Word: schumann
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...Rosen the three leading figures of the era are Chopin, Schumann and Liszt. But in his wide-ranging study, where influences are as shrewdly detected as innovations, he illuminates the musical sensibilities of a great many composers. For instance, "That music should be completely audible was as obvious to Mozart as it was irrelevant for Bach," Rosen observes. And, "It has taken more than a century to realize that it is not Berlioz's oddity but his normality, his ordinariness, that makes him great...
...grow from his intimacy with the music. The book comes with a CD (a wonderful idea) on which Rosen plays 16 selections that he analyzes in the book. Rosen has concurrently released a separate recording, also called The Romantic Generation (Music Masters Classics), that contains six pieces--by Chopin, Schumann and Liszt--whose historical importance he discusses as well. One highlight is Rosen's commanding performance of Liszt's terrifyingly difficult tour de force of homage and imagination, Reminiscences de Don Juan, inspired by Mozart's Don Giovanni. In the text, he isolates from that piece a passage that erupts...
Most of the works for solo piano are brief (between one and two minutes), and were composed in 1862, when Nietzsche was only 17. His lack of formal training shows, but the pieces require no apology and display a true melodic gift, reminiscent of Schubert and Schumann. Paradoxically, this heroic visionary was most at home in such small-scale works; his more ambitious pieces for two pianos (written in 1871 and '73) owe much in vocabulary and gesture to Liszt and Wagner. But the seams show, and the intended grandeur is painfully strained. On the other hand, a charming violin...
Boston Symphony Orchestra. Symphony Hall, 301 Mass Ave., Boston. 266-1492. Performs Krasa's Chamber Symphony, Schumann's Piano Concerto and Tchaikovsky's Symphony No. 3, "Polish" on Thursday, April 20 at 10:30 a.m. for an open rehearsal; Thursday, April 20 at 3 p.m.; Firday, April 21 at 1:30 p.m.; Saturday, April 22 at 8 p.m. and Tuesday...
...Schumann chose a largely fugal Assai agitato for the second movement, saving his Adagio molto for the third and leaving the piece without a true dance movement. The Quartet navigated the fugue impeccably. By employing a multilayered system of dynamics, the main voice always remained prominent while the others maintained the tension. But before the audience could be thrown into the hysterics usually invoked by middle Beethoven, the Hwang and second violinist Ruggero Allafranchini ushered in a flowing lyrical line that could only be Schumann...