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Emile Naoumoff - Schumann: Carnaval Op. 9, Fantasie Op. 17 & Mondnacht Op. 39 No. 5 (2022) Hi-Res

Emile Naoumoff - Schumann: Carnaval Op. 9, Fantasie Op. 17 & Mondnacht Op. 39 No. 5 (2022) Hi-Res

BAND/ARTIST: Emile Naoumoff

  • Title: Schumann: Carnaval Op. 9, Fantasie Op. 17 & Mondnacht Op. 39 No. 5
  • Year Of Release: 2022
  • Label: Melism
  • Genre: Classical
  • Quality: FLAC 16/24 Bit (44,1 KHz / tracks+booklet)
  • Total Time: 76:13 min
  • Total Size: 245 / 622 MB
  • WebSite:
Tracklist:

1. I. Durchaus phantastisch und leidenschaftlich vorzutragen - Im Legendenton
2. II. Mässig, durchaus energisch - Etwas bewegter - Viel bewegter
3. III. Langsam getragen - Durchweg leise zu halten - Etwas bewegter
4. Liederkreis, Op. 39- V. Mondnacht (Zart, heimlich) [Arr. for Piano Solo]
5. No. 1. Préambule (Quasi maestoso - Animato - Presto)
6. No. 2. Pierrot (Moderato) - No. 3. Arlequin (Vivo) - No. 4. Valse noble (Un poco maestoso)
7. No. 5. Eusebius (Adagio - Più lento molto teneramente)
8. No. 6. Florestan (Passionato) - No. 7. Coquette (Vivo) - No. 8. Replique (L'istesso tempo)
9. No. 9a. Sphinxes - No. 9b. Papillons (Prestissimo) - No. 10. Lettres dansantes (Presto)
10. No. 13. Estrella (Con affetto - Più presto molto espressivo) - No. 14. Reconnaissance
11. No. 16. Valse allemande (Molto vivace) - No. 17. Paganini (Intermezzo. Presto)
12. No. 18. Aveu (Passionato) - No. 19. Promenade (Con moto)
13. No. 20. Pause (Vivo precipitandosi) - No. 21. Marche des Davidsbündler contre les Philistins

The great Bulgarian pianist and composer of Greek origin Emile Naoumoff who was Nadia Boulanger’s last disciple, continues his collaboration with the Parisian label Melism Records presenting a recital entirely dedicated to Schumann’s music. The program consists of two cornerstone works of German Romanticism, the Carnaval, Op. 9, a cycle of 21 “scènes mignonnes” set on four notes, and the Fantasie in C Major, Op. 17.

In the Carnaval, Schumann once more explores his imaginary characters inspired by those of Jean Paul, such as the contrasting personalities of Eusebius and Florestan, in a whirlwind of poetic atmospheres. In the Fantasie, Schumann uses Beethoven as his model, while also declaring his passion for Clara Wieck. The initial theme in C Major is inspired by the initial two letters of Clara’s first name through the German notes nomenclature’s C-A. It is undoubtedly one of the German composer’s greatest works where Emile Naoumoff offers his signature Finale’s coda, in the tradition of the ninetieeth century’s performance practices.


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