Schumann-Forum-Gespräch vom 6.7.2016 im Schumannhaus Bonn. Sir András Schiff, seit 2013 Mitglied im Schumann-Forum spricht mit Prof. Dr. Bernhard Appel, langjähriger Editionsleiter der Schum
Was für ein sagenhaft tiefgründiges Gespräch ist doch das. 🥰 Ich bin beeindruckt, wie Prof. Appel seinem Gast alle Zeit lässt, die gestellte Frage breit zu beantworten, und ihn nie unterbricht. So kann András Schiff wirklich von seiner Erfahrung und seinem immens reflektierten Zugang zur Musik berichten und die Zuhörenden mit auf eine faszinierende Reise in den Kosmos von Schumanns Musik mitnehmen.
Jaikee Berlin : I understand that it is important to know German for this, but many of us do not and are too old to return to school. Subtitles would be a kind and generous gift to us, as well as indicating tolerance of our short-comings.
@@quaver1239 You don't need to go to school in order to learn a new language. See Steve Kaufmann (or lingosteve) in RU-vid. And, no, it is not a filthy scam that pretends to get your money.
Quite easy to follow auf Deutsch, for non Germans. Maestro-Schiff spricht auch Englisch, Russisch, Ungarisch und wahrscheinlich Italienisch. Ein Mann der Kultur. Er spielt kein Klavier, sondern benutzt sein Instrument, um wahre Musik und Poesie zu schaffen. Ich habe ihn zweimal im Konzert gehört. It took me several weeks to get over it, each time.
Why don't you learn German instead? It's much easier, it's fun, and doesn't entail violence. In addition, it will help you appreciate Schumann's music. It would be an intellectual revolution, of sorts.
Alain Bruguieres in that case, one would have to spend a lifetime learning the language, develop vocabulary for this intellectual discussion, and by then probably the guy would no longer be interested in listening to anyone’s views on music.
Here is - as long announced and promised - the translation of the conversation's transcript into English: www.forum.schumann-portal.de/transcript-in-english.html
@Cephyron - also, ich bekam auf meinem Mail-Eingang die Nachrichten von RU-vid über Ihre Anmerkungen, aber im Posteingang ist keine direkte Mail von Ihnen, obwohl die Mailbox nicht voll ist. Rätselhaft!
Schiff is one of my most favourite pianists, poets of the piano. I agree with him about first versions. Fortunately both versions of the Davidsb. dances are published. I remember a sharp dissonance in one of the pices - a D sharp and Sch.unfortunately eliminated it but on has the choice of going back to it. Schiff's interpretation of the Davids B dances is a must hear. It swept me off my feet. There is alll the fury of the Davidians against the philistines and a matching tender lyricism. Radu Lupu lso gave a wonderful performance of the Dances in Verona. Although I knew every note in the cycle it sounded like a new work to me which had more in common with Paul Klee than with the Schumann imitators. With titles I don't agree 100%. Schummn got irritated when people associated titles too closely with the music. He said he wrote the piece first and then gave them titles as an indication of the character for pianists.
As a Schumann fan I notice some serious mistakes that even great pianists make. I'll pick out one such mistake in the piece called Am Kamin - At the Fireside. The middle section contains a three note downward moving motive which goes first to G minor, then to A minor, the it comes out in the treble and makes the recap come back as a surprise. Delightful humour, it transforms the whole piece. With most even great pianists it isn't heard and is merely a part of the harmony. I can hear Clara calling to her pupils, "Can't you hear the horn here?" Her pupil, Fanny Davies does brings out this voice but rather timidly. After all, Schiff says Schumann was a contrapuntal pianist. This is Bach reborn. I'm not sure about the original titles of the Phantasie. It contains riches that go far beyond those titles. As Oscar Wilde said, "If there is one thing music doesn't sound like, it's the German language.' (Don't take the joke too seriously)
Another mistake has to do with speed.. Schumann's lyricism is fleeting and should not be dragged out sentimentally as so many pianists do with Dreaming in the Childscenes. This is NOT the speed Schumann desired, or Clara, whose metronome makes it really fast, though her pupuls tell us she did not take it that fast. I have heard the first piece of Phantasiestuecke op. 12 dragged out so slowly that it becomes unbearable. The melody calls for movement, it should be Andante if not Andante con moto.
@@MichaelTLam - Unfortunately my la huge volume of Schumann''s piano works has gone to pieces so it is somewhat hard for me to find that sharp. The D, .Dances were published in two versions, the first and the second. I am not musically stupid so if I saw a dissonant sharp in the first version, I saw it and that t was removed in the second version. I can't remember which piece it came up in but knowing that what I say is correct I'm not gong to kill myself trying to find it. Have a look yourself f you have the two versions, THE DISSONANCE IS THERE.
Wie geht das??? Ich habe bisher immer nur die Videos von unseren Schumann-Gesprächen bzw. Gesprächskonzerten hochgeladen und mich mit anderem mangels Bedarf nicht beschäftigt. Wenn Sie mir das schnell und einfach erläutern und es fix funktioniert, mache ich das neben meiner Arbeit am Buch über Ilona Eibenschütz, einer späten Lieblingsschülerin von Clara Schumann noch heute Abend.
@Cephyron - Danke! Ich werde noch einmal bei Ihnen nachfragen, wie das genau funktioniert, wenn ich mit meinem aktuellen Buchprojekt über Ilona Eibenschütz fertig bin ....
12:01 ist bezeichnend für dieses Interview. "Wissen Sie warum?" " Nein." Herr Schiff ist der Praktiker, Herr Appel hat die Bücherwände im Hintergrund als Referenz und Stütze. Und wenn das Gespräch Tiefgründigkeit erlangt, Frau oder Herr @oneirdaathnaram1376, dann nur Dank Herrn Schiff. Professoren wie Herrn Appel hatte ich auch an der Hochschule für Kirchenmusik. 1987. Deren Profession bestand darin, das Metronom einzustellen.
Michael Gordon Because did you know that actually that was the original ending of the Fantasie in the original manuscript by Schumann. Liszt had acquired the original manuscript and it was retrieved in Budapest back in the 1970's by András Schiff at the instigation of Charles Rosen. Schiff has recorded both versions - the original and the one that remains today that is commonly played.
RoberTVShow genre gnarly Ghent fended s hfl k gag sjs sfs shd the fa sfs sd gemstone es hfl s GA s fjord sd sfs sss hjgh sssssssssssss bend ssjsssssssssssss dB ssssssssjssssssssssss Ghent sd fl dsssd GE gent jsjjss th sjk hjgh sk fed shd jsjssssssns gsfssssssns fl sjs gb ssjsss hjgh ssjsss FM sfs hjgh sjd hjgh sjhss sfs ssss hjgh shh ssss dhl jss hjgh ghost jsjssj hjgh ssss fg ssf shrinks sss am hsssdsss gb ssssssss shh ssssssjsssssss shh sssssshssssssssss shh ssssssdjsssssjsssshsssss hjgh djssssshssssssssss shh sjssshssssssssssssssshssssssssssssssssksssssssssss shh jssssssssssssss shd ssgsssssssssssjsssssssssssssssss shh sssssjs hjgh ssjsssssssssssj ssjsss kssjss gb sssss shh sjss gas hsshsssssj hfl jsssssssssssssssss shh sssjssd GA theft sk hjgh d dharma sfkdkkks Ghent sjs hfl jshss HD gshs k hjgh dssj dgkdkkks s FM hjgh s gshs dB s/ghat sssss gb ssss gb s gnome hjgh d gshs sjs s HD hjgh sssjss hssgsssssj gshs glad HD gents FM k hjgh s gb dd gb ssss fg/HD k BB
Was für eine dröge Runde. Das liegt sicher nicht an Herrn Schiff. Prof. Appel sollte den Part des Moderators und Interviewers lieber denen überlassen, die das können. Fast schon köstlich, der gelangweilte Blick von Schiff in der Einleitung ... 😂
NS: was heutzutage in Ungarn passiert...., gefällt mir jedoch auch sehr! NNS: Es wird m.E. hierzulande gar nicht gewürdigt, was wir Deutschen den Ungarn zu verdanken haben!