Robert Schumann (1810-1856) by Yves Nat: Complete Piano Works / Remastered. 🎧 Qobuz bit.ly/3S1cKWv Tidal bit.ly/3zESsuR 🎧 Apple Music apple.co/3zGrYZP Deezer bit.ly/3RXi2SI 🎧 Amazon Music amzn.to/3J2sOmu Spotify spoti.fi/3RYqjWA 🎧 Napster bit.ly/46IaKZb UA-cam Music bit.ly/41heGPx 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… 00:00 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1952) 01:28 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1952) 02:18 Kinderszenen Op. 15 - III. Hasche-Mann (Remastered 2022, Version 1952) 02:47 Kinderszenen Op. 15 - IV. Bittendes Kind (Remastered 2022, Version 1952) 03:31 Kinderszenen Op. 15 - V. Glückes genug (Remastered 2022, Version 1952) 04:44 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (Remastered 2022, Version 1952) 05:29 Kinderszenen Op. 15 - VII. Träumerei (Remastered 2022, Version 1952) 07:30 Kinderszenen Op. 15 - VIII. Am Kamin (Remastered 2022, Version 1952) 08:52 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (Remastered 2022, Version 1952) 09:14 Kinderszenen Op. 15 - X. Fast zu ernst (Remastered 2022, Version 1952) 10:55 Kinderszenen Op. 15 - XI. Fürchtenmachen (Remastered 2022, Version 1952) 12:22 Kinderszenen Op. 15 - XII. Kind im Einschlummern (Remastered 2022, Version 1952) 14:03 Kinderszenen Op. 15 - XIII. Der Dichter spricht (Remastered 2022, Version 1952) 16:02 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1930) 16:50 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1930) 17:40 Kinderszenen Op. 15 - III. Hasche-Mann (R.2022, Version 1930) 18:06 Kinderszenen Op. 15 - IV. Bittendes Kind (R.2022, Version 1930) 18:47 Kinderszenen Op. 15 - V. Glückes genug (R.2022, Version 1930) 19:24 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (R.2022, Version 1930) 20:00 Kinderszenen Op. 15 - VII. Träumerei (R.2022, Version 1930) 21:56 Kinderszenen Op. 15 - VIII. Am Kamin (R.2022, Version 1930) 22:28 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (R.2022, Version 1930) 22:50 Kinderszenen Op. 15 - X. Fast zu ernst (R.2022, Version 1930) 23:40 Kinderszenen Op. 15 - XI. Fürchtenmachen (R.2022, Version 1930) 24:51 Kinderszenen Op. 15 - XII. Kind im Einschlummern (R.2022, Version 1930) 26:21 Kinderszenen Op. 15 - XIII. Der Dichter spricht (R.2022, Version 1930) Piano: Yves Nat Recorded in 1952 & 1930 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject? What gave the decisive impulse to the composition? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann (in the light of the Hoffmann fictions), the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music: depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence. Yves Nat's "Kinderszenen" are obviously exemplary. It is simple, learned, continuously poetic, speaks a language full of mystery and light. It is again a high translation of Schumann's thought. His first version (1930) is a miracle of interpretation. The man declared: "One must forget oneself completely in order for the music to be remembered". These recordings are the testimony of a man, an interpreter of very high lineage at the sole service of his art and of the composer he honors and whose most sincere truth he has pierced, like few others. Schumann by Yves Nat: Complete Piano Works ua-cam.com/video/d7bCMmutVO0/v-deo.html Robert Schumann PLAYLIST (reference recordings): ua-cam.com/video/LbyEiplksn0/v-deo.html
The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject? What gave the decisive impulse to the composition? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann (in the light of the Hoffmann fictions), the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music: depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence. Yves Nat's "Kinderszenen" are obviously exemplary. It is simple, learned, continuously poetic, speaks a language full of mystery and light. It is again a high translation of Schumann's thought. His first version (1930) is a miracle of interpretation. The man declared: "One must forget oneself completely in order for the music to be remembered". These recordings are the testimony of a man, an interpreter of very high lineage at the sole service of his art and of the composer he honors and whose most sincere truth he has pierced, like few others. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
It seems to me that the great masters of the past understood it all and gave us a more inspired rendition of the score we grew to love. To the point that, precisely, the excesses and indulgence in finger speed and tasteless iterations that we see nowadays, appears to be more and more pointless.
00:00 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1952) 01:28 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1952) 02:18 Kinderszenen Op. 15 - III. Hasche-Mann (Remastered 2022, Version 1952) 02:47 Kinderszenen Op. 15 - IV. Bittendes Kind (Remastered 2022, Version 1952) 03:31 Kinderszenen Op. 15 - V. Glückes genug (Remastered 2022, Version 1952) 04:44 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (Remastered 2022, Version 1952) 05:29 Kinderszenen Op. 15 - VII. Träumerei (Remastered 2022, Version 1952) 07:30 Kinderszenen Op. 15 - VIII. Am Kamin (Remastered 2022, Version 1952) 08:52 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (Remastered 2022, Version 1952) 09:14 Kinderszenen Op. 15 - X. Fast zu ernst (Remastered 2022, Version 1952) 10:55 Kinderszenen Op. 15 - XI. Fürchtenmachen (Remastered 2022, Version 1952) 12:22 Kinderszenen Op. 15 - XII. Kind im Einschlummern (Remastered 2022, Version 1952) 14:03 Kinderszenen Op. 15 - XIII. Der Dichter spricht (Remastered 2022, Version 1952) 16:02 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1930) 16:50 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1930) 17:40 Kinderszenen Op. 15 - III. Hasche-Mann (R.2022, Version 1930) 18:06 Kinderszenen Op. 15 - IV. Bittendes Kind (R.2022, Version 1930) 18:47 Kinderszenen Op. 15 - V. Glückes genug (R.2022, Version 1930) 19:24 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (R.2022, Version 1930) 20:00 Kinderszenen Op. 15 - VII. Träumerei (R.2022, Version 1930) 21:56 Kinderszenen Op. 15 - VIII. Am Kamin (R.2022, Version 1930) 22:28 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (R.2022, Version 1930) 22:50 Kinderszenen Op. 15 - X. Fast zu ernst (R.2022, Version 1930) 23:40 Kinderszenen Op. 15 - XI. Fürchtenmachen (R.2022, Version 1930) 24:51 Kinderszenen Op. 15 - XII. Kind im Einschlummern (R.2022, Version 1930) 26:21 Kinderszenen Op. 15 - XIII. Der Dichter spricht (R.2022, Version 1930)
Simply wonderful. Captures perhaps all aspects of childhood, from sadness and tears to gentleness, kindness, dreaming, playfulness and also rough-and-tumble. Love this performance. Thank you.
Robert Schumann (1810-1856) by Yves Nat: Complete Piano Works / Remastered.
🎧 Qobuz bit.ly/3S1cKWv Tidal bit.ly/3zESsuR
🎧 Apple Music apple.co/3zGrYZP Deezer bit.ly/3RXi2SI
🎧 Amazon Music amzn.to/3J2sOmu Spotify spoti.fi/3RYqjWA
🎧 Napster bit.ly/46IaKZb UA-cam Music bit.ly/41heGPx
🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
00:00 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1952)
01:28 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1952)
02:18 Kinderszenen Op. 15 - III. Hasche-Mann (Remastered 2022, Version 1952)
02:47 Kinderszenen Op. 15 - IV. Bittendes Kind (Remastered 2022, Version 1952)
03:31 Kinderszenen Op. 15 - V. Glückes genug (Remastered 2022, Version 1952)
04:44 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (Remastered 2022, Version 1952)
05:29 Kinderszenen Op. 15 - VII. Träumerei (Remastered 2022, Version 1952)
07:30 Kinderszenen Op. 15 - VIII. Am Kamin (Remastered 2022, Version 1952)
08:52 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (Remastered 2022, Version 1952)
09:14 Kinderszenen Op. 15 - X. Fast zu ernst (Remastered 2022, Version 1952)
10:55 Kinderszenen Op. 15 - XI. Fürchtenmachen (Remastered 2022, Version 1952)
12:22 Kinderszenen Op. 15 - XII. Kind im Einschlummern (Remastered 2022, Version 1952)
14:03 Kinderszenen Op. 15 - XIII. Der Dichter spricht (Remastered 2022, Version 1952)
16:02 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1930)
16:50 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1930)
17:40 Kinderszenen Op. 15 - III. Hasche-Mann (R.2022, Version 1930)
18:06 Kinderszenen Op. 15 - IV. Bittendes Kind (R.2022, Version 1930)
18:47 Kinderszenen Op. 15 - V. Glückes genug (R.2022, Version 1930)
19:24 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (R.2022, Version 1930)
20:00 Kinderszenen Op. 15 - VII. Träumerei (R.2022, Version 1930)
21:56 Kinderszenen Op. 15 - VIII. Am Kamin (R.2022, Version 1930)
22:28 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (R.2022, Version 1930)
22:50 Kinderszenen Op. 15 - X. Fast zu ernst (R.2022, Version 1930)
23:40 Kinderszenen Op. 15 - XI. Fürchtenmachen (R.2022, Version 1930)
24:51 Kinderszenen Op. 15 - XII. Kind im Einschlummern (R.2022, Version 1930)
26:21 Kinderszenen Op. 15 - XIII. Der Dichter spricht (R.2022, Version 1930)
Piano: Yves Nat
Recorded in 1952 & 1930
New mastering in 2022 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject? What gave the decisive impulse to the composition? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann (in the light of the Hoffmann fictions), the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music: depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence.
Yves Nat's "Kinderszenen" are obviously exemplary. It is simple, learned, continuously poetic, speaks a language full of mystery and light. It is again a high translation of Schumann's thought. His first version (1930) is a miracle of interpretation. The man declared: "One must forget oneself completely in order for the music to be remembered". These recordings are the testimony of a man, an interpreter of very high lineage at the sole service of his art and of the composer he honors and whose most sincere truth he has pierced, like few others.
Schumann by Yves Nat: Complete Piano Works ua-cam.com/video/d7bCMmutVO0/v-deo.html
Robert Schumann PLAYLIST (reference recordings): ua-cam.com/video/LbyEiplksn0/v-deo.html
The Kinderszenen is the first significant piece of instrumental music inspired by impressions of childhood. Why did Schumann devote an entire cycle to this subject? What gave the decisive impulse to the composition? It is well known that memories of the young Clara Wieck (whom Robert first met at the age of nine) played a part in it. The autobiographical aspect is just one side of the question. The other one is, once more, literature and poetry. An examination of the readings, diaries, fictional and critical writings of Schumann in the decade preceeding the composition of the Kinderszenen (1828-1838) reveals his constant interest in the romantic cult of childhood. Through Jean Paul, Hoffmann (in the light of the Hoffmann fictions), the composer built a symbolic conception of childhood which defined quite exactely his ideal of poetic music: depth at the heart of simplicity. These two aspects of the genesis (in a larger sense) of the Kinderszenen are intimately connected. Firstly because Schumann projected literary images on the Wunderkind who seemed to be the incarnation of a romantic ideal. Secondly because Clara possessed the purity which, in the aesthetics of Hoffmann, was a moral a priori for every great creation. Schumann felt unworthy of her and aimed to return with her help to the lost paradise of innocence.
Yves Nat's "Kinderszenen" are obviously exemplary. It is simple, learned, continuously poetic, speaks a language full of mystery and light. It is again a high translation of Schumann's thought. His first version (1930) is a miracle of interpretation. The man declared: "One must forget oneself completely in order for the music to be remembered". These recordings are the testimony of a man, an interpreter of very high lineage at the sole service of his art and of the composer he honors and whose most sincere truth he has pierced, like few others.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
It seems to me that the great masters of the past understood it all and gave us a more inspired rendition of the score we grew to love. To the point that, precisely, the excesses and indulgence in finger speed and tasteless iterations that we see nowadays, appears to be more and more pointless.
I think this performance is amazing. Very gentle when needed... Many musical details... Good sound. Great expression....
J'ai toujours trouvé cette interprétation merveilleuse. L'entendre à nouveau ici avec une telle qualité sonore est un enchantement...
아름다운 피아노 연주곡 잘 들었습니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
00:00 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1952)
01:28 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1952)
02:18 Kinderszenen Op. 15 - III. Hasche-Mann (Remastered 2022, Version 1952)
02:47 Kinderszenen Op. 15 - IV. Bittendes Kind (Remastered 2022, Version 1952)
03:31 Kinderszenen Op. 15 - V. Glückes genug (Remastered 2022, Version 1952)
04:44 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (Remastered 2022, Version 1952)
05:29 Kinderszenen Op. 15 - VII. Träumerei (Remastered 2022, Version 1952)
07:30 Kinderszenen Op. 15 - VIII. Am Kamin (Remastered 2022, Version 1952)
08:52 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (Remastered 2022, Version 1952)
09:14 Kinderszenen Op. 15 - X. Fast zu ernst (Remastered 2022, Version 1952)
10:55 Kinderszenen Op. 15 - XI. Fürchtenmachen (Remastered 2022, Version 1952)
12:22 Kinderszenen Op. 15 - XII. Kind im Einschlummern (Remastered 2022, Version 1952)
14:03 Kinderszenen Op. 15 - XIII. Der Dichter spricht (Remastered 2022, Version 1952)
16:02 Kinderszenen Op. 15 - I. Von fremden Ländern und Menschen (R.2022, Version 1930)
16:50 Kinderszenen Op. 15 - II. Kuriose Geschichte (Remastered 2022, Version 1930)
17:40 Kinderszenen Op. 15 - III. Hasche-Mann (R.2022, Version 1930)
18:06 Kinderszenen Op. 15 - IV. Bittendes Kind (R.2022, Version 1930)
18:47 Kinderszenen Op. 15 - V. Glückes genug (R.2022, Version 1930)
19:24 Kinderszenen Op. 15 - VI. Wichtige Begebenheit (R.2022, Version 1930)
20:00 Kinderszenen Op. 15 - VII. Träumerei (R.2022, Version 1930)
21:56 Kinderszenen Op. 15 - VIII. Am Kamin (R.2022, Version 1930)
22:28 Kinderszenen Op. 15 - IX. Ritter vom Steckenpferd (R.2022, Version 1930)
22:50 Kinderszenen Op. 15 - X. Fast zu ernst (R.2022, Version 1930)
23:40 Kinderszenen Op. 15 - XI. Fürchtenmachen (R.2022, Version 1930)
24:51 Kinderszenen Op. 15 - XII. Kind im Einschlummern (R.2022, Version 1930)
26:21 Kinderszenen Op. 15 - XIII. Der Dichter spricht (R.2022, Version 1930)
Обожаю Шумана, обожаю классическую музыку! Всем прекрасного настроения!
Yves Nat ressemble même à Schumann sur cette pochette
This is the GREATEST rendition of Shuman's masterpiece.
Schnabel!
Simply wonderful. Captures perhaps all aspects of childhood, from sadness and tears to gentleness, kindness, dreaming, playfulness and also rough-and-tumble. Love this performance. Thank you.
👍🏼
Tanta poesia ....molto bello..
So sweet touches
💝💝💝 TY
Gostei.