Mp3 Noriaki Kitamura - Schumann Symphonies
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It is remastered CD in the Schumann's memorial year that has two symphonies, one celebrated "the Spring" of Robert Clara and another was the fruit of love for including their initials. 8 MP3 Songs in this album (65:43) ! Related styles: Classical: Symphony, Instrumental People who are interested in should consider this download. Details: Schumann's Symphony Im very glad that I can reprint my performance in the past (1997) on celebrating 200 years of Schumann's birth. It was remade by Mr. Teruo Murakami. Schumann was born in Germany Zwikou in 1810. This town is the south of the former East Germany, the south of Leipzig, and the west of Dresden. It is a quiet town 100 km away from both. He met Beethovens symphonies in college at concerts in Gewandhaus and the orchestra of music lovers. It had a very big influence on his symphonies. Then He aspired to be a musician and went to Wieck who was a piano teacher in Leipzig. He met Clara Wieck for his life wife. He trained as a pianist, but his dream had been closed. In those days the piano took the place of the chembalo. The benefits of the industrial revolution improved performance of the piano, and it became present one. He began to have interest in composing symphonies when he was in Leipzig University; of course his model was Beethoven. He got revelation of God from molt crescendo like burning such as Beethovens symphony No. 9 (ex. phrase of Ahnest du den Schopfer, Welt?) that he had not heard till then. In front of a musical instrument that can play from piano to forte freely like its name. It was natural that he tried to make sounds like orchestra by piano. But his overwork for that caused a fatal trouble to his fingers and the way to be a pianist was closed. He became not to be able to express himself any longer by piano and made Clara to act for his trial who was made much of as an infant prodigy of piano. However he sighed peoples ears seem not to understand yet. Indeed audience used to be conservative to unfamiliar music not only now but also in ancient. Recently, the time of music without strength and weakness of sound seems not to exist. Musics of Bach or Mozart
are added crescendo or decrescendo freely and are performed. But in those days, there were only several variations of volume of sounds, as forte or piano. Schumann detected a new way of expression and his heart came out of restraint of great Beethoven at length. He must have rejoiced that a way to the world of his own symphony was opened. But he was not in the state that he composes a symphony to realize it. In 1840, Shumann and Clara had overcome her father Wieck's opposition in the long run and got married. That may be a good chance to compose Symphony No. 1 in B-flat major, Op. 38 "Spring" within only 4 days in January 1841. He got inspiration from a poem of Adolph Bottger. Its title "Spring blossoms forth in the Valley"seems that was the moment as if he had come out of the valley of great Beethoven's Symphony. At first, he wrote romantic titles for each movement "the coming of spring", "the twilight of spring", "the happy pleasure" and "the glory of spring". Afterwards, he removed them to show his adherence that his symphony is purely classical. But that itself declared the spring of romantic symphony, I think. He began to compose the next symphony without a break. It was Symphony No. 4 in D minor, Op. 120 t is known the music edited in 1851. The first one was full of youthful passion different from the edited one. Indeed it is inferior to the second one of highly accomplished composition or orchestration, but therefore it represents straight his deep love for Clara. If the Symphony no.1 is the spring of life, no.4 may be the spring of blossom of love. It is well known that the motif of beginning of this symphony is written by Schumann's initials (Es,C,H), but it seems Clara's initials (C,A,A) are also hiding. That may be a little sophisticated, but it is cheerful to hear their intimacy. The first one was edited wholesale afterwords and became so highly accomplished work as it is heard at concert or in this CD. Indeed its naivete was lost, but it became very dignified symphony by metamorphosing its impulsiveness to thoughtful romanticism. The indication to perform each movement without interval originated in the first one. It fastened each movement more tightly. Tremolo of the strings or rapid variations of the volume etc. are used frequently in Shumann's works. Many people think that is cause of his sickly nature, but that is itself the new way of expression that Shumann asked the public. I think it is very important part of expression that made meaning of variations of the volume upon the music for the first time. The first performance of no.1 was conducted by Mendelssohn on March 31st in 1841 at Gewandhaus of Leipzig and was dedicated to the King of Sachsen, Friedrich Augst II. The first one of no.4 was performed on December 6th in the same year at Leipzig for the first time, but it was unpopular and then was adapted. Ten years later, the first performance of the second one was conducted by Shumann himself on May 3rd
in 1851 at Dusseldorf. by Noriaki Kitamura
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