- published: 14 Oct 2016
- views: 1184178
-
remove the playlistFantasie In C (schumann)
- remove the playlistFantasie In C (schumann)
Fantasie in C (Schumann)
The Fantasie in C major, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period. It is often called by the Italian version, Fantasia; the word "Fantasie" is the German spelling.
Structure
The Fantasie is in loose sonata form. Its three movements are headed:
The first movement is rhapsodic and passionate; the middle movement (in E-flat major) is a grandiose rondo based on a majestic march, with episodes that recall the emotion of the first movement; and the finale is slow and meditative.
Genesis
The piece has its origin in early 1836, when Schumann composed a piece entitled Ruines expressing his distress at being parted from his beloved Clara Wieck (later to become his wife). This later became the first movement of the Fantasy. Later that year, he wrote two more movements to create a work intended as a contribution to the appeal for funds to erect a monument to Beethoven in his birthplace, Bonn. Schumann offered the work to the publisher Kirstner, suggesting that 100 presentation copies could be sold to raise money for the monument. Other contributions to the Beethoven monument fund included Mendelssohn's Variations sérieuses.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Fantasie_in_C_(Schumann)
Podcasts:
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Schumann: Fantasie in C, Op.17 (Andsnes)
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen 12:21 – Massig. Durchaus energisch 19:10 – Langsam getragen. Durchweg leise zu halten An almost cathartically intense performance of Schumann’s most important large-scale piano work, and one of the most important in the entire period. The Op.17 Fantasy is remarkable for many reasons – the bedazzling variety of its textures, its addictive quirkiness (Schumann probably had the most acute sense of the fantastic among all the Romantic composers), its expressive power (especially in the uplifting final movement). But one feature not often noticed is the structural complexity of the first movement, which represents Schumann’s most successful engagement with sonata form. The biggest mystery of the first movement is the notorious I...
published: 14 Oct 2016 -
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son (손열음 | 슈만 판타지)
Robert Schumann Fantasie in C major op. 17 00:00 I. Durhaus phantastisch und leidenschaftlich vorzutragen 12:58 II. Mässig. Durchaus energisch 20:44 III. Langsam getragen. Durchweg leise zu halten 로베르트 슈만 판타지 C장조 작품번호 17 I. 시종일관 환상적 분위기, 그리고 열정적으로 연주할 것 II. 중간 빠르기. 시종일관 힘차게 III. 느린 박자. 끊임없이 조용함을 유지할 것 #Schumann #Fantasie #Ruins_TriumphalArch_StarryCrown
published: 05 Sep 2020 -
Nelson Freire: Robert Schumann - Fantasy in C major, Op. 17 (1983)
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Schumann and Chopin. Robert Schumann – Fantasy in C major, Op. 17 0:18 I. Durchaus phantastisch und leidenschaftlich vorzutragen 11:50 II. Mäßig - Durchaus energisch 18:50 III. Langsam getragen - Durchweg leise zu halten Watch the whole concert: https://goo.gl/QAhPZ4 Nelson Freire (born October 18, 1944) is a Brazilian classical pianist. Freire began playing the piano at age 3. He replayed from memory pieces his older sister, Nelma, had just performed. His teachers in Brazil were Nise Obino and Lucia Branco, former students of a pupil of Liszt. For his first public recital, at the age of four, Freire chose Mozart's Sonata in A major, K. 331. In 1957, Freire's performed Beethoven's Piano Concerto No. 5...
published: 26 May 2015 -
Schumann - Fantasie op.17 - Richter studio
Robert Schumann Fantasie op.17 I. Durchaus phantastisch und leidenschaftlich vorzutragen 0:00 II. Mässig - Durchaus energisch 13:53 III. Langsam getragen - Durchweg leise zu halten 20:40 Sviatoslav Richter Studio recording, London 1-3 & 5.VIII.1961
published: 12 Jan 2013 -
25 Great Pianists attempt the DEADLY coda of Schumann's Op. 17 Fantasie (LIVE only)
Pianists, in order: 1. Alexei Volodin (00:00) 2. Arcadi Volodos (00:37) 3. Radu Lupu (01:24) 4. Claudio Arrau (02:09) 5. Maria Yudina (02:45) 6. Vladimir Horowitz (03:35) 7. Ivo Pogorelich (04:19) 8. Alicia De Larrocha (05:04) 9. Wilhelm Kempff (05:50) 10. Khatia Buniatishvili (06:34) 11. Anna Fedorova (07:11) 12. Cyprien Katsaris (07:47) 13. Alexis Weissenberg (08:21) 14. Evgeny Kissin (09:03) 15. Vladimir Sofronitsky (09:39) 16. Kate Liu (10:17) 17. Martha Argerich (11:03) 18. Marc-André Hamelin (11:39) 19. Maurizio Pollini (12:22) 20. Sviatoslov Richter (12:59) 21. Grigory Sokolov (13:32) 22. Alexandre Moutouzkine (14:13) 23. Leonard Shure (14:48) 24. Yeol Eom Son (15:27) 25. Nelson Freire (16:06) I have limited the cope to LIVE performances - there are many sensational (and obviou...
published: 31 Mar 2023 -
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im...
Provided to YouTube by Universal Music Group Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erstes Tempo · Maurizio Pollini Schumann: Sonata for Piano Op.11; Fantasia Op.17 ℗ 1973 Deutsche Grammophon GmbH, Berlin Released on: 1973-01-01 Producer, Recording Producer: Rainer Brock Studio Personnel, Balance Engineer: Heinz Wildhagen Studio Personnel, Recording Engineer: Volker Martin Studio Personnel, Editor: Gernot Westhaeuser Studio Personnel, Editor: Helmut Najda Studio Personnel, Editor: Hans-Rudolf Müller Composer: Robert Schumann Auto-generated by YouTube.
published: 29 Jul 2018 -
Robert Schumann, Fantasie in C Major, Op. 17
I. Durchaus phantastisch und leidenschaftlich vorzutragen II. Massig. Durchaus energisch III. Langsam getragen. Durchweg leise zu halten (self-recorded video)
published: 11 Nov 2021 -
Masterclass with Andras Schiff at Wigmore Hall-- Schumann Fantasie in C Major, Op. 17
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmore Hall, May 4, 2017.
published: 09 Oct 2017 -
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪ シューマン: ヴァイオリンとオーケストラのための幻想曲 ハ長調 作品131 2022年6月16日 バーゼル交響楽団 指揮: クレメンス・ハイル ヴァイオリン: 三雲はるな R. Schumann: Fantasy for Violin and Orchestra in C major op.131 Sinfonieorchester Basel Clemens Heil, conductor Haruna Mikumo, violin 16.06.2022 Schlusskonzert in Stadtcasino Basel #シューマン #幻想曲 #バイオリン #オーケストラ #schumann #fantasy #fatasie #violin
published: 14 Jul 2024 -
Schumann, Fantasie in C major, op. 17 (Arrau/live in Berlin, 1959)
Robert Schumann. Fantasie, C major, op. 17 Claudio Arrau, piano Recorded live in the Metropol-Theater, East Berlin, 8 January 1959 I. Durchaus fantastisch und leidenschaftlich vorzutragen (0:00) II. Mäßig (14:57) III. Langsam getragen (22:09)
published: 17 Jun 2020
developed with YouTube
29:34
Schumann: Fantasie in C, Op.17 (Andsnes)
- Order: Reorder
- Duration: 29:34
- Uploaded Date: 14 Oct 2016
- views: 1184178
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus energisch
19:10 – Langsam getragen. Durchweg leise zu halten
An almost ...
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus energisch
19:10 – Langsam getragen. Durchweg leise zu halten
An almost cathartically intense performance of Schumann’s most important large-scale piano work, and one of the most important in the entire period.
The Op.17 Fantasy is remarkable for many reasons – the bedazzling variety of its textures, its addictive quirkiness (Schumann probably had the most acute sense of the fantastic among all the Romantic composers), its expressive power (especially in the uplifting final movement). But one feature not often noticed is the structural complexity of the first movement, which represents Schumann’s most successful engagement with sonata form.
The biggest mystery of the first movement is the notorious Im Legendenton [04:43], which though beautiful seems to constitute a massive disruption of the development section [which begins at 03:09], apparently unconnected as it is to the rest of the movement. In fact, the Im Legendenton is a direct outgrowth the inner-voice theme at [0:59], and a nice example of Schumann’s skill at conjuring new material out of apparently nothing. Nonetheless, the Im Legendenton is not at all a conventional episode in a development section: the development is meant to be unstable, and to be open-ended – it prepares for the arrival of the tonic and the recapitulation. But the Im Legendenton’s structure is too well-formed, its tonality too stable, and its posture too inward-looking to count as a development per se.
There are other structural tricks going on here too: the recapitulation [which begins at 08:03 in the wrong key of C minor] directly invokes the beginning of the development(!) section [at 10:08] to firmly re-establish the tonality of C major, an unusual step that Schumann also takes in his other sonatas. It’s an ingenious and natural gesture, despite its apparent oddness: given how prominent the development is in the movement, it seems fitting that the recapitulation expands to encompass material from the development section. There’s also the fact that the opening theme begins a pedal point on G that is never properly resolved until the perfectly cadence coming nearly 300 bars later – a nice instance of long-term harmonic tension and resolution. (This is a feature of the Op.17 as a whole – a progression with a clear harmonic goal is introduced, only for that goal to be sidestepped and delayed to a much further point.)
It’s also worth noting that a lot of the structural complexity of the first movement is mirrored in the last. Take its opening: we’ve got this tranquil four-bar curtain, and then 6 bars introducing the main melody. And as soon as this melody ends we get some pretty aggressive developmental treatment of the first two bars of the melody [starting at 20:02] which seems out-of-place coming so early in the movement. And then – what appears to have been such a promising theme simply vanishes. It will be some time, in fact before the main thematic material is directly presented.
There’s a lot more at work here: the sly references between each movement, for e.g., or the ingenuity of the first movement’s development section. But it’s basically impossible to get it all down here, so just listening will have to do – though that’s not too bad, surely.
https://wn.com/Schumann_Fantasie_In_C,_Op.17_(Andsnes)
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus energisch
19:10 – Langsam getragen. Durchweg leise zu halten
An almost cathartically intense performance of Schumann’s most important large-scale piano work, and one of the most important in the entire period.
The Op.17 Fantasy is remarkable for many reasons – the bedazzling variety of its textures, its addictive quirkiness (Schumann probably had the most acute sense of the fantastic among all the Romantic composers), its expressive power (especially in the uplifting final movement). But one feature not often noticed is the structural complexity of the first movement, which represents Schumann’s most successful engagement with sonata form.
The biggest mystery of the first movement is the notorious Im Legendenton [04:43], which though beautiful seems to constitute a massive disruption of the development section [which begins at 03:09], apparently unconnected as it is to the rest of the movement. In fact, the Im Legendenton is a direct outgrowth the inner-voice theme at [0:59], and a nice example of Schumann’s skill at conjuring new material out of apparently nothing. Nonetheless, the Im Legendenton is not at all a conventional episode in a development section: the development is meant to be unstable, and to be open-ended – it prepares for the arrival of the tonic and the recapitulation. But the Im Legendenton’s structure is too well-formed, its tonality too stable, and its posture too inward-looking to count as a development per se.
There are other structural tricks going on here too: the recapitulation [which begins at 08:03 in the wrong key of C minor] directly invokes the beginning of the development(!) section [at 10:08] to firmly re-establish the tonality of C major, an unusual step that Schumann also takes in his other sonatas. It’s an ingenious and natural gesture, despite its apparent oddness: given how prominent the development is in the movement, it seems fitting that the recapitulation expands to encompass material from the development section. There’s also the fact that the opening theme begins a pedal point on G that is never properly resolved until the perfectly cadence coming nearly 300 bars later – a nice instance of long-term harmonic tension and resolution. (This is a feature of the Op.17 as a whole – a progression with a clear harmonic goal is introduced, only for that goal to be sidestepped and delayed to a much further point.)
It’s also worth noting that a lot of the structural complexity of the first movement is mirrored in the last. Take its opening: we’ve got this tranquil four-bar curtain, and then 6 bars introducing the main melody. And as soon as this melody ends we get some pretty aggressive developmental treatment of the first two bars of the melody [starting at 20:02] which seems out-of-place coming so early in the movement. And then – what appears to have been such a promising theme simply vanishes. It will be some time, in fact before the main thematic material is directly presented.
There’s a lot more at work here: the sly references between each movement, for e.g., or the ingenuity of the first movement’s development section. But it’s basically impossible to get it all down here, so just listening will have to do – though that’s not too bad, surely.
33:43
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son (손열음 | 슈만 판타지)
- Order: Reorder
- Duration: 33:43
- Uploaded Date: 05 Sep 2020
- views: 348146
Robert Schumann
Fantasie in C major op. 17
00:00 I. Durhaus phantastisch und leidenschaftlich vorzutragen
12:58 II. Mässig. Durchaus energisch
20:44 III. Langs...
Robert Schumann
Fantasie in C major op. 17
00:00 I. Durhaus phantastisch und leidenschaftlich vorzutragen
12:58 II. Mässig. Durchaus energisch
20:44 III. Langsam getragen. Durchweg leise zu halten
로베르트 슈만
판타지 C장조 작품번호 17
I. 시종일관 환상적 분위기, 그리고 열정적으로 연주할 것
II. 중간 빠르기. 시종일관 힘차게
III. 느린 박자. 끊임없이 조용함을 유지할 것
#Schumann #Fantasie #Ruins_TriumphalArch_StarryCrown
https://wn.com/Schumann_Fantasie_In_C_Major_Op._17_|_Yeol_Eum_Son_(손열음_|_슈만_판타지)
Robert Schumann
Fantasie in C major op. 17
00:00 I. Durhaus phantastisch und leidenschaftlich vorzutragen
12:58 II. Mässig. Durchaus energisch
20:44 III. Langsam getragen. Durchweg leise zu halten
로베르트 슈만
판타지 C장조 작품번호 17
I. 시종일관 환상적 분위기, 그리고 열정적으로 연주할 것
II. 중간 빠르기. 시종일관 힘차게
III. 느린 박자. 끊임없이 조용함을 유지할 것
#Schumann #Fantasie #Ruins_TriumphalArch_StarryCrown
- published: 05 Sep 2020
- views: 348146
28:36
Nelson Freire: Robert Schumann - Fantasy in C major, Op. 17 (1983)
- Order: Reorder
- Duration: 28:36
- Uploaded Date: 26 May 2015
- views: 185770
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Schumann and Chopin.
Robert Schumann – Fantasy in C major, Op. 17
0:18 I...
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Schumann and Chopin.
Robert Schumann – Fantasy in C major, Op. 17
0:18 I. Durchaus phantastisch und leidenschaftlich vorzutragen
11:50 II. Mäßig - Durchaus energisch
18:50 III. Langsam getragen - Durchweg leise zu halten
Watch the whole concert: https://goo.gl/QAhPZ4
Nelson Freire (born October 18, 1944) is a Brazilian classical pianist. Freire began playing the piano at age 3. He replayed from memory pieces his older sister, Nelma, had just performed. His teachers in Brazil were Nise Obino and Lucia Branco, former students of a pupil of Liszt. For his first public recital, at the age of four, Freire chose Mozart's Sonata in A major, K. 331.
In 1957, Freire's performed Beethoven's Piano Concerto No. 5, at the age of 12. He was awarded 7th place at the Rio de Janeiro International Piano Competition. He subsequently received a Brazilian government grant to study in Vienna with Bruno Seidlhofer. By 1964, Freire had won his first prize at the Vianna da Motta International Music Competition in Lisbon, Portugal (ex-aequo with Vladimir Krainev) and he also received the Dinu Lipatti Medal and the Harriet Cohen Medal in London, England. In December 2001, he chaired the jury for the Marguerite Long Competition in Paris. His debut at The Proms was in August 2005.
In general, Freire tends to avoid the limelight, publicity, and interviews. However, in 2011, Freire withdrew from a scheduled engagement with the Orquestra Sinfônica Brasileira (OSB) and conductor Roberto Minczuk, in support of the orchestra musicians, following the dismissal of about 3 dozen OSB musicians by Minczuk.
http://en.wikipedia.org/wiki/Nelson_Freire
https://wn.com/Nelson_Freire_Robert_Schumann_Fantasy_In_C_Major,_Op._17_(1983)
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Schumann and Chopin.
Robert Schumann – Fantasy in C major, Op. 17
0:18 I. Durchaus phantastisch und leidenschaftlich vorzutragen
11:50 II. Mäßig - Durchaus energisch
18:50 III. Langsam getragen - Durchweg leise zu halten
Watch the whole concert: https://goo.gl/QAhPZ4
Nelson Freire (born October 18, 1944) is a Brazilian classical pianist. Freire began playing the piano at age 3. He replayed from memory pieces his older sister, Nelma, had just performed. His teachers in Brazil were Nise Obino and Lucia Branco, former students of a pupil of Liszt. For his first public recital, at the age of four, Freire chose Mozart's Sonata in A major, K. 331.
In 1957, Freire's performed Beethoven's Piano Concerto No. 5, at the age of 12. He was awarded 7th place at the Rio de Janeiro International Piano Competition. He subsequently received a Brazilian government grant to study in Vienna with Bruno Seidlhofer. By 1964, Freire had won his first prize at the Vianna da Motta International Music Competition in Lisbon, Portugal (ex-aequo with Vladimir Krainev) and he also received the Dinu Lipatti Medal and the Harriet Cohen Medal in London, England. In December 2001, he chaired the jury for the Marguerite Long Competition in Paris. His debut at The Proms was in August 2005.
In general, Freire tends to avoid the limelight, publicity, and interviews. However, in 2011, Freire withdrew from a scheduled engagement with the Orquestra Sinfônica Brasileira (OSB) and conductor Roberto Minczuk, in support of the orchestra musicians, following the dismissal of about 3 dozen OSB musicians by Minczuk.
http://en.wikipedia.org/wiki/Nelson_Freire
- published: 26 May 2015
- views: 185770
31:50
Schumann - Fantasie op.17 - Richter studio
- Order: Reorder
- Duration: 31:50
- Uploaded Date: 12 Jan 2013
- views: 352172
Robert Schumann
Fantasie op.17
I. Durchaus phantastisch und leidenschaftlich vorzutragen 0:00
II. Mässig - Durchaus energisch 13:53
III. Langsam getragen - Du...
Robert Schumann
Fantasie op.17
I. Durchaus phantastisch und leidenschaftlich vorzutragen 0:00
II. Mässig - Durchaus energisch 13:53
III. Langsam getragen - Durchweg leise zu halten 20:40
Sviatoslav Richter
Studio recording, London 1-3 & 5.VIII.1961
https://wn.com/Schumann_Fantasie_Op.17_Richter_Studio
Robert Schumann
Fantasie op.17
I. Durchaus phantastisch und leidenschaftlich vorzutragen 0:00
II. Mässig - Durchaus energisch 13:53
III. Langsam getragen - Durchweg leise zu halten 20:40
Sviatoslav Richter
Studio recording, London 1-3 & 5.VIII.1961
- published: 12 Jan 2013
- views: 352172
16:41
25 Great Pianists attempt the DEADLY coda of Schumann's Op. 17 Fantasie (LIVE only)
- Order: Reorder
- Duration: 16:41
- Uploaded Date: 31 Mar 2023
- views: 128610
Pianists, in order:
1. Alexei Volodin (00:00)
2. Arcadi Volodos (00:37)
3. Radu Lupu (01:24)
4. Claudio Arrau (02:09)
5. Maria Yudina (02:45)
6. Vladimir Horo...
Pianists, in order:
1. Alexei Volodin (00:00)
2. Arcadi Volodos (00:37)
3. Radu Lupu (01:24)
4. Claudio Arrau (02:09)
5. Maria Yudina (02:45)
6. Vladimir Horowitz (03:35)
7. Ivo Pogorelich (04:19)
8. Alicia De Larrocha (05:04)
9. Wilhelm Kempff (05:50)
10. Khatia Buniatishvili (06:34)
11. Anna Fedorova (07:11)
12. Cyprien Katsaris (07:47)
13. Alexis Weissenberg (08:21)
14. Evgeny Kissin (09:03)
15. Vladimir Sofronitsky (09:39)
16. Kate Liu (10:17)
17. Martha Argerich (11:03)
18. Marc-André Hamelin (11:39)
19. Maurizio Pollini (12:22)
20. Sviatoslov Richter (12:59)
21. Grigory Sokolov (13:32)
22. Alexandre Moutouzkine (14:13)
23. Leonard Shure (14:48)
24. Yeol Eom Son (15:27)
25. Nelson Freire (16:06)
I have limited the cope to LIVE performances - there are many sensational (and obviously note-perfect) studio recordings (Perahia is my favorite), but those do not interest me because they are always going to sound perfect! Andre-Michel Schub once told me a story of a famous pianist who recorded the Fantasie, and for the coda recorded each leap SEPARATELY, having the engineer piece all of them together.
The Fantasie is, for me, the greatest work in the piano literature. But Schumann was absolutely rude for how he wrote this coda! It is the Kama Sutra of awful uncomfortable hand positions and leaps.
https://wn.com/25_Great_Pianists_Attempt_The_Deadly_Coda_Of_Schumann's_Op._17_Fantasie_(Live_Only)
Pianists, in order:
1. Alexei Volodin (00:00)
2. Arcadi Volodos (00:37)
3. Radu Lupu (01:24)
4. Claudio Arrau (02:09)
5. Maria Yudina (02:45)
6. Vladimir Horowitz (03:35)
7. Ivo Pogorelich (04:19)
8. Alicia De Larrocha (05:04)
9. Wilhelm Kempff (05:50)
10. Khatia Buniatishvili (06:34)
11. Anna Fedorova (07:11)
12. Cyprien Katsaris (07:47)
13. Alexis Weissenberg (08:21)
14. Evgeny Kissin (09:03)
15. Vladimir Sofronitsky (09:39)
16. Kate Liu (10:17)
17. Martha Argerich (11:03)
18. Marc-André Hamelin (11:39)
19. Maurizio Pollini (12:22)
20. Sviatoslov Richter (12:59)
21. Grigory Sokolov (13:32)
22. Alexandre Moutouzkine (14:13)
23. Leonard Shure (14:48)
24. Yeol Eom Son (15:27)
25. Nelson Freire (16:06)
I have limited the cope to LIVE performances - there are many sensational (and obviously note-perfect) studio recordings (Perahia is my favorite), but those do not interest me because they are always going to sound perfect! Andre-Michel Schub once told me a story of a famous pianist who recorded the Fantasie, and for the coda recorded each leap SEPARATELY, having the engineer piece all of them together.
The Fantasie is, for me, the greatest work in the piano literature. But Schumann was absolutely rude for how he wrote this coda! It is the Kama Sutra of awful uncomfortable hand positions and leaps.
- published: 31 Mar 2023
- views: 128610
12:08
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im...
- Order: Reorder
- Duration: 12:08
- Uploaded Date: 29 Jul 2018
- views: 44326
Provided to YouTube by Universal Music Group
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erst...
Provided to YouTube by Universal Music Group
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erstes Tempo · Maurizio Pollini
Schumann: Sonata for Piano Op.11; Fantasia Op.17
℗ 1973 Deutsche Grammophon GmbH, Berlin
Released on: 1973-01-01
Producer, Recording Producer: Rainer Brock
Studio Personnel, Balance Engineer: Heinz Wildhagen
Studio Personnel, Recording Engineer: Volker Martin
Studio Personnel, Editor: Gernot Westhaeuser
Studio Personnel, Editor: Helmut Najda
Studio Personnel, Editor: Hans-Rudolf Müller
Composer: Robert Schumann
Auto-generated by YouTube.
https://wn.com/Schumann_Fantasie_In_C,_Op._17_I._Durchaus_Fantastisch_Und_Leidenschaftlich_Vorzutragen_Im...
Provided to YouTube by Universal Music Group
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erstes Tempo · Maurizio Pollini
Schumann: Sonata for Piano Op.11; Fantasia Op.17
℗ 1973 Deutsche Grammophon GmbH, Berlin
Released on: 1973-01-01
Producer, Recording Producer: Rainer Brock
Studio Personnel, Balance Engineer: Heinz Wildhagen
Studio Personnel, Recording Engineer: Volker Martin
Studio Personnel, Editor: Gernot Westhaeuser
Studio Personnel, Editor: Helmut Najda
Studio Personnel, Editor: Hans-Rudolf Müller
Composer: Robert Schumann
Auto-generated by YouTube.
- published: 29 Jul 2018
- views: 44326
34:26
Robert Schumann, Fantasie in C Major, Op. 17
- Order: Reorder
- Duration: 34:26
- Uploaded Date: 11 Nov 2021
- views: 280
I. Durchaus phantastisch und leidenschaftlich vorzutragen
II. Massig. Durchaus energisch
III. Langsam getragen. Durchweg leise zu halten
(self-recorded video)
I. Durchaus phantastisch und leidenschaftlich vorzutragen
II. Massig. Durchaus energisch
III. Langsam getragen. Durchweg leise zu halten
(self-recorded video)
https://wn.com/Robert_Schumann,_Fantasie_In_C_Major,_Op._17
I. Durchaus phantastisch und leidenschaftlich vorzutragen
II. Massig. Durchaus energisch
III. Langsam getragen. Durchweg leise zu halten
(self-recorded video)
- published: 11 Nov 2021
- views: 280
1:10:48
Masterclass with Andras Schiff at Wigmore Hall-- Schumann Fantasie in C Major, Op. 17
- Order: Reorder
- Duration: 1:10:48
- Uploaded Date: 09 Oct 2017
- views: 154197
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmore Hall, May 4, 2017.
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmore Hall, May 4, 2017.
https://wn.com/Masterclass_With_Andras_Schiff_At_Wigmore_Hall_Schumann_Fantasie_In_C_Major,_Op._17
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmore Hall, May 4, 2017.
- published: 09 Oct 2017
- views: 154197
17:22
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131
- Order: Reorder
- Duration: 17:22
- Uploaded Date: 14 Jul 2024
- views: 626
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪
シューマン: ヴァイオリンとオーケストラのための幻想曲 ハ長調 作品131
2022年6月16日 バーゼル交響楽団
指揮: クレメンス・ハイル...
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪
シューマン: ヴァイオリンとオーケストラのための幻想曲 ハ長調 作品131
2022年6月16日 バーゼル交響楽団
指揮: クレメンス・ハイル ヴァイオリン: 三雲はるな
R. Schumann: Fantasy for Violin and Orchestra in C major op.131
Sinfonieorchester Basel Clemens Heil, conductor Haruna Mikumo, violin
16.06.2022 Schlusskonzert in Stadtcasino Basel
#シューマン #幻想曲 #バイオリン #オーケストラ #schumann #fantasy #fatasie #violin
https://wn.com/R._シューマン_ヴァイオリンのための幻想曲_ハ長調_作品131
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪
シューマン: ヴァイオリンとオーケストラのための幻想曲 ハ長調 作品131
2022年6月16日 バーゼル交響楽団
指揮: クレメンス・ハイル ヴァイオリン: 三雲はるな
R. Schumann: Fantasy for Violin and Orchestra in C major op.131
Sinfonieorchester Basel Clemens Heil, conductor Haruna Mikumo, violin
16.06.2022 Schlusskonzert in Stadtcasino Basel
#シューマン #幻想曲 #バイオリン #オーケストラ #schumann #fantasy #fatasie #violin
- published: 14 Jul 2024
- views: 626
34:14
Schumann, Fantasie in C major, op. 17 (Arrau/live in Berlin, 1959)
- Order: Reorder
- Duration: 34:14
- Uploaded Date: 17 Jun 2020
- views: 5528
Robert Schumann. Fantasie, C major, op. 17
Claudio Arrau, piano
Recorded live in the Metropol-Theater, East Berlin, 8 January 1959
I. Durchaus fantastisch und ...
Robert Schumann. Fantasie, C major, op. 17
Claudio Arrau, piano
Recorded live in the Metropol-Theater, East Berlin, 8 January 1959
I. Durchaus fantastisch und leidenschaftlich vorzutragen (0:00)
II. Mäßig (14:57)
III. Langsam getragen (22:09)
https://wn.com/Schumann,_Fantasie_In_C_Major,_Op._17_(Arrau_Live_In_Berlin,_1959)
Robert Schumann. Fantasie, C major, op. 17
Claudio Arrau, piano
Recorded live in the Metropol-Theater, East Berlin, 8 January 1959
I. Durchaus fantastisch und leidenschaftlich vorzutragen (0:00)
II. Mäßig (14:57)
III. Langsam getragen (22:09)
- published: 17 Jun 2020
- views: 5528
29:34
Schumann: Fantasie in C, Op.17 (Andsnes)
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus en...
published: 14 Oct 2016
Schumann: Fantasie in C, Op.17 (Andsnes)
Schumann: Fantasie in C, Op.17 (Andsnes)
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- published: 14 Oct 2016
- views: 1184178
00:00 – Durchaus phantastisch und liedenschaftlich vorzutragen
12:21 – Massig. Durchaus energisch
19:10 – Langsam getragen. Durchweg leise zu halten
An almost cathartically intense performance of Schumann’s most important large-scale piano work, and one of the most important in the entire period.
The Op.17 Fantasy is remarkable for many reasons – the bedazzling variety of its textures, its addictive quirkiness (Schumann probably had the most acute sense of the fantastic among all the Romantic composers), its expressive power (especially in the uplifting final movement). But one feature not often noticed is the structural complexity of the first movement, which represents Schumann’s most successful engagement with sonata form.
The biggest mystery of the first movement is the notorious Im Legendenton [04:43], which though beautiful seems to constitute a massive disruption of the development section [which begins at 03:09], apparently unconnected as it is to the rest of the movement. In fact, the Im Legendenton is a direct outgrowth the inner-voice theme at [0:59], and a nice example of Schumann’s skill at conjuring new material out of apparently nothing. Nonetheless, the Im Legendenton is not at all a conventional episode in a development section: the development is meant to be unstable, and to be open-ended – it prepares for the arrival of the tonic and the recapitulation. But the Im Legendenton’s structure is too well-formed, its tonality too stable, and its posture too inward-looking to count as a development per se.
There are other structural tricks going on here too: the recapitulation [which begins at 08:03 in the wrong key of C minor] directly invokes the beginning of the development(!) section [at 10:08] to firmly re-establish the tonality of C major, an unusual step that Schumann also takes in his other sonatas. It’s an ingenious and natural gesture, despite its apparent oddness: given how prominent the development is in the movement, it seems fitting that the recapitulation expands to encompass material from the development section. There’s also the fact that the opening theme begins a pedal point on G that is never properly resolved until the perfectly cadence coming nearly 300 bars later – a nice instance of long-term harmonic tension and resolution. (This is a feature of the Op.17 as a whole – a progression with a clear harmonic goal is introduced, only for that goal to be sidestepped and delayed to a much further point.)
It’s also worth noting that a lot of the structural complexity of the first movement is mirrored in the last. Take its opening: we’ve got this tranquil four-bar curtain, and then 6 bars introducing the main melody. And as soon as this melody ends we get some pretty aggressive developmental treatment of the first two bars of the melody [starting at 20:02] which seems out-of-place coming so early in the movement. And then – what appears to have been such a promising theme simply vanishes. It will be some time, in fact before the main thematic material is directly presented.
There’s a lot more at work here: the sly references between each movement, for e.g., or the ingenuity of the first movement’s development section. But it’s basically impossible to get it all down here, so just listening will have to do – though that’s not too bad, surely.
33:43
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son (손열음 | 슈만 판타지)
Robert Schumann
Fantasie in C major op. 17
00:00 I. Durhaus phantastisch und leidenschaft...
published: 05 Sep 2020
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son (손열음 | 슈만 판타지)
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son (손열음 | 슈만 판타지)
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Robert Schumann
Fantasie in C major op. 17
00:00 I. Durhaus phantastisch und leidenschaftlich vorzutragen
12:58 II. Mässig. Durchaus energisch
20:44 III. Langsam getragen. Durchweg leise zu halten
로베르트 슈만
판타지 C장조 작품번호 17
I. 시종일관 환상적 분위기, 그리고 열정적으로 연주할 것
II. 중간 빠르기. 시종일관 힘차게
III. 느린 박자. 끊임없이 조용함을 유지할 것
#Schumann #Fantasie #Ruins_TriumphalArch_StarryCrown
28:36
Nelson Freire: Robert Schumann - Fantasy in C major, Op. 17 (1983)
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Sch...
published: 26 May 2015
Nelson Freire: Robert Schumann - Fantasy in C major, Op. 17 (1983)
Nelson Freire: Robert Schumann - Fantasy in C major, Op. 17 (1983)
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- published: 26 May 2015
- views: 185770
In a concert recorded in the Kongressaal, Munich, the Brazilian pianist plays works by Schumann and Chopin.
Robert Schumann – Fantasy in C major, Op. 17
0:18 I. Durchaus phantastisch und leidenschaftlich vorzutragen
11:50 II. Mäßig - Durchaus energisch
18:50 III. Langsam getragen - Durchweg leise zu halten
Watch the whole concert: https://goo.gl/QAhPZ4
Nelson Freire (born October 18, 1944) is a Brazilian classical pianist. Freire began playing the piano at age 3. He replayed from memory pieces his older sister, Nelma, had just performed. His teachers in Brazil were Nise Obino and Lucia Branco, former students of a pupil of Liszt. For his first public recital, at the age of four, Freire chose Mozart's Sonata in A major, K. 331.
In 1957, Freire's performed Beethoven's Piano Concerto No. 5, at the age of 12. He was awarded 7th place at the Rio de Janeiro International Piano Competition. He subsequently received a Brazilian government grant to study in Vienna with Bruno Seidlhofer. By 1964, Freire had won his first prize at the Vianna da Motta International Music Competition in Lisbon, Portugal (ex-aequo with Vladimir Krainev) and he also received the Dinu Lipatti Medal and the Harriet Cohen Medal in London, England. In December 2001, he chaired the jury for the Marguerite Long Competition in Paris. His debut at The Proms was in August 2005.
In general, Freire tends to avoid the limelight, publicity, and interviews. However, in 2011, Freire withdrew from a scheduled engagement with the Orquestra Sinfônica Brasileira (OSB) and conductor Roberto Minczuk, in support of the orchestra musicians, following the dismissal of about 3 dozen OSB musicians by Minczuk.
http://en.wikipedia.org/wiki/Nelson_Freire
31:50
Schumann - Fantasie op.17 - Richter studio
Robert Schumann
Fantasie op.17
I. Durchaus phantastisch und leidenschaftlich vorzutragen...
published: 12 Jan 2013
Schumann - Fantasie op.17 - Richter studio
Schumann - Fantasie op.17 - Richter studio
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- published: 12 Jan 2013
- views: 352172
Robert Schumann
Fantasie op.17
I. Durchaus phantastisch und leidenschaftlich vorzutragen 0:00
II. Mässig - Durchaus energisch 13:53
III. Langsam getragen - Durchweg leise zu halten 20:40
Sviatoslav Richter
Studio recording, London 1-3 & 5.VIII.1961
16:41
25 Great Pianists attempt the DEADLY coda of Schumann's Op. 17 Fantasie (LIVE only)
Pianists, in order:
1. Alexei Volodin (00:00)
2. Arcadi Volodos (00:37)
3. Radu Lupu (01...
published: 31 Mar 2023
25 Great Pianists attempt the DEADLY coda of Schumann's Op. 17 Fantasie (LIVE only)
25 Great Pianists attempt the DEADLY coda of Schumann's Op. 17 Fantasie (LIVE only)
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- published: 31 Mar 2023
- views: 128610
Pianists, in order:
1. Alexei Volodin (00:00)
2. Arcadi Volodos (00:37)
3. Radu Lupu (01:24)
4. Claudio Arrau (02:09)
5. Maria Yudina (02:45)
6. Vladimir Horowitz (03:35)
7. Ivo Pogorelich (04:19)
8. Alicia De Larrocha (05:04)
9. Wilhelm Kempff (05:50)
10. Khatia Buniatishvili (06:34)
11. Anna Fedorova (07:11)
12. Cyprien Katsaris (07:47)
13. Alexis Weissenberg (08:21)
14. Evgeny Kissin (09:03)
15. Vladimir Sofronitsky (09:39)
16. Kate Liu (10:17)
17. Martha Argerich (11:03)
18. Marc-André Hamelin (11:39)
19. Maurizio Pollini (12:22)
20. Sviatoslov Richter (12:59)
21. Grigory Sokolov (13:32)
22. Alexandre Moutouzkine (14:13)
23. Leonard Shure (14:48)
24. Yeol Eom Son (15:27)
25. Nelson Freire (16:06)
I have limited the cope to LIVE performances - there are many sensational (and obviously note-perfect) studio recordings (Perahia is my favorite), but those do not interest me because they are always going to sound perfect! Andre-Michel Schub once told me a story of a famous pianist who recorded the Fantasie, and for the coda recorded each leap SEPARATELY, having the engineer piece all of them together.
The Fantasie is, for me, the greatest work in the piano literature. But Schumann was absolutely rude for how he wrote this coda! It is the Kama Sutra of awful uncomfortable hand positions and leaps.
12:08
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im...
Provided to YouTube by Universal Music Group
Schumann: Fantasie in C, Op. 17 - I. Durchau...
published: 29 Jul 2018
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im...
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im...
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- published: 29 Jul 2018
- views: 44326
Provided to YouTube by Universal Music Group
Schumann: Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich vorzutragen - Im Legendenton - Erstes Tempo · Maurizio Pollini
Schumann: Sonata for Piano Op.11; Fantasia Op.17
℗ 1973 Deutsche Grammophon GmbH, Berlin
Released on: 1973-01-01
Producer, Recording Producer: Rainer Brock
Studio Personnel, Balance Engineer: Heinz Wildhagen
Studio Personnel, Recording Engineer: Volker Martin
Studio Personnel, Editor: Gernot Westhaeuser
Studio Personnel, Editor: Helmut Najda
Studio Personnel, Editor: Hans-Rudolf Müller
Composer: Robert Schumann
Auto-generated by YouTube.
34:26
Robert Schumann, Fantasie in C Major, Op. 17
I. Durchaus phantastisch und leidenschaftlich vorzutragen
II. Massig. Durchaus energisch
I...
published: 11 Nov 2021
Robert Schumann, Fantasie in C Major, Op. 17
Robert Schumann, Fantasie in C Major, Op. 17
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- published: 11 Nov 2021
- views: 280
I. Durchaus phantastisch und leidenschaftlich vorzutragen
II. Massig. Durchaus energisch
III. Langsam getragen. Durchweg leise zu halten
(self-recorded video)
1:10:48
Masterclass with Andras Schiff at Wigmore Hall-- Schumann Fantasie in C Major, Op. 17
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmor...
published: 09 Oct 2017
Masterclass with Andras Schiff at Wigmore Hall-- Schumann Fantasie in C Major, Op. 17
Masterclass with Andras Schiff at Wigmore Hall-- Schumann Fantasie in C Major, Op. 17
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- published: 09 Oct 2017
- views: 154197
Julia Hamos plays Schumann Fantasie in C Major, Op. 17 for Sir Andras Schiff, live, Wigmore Hall, May 4, 2017.
17:22
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪
シ...
published: 14 Jul 2024
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131
- Report rights infringement
- published: 14 Jul 2024
- views: 626
2022年6月にバーゼル交響楽団との共演で、シューマンのヴァイオリンとオーケストラのための幻想曲を演奏させていただきました。素敵な曲なのでぜひ一度お聴きいただけたら幸いです♪
シューマン: ヴァイオリンとオーケストラのための幻想曲 ハ長調 作品131
2022年6月16日 バーゼル交響楽団
指揮: クレメンス・ハイル ヴァイオリン: 三雲はるな
R. Schumann: Fantasy for Violin and Orchestra in C major op.131
Sinfonieorchester Basel Clemens Heil, conductor Haruna Mikumo, violin
16.06.2022 Schlusskonzert in Stadtcasino Basel
#シューマン #幻想曲 #バイオリン #オーケストラ #schumann #fantasy #fatasie #violin
34:14
Schumann, Fantasie in C major, op. 17 (Arrau/live in Berlin, 1959)
Robert Schumann. Fantasie, C major, op. 17
Claudio Arrau, piano
Recorded live in the Metro...
published: 17 Jun 2020
Schumann, Fantasie in C major, op. 17 (Arrau/live in Berlin, 1959)
Schumann, Fantasie in C major, op. 17 (Arrau/live in Berlin, 1959)
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- published: 17 Jun 2020
- views: 5528
Robert Schumann. Fantasie, C major, op. 17
Claudio Arrau, piano
Recorded live in the Metropol-Theater, East Berlin, 8 January 1959
I. Durchaus fantastisch und leidenschaftlich vorzutragen (0:00)
II. Mäßig (14:57)
III. Langsam getragen (22:09)
Fantasie in C (Schumann)
The Fantasie in C major, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period. It is often called by the Italian version, Fantasia; the word "Fantasie" is the German spelling.
Structure
The Fantasie is in loose sonata form. Its three movements are headed:
The first movement is rhapsodic and passionate; the middle movement (in E-flat major) is a grandiose rondo based on a majestic march, with episodes that recall the emotion of the first movement; and the finale is slow and meditative.
Genesis
The piece has its origin in early 1836, when Schumann composed a piece entitled Ruines expressing his distress at being parted from his beloved Clara Wieck (later to become his wife). This later became the first movement of the Fantasy. Later that year, he wrote two more movements to create a work intended as a contribution to the appeal for funds to erect a monument to Beethoven in his birthplace, Bonn. Schumann offered the work to the publisher Kirstner, suggesting that 100 presentation copies could be sold to raise money for the monument. Other contributions to the Beethoven monument fund included Mendelssohn's Variations sérieuses.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Fantasie_in_C_(Schumann)
Schumann: Fantasie in C, Op.17 (Andsnes)...
SCHUMANN Fantasie in C major op. 17 | Yeol Eum Son...
Nelson Freire: Robert Schumann - Fantasy in C majo...
Schumann - Fantasie op.17 - Richter studio...
25 Great Pianists attempt the DEADLY coda of Schum...
Schumann: Fantasie in C, Op. 17 - I. Durchaus fant...
Robert Schumann, Fantasie in C Major, Op. 17...
Masterclass with Andras Schiff at Wigmore Hall-- S...
R. シューマン: ヴァイオリンのための幻想曲 ハ長調 作品131...