These recordings show that Adelina de Lara was still an admirably clear and precise pianist even in her later years: certainly a credit to her excellent teacher! Thanks for posting these recordings: more people should hear them.
You picked some of her best recordings (though I do think that the Studies in Canonic Form Opus 56 work better on the original instruments they were composed for, or as a two-piano arrangement by Debussy). It is indeed a pity that these recordings were made well past her prime, but still, they give more than a glimpse into the real Clara Schumann-style, which you describe beautifully.
And that they all played them! The 4th and 5th pieces were cornerstones in the repertoires of both Davies, Borwick, Eibenschütz, and - evidently - de Lara. They must have been given them by Clara.
These recordings show that Adelina de Lara was still an admirably clear and precise pianist even in her later years: certainly a credit to her excellent teacher! Thanks for posting these recordings: more people should hear them.
This is fascinating, thank you for the upload and the insightful description
Even though I knew of them, for some reason I’ve never listened to these études before. I think I liked the second the best.
You picked some of her best recordings (though I do think that the Studies in Canonic Form Opus 56 work better on the original instruments they were composed for, or as a two-piano arrangement by Debussy). It is indeed a pity that these recordings were made well past her prime, but still, they give more than a glimpse into the real Clara Schumann-style, which you describe beautifully.
Thank you. It's fascinating to compare op. 56 nr. 4 with Marie Baumayers version.
And that they all played them! The 4th and 5th pieces were cornerstones in the repertoires of both Davies, Borwick, Eibenschütz, and - evidently - de Lara. They must have been given them by Clara.
@@christian-johansson they are still the most played among organists, the best pieces of the set.