Six Historic Pianists born in the 19th Century play Schumann's Bird as Prophet скачать в хорошем качестве

Six Historic Pianists born in the 19th Century play Schumann's Bird as Prophet

I selected six historic pianists born in the 19th Century playing Robert Schumann's "Bird as Prophet". In order of date of birth: 0:00 Vladimir de Pachmann (1848-1933), rec. 1911 2:16 Alfred Grünfeld (1852-1924), rec. 1913 5:09 Ignacy Jan Paderewski (1860-1941), rec. 1926 8:55 Mark Hambourg (1879-1960), rec. 1918 11:10 Benno Moiseiwitsch (1890-1963), rec. 1941 13:54 Walter Gieseking (1895-1956), rec. 1956 --------------------------------------------------------------------------------------------- Robert Schumann wrote a collection of nine short piano pieces called "Waldszenen" (Forest Scenes) in 1848/1849, with opus number 82. The seventh, "Vogel als Prophet" (Bird as Prophet) quickly became famous as a separate piece. It's a unique, enigmatic, rather mysterious gem. Initially it had a motto, taken from a poem by Eichendorff: "Hüte dich! Sei wach und munter!" (Be on your guard, be awake and alert!). It's as if this bird gives us humans a warning, and this is reflected in the music that sounds unsettling. It seems that Schumann links the prophet bird with something supernatural or with weird inner thoughts. The piece is certainly not a literal imitation of bird song or a simple outer description of nature. And suddenly in the middle of the piece there is a warm, chorale-like section in G major, then abruptly in E-flat major, the melody of which is a quote from Schumann's own “Scenes from Goethe’s Faust”. It is not completely clear how to play the rhythm of the main motif, as Schumann didn't mark the demisemiquaver triplets. It could also be interpreted as three "normal" demisemiquavers if we presume that Schumann didn't properly notate it as an eighth note followed by four demimiquavers, the first of which is tied to the eighth note. Paderewski for example seems to have chosen to play the second option. The indication above the piece is "Langsam, sehr zart" - Slow, very tender. In the autograph Schumann clearly notated a metronome marking of quarter note = 63. Several pianists here play it significantly faster, though in many cases there is tempo fluctuation throughout the piece. Notice that some pianists seem to be rushing (and in Hambourg's case in the extreme!), distorting note values or ignoring vital rests.