Teresa Carreño (1853-1917) plays Robert Schumann, Fantasie in C-major, op. 17 скачать в хорошем качестве

Teresa Carreño (1853-1917) plays Robert Schumann, Fantasie in C-major, op. 17

Teresa Carreño (1853-1917) plays Robert Schumann, Fantasie in C-major, op. 17 Recording date: Freiburg, April 1905, Welte Mignon piano roll María Teresa Carreño García de Sena was born in Caracas, Venezuela in 1853 into a musical family of quite social renown. In 1862 her family emigrated to New York and Carreño quickly entered the musical world with a series of private and public concerts. During the first few weeks in New York, she met American pianist and composer Louis Moreau Gottschalk, who heard her perform and promoted her as an artist and after that, she toured extensively around the USA, only eight years old. During the fall of 1863 Carreño performed for Abraham Lincoln at the White House. In 1866, Carreño and her family left the United States for Paris. During her time in Paris, she met many prominent musicians, including Gioachino Rossini, Georges Mathias, Charles Gounod, and Franz Liszt. While in Paris, she studied voice with Rossini and later with Signor Fontana and Russian soprano Herminia Rudersdorff (1822–1882), and she began performing operatic roles. She was a big advocate of the music by her students and colleagues, and she hence promoted the works by Edward MacDowell in the United States and later abroad - MacDowell dedicated his Piano Concerto No. 2 in D minor, Op. 23 to her. Carreño recorded over forty compositions for the reproducing piano between 1905 and 1908. These were released primarily by Welte-Mignon and reissued by other piano roll manufacturers. During a trip to Havana in March 1917, she became ill and returned to New York where she was diagnosed with diplopia. Her health declined rapidly and she became paralyzed before she died on June 12, 1917, in her apartment in New York City at the age of 63. (Partly from Wikipedia) Teresa Carreño is a prime example of the multitude of women musicians excruciatingly overlooked in our music history. She was a stellar musician, and her hard work and electrifying musical stage presence brought her around the world with enormous success. She was a child prodigy, she traveled the world, she played for presidents, she worked with the greatest composers of the time and she even got involved in politics due to her fame. The glaring contrast to her contemporary success is the negligence in music history, where she is either completely forgotten or mentioned just as “one of the wives of the marvelous pianist Eugéne d’Albert”. I’ll use today, March 8th, The International Women's Day, to underline the discrepancy between what is written in the history books and what actually happened in relation to women’s place in history. Since it was part of a young woman's domestic education to be an instrumentalist, especially from the Enlightenment and the French Revolution and through the 19th Century bourgeois, and mainly being a more-than-capable pianist, the women have been the driving force in our music history alone due to the sheer number of piano playing women compared to men. Many of these women were of such talent, that they ventured beyond the domestic boundaries and became public musicians as well. Despite these public women’s supreme musicianship being completely at equal with male musicians, they are still ignored. There are of course many aspects to this negligence, which some are not based on gender inequality, for instance music history’s focus on the composer and not the performer, but gender inequality still is the main reason for this historical inequality. Teresa Carreño’s majestic interpretation of Robert Schumann’s Fantasie in C-major is a first class example of the vast scope of her musical wingspan; it both gives an insight into her personal musicianship, but it’s also an excellent example of the performance style from a musician born in the 1850s with ties to the major European musical circles. Unfortunately she didn’t record any acoustical gramophones; she died still in her prime, so my guess-timate is that her untimely and early death prevented her from doing more recordings, which she easily could have done. The current recording is from the excellent series “Pianorullerna” from Swedish radio, and the recording is used under the ”Fair Use Standard” for educational and non profit purposes. #womenshistorymonth #internationalwomensday #musician #pianist #pianistsofinstagram #pianistagram #classicalpianist #instapianist #instapiano #pianosolo #musiqueclassique #classicalmusicians #classical #music #classicalmusiciansofinstagram #musichistorian #composers #classicalcomposer #composerpianist #composermusic #pianoroll #classicalmusiclover #classicalmusiclovers #klassischemusik #franzliszt #paris #performancepractice