Clara and Robert Schumann: Cello & Piano Works

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Release Date: 3rd May 2024
Catalogue No: IBS12024
Label: IBS Classical
Length: 76 minutes

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Schumann, Clara: Drei Romanzen op. 22

Work length11:40

$3.00

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$5.25

Alberto Martos, Myriam Sotelo

I. Andante molto

Track length3:17

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II. Allegretto

Track length3:18

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III. Leidenschaftlich schnell

Track length5:05

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Schumann: Adagio and Allegro in A flat major, Op. 70

Work length10:01

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Alberto Martos, Myriam Sotelo

I. Adagio

Track length4:45

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II. Allegro

Track length5:16

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Schumann: Fantasiestücke, Op. 73

Work length11:10

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Alberto Martos, Myriam Sotelo

I. Zart und mit Ausdruck

Track length3:05

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II. Lebhaft, leicht

Track length3:39

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III. Rasch und mit Feuer

Track length4:26

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Schumann: Drei Romanzen op.94

Work length12:06

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Alberto Martos, Myriam Sotelo

I. Nicht schnell

Track length3:48

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II. Einfach, innig

Track length3:50

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III. Nicht schnell

Track length4:28

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Schumann: Stücke im Volkston (5), Op. 102

Work length15:57

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Alberto Martos, Myriam Sotelo

1. Vanitas vanitatum. Mit humor

Track length3:16

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2. Langsam

Track length3:44

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3. Nicht schnell, mit viel Ton zu spielen

Track length3:43

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4. Nicht zu rasch

Track length2:09

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5. Stark und markiert

Track length3:05

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Schumann: Märchenbilder op. 113

Work length15:22

$4.00

$5.20

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Alberto Martos, Myriam Sotelo

I. Nicht schnell

Track length3:34

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II. Lebhaft

Track length3:49

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III. Rasch

Track length2:28

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IV. Langsam, mit melancholischem Ausdruck

Track length5:31

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About
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About

We find ourselves in a crucial year, 1849. At that time, the Schumann's opted for a rural retreat due to the tension in Dresden, where they resided at that moment—a city that was the centre of notable revolutionary episodes during the uprising that occurred there, with its epicentre in May of that year. Precisely in that fruitful year, Robert Schumann tackled several chamber works that seem to be written in a relaxed atmosphere, in a very short time, without excessive formal nor constructive ambition, but with the stamp of his high melodic and harmonic inspiration. There is a certain common denominator among them, which we could call a certain lack of instrumental definition - pieces for oboe and piano, or for horn and piano, or for clarinet and piano - but in which the “melodic” role, as indicated in the score, can be transferred to other instruments with similar “singable” capacity, either to the same woodwind family or even to the string family (violin, cello). In short, it’s about “singing without text”; they are authentic “songs without words.” The Three Romances, op. 22 by Clara Schumann, which open this recording, is music initially intended for violin and piano, although the violin part has traditionally been adapted for other instruments: oboe, clarinet, viola, cello, etc. The cello version on this album is due to its performer, Alberto Martos.

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