{"id":1072,"date":"2021-04-13T19:47:24","date_gmt":"2021-04-13T17:47:24","guid":{"rendered":"https:\/\/www.campanella-musica.com\/?post_type=avada_portfolio&p=1072"},"modified":"2021-05-31T19:09:24","modified_gmt":"2021-05-31T17:09:24","slug":"clara-und-robert-schumann-romanzen","status":"publish","type":"avada_portfolio","link":"https:\/\/www.campanella-musica.com\/en\/archive\/katalog\/clara-und-robert-schumann-romanzen","title":{"rendered":"Clara and Robert Schumann: Romantic Duos"},"content":{"rendered":"

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Catalogue No: C 130014<\/strong><\/a><\/p>\n<\/div><\/div><\/div>

The oboe, successor to the antique shawm, enjoyed great popularity during the baroque and early classical periods, but it lost much of its prestige in the course of the 19th century. The Romantic middle classes preferred the newer and rapidly developed clarinet, with its spell-binding legato, its expressive registers and its more pleasing technique, and the oboe\u2019s role then dwindled to that of a provider of extra colour in orchestras or ensembles, though its potential as a solo instrument was never quite forgotten by a handful of \u201ctrue\u201d Romantics.<\/span><\/span><\/span><\/span><\/p>\n

Amongst the large second group of composers the name of Robert Schumann stands out. There is a passage in his F sharp minor Piano Sonata op. 11 which he marks to be played \u201dquasi oboe\u201d, and when the piano finally became \u201ctoo narrow\u201d for him, because he often heard in his head \u201cso many things\u201d that he could not reproduce on the keyboard alone, then the eloquent double-reed instrument came into favour with him again – for instance in the first movement of the Piano Concerto and of course in the Three Romances op. 94, one of the series of duos with which he strove to overcome the limitations of his piano.<\/span><\/span><\/span><\/span><\/p>\n

Opus 94 forms the opening work in the present programme, which could be characterised as \u201cScenes from a marriage of performing artists\u201d, since his wife Clara, n\u00e9e Wieck, is also represented here with her three beautiful Romances op. 22, written for and dedicated to Joseph Joachim, a family friend. These pieces too can be played just as well on other melody instruments, as also can those of her husband that are included in this recording, especially as he always allowed his publisher some leeway when advertising new publications. The Three Fantasiest\u00fccke op. 73 played not on clarinet but on oboe d\u2019amore, and the Adagio and Allegro op. 70 played not on horn but on oboe – these do not merely exist as possible alternatives but supply a definite enrichment of the repertoire, as does also the small selection of songs which Hansj\u00f6rg Schellenberger performs in his instrument\u2019s \u201csinging tone\u201d.<\/span><\/span><\/span><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

Tracklisting<\/h4>\n

Robert Schumann (1810-1856)<\/strong>
\nRomanzen op. 94 Nr. 1-3 (f\u00fcr Oboe und Klavier)
\n01 Nicht schnell
\n02 Einfach – innig
\n03 Nicht schnell<\/p>\n

4 Lieder (Bearbeitung f\u00fcr Klavier und Oboe)
\n04 Du bist wie eine Blume
\n05 Intermezzo
\n06 Waldgespr\u00e4ch
\n07 Mondnacht<\/p>\n

Clara Schumann (1819-1896)<\/strong>
\n3 Romanzen f\u00fcr Klavier und Oboe op. 22
\n08 Andante molto
\n09 Allegretto – Mit zartem Vortrag
\n10 Leidenschaftlich schnell<\/p>\n

Robert Schumann<\/strong>
\nRomanzen op. 28 Nr. 1-3 (F\u00fcr Klavier)
\n11 Sehr markiert
\n12 Einfach
\n13 Sehr markiert<\/p>\n

3 Fantasiest\u00fccke f\u00fcr Klavier und Oboe d’amore op. 73
\n14 Zart und mit Ausdruck
\n15 Lebhaft leicht
\n16 Rasch und mit Feuer<\/p>\n

Adagio und Allegro f\u00fcr Klavier und Oboe op. 70
\n17 Adagio
\n18 Allegro<\/p>\n

Zwei St\u00fccke (Bearbeitung f\u00fcr Klavier und Oboe)
\n19 Abendlied
\n20 Trauer<\/p>\n

TT: 70’46<\/p>\n<\/div><\/div><\/div>

Artists<\/h4>\n

Hansj\u00f6rg Schellenberger, Oboe
\nRolf Koenen, Piano<\/p>\n

Reviews<\/h4>\n

\u261e \u00bbSchellenbergers Interpretationskunst l\u00e4\u00dft sich leicht an den Schumann-Aufnahmen beschreiben, die von einer bestechenden Musikalit\u00e4t getragen werden: nuanciert und abwechslungsreich in der Tonf\u00e4rbung, atmend in der Phrasierung, subtil in der Artikulation. Der Oboenton scheint sich gleichsam sprechend zu verlebendigen. Erstaunlich auch, wie Rolf Koenen seinen Klavierbegleitung der musikalischen Ausdrucksentwicklung anschmiegt oder sie zwanglos initiiert und bestimmt.\u00ab Fono Forum, 10\/1999<\/p>\n

\u261e \u00bbDer Oboist Hansj\u00f6rg Schellenberger und der Pianist Rolf Koenen haben der Romanze ihren urspr\u00fcnglichen Sinn wiedergegeben und fassen sie als \u00bbLiebeserkl\u00e4rung\u00ab auf.\u00ab aktivissimo, 11-12\/1999<\/p>\n

\u261e \u00bbDas sind \u00fcber siebzig Minuten romantischer H\u00f6rgenu\u00df, nie verz\u00e4rtelt, doch stets gef\u00fchlvoll!\u00ab \u2018rohrblatt, Heft 1 2001<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":607,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[59,61,57],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-1072","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-duo-en","portfolio_category-oboe-en","portfolio_category-solo-en"],"_links":{"self":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/comments?post=1072"}],"version-history":[{"count":0,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1072\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media\/607"}],"wp:attachment":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media?parent=1072"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_category?post=1072"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_skills?post=1072"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_tags?post=1072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}