Schumann & Brahms: Piano Works Piano Chandos

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ROBERT SCHUMANN

(1810-1856)

Fantasiestucke, Op. 12 (1837)

29:13

(Fantasy Pieces)

Miß Anna Robena Laidlaw zugeeignet

Des Abends (Evening). Sehr innig zu spielen

3:37

Aufschwung (Soaring). Sehr rasch

3:24

Warum? (Why?). Langsam und zart

2:44

Grillen (Whims). Mit Humor

3:45

In der Nacht (In the Night). Mit Leidenschaft - Etwas langsamer -

4:29

Tempo I

Fabel (Fable). Langsam - Schnell - Langasm - Schnell -

2:46

Tempo I [Schnell] - Langsam

Traumes Wirren (Restless Dreams). Äußerst lebhaft

2:47

Ende vom Lied (The End of the Story).

5:33

Mit guten Humor - Etwas lebhafter - Tempo I

JOHANNES BRAHMS

(1833-1897)

Theme and Variations (1859)

10:29

in D minor - in d-Moll - en ré mineur

from String Sextet No. 1, Op. 18 (1859-60)

in B flat major - in B-Dur - en si bémol majeur

Arranged by the composer for solo piano

Für Clara Schumann gesetzt: Zum 13. September 1860 als freundlichen Gruß

Andante, ma moderato

ROBERT SCHUMANN

Kreisleriana, Op. 16 (1838)

35:43

Fantasien

(Fantasies)

Seinem Freunde Herrn F. Chopin zugeeignet

10.

Äußerst bewegt

2:53

11.

Sehr innig und nicht zu rasch - Adagio - Intermezzo I.

10:19

Sehr lebhaft - Erstes Tempo - Adagio - Intermezzo II. Etwas bewegter - Langsamer (erstes Tempo) - Adagio - Erstes Tempo

12.

Sehr aufgeregt - Etwas langsamer - Erstes Tempo -

5:19

Noch schneller

13.

Sehr langsam - Bewegter - Erstes Tempo - Adagio

3:50

14.

Sehr lebhaft

3:02

15.

Sehr langsam - Etwas bewegter - Erstes Tempo

4:38

16.

Sehr rasch - Noch schneller - Etwas langsamer

2:22

17.

Schnell und spielend

3:16

75:32

23-26 July 2012

"... Cooper is equally at home in the variations Brahms transcribed from his String Sextet Op 18, but the prize of this disc is the Schumann, where a distinguished pianist shows us exactly how this “difficult” music should go..."

Paul Schott - Limelight magazine.com - 10 July 2013

“This is a very promising start to a proposed series of the complete piano works of Schumann; the next volume I eagerly await. The piano sound (Steinway Model D (579 072)) is well-focused, and the spacious, airy acoustic of the Concert Hall, Snape Maltings is an excellent complement. ” Stephen Greenbank – MusicWeb-International.com – April 2013

Stephen Greenbank – MusicWeb-International.com – April 2013

“... Cooper is a fine pianist (I love her Mozart) and she delivers careful readings of the music hat are by no means too careful or cautious The sound is exquisite and the musicianship deeply affecting ... ”

Rob Haskins – American Record Guide – July/August 2013

“Imogen Cooper, in the current recital, leans more towards the poetic, the more inwardly effusive aspects of Schumann’s music; here in dealing with the composer’s fantasy works as both the Fantasiestücke, Op 12 and Kreisleriana, subtitles Fantasien are - she seems to be right at home. Throughout the recital she maintains a lovely lyrical sense in the music one should look no further than Cooper’s extremely fine recital here.”

Scott Noriega – Fanfare – July/August 2013

Interpretation ***** Sound ***** Repertoire *****

Carsten Dürer – Piano News – May/June 2013

International Piano Choice

“ Imogen Cooper has produced quite a gem. The repertoire is beautifully choosen ”

Jessica Duchen – International Piano magazine – May/June 2013

"In her first studio recording for some years, embarking on a new relationship with Chandos Records, Imogen Cooper turns her attention to the echt-Romantic Robert Schumann. It is an auspicious start, and as well as confirming Cooper to be an imaginative, warm-hearted and compelling musician, it reveals a special affinity for Schumann’s distinctive dual personality of introverted dreamer and extroverted man of action She has been beautifully recorded in the spacious acoustic of Snape Maltings." ****

Tim Parry - SinfiniMusic .com- 20 March 2013

“... Cooper proves a sympathetic guide. Others may make this music sound more virtuosic but she projects the turbulence of the fifth of the Fantasiestücke without making it overwrought, and steers a poised course through the contrasting numbers of Kreisleriana.” ****

Andrew Clements – The Guardian – 22 March 2013

Instrumental Choice

Performance ***** Recording *****

“ Throughout this superlative recital, Imgogen Cooper’s artistic sensibility – highly personal, interpretatively penetrating, yet never didactic – reflect a sympathy with the music so intimate and compelling that it seems for the most part to transcend the very concept of interpretation The sound here is positively luminous.”

Jeremy Siepmann – BBC Music magazine – April 2013

IRR Outstanding

“This is one of the finest solo piano recordings I have heard for some time Cooper’s immaculate technique and excellent sense of proportion reinforce her deep, cultured musicality in performances which are wholly exceptional in my experience: such clarity of detail and architectural understanding are to be greatly admired. Her immaculate pianism and thoughtful musicianship are a constant source of wonder throughout this disc, consistently placed at the service of the music and its composer The recording quality is extremely well balanced, with excellent clarity and range; the result is a disc which deserves to form a part of any self-respecting collector’s library. The booklet notes by Nicholas Marston are notably fine; in every respect this is a quite outstanding release.”

Robert Matthew-Walker – International Record Review – March 2013

“...This has to be one of my records of the year...”

Peter Spaull – Liverpool Daily Post – February 2013

"Cooper is finely recorded and Nicholas Marston’s detailed notes are an added bonus."

Bryce Morrison - Gramophone magazine - March 2013

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