What a beautiful soul and genius to have composed this music of eternal beauty and depth. Here played with great mastery and humbleness by Radu Lupu. I visited the Schumann museum in Zwickau - the house where he was born and grew up. A little gem in the city centre.
0:00 - Von fremden Ländern und Menschen/ Of Foreign Lands and Peoples/ Des pays mystérieux (G major) 1:28 - Kuriose Geschichte/ A Curious Story/ Histoire curieuse (D major) 2:32 - Hasche-Mann/ Blind Man's Buff/ Colin-Maillard (B minor) 3:01 - Bittendes Kind/ Pleading Child/ L'enfant qui prie (D major) 3:51 - Glückes genug/ Happiges/ Bonheur parfait (D major) 4:55 - Wichtige Begebenheit/ An Important Event/ Grande nouvelle (A major) 5:41 - Träumerei/ Dreaming / Rêverie (F major) 8:06 - Am Kamin/ At The Fireside/ Au coin du feu (F major) 8:56 - Ritter vom Steckenpferd/ Knight Of The Hobbyhorse/ Sur le cheval de bois (C major) 9:32 - Fast zu ernst/ Almost Too Serious/ Peut-être trop sérieux (G-sharp minor) 11:12 - Fürchtenmachen/ Frightening/ Faire peur (E minor) 12:45 - Kind im Einschlummern/ Child Falling Asleep/ L'enfant s'endort (E minor) 14:27 - Der Dichter spricht/ The Poet Speaks/ Le poète parle (G major) 16:23
Excellent! He plays the Kinderszenen just like they should be played. Tender, loving, playful but not schmaltzy. With a great closing by the Poet's musical words.
I am new to Lupu as a great pianist. I also play these pieces, as many do, and I’m amazed at the control and subtlety that Lupu provides in his interpretation. Sometimes he takes off like a shot, as in “Haschemann” where it almost seems too fast, but one is impressed by his velocity. Other pieces are played quite slowly, though beautifully. Lupu’s interpretations are excellent whether or not one agrees with every musical choice he makes. I think Schumann would be quite pleased his ‘Kinderszenen’ is played with such depth of feeling and nuance.
Very well played, but I cannot help but feel as though he really wanted to get the von fremdern Ländern und Menschen out of the way. He plays it faster than suits the song, and notably so. Other than that, I don't see any big points of criticism; very well done.
+Tim Cools I had a similar feeling- mostly that the von fremdern Ländern und Menschen wasn't "innocent" enough, or childlike enough. It was a little too defined- I longed for a dreamier interpretation.
@@johnvalentine4720 I'm not sure if I'd say that about the recordings I've heard per se, but one tendency I have noticed since I posted that comment is that a lot of people play the part where the second high G note comes in (so the one in the third measure) with a kind of pause that always feels to me very... breaky? I don't know what other word to use for it, but basically it always sounds like they play the lower notes just a tiny moment earlier than the G and that makes it sound a little disjointed. I don't know if that's how Schumann intended it to be played or if it's a popular stylistic choice, but yeah... Lupu, to his credit, doesn't seem to do it in this recording at all, so I do appreciate that.
Yeah, I get what your'e saying. Rubato - it always divides opinion. When it's done right, it gives the singing line an elastic, natural quality and a breathing, unfolding shape to the phrase.When it's done badly - well I can't listen and I avoid it like the plague thereafter. But, of course subjectivity enters into it.@@TimCools_WithALongO
@@johnvalentine4720 Honestly, it's one of the reasons I don't go to live performances, not even of bands that I really love. I'm scared they'll do a rubato in a way that I won't like and it might make me think I'm like not on the same musical wavelength as the artist or something 🥲
Tha best Kindeszenen, I´ve ever heard. Radu Lupu is number ONE.
What a beautiful soul and genius to have composed this music of eternal beauty and depth. Here played with great mastery and humbleness by Radu Lupu. I visited the Schumann museum in Zwickau - the house where he was born and grew up. A little gem in the city centre.
Happy Birthday to Robert Schumann REST IN POWER Blessings and Hugs 💖💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕💕
Tone and touch is beautiful
0:00 - Von fremden Ländern und Menschen/ Of Foreign Lands and Peoples/ Des pays mystérieux (G major)
1:28 - Kuriose Geschichte/ A Curious Story/ Histoire curieuse (D major)
2:32 - Hasche-Mann/ Blind Man's Buff/ Colin-Maillard (B minor)
3:01 - Bittendes Kind/ Pleading Child/ L'enfant qui prie (D major)
3:51 - Glückes genug/ Happiges/ Bonheur parfait (D major)
4:55 - Wichtige Begebenheit/ An Important Event/ Grande nouvelle (A major)
5:41 - Träumerei/ Dreaming / Rêverie (F major)
8:06 - Am Kamin/ At The Fireside/ Au coin du feu (F major)
8:56 - Ritter vom Steckenpferd/ Knight Of The Hobbyhorse/ Sur le cheval de bois (C major)
9:32 - Fast zu ernst/ Almost Too Serious/ Peut-être trop sérieux (G-sharp minor)
11:12 - Fürchtenmachen/ Frightening/ Faire peur (E minor)
12:45 - Kind im Einschlummern/ Child Falling Asleep/ L'enfant s'endort (E minor)
14:27 - Der Dichter spricht/ The Poet Speaks/ Le poète parle (G major)
16:23
Thank you!
Ah, what a soul have ROBERT SCHUMANN, what a poet and CHILDREN KNOWLEDGE...
Excellent! He plays the Kinderszenen just like they should be played. Tender, loving, playful but not schmaltzy. With a great closing by the Poet's musical words.
Rest in peace, Radu Lupu. Your pianism was absolutely ingenious.
Thank you for sharing! I don't know if it''s intentional but love how you left two minutes of contemplative silence at the end of the video. Bravo!
Queste per me sono le "vere" Kinderszenen, perché Radu Lupu entra con grande finezza nel mondo dei bambini, senza sentimentalismo
His control in the second 'theme' of 'Fürchtenmachen' is breathtaking! As as so many of the details within the performance.
I am new to Lupu as a great pianist. I also play these pieces, as many do, and I’m amazed at the control and subtlety that Lupu provides in his interpretation. Sometimes he takes off like a shot, as in “Haschemann” where it almost seems too fast, but one is impressed by his velocity. Other pieces are played quite slowly, though beautifully. Lupu’s interpretations are excellent whether or not one agrees with every musical choice he makes. I think Schumann would be quite pleased his ‘Kinderszenen’ is played with such depth of feeling and nuance.
It might be the best performance I have ever heard of this piece
The precision goes side by side with the musicianship
His Schubert … and D 956 from 1980 Tokyo Live … he is one of the greats
It’s my favorite too
@@amitguy950 Israel?
Какое счастье это слышать! Какая чистая гармония, какая простота и нежность.
Lupu...Great!
The perfect performance !
Imprescindible en mi Museo
wish I could have some advanced lessons from Lupu.
The pianist for pianists
Amazing Traumerei 5:40
♥️
что-то это не из тех записей где лупу играет как бог
5:40 … 9:32 … 12:45
Is this Lupu??
Very well played, but I cannot help but feel as though he really wanted to get the von fremdern Ländern und Menschen out of the way. He plays it faster than suits the song, and notably so. Other than that, I don't see any big points of criticism; very well done.
+Tim Cools I had a similar feeling- mostly that the von fremdern Ländern und Menschen wasn't "innocent" enough, or childlike enough. It was a little too defined- I longed for a dreamier interpretation.
I agree, but many pianists also take it too fast.
@@johnvalentine4720 I'm not sure if I'd say that about the recordings I've heard per se, but one tendency I have noticed since I posted that comment is that a lot of people play the part where the second high G note comes in (so the one in the third measure) with a kind of pause that always feels to me very... breaky? I don't know what other word to use for it, but basically it always sounds like they play the lower notes just a tiny moment earlier than the G and that makes it sound a little disjointed. I don't know if that's how Schumann intended it to be played or if it's a popular stylistic choice, but yeah... Lupu, to his credit, doesn't seem to do it in this recording at all, so I do appreciate that.
Yeah, I get what your'e saying. Rubato - it always divides opinion. When it's done right, it gives the singing line an elastic, natural quality and a breathing, unfolding shape to the phrase.When it's done badly - well I can't listen and I avoid it like the plague thereafter. But, of course subjectivity enters into it.@@TimCools_WithALongO
@@johnvalentine4720 Honestly, it's one of the reasons I don't go to live performances, not even of bands that I really love. I'm scared they'll do a rubato in a way that I won't like and it might make me think I'm like not on the same musical wavelength as the artist or something 🥲
편히 잠드시길....
Its played too fast. A result of the vinyl record industry