Davidsbündlertänze op. 6, Arabeske op. 18 (2009)

Schumann

Paolo Giacometti

By late summer of 1837, the 27-year-old Schumann was secretly engaged to his beloved Clara Wieck. The powerful emotions connected with this event were a stimulus to Schumann's creative impulses, for he was a Romantic through and through. It was at this time that he composed the deeply personal Davidsbndlertnze -18 dances inspired by the imaginary league of David. This fellowship, invented by Schumann, consisted of Schumann's own alter egos, plus a number of well-respected musicians and friends including Felix Mendelssohn-Bartholdy. The group was established as a way of fighting against the Philistines; it was Schumann's response to contemporary musical trends which he saw as cheap, excessively virtuosic, and superficial. Two of the Davidsbndler, Schumann's alter egos Florestan and Eusebius, occupy a central place in all of the composer's works. Florestan, is extroverted, lively, and wild; Eusebius is intimate, gentle, and shy. The tensions between these two extremes also provides a narrative thread for the Davidsbndlertnze. Schumann placed the signature of one character or the other at the end of each of the eighteen dances; some are even signed by both characters. At the end of the cycle, the second dance, one of Eusebius's melodies, returns, only to be cruelly interrupted by Florestan. But Eusebius, nevertheless, has the last word. Over the last dance, Schumann wrote Ganz zum berflu meinte Eusebius noch folgendes; dabei sprach aber viel Seligkeit au seinen Augen. [Eusebius expressed the following opinion, quite unnecessarily; but at the time, great happiness spoke from his eyes. In 1838, a year after the Davidsbndlertnze, Schumann composed the Arabeske. Peaceful, equable and timeless are words befitting this little composition, meant to be a delicate ornament. The Arabesque, as a musical form, was later used by other compoers, such as Debussy and Reger, in an expression of admiration for Schumann.

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Paolo Giacometti

Paolo Giacometti performs all over the world as a soloist and as a chamber musician, both on period and on modern instruments. He was born in Milan, Italy in 1970, but has been living in the Netherlands from his early childhood. He studied with Jan Wijn at the Sweelinck Conservatorium Amsterdam, where he graduated with the highest distinction. Also Gyorgy Sebök was an important source of inspiration and had a significant influence on his musical education. Paolo Giacometti has won many prizes at both national and international competitions. He has played with renowned orchestras under distinguished conductors such as Frans Brüggen, Kenneth Montgomery, Laurent Petitgirard, Michael Tilkin and Jaap van Zweden. Apart from his activities as a soloist, Paolo Giacometti’s love for chamber music has resulted in a successful co-operation with leading musicians such as Pieter Wispelwey, Gordon Nikolich, Alois Brandhofer, Janine Jansen, Bart Schneemann and Viktoria Mullova. Paolo Giacometti is a much sought-after musician at chamber music festivals in Europe, Canada and the United States. He has performed in concert halls all over the world including the Concertgebouw (Amsterdam), Teatro Colon (Buenos Aires), Wigmore Hall (London), Théâtre du Châtelet (Paris) and Seoul Arts Centre (South Korea). Paolo Giacometti records exclusively for Channel Classics. His impressive discography has been widely acclaimed by the international press. His recordings include Rossini’s complete piano works, a remarkable project that started in 1998 and was completed in 2007. In Rossini’s homeland critics say: "... Rossini has finally found his pianist ...". For the third recording of this series Giacometti was distinguished with the Edison Classical Music Award 2001. His recording of Schumann’s Humoreske, Fantasiestücke and Toccata has received the BBC Music Magazine’s Benchmark and Performance of Outstanding Quality distinctions. His recording of the Dvorák and Schumann piano concertos have been acclaimed by Gramophone as "... one of the best concerto disks I have heard in a long while ...".  Among Paolo Giacometti’s chamber music recordings, a recording with works by Schubert with cellist Pieter Wispelwey has received the Choc du Monde de la Musique and Luister 10 awards, while another recording with works by Chopin, Fauré and Poulenc, also with Pieter Wispelwey, has been awarded the Diapason d’or.  Paolo Giacometti is also a dedicated piano professor at the Robert Schumann Musikhochschule Düsseldorf.

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Davidsbündlertänze op. 6, Arabeske op. 18 (2009)

Schumann

Paolo Giacometti

    Luister

De pianist treft met zijn uiterste heldere, expressieve spel de sfeer van vreugde en liefde uitstekend. Hij schakelt moeiteloos over de Florestans uitbundigheid naar Eusebius dromerige weemoed. Ook hier maakt Giacometti's uitermate heldere spel. Zijn liefdevolle frasering en gevoelige dynamiek een feest van deze beeldschone muziek

    Audiophile Audition -

This is a wonderful recording with Channel's always reliable and super-spectacular surround sound working to capture these very poetic performances in a lush and resilient atmosphere of great clarity and cushiness. Giacometti's superb playing compliments in every way the audio excellence... This is sterling Schuman of great conviction and substance, and will be enjoyed by everyone who comes across it." 5*

    Financieel Dagblad

Een nieuwe cd van de Hollands-Italiaaanse meesterpianist. Na al zijn pionieren op historische instrumenten in vooral Rossini en al eerder Schumann veroorlooft hij zich nu de luxe van een comfortabel, egaler geluid. Het is werkelijk prachtig!!

    Pianowereld

De poezie harmonieert met zijn specifieke kwaliteiten als vertolker: sterk in het luisteren. .... Voor velen vast een prettig, verdienstelijk album

    Classics today.com

Paolo Giacometti treats Schumann's mercurial Davidsbndlertnze as intimate sketches. He characterizes the music's frequent cross-rhythmic character through a kind of dry-point, almost clipped articulation that never loses tonal warmth or body and directs contrapuntal traffic as to the manner born. Many pianists try to milk rhetorical significance from No. 12's melodic leaps and ornaments, but Giacometti conveys more of Schumann's intended humor by keeping the action brisk and forward moving." Channel Classics' superb multi-channel production loses nothing in presence and definition when experienced via conventional stereo playback.

    Luister -

Hoemeer de lyriek en de weemoed een klassiek kader omlijst, zoals in de Gesange der Fruhe, hoe beter Giacometti speelt. ... De beste cd die ik tot nu toe van Giacometti heb gehoord, juist omdat zijn klassieke instinct is toegenomen en omdat hij er beter in slaagt de balans tussen het geheel en het detail te realiseren.

    Pianowereld

Paolo Giacometti zoekt in deze cd niet zozeer de emotionele uitersen mart vooral de poëzie. Dat harmonieert met zijn specifieke kwaliteiten als vertolker: sterk in het ‘luisterend’ vertolken! Op deze hedendaagse Steinway concertvleugel komt hij absoluut sterker uit de verf dan voorheen Het moderne instrument laat zich makkelijker verleiden tot zingen en ook dat is iets dat Giacometti graag doet- zij het met gedempte stem, stil voor zich uit mijmerend in de naklank. (…)

    Klassik.com

ein waghalsiges Unternehmen (…) (…) Beachtlich ist jedoch, welch mitunter wunderschönen Klang Paolo seinem Flügel zu entlocken vermag. Man spurt auf Schritt und Tritt, das hier ein Könner am Werk ist, der nicht nur den Anschlag fein differenziert, sondern viel Phantasie für die Klanggestaltung zeigt, so etwa der vorletzte Satz ‚wie aus der Ferne’

    Fanfare

an outstanding example of consummate clarity in the performance of Schumann while indulging freely in some of the most passionate playing available. (…)

    HVT

Giacometti boeit van de eerste noot van de achttiendelige cyclus Davidsbündlertänze. Werkelijk prachtig zoals hij de accenten en contrasten weet te leggen in de twee karakters die Schumann min of meer aan het woord laat. Ik vermoed, maar kan er vreselijk naast zitten, dat er weinig geknipt is in deze opname omdat de spanningsbogen zo prachtig in tact en vloeiend in beweging zijn. Het is een zeer persoonlijke versie geworden van Giacometti – hij sloot zijn studie af met dit werk – en wist me hiermee te raken en te boeien.

Davidsbündlertänze op. 6, Arabeske op. 18 (2009)

Schumann

Paolo Giacometti

Cables: van den Hul
Digital Converters: Meitner A/D DSD / Meitner DA
Mastering Engineer: Jared Sacks
Mastering Equipment: B&W 803 diamond series
Microphones: Bruel & Kjaer, Schoeps
Mixing Board: Rens Heijnis custom design
Producer: Jared Sacks
Recording Engineer: Jared Sacks
Recording location: Eindhoven Holland 2008
Recording Software: Pyramix bij Merging
Recording Type & Bit Rate: DSD64
Speakers: Audiolab, Holland

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28709: Davidsbündlertänze op. 6, Arabeske op. 18
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Tracks.
1.
Davidsbundlertänze op. 6 - Lebhaft
Schumann
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2.
Davidsbundlertänze op. 6 - Innig
Schumann
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3.
Davidsbundlertänze op. 6 - Mit Humor [Etwas hahnbuchen]
Schumann
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4.
Davidsbundlertänze op. 6 - Ungeduldig
Schumann
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5.
Davidsbundlertänze op. 6 - Einfach
Schumann
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6.
Davidsbundlertänze op. 6 - Sehr rasch [und in sich hinein]
Schumann
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7.
Davidsbundlertänze op. 6 - Nicht schnell [Mit äußerst starker Empfindung]
Schumann
00:04:56   Select quality & channels above
8.
Davidsbundlertänze op. 6 - Frisch
Schumann
00:01:03   Select quality & channels above
9.
Davidsbundlertänze op. 6 - Lebhaft [Hierauf schloß Florestan und es zuckte ihm schmerzlich um die Li
Schumann
00:01:32   Select quality & channels above
10.
Davidsbundlertänze op. 6 - Ballademäßig, Sehr rasch
Schumann
00:01:23   Select quality & channels above
11.
Davidsbundlertänze op. 6 - Einfach
Schumann
00:02:17   Select quality & channels above
12.
Davidsbundlertänze op. 6 - Mit Humor
Schumann
00:00:39   Select quality & channels above
13.
Davidsbundlertänze op. 6 - Wild und lustig
Schumann
00:03:02   Select quality & channels above
14.
Davidsbundlertänze op. 6 - Zart und singend
Schumann
00:02:39   Select quality & channels above
15.
Davidsbundlertänze op. 6 - Frisch
Schumann
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16.
Davidsbundlertänze op. 6 - Mit gutem Humor
Schumann
00:01:25   Select quality & channels above
17.
Davidsbundlertänze op. 6 - Wie aus der Ferne
Schumann
00:03:43   Select quality & channels above
18.
Davidsbundlertänze op. 6 - Nicht schnell [Ganz zum Überfluß meinte Eusebius noch Folgendes; dabei sp
Schumann
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19.
Arabeske op. 18
Schumann
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20.
Gesänge der Fruhe op. 133 - Im ruhigen Tempo
Schumann
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21.
Gesänge der Fruhe op. 133 - Belebt, nicht zu rasch
Schumann
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22.
Gesänge der Fruhe op. 133 - Lebhaft
Schumann
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23.
Gesänge der Fruhe op. 133 - Bewegt
Schumann
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24.
Gesänge der Fruhe op. 133 - Im Anfange ruhiges, im Verlauf bewegteres Tempo
Schumann
00:03:28   Select quality & channels above

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