonata vividly depicts the agitated emotional state of the composer
during this period of his troubled life.
The first movement, dating from 1833, is particularly impassioned with its
markings of “as fast as possible,” “faster,” and “faster still,” it requires a skillful
interpretation (such as the one presented here) to keep it from running away
unchecked. The second movement was originally composed in 1828 as a song,
“Im Herbste” (“In the Autumn”). In its present arrangement, it retains a song-like
simplicity, as it weaves a melodic spell as pensively sad as it is beautiful. The
short third movement, also from 1833, is more exuberant, yet leaves room in the
middle for more thoughtful probings. The fourth movement—composed in 1838 as
a replacement for the original finale, a Presto which was rejected by Clara
Schumann as being “too difficult” — can be taken as a summation and expansion
of all the passions expressed in the first three movements. Not only is it the
strongest of the four structurally, it surges with an emotional power ranging from
melancholia to sheer exhilaration.
Tom Bingham



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