SCHUMANN R. FANTASIE, WALDSZENEN, FANTASIESTUCKE / S.Richter piano (1959, 1956)

Robert Schumann - Fantasy for Piano in C major, Op. 17 30:24

1. Allegro fantastico e con passione (Durchaus phantastisch und leidenschaftlich vorzutragen) 12:58

2. Moderato, ma energico (Mässig. Durchaus energisch) 6:40

3. Andante sostenuto e sempre mezza voce (Langsam getragen. Durchweg leise zu halten) 10:45

Robert Schumann - Waldszenen, Op. 82 20:04

4. Eintritt im Walde (Eintritt im Walde) 1:56

5. Jäger aud der Lauer (Jäger aud der Lauer) 1:06

6. Einsame Blumen (Einsame Blumen) 1:59

7. Verrufene Stelle (Verrufene Stelle) 3:16

8. Freundliche Landschaft (Freundliche Landschaft) 1:08

9. Herberge (Herberge) 2:17

10. Vogel als Prophet (Vogel als Prophet) 2:39

11. Jagdlied (Jagdlied) 2:08

12. Abschied (Abschied) 3:31

Robert Schumann - Fantasiestücke, Op. 12 (Selection) 21:07

13. Des Abends (Des Abends) 00:04:05

14. Aufschwung (Aufschwung) 00:02:46

15. Warum? (Warum?) 00:03:15

16. In der Nacht (In der Nacht) 00:03:42

17. Traumes Wirren (Traumes Wirren) 00:02:04

18. Ende vom Lied (Ende vom Lied) 00:05:12

19. Robert Schumann - Marsch in G minor from Cycle Märsche, Op. 76 3:16

Sviatoslav Richter piano

Mono live recording, 1959 (1-3), mono studio recording, 1956 (4-18)

In 1950 Prague (the Prague Spring festival) was the destination of the first-ever foreign tour of the then 35-year-old piano genius Sviatoslav Richter. Later on the city had the fortune to host him on several more occasions. The recording of Schumann's

Fantasy in C major, released here for the first time, comes from the recital at Prague's Rudolfinum in November 1959, only a few months before Richter's first triumphal tour of the USA and Canada. The composer's painfully subdued lamentation and rent

soul, owing to continuous barriers to love with his future wife Clara, finds in Richter a more than emphatic interpreter. The imaginative poetic miniatures Waldszenen (Forest Scenes) date from the period when Schumann was at the very height of his powers.

Gathering together all his creative strength and in anticipation of the impending end, he hurled himself into one work after another. In the 1956 recording, it is as if Richter entered not the half-light of the forest, but rather the mind of the composer

itself. Also dating from 1956 is the recording of Fantaziestücke (Fantasy Pieces), the most poetic of all Schumann's series, as well as Fier Märsche (Four Marches) from 1849.

(Supraphon 2008)