Classical CD Schumann: Novelletten-Encores

Michel Block, Piano (PPR224514)  Total Playing Time 57’ 32”Robert Schumann (1810 - 56): Novelletten, Op.211. Markirt und kräftig - Trio2. Äusserst rasch und mit Bravour - Intermezzo. Etwas langsamer durchaus zart - Erstes Tempo3. Leicht und mit Humor - Intermezo. Rasch und wild - Erstes Tempo - Adagio4. Ballmässig, Sehr munter - Noch schneller - Erstes Tempo5. Rauschend und festlich - Etwas langsamer - Etwas langsamer - sehr lebhaft - Erstes Tempo - Tempo I6. Sehr lebaft, mit vielem Humor - Immer schneller und schneller - Tempo I7. Äusserst rasch - Etwas langsamer - Erstes Tempo8. Sehr lebhaft - Trio I. Noch lebhafter - Adagio - Wie früher - Trio II. Hell und lustig - Tempo I - Stimme aus der Ferne - Fortsetzung. Einfach und gesangvoll - Adagio - Tempo wie im vorigen Stück - Adagio - Fortsetzung und Schluß. Munter, nicht zu rasch - Nach und nach lebhafter - Tempo I - Adagio3 EncoresClaude Debussy (1816 - 1918)9. Serenade for the Doll from Children's Corner10. Quelques aspects de "Nous n'irons plus au bois, " parce qu'il fait un tempsBarbara (1930 -) - Michel Block11. Ma plus belle histoire d'amour Robert Schumann: Novelletten, Op.21Ballmässig, No.4Paraphrased from Original Liner Notes of Kathy HenkelRobert Schumann was a wizard at transforming emotions into sound.  For him, music was a language of thoughts, feelings, all things elusive and indefinable, and, as he said, "the perfect expression of the soul." The ultimate means of expression for young composers in the Romantic Age was the piano.  And so, until he was thirty, Schumann wrote little else but solo keyboard music -- pieces which mirrored both he passionate and reflective sides of his nature.Schumann's unorthodox education enhanced his originality.,  His author-publisher father actively encouraged the lad's musical and literary talents with early piano lessons local concert appearances, and publication of youthful essays.  The budding composer spent endless hours in the library and learned as much abort lyricism, form, and rhythm from poetry and literature, as he did from his musical gods; Bach, Mozart, Beethoven and Schubert.  The elder Schumann died when Robert was sixteen.  Two years later, the teenager dutifully went off to law school at the behest of his mother, who insisted that he enter a secure, lucrative profession,  He spent more time reading the poetic works of Goethe and Byron--and daydreaming over the piano--that he did attending classes.  In the end, he convinces hoes mother that he should drop law and study music with the foremost piano teacher in Leipzig, Frederich Wieck.For4 a trio of enc9ores, Mr. Block turns to his ancestral France.  Serenade for the Doll is from The Children's Corner, a collection of six charming miniatures which Claude Debussy dedicated to his five-year-old daughter, Claude-Emma. Then two pieces from a group penned in 1894, as "conversations between the piano and oneself."The final piece on the program is Michel Block's own arrangement of a song by a sensitive chanteuse whose creations--like Schumann's--breathe the rhythm and color of her exterior and interior life.


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