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Helene Grimaud, SCHUMANN, Clara SCHUMANN, BRAHMS, Anne Sofie von Otter, Esa-Pekka Salonen


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Hélène Grimaud - Reflection Art. No. LP 289 47923190 Love, strictly speaking, does not exist. It’s always a dynamic between a “you” and a “me”, between two beings that passion reveals in their uniqueness. In this exact sense, love means being able to open oneself up according to the laws of existence as they are given to us. From this we see that love – not a cry of extreme suffering, nor a premonition of perfect joy, but a revelation understood as feverish – is the most powerful spiritual experience, the deepest type of knowledge, the revealing, through experience, of a transparency of being that one must keep before oneself like the end of a path, no matter how labyrinthine and storm-filled it is. What does “to love” mean then, if not to open oneself to a bliss that desire contains and renews with the world? And, through this opening, to allow a dreamt-of infinity to incarnate in the finite space of a being of our choosing? “I want you to be” – this phrase is that of love, like the love that Robert Schumann, Clara Schumann and Johannes Brahms expressed for each other in their music. Robert wanted his wife to be music itself, just as Clara wanted Johannes to be music also – which in turn Brahms allowed his two friends to be as they appear to us in their notes and in their intensity. This is the proof of a love story that is unique, like all stories that want to conquer an absolute, to reach it. In their way, these musicians, whose inner space took on dizzying proportions, make us understand that love is an infallible gift, the most intimate freedom that one may have towards another. A law whose secret was revealed by Rilke in his Requiem: … For this is wrong, if anything is wrong: Not to enlarge the freedom of a love With all the inner freedom one can summon. We need, in love, to practice only this: Letting each other go … Side A Robert Schumann 1810 - 1856 1. Allegro affettuoso 15:00 2. Intermezzo: Andantino grazioso 05:40 Side B 1. Allegro vivace 10:26 Clara Schumann 1819 - 1896 2. „Er ist gekommen“ op. 12 no. 2 02:19 3. „Warum willst du and’re fragen“ op. 12 no. 11 02:11 4. Am Strande 02:16 Side C Johannes Brahms 1833 - 1897 1. Allegro non troppo 13:40 2. Allegro quasi Menuetto 05:25 Side D 1. 3 Allegro 06:14 2. No. 1 in B minor (h-moll) 08:56 3. No. 2 in G minor (g-moll) 07:06 Wersja SHM-CD - wydanie japoński Hélène Grimaud - Reflection 01. Piano Concerto in A minor, Op. 54: 1. Allegro affettuoso (15:02) 02. Piano Concerto in A minor, Op. 54: 2. Intermezzo: Andantino grazioso (5:41) 03. Piano Concerto in A minor, Op. 54: 3. Allegro vivace (10:32) 04. Songs (3) from poems of Rückert, for voice & piano, Op. 12: "Er ist gekommen" Op. 12 No. 2 (2:19) 05. Songs (3) from poems of Rückert, for voice & piano, Op. 12: "Warum willst du and're fragen" Op. 12 No. 11 (2:11) 06. Am Strande (2:21) 07. Sonata for cello & piano No. 1 in E minor, Op. 38: 1. Allegro non troppo (13:40) 08. Sonata for cello & piano No. 1 in E minor, Op. 38: 2. Allegro quasi Menuetto (5:26) 09. Sonata for cello & piano No. 1 in E minor, Op. 38: 3. Allegro (6:21) 10. Rhapsodies (2) for piano, Op. 79: No. 1 in B minor, Agitato (8:59) 11. Rhapsodies (2) for piano, Op. 79: No. 2 in G minor, Molto passionato, ma non troppo allegro (7:05)
  • Helene Grimaud - piano
  • Anne Sofie von Otter - mezzosopran
  • Esa-Pekka Salonen - conductor
  • Staatskapelle Dresden - orchestra
  • Clara SCHUMANN
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BBC Review ...one of the most thoughtful pianists of her generation. Andrew McGregor 2006 Reflections on the Robert Schumann-Clara Schumann-Johannes Brahmstriangle from one of the most thoughtful pianists of her generation ought to be interesting, and sure enough, right from the opening chords of the Schumann Piano Concerto I knew I had to hear Hélène Grimaud's latest project to the end. If you've heard this lovely work once too often in a merely average performance, then drink deeply at Grimaud's spring, for you'll leave refreshed...not an overblown romantic gesture, and no cloying sentimentality; instead a strong, straightforward reading where every note seems just so, yet without feeling calculated. Grimaud is quizzical and warmly affectionate; nothing is taken for granted, and in Salonen and the Dresden Staatskapelle she has ideal partners, following wherever she leads, but never too slavishly. The Concerto's sense of characterful energy is echoed in the three Clara Schumann songs that follow, with mezzo Anne Sofie von Otter...definitely not mere pale imitations of Robert Schumann's genius as a songwriter. Grimaud and cellist Truls Mork fall into conversational nostalgia in a sweet-toned performance of Brahms's E minor Cello Sonata, and it's left to Grimaud alone to end her recital with memorable accounts of Brahms's Op. 79 Rhapsodies. I'm not sure I knew any more about the relationships between the three composers at the end of it all, but my appreciation of each of them has most definitely been enhanced. ************** Tim Ashley The Guardian, Friday 13 January 2006 Schumann: Piano Concerto Subtitled Reflection, Hélène Grimaud's latest album, carefully programmed as always, is a meditation on the nature of love as embodied in the triadic relationship between Schumann, his wife Clara, and Brahms, whose love for both of them was the dominant influence on his life and work. The disc finds the French pianist at her visionary best. It opens with a passionate yet unsentimental performance of Schumann's Piano Concerto conducted by Esa-Pekka Salonen that ranks among the finest ever recorded. Anne Sofie von Otter is the soloist in a turbulent group of Clara's songs, while Truls Mork joins Grimaud for a powerful version of Brahms's First Cello Sonata. The album closes with Grimaud playing Brahms's Op 79 Rhapsodies, another overwhelming performance that captures the composer's shattering isolation as well as his deep affection for his best friend's wife. A truly great achievement, this is unmissable. *********** The following review of this LP appears on www.vinylkatalog.de: "Born in 1969, American pianist Hélène Grimaud was brought up in France before moving to the USA. It was in America that she came to be regarded by many as the Martha Argerich of her generation: an exceptionally talented, original and influential artist. This is an unusual album, a ‘concept album’ that groups together related works of three composers. The common theme is the triangle of love and respect between Robert and Clara Schumann and their glowing worship of Johannes Brahms. The outstanding masterpiece of the album is Robert Schumann's Piano Concerto: so passionate an interpretation that one can sense Schumann’s inspiration. Grimaud's expressive performance of the main theme is truly special, and the interplay between her and the Staatskapelle Dresden under Finnish conductor Esa-Pekka Salonen has all the power and tension of a world premiere – it is like listening to the work performed for the very first time. The solo cadenza should bring tears to the eyes of every piano lover. The following three songs from Schumann's wife Clara show that she was not only a great pianist, but a composer on a par with her husband. The opening sonata of the "family friend" Brahms features Grimaud with Norwegian cellist Truls Mørk (the first Scandinavian winner of the Tchaikovsky Competition). The two musicians inspire each other to achieve a rarely heard balance between precision and emotion. The album closes with Brahms: the two highly dramatic Rhapsodies op. 79 in which Grimaud, now solo, once again demonstrates her again virtuosity and ingenuity! I cannot deny that Clearaudio founder Peter Suchy has, with this vinyl release, satisfied a very personal desire. I assume that I will not be alone in this! (2006/2013)" (quoted from: www.vinylkatalog.de) >>> Płyty winylowe należy przechowywać WYŁĄCZNIE w NAJLEPSZYCH NA ŚWIECIE koszulkach produkcji legendarnej wytwórni MOBILE FIDELITY. 100% gwarancji na pozbycie się trzasków będących w istocie w 90% efektem ładunków elektrostatycznych a nie uszkodzeń mechanicznych płyty! <<<

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