O Púbis da Rosa: Schumann. C (1819-1896)

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10.1.26

CLARA SCHUMANN : Complete Songs (Dorothea Craxton · Hedayet Djeddikar) (2007) FLAC (tracks), lossless

Clara Schumann the composer often worked in her husband’s shadow, many of her songs being mistaken for his, although those best loved by the public flowed from her pen. Some were composed and performed before their marriage, others set texts which he had suggested. “There is really nothing better than composing for oneself”, Clara notes in her diary in 1853, yet after Robert’s death three years later she composed no more, making these, the fruits of mutual love, all the more precious. naxos

The available selection of Clara Schumann's songs has been increasing, which is all to the good; they reveal a composer whose thinking was closely connected with that of her husband, who had the talent to keep up with what he was doing, and whose musical language in the realm of the art song kept developing even as Robert turned away from the genre. This Naxos release takes an unusual approach: it is, essentially, a historically authentic performance of the songs. Swiss-German pianist Hedayet Djeddikar uses an 1828 Stein piano owned by Clara Schumann herself, and the accompaniments take on the subtle colors made possible by fortepiano performance. Djeddikar has an especially nice way with Schumann's treatment of the upper register in the accompaniment, which adds a fantastic, melancholy, or playful note depending on the circumstances. Soprano Dorothea Craxton tries for an intimate vocal approach to match the piano and the charming sonic ambiance of the Schumannhaus in Zwickau. This is a good idea in principle, but Craxton's sound has little support in her upper register. She sounds fine in small doses, especially in limpid pieces like "Die gute Nacht" from the Four Songs by Friedrich Rückert, Op. 12. But over the course of the entire program of 29 songs the shaky intonation at crucial moments may result in aural fatigue. This release is a classic example of an original approach awaiting other performers to come along with improved execution. Texts and translations (into English only) are available only online. James Manheim
CLARA SCHUMANN (1819-1896)
Tracklist :
1-4. Four Songs by Friedrich Rückert, Op. 12 [9:15]
5-10. Six Lieder, Op. 13 [13:46]
11-16. Six Lieder from Jucunde, Op. 23 [13:41]
17. Der Abendstern [2:15]
18. Am Strande [2:36]
19. Ihr Bildnis (first version of Op. 13 No. 1) [2:46]
20. Volkslied [3:01]
21. Sie liebten sich beide (first version of Op. 13 No. 2) [2:20]
22. Loreley [2:23]
23. O weh des Scheidens [2:38]
24. Mein Stern [1:43]
25. Beim Abschied [4:24]
26. Das Veilchen [2:01]
27. Der Wanderer [1:43]
28. Der Wanderer in der Sägemühle [2:14]
29. Walzer [3:33]
Credits :
Dorothea Craxton - Ssoprano
Hedayet Djeddikar - Piano

31.10.25

V.A. — FEMALE COMPOSERS (2025) 25xCD BOX-SET | FLAC (image+.cue), lossless

What would it mean to ‘compose like a woman’? The present collection answers the question, in a literal sense, while undoing the premise on which the question was asked in the first place. In social and historical terms, it means enjoying privileges of upbringing, education and/or wealth that were historically denied to the vast majority of women. It means, on the part of the women represented here, a single-minded determination in pursuit of their vocation, helping them to overcome prejudice and sexism in a cultural, social and political milieu that has consistently denied women the opportunity to find and express their own voice in music. Only with movements of emancipation in the last century, and much more rapidly in the last 50 years, has this situation begun to be addressed and corrected.

What composing like a woman does not mean – as the music in this collection makes clear – is a definable set of qualities or characteristics to the music itself which would distinguish the work of female composers from the music composed by men.

This remarkable set gathers many individual recordings of music by women composers, which Brilliant Classics has quietly yet actively championed in their catalogue for decades, uniting it with exciting new outings, so that a comprehensive historical picture of the highly varied struggles and successes of women composers through the ages to our present time are chronicled and celebrated.

Recordings date from 1994–2024.
Booklet in English contains liner notes by Peter Quantrill.

The revival of interest in female classical composers reflects a growing recognition of their overlooked contributions to music history. For centuries, women composers were marginalized, their works overshadowed by their male counterparts. However, recent efforts by musicians, scholars, and institutions have brought these composers into the spotlight, highlighting the richness and diversity of their compositions.
This renewed focus stems from a broader movement toward inclusivity in the arts, challenging traditional narratives that have historically excluded women. The rise of feminist musicology has also played a key role, offering fresh perspectives on these composers' lives and works.
This comprehensive box set offers a wide spectrum of works by female composers, from the Medieval mystic Hildegard Von Bingen (1098-1179) , through the Renaissance Isabella Leonarda (baptized 1620-1704), Francesca Caccini (1587-1640) und Barbara Strozzi (baptized 1619-1677), traversing the Baroque and Classical eras, and arriving in the contemporary field, with composers such as Galina Ustvolskaya (1919-2006) and Grażyna Bacewicz (1909-1969).
A long due homage to the art and voice of female composers, spanning nearly a thousand years! brilliant
Tracklist & Credits :

9.7.25

CLARA SCHUMANN : Pièces Pour Piano (Hélène Boschi) (1987) RM | Two Version | FLAC (image+.tracks+.cue), lossless

Clara Wieck Schumann (1819-1896)
1-3. Trois Préludes Et Fugues Op.16
4-6. Trois Romances Op.21
7. Variations Sur Un Théme De Robert Schumann Op.20 10:25
8. Pièce Fugitive Op.15 N.3 5:45
9. Romance En Si Mineur 5:25
10-12. Trois Romances Pour Piano Op.11
13-15. Trois Romances Pour Violon Et Piano Op.22
Piano – Helene Boschi
Violin – Annie Jodry
Credits:
Piano – Hélène Boschi Boschi

22.3.25

CLARA WIECK SCHUMANN • CARL MARIA von WEBER : Piano Concerto (Elizabeth Rich ·Janáček P.O · Dennis Burkh) (1996) APE (image+.cue), lossless

Clara Wieck Schumnn (1819-1896)
1-3 Piano Concerto in A minor, Op. 7
Carl Maria von Weber (1786-1826)
4-6 Piano Concerto No. 1 in C major, J. 98 (Op. 11)
7-9 Piano Concerto No. 2 in E flat major, J. 155 (Op. 32)

Elizabeth Rich - Piano
Janáček Philharmonic Orchestra
Dennis Burkh - Conductor

10.3.24

CLARA SCHUMANN : Complete Piano Works (Jozef De Beenhouwer) 3CD (2001) FLAC (tracks+.cue), lossless

Tracklist & Credits

11.1.22

CLARA SCHUMANN : Piano Concerto in A minor ♦ HILLER : Konzertstück ♦ HERZ : Rondo de Concert ♦ KALKNEBRER : Le revê (Howard Shelley · Tasmanian Symphony Orchestra) (2019) Serie The Romantic Piano Concerto – 78 | FLAC (tracks+.cue), lossless

You might be surprised, given the growing interest in Clara Schumann's music, that Hyperion's Romantic Piano Concerto series did not include her sole piano concerto before the 78th volume. In fact, the work is not often played; it is a student work, a product of the composer's 14th year, and it's rather uneven, with a finale that's longer than the first two movements put together. Clara accepted help on the orchestration from her boarder, not yet husband, Robert Schumann. But it thus marks the beginning of their creative partnership, and it's interesting in other ways as well. Pianist Howard Shelley, who also conducts the Tasmanian Symphony Orchestra, makes the best possible case for it by placing it in a program featuring virtuoso music by Ferdinand Hiller, Henri Herz, and Friedrich Kalkbrenner -- exactly the music Schumann would have heard in her daily piano lessons. Some of this turns out to be well worth retrieval from the scrap heap of history: sample Kalkbrenner's Le rêve, Op. 113, with its unabashedly splashy march conclusion. But what strikes one about the young Clara's concerto is that she took little from this music, even though she clearly already had the chops to play it. Instead she is reaching for large scope and unusual key relationships, even if it takes her until the finale to really hit her target. Shelley and his Tasmanians continue their impressive record of clean, differentiated performances of a great variety of Romantic works, and that variety is the key point here. James Manheim
Tracklist :
Piano Concerto In A Minor, Op. 7 (20:50)
Composed By – Clara Schumann

Konzertstück, Op. 113 (20:51)
Composed By – Ferdinand Hiller

Rondo de Concert, Op. 27 (11:25)
Composed By – Henri Herz

Le Rêve, Op. 113 (10:43)
Composed By – Friedrich Kalkbrenner
Credits :
Orchestra – Tasmanian Symphony Orchestra
Piano, Conductor – Howard Shelley