Bienvenidos a mi blog, gracias por visitarme a todos los que me conocen y a los que no también!! Espero que puedan disfrutar de la música que pondré a su disposición y con todo gusto podrán escuchar, como así también videos de grandes artistas. No solo Música Clásica sino también Jazz, Tango y alguna otra que nos guste y Uds. propongan, como así también partituras de dominio publico...

Sobre mi? soy músico, amo la música, toco la viola como principal instrumento pero estudio dirección orquestal y piano lo hago y lo hice con grandes maestros que recuerdo y no voy a olvidar... 

Bueno basta de palabras y a los hechos!!

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domingo, 14 de marzo de 2010

Schumann - Piano Sonata n.2, Fantasy, Etudes [Hamelin]

Classical | 1 CD | EAC | APE+CUE, no LOG | Scans + Booklet PDF | 251 MB | RS | TT 75:34
Recorded: Various dates, Henry Wood Hall, London | Released: February 2001 | Label: HYPERION
Marc-André Hamelin (piano)

‘These are among the most poetic readings you will find by anyone. The tone is beautiful, the phrases long and songful, the drama passionate. This disc whets one’s appetite for more mainstream masterpieces from the world’s fastest fingers’ (The Capital Times)

‘For me the outstanding performance is the great C major Fantasie…so beautifully voiced and phrased I can only say that it moved me more deeply than any I have heard for a long time’ (Gramophone)

'A dazzling technician fuses technical dexterity and poetry to compelling effect' (Gramophone)

‘If you want to experience a whirlwind ride, Hamelin is definitely your man. A remarkable tour-de-force’ (The Irish Times)

'Hamelin brings a transcendental technique and passionate romantic temperament to music that, more often than not, is the preserve of pianistic intellectuals and poets. But his performances of the great C major Fantasy and the Symphonic Studies are not merely exercises in virtuosity. His astounding feats of dexterity and dazzling spectrum of colour are constantly put to the service of the music. This is freshly conceived Schumann, light and brilliant in bravura passages - the concluding Allegro brillante of the Etudes rarely sounds so joyous - yet never lightweight in reflective music: the slow third movement of the Fantasy is a poignantly poetic meditation, while the lovely Andantino of the Sonata glows with an entirely appropriate inward emotional intensity. Hamelin's Schumann ideally combines the extrovert and introspective characteristics of this glorious music. Highly recommended.' (The Sunday Times)

'Genuinely outstanding disc' (The Guardian)

'While there’s no shortage of either visceral excitement or poetic exploration, this remains supremely balanced playing … If you’re already a Hamelin aficionado, of course, you won’t need my urging to buy this disc; but if you’ve been wary because of his usually offbeat repertoire, here’s a chance to see what he can contribute to the mainstream. Top recommendation' (Fanfare, USA)

'[Hamelin’s] reading is glorious in its blend of virtuosity and emotional commitment … The recording quality is first-rate. I doubt very much if the current year will produce a finer piano CD’ (Musical Opinion)


Fantasie in C major, Op 17
1 Movement 1: Durchaus phantastisch und leidenschaftlich vorzutragen [12'59]
2 Movement 2: Mässig. Durchaus energisch [7'49]
3 Movement 3: Langsam getragen. Durchaus leise zu halten [11'59]
Piano Sonata No 2 in G minor, Op 22
4 Movement 1: So rasch wie möglich [5'45]
5 Movement 2: Andantino (gretragen) [5'02]
6 Movement 3: Scherzo. Sehr rasch und markiert [1'37]
7 Movement 4: Rondo. Presto [5'19]
Études symphoniques, Op 13
8 Movement 01: Thema. Andante [1'45]
9 Movement 02: Variation 1. Un poco più vivo [1'05]
10 Movement 03: Variation 2 [3'14]
11 Movement 04: Étude 3. Vivace [1'23]
12 Movement 05: Variation 3 [0'58]
13 Movement 06: Variation 4 [1'05]
14 Movement 07: Variation 5 [0'51]
15 Movement 08: Variation 6. Allegro molto [1'04]
16 Movement 09: Variation 7 [2'56]
17 Movement 10: Étude 9. Presto possibile [0'39]
18 Movement 11: Variation 8 [1'13]
19 Movement 12: Variation 9 [2'35]
20 Movement 13: Finale. Allegro brillante [6'16]


password: hamelin


Schumann - Album for the Young Op.68 [Brownridge]

Classical | 1 CD | EAC | APE tracks, no CUE, no LOG | Scans + Booklet PDF | 198 MB | RS | TT 71:51
Recorded: July 1989 | Released: March 2000 | Label: HYPERION
Angela Brownridge (piano)


1 No 01: Melodie [0'59]
2 No 02: Soldatenmarsch [0'46]
3 No 03: Trällerliedchen [0'53]
4 No 04: Ein Choral [1'17]
5 No 05: Stückchen [0'55]
6 No 06: Armes Waisenkind [1'34]
7 No 07: Jägerliedchen [0'57]
8 No 08: Wilder Reiter [0'30]
9 No 09: Volksliedchen [1'31]
10 No 10: Fröhlicher Landmann von der Arbeit zurückkehrend [0'42]
11 No 11: Sizilianisch [1'23]
12 No 12: Knecht Ruprecht [1'49]
13 No 13: Mai, lieber Mai [2'28]
14 No 14: Kleine Studie [1'33]
15 No 15: Frühlingsgesang [2'11]
16 No 16: Erster Verlust [1'43]
17 No 17: Kleiner Morngenwanderer [1'14]
18 No 18: Schnitterliedchen [1'00]
19 No 19: Kleine Romanze [0'57]
20 No 20: Ländliches Lied [1'52]
21 No 21: *** [1'52]
22 No 22: Rundgesang [1'15]
23 No 23: Reiterstück [1'09]
24 No 24: Ernteliedchen [1'22]
25 No 25: Nachklänge aus dem Theater [1'28]
26 No 26: *** [2'16]
27 No 27: Kanonisches Liedchen [1'45]
28 No 28: Erinnerung [1'43]
29 No 29: Fremder Mann [2'27]
30 No 30: *** [3'06]
31 No 31: Kriegslied [1'15]
32 No 32: Sheherazade [3'22]
33 No 33: Weinlesezeit – fröhliche Zeit! [1'35]
34 No 34: Thema [2'18]
35 No 35: Mignon [2'34]
36 No 36: Lied italienischer Marinari [1'11]
37 No 37: Matrosenlied [2'31]
38 No 38: Winterzeit I [1'51]
39 No 39: Winterzeit II [3'20]
40 No 40: Kleine Fuge [2'26]
41 No 41: Nordisches Lied [1'14]
42 No 42: Figurierter Choral [1'39]
43 No 43: Sylvesterlied [1'58]


password: brownridge


Schumann - Papillions, Fantasiestucke, Carnaval [Hamelin]

Schumann - Papillions, Fantasiestucke, Carnaval [Hamelin]

Classical | 1 CD | EAC | APE+CUE+LOG | Covers + Booklet PDF | 183 MB | RS | TT 72:46
Recorded: Various dates, Henry Wood Hall, London | Released: November 2005 | Label: HYPERION
Marc-André Hamelin (piano)


'Not since Sviatoslav Richter's classic 1962 live account of Papillons have these fluttering miniatures been so stunningly brought to life as by that genius of the piano, Marc-André Hamelin … Add an entrancing Op.12 Fantasiestücke to surpass even Argerich's, a stunning production from Andrew Keener and exemplary notes from Misha Donat, and you have a Schumann disc made in heaven' (Classic FM Magazine)

'All three of these sets of pieces by Schumann - Papillons, Fantasiestücke and Carnaval - explore the world of the composer's imagination. And it is that sense of fantasy that comes across so beautifully in Marc-André Hamelin's performances' (Evening Standard)

'Hamelin's combination of fleet-fingered delicacy and compelling drive suit Schumann's aesthetic ideally; but best of all is his gleeful sense of story-telling … The excellent sound-quality has all the warmth and detail that Hyperion habitually bring to Hamelin's CDs' (BBC Music Magazine)


Papillons, Op 2
1 Movement 01: Introduzione [0'15]
2 Movement 02: No 1 [0'37]
3 Movement 03: No 2. Prestissimo [0'19]
4 Movement 04: No 3 [0'47]
5 Movement 05: No 4. Presto [0'45]
6 Movement 06: No 5 [1'23]
7 Movement 07: No 6 [0'52]
8 Movement 08: No 7. Semplice [0'57]
9 Movement 09: No 8 [1'00]
10 Movement 10: No 9. Prestissimo [0'42]
11 Movement 11: No 10. Vivo [2'00]
12 Movement 12: No 11 [2'52]
13 Movement 13: No 12. Finale [1'51]

Fantasiestücke, Op 12
14 Book 1 No 1: Des Abends [5'18]
15 Book 1 No 2: Aufschwung [3'24]
16 Book 1 No 3: Warum? [3'01]
17 Book 1 No 4: Grillen [3'12]
18 Book 2 No 1: In der Nacht [4'24]
19 Book 2 No 2: Fabel [2'43]
20 Book 2 No 3: Traumes Wirren [2'21]
21 Book 2 No 4: Ende vom Lied [4'28]

Carnaval, Op 9
22 No 01: Préambule [2'21]
23 No 02: Pierrot [1'49]
24 No 03: Arlequin [1'05]
25 No 04: Valse noble [1'30]
26 No 05: Eusebius [2'09]
27 No 06: Florestan [0'58]
28 No 07: Coquette [1'35]
29 No 08: Réplique, Sphinxes [0'53]
30 No 09: Papillons [0'41]
31 No 10: ASCH–SCHA (Lettres dansantes) [0'49]
32 No 11: Chiarina [1'52]
33 No 12: Chopin [1'04]
34 No 13: Estrella [0'25]
35 No 14: Reconnaissance [1'39]
36 No 15: Pantalon et Colombine [0'54]
37 No 16: Valse allemande [0'53]
38 No 17: Introduzione. Paganini [1'35]
39 No 18: Aveu [1'06]
40 No 19: Promenade [2'25]
41 No 20: Pause [0'17]
42 No 21: Marche des Davidsbündler contre les Philistins [3'35]


password: hamelin


Schumann - Violin Sonatas, 3 Romances [Marwood, Tomes]

Classical | 1 CD | EAC | FLAC+CUE+LOG | Covers + Booklet PDF | 239 MB | RS | TT 57:45
Recorded: March 2000, Henry Wood Hall, London | Released: May 2001 | Label: HYPERION
Anthony Marwood (violin), Susan Tomes (piano)

‘The best performances of these pieces on disc’ (Gramophone)

‘Recommended, without reservation’ (Fanfare, USA)

‘The performances have all the virtues – clarity, focus, warmth of feeling, superb technique – that have distinguished The Florestan Trio’s discs’ (International Record Review)

‘Anthony Marwood’s high range of colours serves the music’s passions perfectly, and the pianist Susan Tomes is very much an equal partner. Marwood is allowed to sing with rapture’ (The Sunday Times)

'Stylish, full-blooded artistry … matched with impeccable performing' (BBC CD Review)


Violin Sonata No 1 in A minor, Op 105
1 Movement 1: Mit leidenschaftlichem Ausdruck [7'17]
2 Movement 2: Allegretto [3'45]
3 Movement 3: Lebhaft [5'21]

Drei Romanzen, Op 94
4 No 1: Nicht schnell [3'05]
5 No 2: Einfach, innig – Etwas lebhafter [3'40]
6 No 3: Nicht schnell [4'03]

Violin Sonata No 2 in D minor, Op 121
7 Movement 1: Ziemlich langsam – Lebhaft [12'31]
8 Movement 2: Sehr lebhaft [4'22]
9 Movement 3: Leise, einfach [4'50]
10 Movement 4: Bewegt [8'51]


password: marwood

lunes, 8 de marzo de 2010

Clara Schumann · Complete Piano Works · Jozef De Beenhouwer

Clara Schumann · Complete Piano Works · Jozef De Beenhouwer

Classical | EAC | FLAC, Tracks LOG 662 MB | MP3 HQ, Tracks 342 MB
3 CD | Covers | | 2001

Jozef de Beenhouwerpf CPO © CP0999 758-2 (225 minutes: DOD) From Partridge PART9293-2 (1/93)

A rather heavy-handed championship of

Clara Schumann's uneven works for piano

In his warns appreciation for Clara Schumann's piano works, Gerd Nauhaus's essay claims that 'it would be very unjust.. to see her relatively small oeuvre as merely an echo or even as a lacklustre reflection of [Robert] Schumann's music.' That's easy enough to say. But after nearly four hours of only intermittendy pleasurable listening I would say that the only injustice in the kind of assessment Nauhaus deplores is that it fails to mention all the other influences on Clara.

In the first work on these three discs, the Sonata in G minor of 1841-42, her husband's A minor Concerto is looking benignly on, together with Schubert, Mendelssohn and Weber. Prior to that, much of Clara's salonish writing derives from Chopin; and later on there are signs of close encounters of the Brahmsian kind. Not that there is nothing to charm and fascinate here. There are rhapsodically dreamy pieces like the second of the Soirees musicales (Robert was so taken with the fifth of these that he used its theme to kick off his Davidskiindlertiinze) and the Quatre pieces caracteristiques, Op 5, are a delight. Like most of the music here, these were the product of a fabulously talented teenager. What heights she might have risen to, given more favourable life circumstances, we can only guess.

As Joan Chissell noted in January 1993, the recording quality is only fair. The piano is too forwardly balanced and too much pedal-thump has been captured. Even allowing for that, Jozef de Beenhouwer is not the subtlest of exponents. He copes well enough with the considerable demands of such tours de force as the Valses romantiques, but his fortissimo throughout the three discs grates on the ear, and he thuds his way through the Eel/ii Variations, obliterating any pleasure one might take in their affinities with Robert's Etudes symphoniqztes.

A useful library acquisition then, but it is not hard to imagine others making the case for Clara Schumann more eloquently. David Fanning. Gramophone. November 2001 Page 73

Clara Schumann (1819-1896)

CD 1
Sonata for Piano in G minor by Clara Wieck Schumann
Romance for Piano in B minor, Op. Posthumous by Clara Wieck Schumann
Impromptu for Piano in E major by Clara Wieck Schumann
Romance for Piano in A minor by Clara Wieck Schumann
Scherzo for Piano in D minor, Op. 10 by Clara Wieck Schumann
Scherzo for Piano no 2 in C minor, Op. 14 by Clara Wieck Schumann
Prelude for Piano in F minor by Clara Wieck Schumann
Soirées musicales, Op. 6 by Clara Wieck Schumann
Etude for Piano in A flat major by Clara Wieck Schumann
March for Piano in E flat major "Birthday March" by Clara Wieck Schumann
Preludes and Fugues (3) for Piano, Op. 16 by Clara Wieck Schumann
Variations for Piano on a theme of Robert Schumann in F sharp minor, Op. 20 by Clara Wieck Schumann

CD 2
Romances (3) for Piano, Op. 11 by Clara Wieck Schumann
Romance Variée Op. 3 by Clara Wieck Schumann
Caprices en forme de valse, Op. 2 by Clara Wieck Schumann
Impromptu for Piano in G major, Op. 9 "Souvenir de Vienne" by Clara Wieck Schumann
Valses Romantiques for Piano, Op. 4 by Clara Wieck Schumann

CD 3
Variations de concert on a Cavatina from Bellini's "Pirata", Op. 8 by Clara Wieck Schumann
Polonaises (4) for Piano, Op. 1 by Clara Wieck Schumann
Pièces caractéristiques (4) for Piano, Op. 5 by Clara Wieck Schumann
Pièces fugitives (4) for Piano, Op. 15 by Clara Wieck Schumann
Praeludium und Fuge for Piano in F sharp minor by Clara Wieck Schuma
Fugues (3) on themes of JS Bach by Clara Wieck Schuman
Romances (3) for Piano, Op. 21 by Clara Wieck Schumann


MP3 HQ · LAME 3.98 -V0 Stereo


Spring Symphony - Sinfonía De Primavera Film

Spring Symphony - Sinfonía De Primavera

DVD-Rip | Dual: English/Spanish | Audio 128 Kbps | 512x368 | 01:37:29 | 881 MB
Genre: Biography/Music

'Sinfonía de primavera' nos trasla de lleno a pleno siglo XIX. La película narra la historia de amor entre la joven y hermosa pianista Clara Wieck (Nastassja Kinski) y el compositor Robert Schumann (Herbert Grönemeyer), como también la relación de amor-odio entre Schumann y Friedrich Wieck (Rolf Hoppe), el padre de Clara, cuyo amor por su hija supera lo meramente parental. Wieck presiona a Clara en su carrera como pianista en un esfuerzo por satisfacer sus propias ambiciones artísticas. ¿Qué hubiera sido de Wieck sin Clara? ¿En qué se hubiera convertido Schumann sin ella?

A motion picture of passions, "Spring Symphony" is a story of love, hate and artistic ambitions. Nastassja Kinski and Herbert Gronemeyer star as Clara Wieck and Robert Schumann, star-crossed classical musicians of the nineteenth century trying to overcome the stifling objections of Wieck's father. All three of them share the same passion for music, but the battle the two men fight for Clara's affections is at the same time a fight between different artistic styles and different lifestyles, a war between the generations. When Schumann finally wins his Clara, "Spring Symphony" is the expression of his love and passion for her.

Título: Sinfonía de primavera
Título original: Frühlingssinfonie
Dirección: Peter Schamoni
Fotografía: Gérard Vandenberg
Música: Herbert Grönemeyer
País: Alemania Occidental
Año: 1983
Fecha de estreno: 20/11/1985
Duración: 103 min.
Género: Biográfico, Música
Reparto: Nastassja Kinski, Rolf Hoppe, Herbert Grönemeyer, Anja-Christine Preussler, Edda Seippel, André Heller, Gidon Kremer, Bernhard Wicki, Gerda Rimpler, Sonja Tuchmann
Productora: Österreichischer Rundfunk (ORF), Zweites Deutsches Fernsehen (ZDF), Schweizer Fernsehen DRS

^^ Download ^^

Parte 1
Parte 2
Parte 3
Parte 4
Parte 5
Parte 6
Parte 7
Parte 8
Parte 9


Great Masters: Robert and Clara Schumann - Their Lives and Music


Great Masters: Robert and Clara Schumann - Their Lives and Music
Course No. 759 (8 lectures, 45 minutes/lecture) | English | XVID 640x480 29fps (4:3) @736Kbps | MP3 128Kbps 48Khz | 2.29Gb
Taught by Robert Greenberg | San Francisco Performances | Ph.D., University of California, Berkeley

In this course by Professor Robert Greenberg you meet the Schumanns—brilliant, gifted, troubled, and unique in the history of music.

Robert Schumann (1810–1856) and his wife Clara Wieck Schumann (1819–1896) have earned a distinct place in the annals of Western music. As a couple with a two-career marriage—he as a pioneering critic and composer, she as one of the leading concert pianists of Europe—they were highly exceptional in their own time though they seem very contemporary in ours.

Great Critic, Great Composer—Coupled with a Great Pianist

Robert Schumann is unique by virtue of being the only great composer who was also a great critic. His contributions to the Neue Zeitschrift für Musik (New Journal for Music), the periodical he founded in 1834, made him far better known originally as a writer than composer. It also gave him a platform from which he could champion the Romantic ideas that informed his own works and recognize the geniuses of his time, including Chopin, Mendelssohn, Brahms, and Franz Liszt.

The Zeitschrift would go down in history as one of the most important musical periodicals of the 19th century. Robert was its leading voice for 10 years, until depression and ill health led him to sell it in 1844. When he returned to print again nine years later it was a memorable occasion, for he broke his long silence to hail the gifts of a brilliant but thus far unknown young composer from Hamburg, Johannes Brahms.

This essay proved a mixed blessing for Brahms, but it clearly showed the quality of Robert's critical judgment. It came at the beginning of a close friendship between Brahms and the Schumann family. This friendship endured through the difficult years when Clara had to concertize continually to support her children after Robert's death—a story that Professor Greenberg details in his Great Masters lectures on the life and music of Brahms.

Clara was one of the most famous pianists and acclaimed touring musicians in Europe at a time when women of her class were rarely encouraged to pursue careers outside the home.

She was also a composer of no small talent, though her family commitments and touring schedule kept her from developing her compositional gifts as fully as she might have. The songs that she did compose with Robert's encouragement show great promise, however. During this lecture series you will hear two of Clara's songs and one of her piano works.

An Extraordinary Marriage

Clara was the only daughter of Friedrich Wieck, a tyrannical yet innovative piano teacher. His methods may have caused the crippling hand injury that ended Robert's own dreams of becoming a piano virtuoso and caused him to turn decisively toward writing and composing as his way of making an impact on the art of his time.

Clara first met her future husband when he was 18 and she was only 9. The two fell in love when Robert was 25 and she was 16—five years after her public-performance debut on the stage of the Gewandhaus in her native Leipzig.

After a dramatic, intrigue-filled courtship that included smuggled letters, secret meetings, and a lawsuit brought by Clara against her outraged father, the couple would marry when Robert was 30 and Clara was a day short of her 21st birthday. Their alliance would result in eight children and was a loving one, though not without its tensions.

Clara had been raised to be a star on the concert stage, not a wife and mother, and Robert did not always find it comfortable to be the husband of a woman whose fame and earning power exceeded his own, or to endure the slights he sometimes received while making the concert rounds with her.

And Clara was not only the main breadwinner of a growing family, but the wife of an emotionally unstable man who alternated between manic bouts of awesome creativity (he once wrote an entire symphony in four days) and terrifying fits of depression, exacerbating the worsening effects of the syphilis that would eventually kill him.

Triumph amid Adversity

Despite his illness and instability, Robert Schumann triumphed over adversity by leaving behind a magnificent legacy of compositions and insights into music that you will explore in these lectures.

He began as a writer of exquisite, often literature-inspired works for piano or piano and voice such as Papillons (1831), Carnaval (1835), Arabesque (1839), and Frauenliebe und Leben (1840). He succeeded, with Clara's indispensable encouragement, in combining his taste for "program music" (instrumental works inspired by and intended to bring literature to life) with the strict compositional technique and abstract content required to write chamber and orchestral music—the kind of "stand-alone" works that critics call "absolute music."

Thus Robert was able, in the wonderful "symphonic year" of 1841, to step out from beneath the long shadow cast by Beethoven's symphonies and make his own mark in this form with his First Symphony in B-flat Major, to be followed by three more by 1851.

In the second half of 1842, Robert turned his energies to chamber music and produced three string quartets as well as a piano quartet and piano quintet, all of which remain among the most enduring works in the chamber repertoire.

Music was, for the Romantic 19th century, truly the ultimate art form, and Robert Schumann, according to Professor Greenberg, represents its Romantic quintessence.

"Of all the early Romantic composers, it is Robert Schumann even more than Hector Berlioz whose music stands as the quintessence of the Romantic ideal—an art that combines music and literary storytelling in pursuit of the fullest possible degree of expression. It tended to strike contemporaries—including, in this case, even Schumann's wife, Clara—with its originality, its personal character, and its willingness to test aesthetic limits."

Works you'll hear in the lectures are excerpted from:

Robert Schumann's Works:

Papillons (Butterflies), op. 2 (1831)
Carnaval, op. 9 (1835)
Symphony no. 1 in B-flat Major (Spring), op. 38 (1841)
Piano Quintet in E-flat, op. 44 (1842)
Das Paradies und die Peri (Paradise and the Peri), oratorio (1843)
Piano Concerto in A Minor, op. 54 (1845)
Concert Piece for Four Horns and Orchestra, op. 86 (1849)
Symphony no. 3 in E-flat Major, op. 97, Rhenish (1850)
"An Anna" (1828)
Symphony in G Minor, WoO 29, Zwickau (1832)
Kreisleriana, op. 16 (1838)
Arabesque, op. 18 (1839)
Frauenliebe und Leben (Woman's Love and Life), op. 42 (1840)
Symphony no. 2 in C Major, op. 61 (1846)
Theme in E-flat Major (1854)

Clara Schumann's Works:

Walzer (1834)
Soirées Musicales, op. 6 (1836)
Am Strand (Musing on the Roaring Ocean) (1840).

Course Lecture Titles

01. Isn't it Romantic!
02. A Pianist in Leipzig
03. Clara
04. Carnaval
05. Marriage and Songs
06. The Symphonic Year
07. Illness Takes Hold
08. Madness

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