Schumann - The Masterworks (Boxset) (2010)

June 8, 2010 marks the 200th anniversary of the birth of robert Schumann, one of the most important romantic composers of the 19th century. To celebrate his vast and impressive output, Deutsche Grammophon and Decca have compiled this 35-CD box set of his most important masterworks. Though this is not a complete edition, it includes every major work and a number of rarities covering every aspect of Schumann’s output.

Review : Violin Sonatas no 1 & 2
The first two Violin Sonatas both date from 1851 and are an oasis of freshness in Schumann's last creative period. Kremer and Argerich are splendidly reflective and mercurial by turn and have the benefit of an excellent recording.
– Penguin Guide [2003/4 Edition]

Arabeske, Symphonic Etudes for Piano
I was enormously impressed by the masterful stature of this new reading. With full-bodied, generously pedalled sonority, a strong sense of direction and a suggestion of cumulative urgency and might, Pollini really does bring home the fact that Schumann chose to call these studies "symphonic". [In] the Arabeske, Pollini eschew[s] all drawing-room prettification in favour of firm outlines and boldly contrasted episodes.
– Joan Chissell, Gramophone [9/1984]

Allegro in B Minor, Gesänge der Frühe, Kreisleriana
The Allegro in B Minor…is such spirited and expressive music that its unconventional form hardly matters. It is a perfect vehicle for Pollini, who plays it rhapsodically.
This little cycle of five character pieces [The Gesänge der Frühe], are highly expressive, and full of contrast—in figuration, tempo, and mood. There is nothing particularly new in Schumann’s piano style in these pieces, but they are inspired—especially the fourth, the only one in a minor key, which sweetly melts away into major at the end.
Kreisleriana is performed in a very straightforward manner; there are plenty of expressive details, but generally, rubato is minimal. Pollini’s characteristic coolness works very well here in underplaying Schumann’s exuberant passion… Pollini is masterful at delineating inner voices.
– Susan Kagan, Fanfare [9/2002]

Bunte Blätter; Nachtstücke; Drei Romanzen
There is much exquisitely beautiful music in these little pieces (the longest on the disc is just over eight minutes) – for instance, the first of the Drei Stücklein in Bunte Blätter is a tender, almost Mendelssohnian song without words, and Ashkenazy performs it accordingly, with singer-like legato and arching, breathing phrases. – BBC Music Magazine

Dichterliebe, Liederkreis
This new coupling of two performances from the latter stage of Fischer-Dieskau's career is a joy… The real pleasure in rehearing these two performances, of what must for most people be the best loved of Schumann's song cycles, is to relish again how with his voice now lighter and inevitably less rich than in his early days, Fischer-Dieskau uses it with even greater artistry. His feeling for words has deepened: he no longer jabs at some key words and phrases, or lets sumptuous tone overcome appreciation of meaning, but seems to have penetrated still further into the subtle relationship between poetry and music. He has, I think, never given a greater performance of "Auf einer Burg". "Das ist ein Flöten und Geigen" now has a more sardonic edge in the tone; and Eschenbach is more responsive than I had noticed before in emphasizing the hollowness of this bitterly observed wedding as he gives a light, dead thump to the repeated D's and A's in the bass that come round twice each under the waltz rhythm and the inexorably running semiquavers. "Ein Jangling" has also acquired a more ironic tinge than in earlier Fischer-Dieskau performances, which were simply beefier and less observant of the rueful emotion in the song. One could continue: suffice it to recommend most warmly this pair of beautiful, intelligent performances by two great Lieder artists.
– Gramophone [11/1980]

Symphonies, Overture, Scherzo and Finale, Konzertstück
Of all the 19th-century composers who have been given the ‘period instrument treatment’ in the last couple of decades, Schumann’s reputation has perhaps gained the most. Long criticised for his supposedly opaque orchestration, and for symphonic structures which fell somewhere between the tunefulness of Schubert and the serious integrity of Brahms, it has taken the clear textures and energy of the period bands to bring this music back to life.

There have already been several reassessments on disc, but this handsome new DG collection strikes me as the best complete set so far. Ever the original, Gardiner has performed these symphonies with the violins and violas standing (as was the practice in the Leipzig Gewandhaus Orchestra in Schumann’s day); and though it might seem perverse to say one can hear the results on CD, I was certainly aware when listening to these thrilling performances of a vigour and projection to the string playing which is all too often lacking. Speeds are brisk but never driven too hard: awkward moments such as the scherzos in the First and Fourth symphonies have an appropriate lightness, but Gardiner is prepared to enjoy movements such as the Adagio espressivo of No. 2, with its exquisite oboe melody.

Like Harnoncourt in his recent Teldec Schumann cycle (with the COE – modern instruments but ‘period’ manners), Gardiner gives an airing to the seldom-heard original 1841 version of Symphony No. 4; but whereas the Harnoncourt set fits on to two CDs, Gardiner’s extra playing time allows not only the more familiar 1851 revision of this work, but also Schumann’s two not-quite symphonies and the wonderful Konzertstück for four horns. The recordings manage to be both magnificently detailed and warm, and DG production values are high throughout. Strongly recommended.
– BBC Music Magazine

Piano Concerto
Ashkenazy's performance, balancing the demands of drama against poetry, comes down rather more in favour of the former than one might expect, but it is a refined reading as well as a powerful one, with the finale rather more spacious than usual.
– Penguin Guide [2003/4 Edition]

Scenes from Goethe's Faust
Britten inspired his orchestra and his fine cast of singers to vivid performances, which are outstandingly recorded against the wam Maltings acoustic. This is magnificent music, and readers are urged to explore it - the rewards are considerable.
– Penguin Guide [2003/4 Edition]

Das Paradies und die Peri
Gardiner and his collaborators have produced a committed, colorful, enthusiastic rendition of Das Paradies und die Peri that is highly recommendable. If you don't know the piece, this will do the trick nicely. If you know the piece already, you'll find this set thoroughly enjoyable.
– Marc Mandel, Fanfare [11-12/1999]

Composer: Robert Schumann, Niccolò Paganini

Performer: Vladimir Ashkenazy, Henryk Szeryng, Lynn Harrell, Anne-Sophie Mutter, William Dazeley, Gerald Finley, Alexandra Coku, Bernarda Fink, Barbara Bonney, Christoph Prégardien, Neill Archer, Cornelius Hauptmann, Elizabeth Harwood, Dietrich Fischer-Dieskau, John Shirley-Quirk, Peter Pears, Felicity Palmer, Gabriele Schreckenbach, Horst Schön, Christa Lorenz, Klausjurgen Wussow, Mona Seefried, Ingrid Hoffmann, Manfred Tümmler, Gudrun Sieber, Alejandro Ramirez, Harald Stamm, Friedrich Gulda, Samuel Rhodes, Richard Burnett, Alan Hacker, Duncan Druce, Christoph Eschenbach, Ivo Pogorelich, Maurizio Pollini, Simon Preston, Homero Francesch, Gidon Kremer, Martha Argerich, David Garrett, Bruno Canino, Heinz Holliger, Alfred Brendel, Radovan Vlatkovic, Edith Mathis, Julia Varády, Peter Schreier, Régine Crespin, John Wustman

Conductor: John Eliot Gardiner, Rafael Kubelik, Sir Georg Solti, Uri Segal, Antal Doráti, Sir Neville Marriner, Kurt Masur, Benjamin Britten, Gerd Albrecht

Orchestra/Ensemble: Orchestre Révolutionnaire et Romantique, Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra, London Symphony Orchestra, Cleveland Orchestra, New York Philharmonic, Monteverdi Choir, Hanover Boys' Choir Members, English Chamber Orchestra, Aldeburgh Festival Chorus, Wandsworth School Boys' Choir, Berlin Radio Symphony Orchestra, Berlin RIAS Chamber Chorus, Hagen String Quartet, Beaux Arts Trio

Tracklisting:

CD1
75:04
Symphony in G minor, "Zwickau" (unfinished)
Symphony no.1 in B flat, op.38 "Spring"
Overture, Scherzo & Finale, op.52
Orchestre Revolutionnaire et Romantique, John Eliot Gardner (recorded 1997)

Genoveva overture, op.81
Berlin Philharmonic, Rafael Kubelik

CD2
69:32
Symphony no.4 in D minor, op.120 (original version, 1841)
Symphony no.2 in C, op.61
Orchestre Revolutionnaire et Romantique, John Eliot Gardner (1997)

Julius Caesar overture, op.128
Vienna Philharmonic, Georg Solti

CD3
75:19
Konzertstuck in F for 4 horns & orchestra, op.86
Symphony no.3 in E flat, op.97 "Rhenish"
Symphony no.4 in D minor, op.120 (revised version, 1851)
Orchestre Revolutionnaire et Romantique, John Eliot Gardner (1997)

CD4
63:57
Piano Concerto in A minor, op.54
Introduction & Allegro appassionato, op.92
Concert Allegro with introduction, op.134
Vladimir Ashkenazy, London Symphony Orchestra, Uri Segal (recorded 1977)

CD5
67:08
Violin Concerto in D minor
Henryk Szeryng, London Symphony Orchestra, Antal Dorati (recorded 1964)

Cello Concerto in A minor, op.129
Lynn Harrell, Cleveland Orchestra, Neville Marriner (recorded 1981)

Fantasy for violin & orchestra in C, op.131
Anne-Sophie Mutter, New York Philharmonic, Kurt Masur

DISCS 6-10: CHORAL MUSIC

CD6
47:49
Requiem for Mignon, op.98b
Nachtlied "Quellende, schwellende Nacht", op.108
Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardner

Das Paradies und die Peri, part one
Bernarda Fink, Barbara Bonney, Christoph Pregardien, Gerald Finley, etc., Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardner (recorded 1997)

CD7
69:40
Das Paradies und die Peri, parts two & three
Bernarda Fink, Barbara Bonney, Christoph Pregardien, Gerald Finley, etc., Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardner (recorded 1997)

CD8
72:44
Scenes from Goethe's "Faust", parts one & two
Dietrich Fischer-Dieskau, Elizabeth Harwood, John Shirley-Quirk, Peter Pears, etc., Aldeburgh Festival Singers, English Chamber Orchestra, Benjamin Britten (recorded 1972)

CD9
44:59
Scenes from Goethe's "Faust", part three
Dietrich Fischer-Dieskau, Elizabeth Harwood, John Shirley-Quirk, Peter Pears, etc., Aldeburgh Festival Singers, English Chamber Orchestra, Benjamin Britten (recorded 1972)

CD10
64:00
Manfred - incidental music, op.115
Gudrun Sieber, Gabriele Schreckenbach, Alejandro Ramirez, Harald Stamm, Klausjurgen Wussow, RIAS Kammerchor, Radio-Symphonie-Orchester Berlin, Gerd Albrecht (recorded 1984)

DISCS 11-19: LIEDER (recorded 1974-1982)

CD11
68:17
Liederkreis, op.24; Myrthen, op.25
Dietrich Fischer-Dieskau, Edith Mathis, Christoph Eschenbach

CD12
68:15
Lieder und Gesange, op.27; 3 Gedichte, op.30; 3 Gesange, op.31; 12 Kerner-Lieder, op.35
Dietrich Fischer-Dieskau, Edith Mathis, Christoph Eschenbach

CD13
66:20
6 Gedichte, op.36; 12 Gedichte aus Ruckerts "Liebesfruhling", op.37; Liederkreis, op.39; 5 Lieder, op.40
Dietrich Fischer-Dieskau, Edith Mathis, Julia Varady, Christoph Eschenbach

CD14
72:00
Frauenliebe und -leben, op.42; Romanzen & Balladen, op.45; Dichterliebe, op.48
Edith Mathis, Dietrich Fischer-Dieskau, Christoph Eschenbach

5 Poems of Mary Stuart, op.135
Regine Crespin, John Wustman

CD15
58:10
Romanzen & Balladen, opp.49, 53 & 64; Lieder und Gesange, opp.51 & 77; Belsatzar, op.57; Spanisches Liederspiel, op.74
Dietrich Fischer-Dieskau, Edith Mathis, Julia Varady, Peter Schreier, Christoph Eschenbach

CD16
47:43
Lieder-Album fur die Jugend, op.79; 3 Gesange, op.83; Der Handschuh, op.87; 6 Gesange, op.89
Edith Mathis, Dietrich Fischer-Dieskau, Peter Schreier, Christoph Eschenbach

CD17
69:33
6 Gedichte und Anhang, op.90; 3 Gedichte, op.95; Lieder und Gesange, opp.96 & 98; Minnespiel, op.101
Dietrich Fischer-Dieskau, Edith Mathis, Julia Varady, Christoph Eschenbach

CD18
62:34
7 Lieder, op.104; 6 Gesange, op.107; 4 Husarenlieder, op.117; 3 Gedichte, op.119; 5 heitere Gesange, op.125; 5 Lieder & Gesange, op.127; Spanische Liebeslieder, op.138; Ballade "Des Sangers Fluch", op.139
Edith Mathis, Dietrich Fischer-Dieskau, Peter Schreier, Christoph Eschenbach

CD19
58:15
Schon Hedwig, op.106; 2 Balladen, op.122; 11 fruhe Lieder, WoO 21; 3 Gedichte, op.29; 4 Duette, op.34; 3 zweistimmige Lieder, op.43; 4 Duette, op.78; Sommerruh; 6 Lieder, op.33 ("Die Lotosblume")
Dietrich Fischer-Dieskau, Peter Schreier, Julia Varady, Christoph Eschenbach

DISCS 20-26: CHAMBER MUSIC

CD20
53:28
Piano Quintet in E flat, op.44
Paul Gulda, Hagen Quartett

String Quartet no.1 in A minor, op.41/1
Hagen Quartett (recorded 1994)

CD21
47:55
String Quartet no.2 in F, op.41/2
String Quartet no.3 in A, op.41/3
Hagen Quartett (recorded 1994)

CD22
77:05
Piano Quartet in E flat, op.47
Beaux Arts Trio (Menahem Pressler, Isadore Cohen, Bernard Greenhouse) with Samuel Rhodes, viola
(recorded 1975)

Piano Trio no.1 in D minor, op.63
Beaux Arts Trio (recorded 1971)

Fantasiestucke, op.88
Beaux Arts Trio (Menahem Pressler, Isadore Cohen, Peter Wiley)
(recorded 1990)

CD23
68:48
Piano Trio no.2 in F, op.80
Piano Trio no.3 in G minor, op.110
Beaux Arts Trio (recorded 1971)

CD24
48:21
Violin Sonata no.1 in A minor, op.105
Violin Sonata no.2 in D minor, op.121
Gidon Kremer, Martha Argerich (recorded 1985)

CD25
78:58
Paganini: 24 Caprices, op.1 (with piano accompaniments by Robert Schumann, nos.1-23)
David Garrett, Bruno Canino (recorded 1996)

CD26
68:12
3 Romances, op.94; Fantasiestucke, op.73; Abendlied, op.85/12; 5 Stucke im Volkston, op.102
Heinz Holliger, oboe; Alfred Brendel (recorded 1979)

Adagio & Allegro in A flat for horn & piano, op.70
Radovan Vlatkovic, Vladimir Ashkenazy

Andante & Variations, op.46
Vladimir Ashkenazy & Vovka Ashkenazy, pianos; Radovan Vlatkovic, horn; Georg Donderer & Mathias Donderer, cellos

DISCS 27-35: SOLO PIANO WORKS

CD27
65:16
Abegg Variations, op.1; 6 Intermezzos, op.4; Kinderszenen, op.15; Waldszenen, op.82
Christoph Eschenbach (recorded 1966)

Toccata in C, op.7
Ivo Pogorelich (recorded 1981)

CD28
38:20
Symphonic Etudes, op.13; 5 Variations, op. post; Arabeske in C, op.18
Maurizio Pollini (recorded 1981 & 1983)

CD29
51:52
Davidsbundlertanze, op.6 (first version, 1837); Concerto without Orchestra, op.14 (Piano Sonata no.3, first version, 1835-6)
Maurizio Pollini (recorded 2000)

CD30
48:14
Allegro in B minor, op.8; Kreisleriana, op.16; Gesange der Fruhe, op.133 (1853)
Maurizio Pollini (recorded 2001)

CD31
80:47
Papillons, op.2; Carnaval, op.9; Humoreske, op.20; Noveletten, op.21
Vladimir Ashkenazy (recorded 1984 & 1986)

CD32
62:46
Piano Sonata no.1 in F# minor, op.11; Fantasie in C, op.17
Maurizio Pollini (recorded 1973)

CD33
79:29
8 Fantasiestucke, op.12; Blumenstuck, op.19; Noveletten, op.21/8; Piano Sonata no.2 in G minor, op.22; Faschingsschwank aus Wien, op.26
Vladimir Ashkenazy (recorded 1988-91)

CD34
68:59
Bunte Blatter, op.99; Nachtstucke, op.23; 3 Romanzen, op.28
Vladimir Ashkenazy (recorded 1995)

Six Studies for pedal piano, op.56
Simon Preston

CD35
39:52
Album fur die Jugend, op.68
Homero Francesch (recorded 1980)





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