{"id":43257,"date":"2010-01-09T15:38:29","date_gmt":"2024-10-20T13:01:35","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=43257"},"modified":"2024-10-20T15:16:41","modified_gmt":"2024-10-20T13:16:41","slug":"schumann-scenes-from-childhood-op-15-romance-op-28-gagnebin-toccata-no-3-enfantines-nocturne-ruth-schmid-gagnebin-piano","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/schumann-scenes-from-childhood-op-15-romance-op-28-gagnebin-toccata-no-3-enfantines-nocturne-ruth-schmid-gagnebin-piano\/","title":{"rendered":"Schumann: Scenes from Childhood Op. 15 – Romance, Op. 28 – Gagnebin: Toccata No. 3 – Enfantines – Nocturne – Ruth Schmid-Gagnebin, Piano"},"content":{"rendered":"

Robert SCHUMANN:<\/strong> Scenes from Childhood Op. 15: No. 1 Von fremden L\u00e4ndern und Menschen – No. 2 Kuriose Geschichte – No. 3 Hasche Mann – No. 4 Bittendes Kind – No. 5 Gl\u00fcckes genug – No. 6 Wichtige Begebenheit – No. 7 Tr\u00e4umerei – No. 8 Am Kamin – No. 9 Ritter von Steckenpferd – No. 10 Fast zu ernst – No. 11 F\u00fcrchten machen – No. 12 Kind im einschlummern – No. 13 Der Dichter spricht – Romance in F-Sharp Minor, Op. 28 – Henri GAGNEBIN:<\/strong> Toccata No. 3 pour piano – Enfantines: No. 1 Chanson \u00e0 2 voix – No. 2 All\u00e9gresse – No. 3 Complainte – No. 4 Encore une chanson \u00e0 2 voix – No. 5 Musique de tambour – Nocturne pour piano.<\/p>\n

Ruth Schmid-Gagnebin<\/strong>, Piano.<\/p>\n

\n

Robert Schumann (1811-1856)<\/h3>\n

Scenes from Childhood Op. 15<\/strong><\/p>\n

It was in February 1838<\/strong> that Schumann composed the pieces he called the Kinderszenen<\/em>. On the 12th of that month, he wrote:<\/p>\n

“composed pretty little things.”<\/p><\/blockquote>\n

On the 24th, he added:<\/p>\n

“composed the little Reverie<\/em> (Tr\u00e4umerei).”<\/p><\/blockquote>\n

He also wrote to Clara<\/strong>:<\/p>\n

“You once said to me, \u2018You sometimes give me the impression of being a child?\u2019 If that\u2019s true, you will see that this child has now grown wings. Perhaps it\u2019s an unconscious answer. I\u2019ve written more than 30 such little pieces and chosen 12 to group under the title Kinderszenen<\/em>. I\u2019m sure you\u2019ll enjoy playing them, but you must forget that you are a virtuoso!”<\/p><\/blockquote>\n

Of course, Clara played them beautifully.<\/p>\n

Though the title may suggest otherwise, these pieces are far from childish. Each contains a profound poetic expression that evokes scenes from childhood with great intimacy. The interpreter must make the audience forget the technical work involved\u2014the effort behind each musical figure, the delicate phrasing, the precise accentuation\u2014so that these small masterpieces can come to life in all their purity and subtlety.<\/p>\n

\n

Henri Gagnebin (1886-1977)<\/h3>\n

Born in Brussels<\/strong>, Henri Gagnebin was a pupil of d\u2019Indy<\/strong> and Vierne<\/strong> in Paris. He later became a professor in Neuch\u00e2tel<\/strong>, Lausanne<\/strong>, and Geneva<\/strong>, where he directed the Conservatoire of Music<\/strong> from 1925 to 1957.<\/p>\n

He was the Founder<\/strong> and President<\/strong> of the International Contest for Musical Execution<\/strong> in Geneva (1938-1959) and also the President of the Federation of International Musical Contests<\/strong>. This recording has been made in accordance with his instructions.<\/p>\n

His Troisi\u00e8me Toccata<\/strong> brings to our ears the muffled chimes, whose deep, resonant notes he loved, combined with the sounds of rustic life.<\/p>\n

Moreover, he retained vivid memories of his childhood aspirations (such as the dream of playing the drum or tambourine!). All these elements are reflected in a delightful mix of music, sometimes playful, sometimes sensitive, in his Enfantines<\/em>. As for his Nocturne<\/em>, he did not follow the imitators of Chopin, but expressed his poetic sensibilities in his own distinctive style.<\/p>\n

\n

Ruth Schmid-Gagnebin<\/h3>\n

Ruth Schmid-Gagnebin<\/strong> was born in Neuch\u00e2tel (Switzerland)<\/strong> in 1921. She studied music in Zurich<\/strong>, Lausanne<\/strong>, Geneva<\/strong>, and Paris<\/strong>, entering a tradition of expressive clarity and poetry. A Milanese critic once wrote about her performance in L\u2019Italia<\/em>: “La sua arte \u00e8 raffinata, variata e graduata, con tutti gli accorgimenti dello stile<\/em>“. Similarly, in Basel\u2019s National Zeitung<\/em>: “Ihr Spiel hinterliess einen nachhaltigen Eindruck, denn die Meistersch\u00fclerin von Dinu Lipatti verf\u00fcgt \u00fcber eine stupende Gewandtheit<\/em>.”<\/p>\n

In Germany, her interpretations of Debussy<\/strong> were particularly appreciated. In Cologne<\/strong>, the renowned critic Wiederbusch wrote in the Neue Rheinzeitung<\/em>: “Sie scheint pr\u00e4destiniert f\u00fcr die sensible Zartheit dieser Traumvisionen und brachte in flimmernd-fliessenden T\u00f6nen das Geheimnisvoll-Unw\u00e4gbare zum Ausdruck. Die Ausbr\u00fcche des T\u00e4nzerisch-Bewegten gestaltete sie mit \u00fcberzeugender Rhythmik und klarer Akzentuierung.<\/em>”<\/p>\n

During the past winter, she performed in six different Swiss cities, including Zurich<\/strong> (Tonhalle) and Vevey<\/strong> (Grand-Th\u00e9\u00e2tre). Critics praised her presence: “weist sich manuell wie gestalterisch aus<\/em>” (ZH-TgB.J.S.) and her conviction: “mit innerer \u00dcberzeugung und Verbundenheit<\/em>“, noting: “Ein in Spannungsbogen packender Abend<\/em>.” She recorded the 24 Etudes<\/strong> op. 10 and op. 25 of Chopin<\/strong>.<\/p>\n

Regarding her performances of Liszt<\/strong>, critics remarked: “Une pianiste qui excelle dans la virtuosit\u00e9 du romantisme<\/em>.” After the release of her recordings of Debussy’s Pr\u00e9ludes<\/strong>, Ruth Schmid-Gagnebin lived part-time in Switzerland<\/strong> and part-time in New York<\/strong>, where Debussy’s works experienced a renewed interest.<\/p>\n

See more on Wikipedia<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

 <\/p>\n

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