This is the last in a short series of albums covering Robert Schumann's three piano trios and three major concertos, with one of each paired on each release. All the recordings use period instruments with gut strings; the piano is from the 1840s, and in the concertos the three dozen players of the Freiburg Baroque Orchestra are probably close to what Schumann would have heard. Except for the ubiquitous Piano Concerto in A minor, Op. 54, the concertos are not well known, and the question of exactly how Schumann's inner ...
Read More
This is the last in a short series of albums covering Robert Schumann's three piano trios and three major concertos, with one of each paired on each release. All the recordings use period instruments with gut strings; the piano is from the 1840s, and in the concertos the three dozen players of the Freiburg Baroque Orchestra are probably close to what Schumann would have heard. Except for the ubiquitous Piano Concerto in A minor, Op. 54, the concertos are not well known, and the question of exactly how Schumann's inner circle experienced them is one that holds growing fascination. The Violin Concerto, WoO 23, was suppressed by Clara Schumann at Joseph Joachim's direction, but she was delighted with the Cello Concerto, Op. 129, heard here, even though the general reception of the work was negative. "The most interesting interweaving of cello and orchestra is really quite thrilling!" Clara opined, and this small-scale performance brings it out in a way that one by a full-scale symphony orchestra cannot....
Read Less
