Unsung...Schumann?

[Mark Thomas]

As regards Schumann's symphonies, my experience mirrors yours exactly, although maybe 15 years later. In the process of discovering "classical" music in the early 70s, and already sympathetically predisposed towards the unsung, I was intrigued by patronising references in Gramophone (does nothing change?) to Schumann's symphonies and their inexpert orchestration. I asked about them in the very good record store in my university city and was told that recordings were rare and they had none. However, I went into the shop one day and the owner called me over, pulled from under the counter the newly issued (and very attractive) CBS set of Szell's recordings of all four symphonies and announced "I've kept this back for you". It was almost as if I was being offered contraband! Anyway, I bought the set, which subsequently achieved a  grudgingly enthusiastic review in Gramophone, and loved the music. Maybe my memory is wrong, but I have always assumed that it was that recording which began Schumann's rehabilitation as a symphonist.

[Alan Howe]

As far as my own experience is concerned, Schumann's symphonies have always been part of the standard repertoire. Recordings by Szell, Klemperer and Kubelik were around before I started collecting LPs in anger in the late sixties and then along came Karajan, Sawallisch, Solti and others, so I've never really thought of them as being unsung.

[eschiss1]

... collecting LPs in anger? erm... ...  (But Paul Angerer did a superlative job of that.)

It doesn't have great resonance with me since I was born in 1969, making me a mewling infant in these domains of course (well, not going -there-.) Still, even in my lifetime the "repertoire" changes some, and works that received next-to-no performances and none from big-name orchestras 20 years ago then became the features of Gramophone magazine profiles and several others almost simultaneously (Suk Asrael, Shostakovich 4, come to mind here...), and are rather better known now. ... Anyway.

When I think of unsung Schumann without gap, without question mark (chevalier sans etc et sans etc?), my mind immediately goes to that same Paradies und das Peri, a vocal score of which I picked up at a booksale (and then missed a chance to hear a year ago, Dec. 2011 I think in NY City. Not a chance that comes along that often, I know. Ah well It would have been well worth extending my NYC vacation...)

[Balapoel]

I received my copy of Schumann 'Complete Works for Piano and Orchestra', RCA, Lev Vinocour, ORF Vienna RSO, Johannes Wildner conducting. What a treasure trove! Highly recommended. No less than 5 world premieres.

-Theme sur le nom 'ABEGG' (1831) - fair copy of the orchestral introduction he planned for the set of variations

-Piano Concerto in F (1831) - reconstructed by Lev Vinoceur (primarily orchestration). This doesn't impress me as much as the d minor Konzertsatz (below).

-Konzertsatz in a minor by Clara Wieck (1834). This is the premiere recording of the original Schumann orchestration.

-Konzertsatz in d minor (reconstructed by Jozef de Beenhouwer) (1839).


-Phantasie in a minor (1841) - original version of his Piano Concerto Op. 53

-Piano Concerto in f minor, Op. 16 by Henselt and Schumann (1844). Apparently, the concerto "lay fallow and incomplete for several years. Robert then prepared a performance version of it for Clara". Henselt reworked the piece in 1847 and published it. This is the first recording of Schumann's original completion, from a manuscript at the Musicological Library at St Petersburg Conservatoire.

-Konzertstuck in F for piano and orchestra, op. 86 (composer's own transcription of the konzertstuck for 4 horns for piano) (1849).

All in all, very interesting record. The playing is excellent, and the sound engineering is first rate - the piano practically explodes upon the listener; though I think the piano is set a bit too much in the foreground, most readily apparent in the slow movements. However, this has been a rare opportunity for me to get to know Schumann's orchestration skill and the development of his musical ideas. Highly recommended.

[Richard Moss]

Dear Balapoel,

I managed to buy this tremendous CD set (via Amazon, Germany with some struggles with language!) a couple of years ago and it has proved to be one of my all-time favourites (along with Brahms Sym3, Paderewski, Grieg, Brull and some other PCs).

I find I keep returning to it, even sometimes at the expense of time to listen to some new acquisitions.  Don't know whether this is because I have a soft spot for Schumann (my first ever LP in 1958 - Karajan Sym 4) or a genuine appeal of the music at the sub-conscious level.

Nevermind the reasons why, enjoy!

Best wishes

Richard

[Mark Thomas]

I hadn't spotted this set and it looks fascinating. I've downloaded the tracks and look forward to an illuminating listen. Thanks Belapoel.

[Jonathan]

Yes, this one has been on my wishlist for a while...
Further evidence that I need to buy more CDs!!

[Balapoel]

I hadn't spotted this set and it looks fascinating. I've downloaded the tracks and look forward to an illuminating listen. Thanks Belapoel.

Mark, let me know what you think. If you can download the booklet too, I would. The notes are well-written and copious, giving a lot of detail about the genesis and various transformations of the pieces, but also a great counterpoint argument to what is normally thought about Schumann (e.g., poor orchestrator and not effective at large forms).

[Mark Thomas]

Thanks. The booklet comes as part of the album download from iTunes. I'll be sure to read it first.

[Balapoel]

Well - what did you think? I've enjoyed re-listening to all of the pieces on these disks.

[Mark Thomas]

Truth be told, I have got the set, but haven't listened to it yet. However, prompted by your post, I will listen to some of it today. Thanks for the reminder.

[petershott@btinternet.com]

By coincidence, the set destined to be mine is in the post somewhere between Germany and the UK. When it arrives I'll certainly add a comment or two. I'm looking forward to it, especially since it contains some unsung Schumann unknown to me. In contrast, very much sung Schumann but I went to a concert yesterday where the Op. 41/1 Quartet received a wonderful performance by a young quartet whose members graduated from the Royal Academy a couple of years ago. What a terrific quartet it is - apologies for wandering from the thread, but the head remains so full of Schumann!

[Hilleries]

This set came to my attention in this thread, so thank you very much for bringing it up! I received it and gave it a spin of the first and third cds. The music is lovely, I'm really happy to know these pieces now, but I can't say I'm very happy about the performances.
The orchestra seems weak in my ears, lacking punch and that vibrancy that exactly the recordings that try to undo the "poor-orchestrator" fame bring. So, listening to the orchestra, the point Vinocour makes (and which I agree, his Symphonies sound right to my ears, specially in deft hands) doesn't come across.

Still, an important set, imo.

[jerfilm]

Can anyone please tell me where I can buy a download of the Vinocours CDs??  My searches turn up nothing - hardly even a CD version.

Srange, Amazon UK and Germany both have it - neither will download to the States.  Amazon US does not have it.  Go figure.

Thanks - jerry

[Mark Thomas]

I had the same problem in reverse trying to download the recording of Louise Bertin's opera La Esmeralda - available everywhere but the UK. Obviously a copyright or marketing restriction.