The program of this album presents an interesting anthology of arrangements for cello and piano of works written by Schumann for other instruments. This is a completely legitimate choice, since in some cases the Zwickau composer left it to the performers to choose which instrument to use between the clarinet, oboe and cello. In particular, the three Romanzas op. 94 were originally conceived for oboe and piano, but the arrangement by the famous 19th-century cellist Friedrich Grützmacher clearly demonstrates that the cello is also capable of better expressing its intense lyricism. The same discourse can be extended to the Sonata op. 105, in which the melancholic sounds of the cello admirably replace the higher timbre of the violin. The program is completed with Bach's Suite No. 3 for Solo Cello, to which Schumann added a piano part. As they already demonstrated in the first volume (Bril 94150), Francesco Dillon and Emanuele Torquati are the ideal interpreters of this wonderful repertoire. Francesco Dillon, cello
https://dvdstorespain.es/en/music/106690-musique-pour-violoncelle-et-piano-vol2-cd-de-audio-emanuele-torquati-and-robert-schumann-5028421943282.html106690Musique Pour Violoncelle Et Piano /Vol.2 [CD de audio] Emanuele Torquati and Robert Schumann<div id="productDescription" class="a-section a-spacing-small"><br/><p><span>Festlicher Marsch, Aufschwung, Trauermarsch, <span translate="no">JS</span> Bach: Suite n.3 BWV 1009, Sarabande - The program of this album presents an interesting anthology of arrangements for cello and piano forte of opera written by Schumann for other instruments. If it is a legitimate scelta, seeing that in some cases the composer of Zwickau lasciò agli interpreti la scelta su quale strumento impiegare tra il clarinetto, l'oboe e il violoncello. Più in particolare, the three Romanze op.94 vennero concepite in origine per oboe e pianoforte, ma l'arrangiamento del famous ottocentesco cellist Friedrich Grützmacher demostra al di là di ogni dubbio che also il violoncello è in degree di primerne al meglio l'intenso lyricism. The most discourso is the Sonata op.105, in which the malinconiche sonority of the cello is egregiously replaced by the most acute timbre of the violin. The program is complete from Suite n. 3 for solo cello by Bach, alla quale Schumann added a part for pianoforte. Come now and show us in the primo volume (BRIL 94150), Francesco Dillon ed Emanuele Torquati if we show the ideal interpretation of this wonderful repertorio.Francesco Dillon, cello</span></p></div><div id="lista_canciones"><h4> List of topics </h4><div id="music-tracks" class="a-section a-spacing-small"><div class="a-row"><div class="a-column a-span3"><table class="a-bordered a-spacing-none"><tr><td> 1</td><td> Nicht Schnell</td></tr><tr><td> 2</td><td> Einfach, Innig - Etwas Lebhafter</td></tr><tr><td> 3</td><td> Nicht Schnell</td></tr><tr><td> 4</td><td> Mit Leidenschaftlichem Ausdruck</td></tr><tr><td> 5</td><td> Allegretto</td></tr><tr><td> 6</td><td> Lebhaft</td></tr><tr><td> 7</td><td> Festlicher Marsch</td></tr><tr><td> 8</td><td> Aufschwung</td></tr><tr><td> 9</td><td> Trauermarsch</td></tr><tr><td> 10</td><td> Prélude</td></tr><tr><td> eleven</td><td> German</td></tr><tr><td> 12</td><td> Courant</td></tr><tr><td> 13</td><td> Sarabande</td></tr><tr><td> 14</td><td> Bourrée I</td></tr><tr><td> fifteen</td><td> Bourrée II</td></tr><tr><td> 16</td><td> Gigue</td></tr><tr><td> 17</td><td> Sarabande</td></tr></table></div></div></div></div>https://dvdstorespain.es/613327-home_default/musique-pour-violoncelle-et-piano-vol2-cd-de-audio-emanuele-torquati-and-robert-schumann.jpg5.2066instockBrilliant Classics5.20665.2066002023-04-01T01:59:17+0200/Start/Start/Music/Start/New
Festlicher Marsch, Aufschwung, Trauermarsch, JS Bach: Suite n.3 BWV 1009, Sarabande - The program of this album presents an interesting anthology of arrangements for cello and piano forte of opera written by Schumann for other instruments. If it is a legitimate scelta, seeing that in some cases the composer of Zwickau lasciò agli interpreti la scelta su quale strumento impiegare tra il clarinetto, l'oboe e il violoncello. Più in particolare, the three Romanze op.94 vennero concepite in origine per oboe e pianoforte, ma l'arrangiamento del famous ottocentesco cellist Friedrich Grützmacher demostra al di là di ogni dubbio che also il violoncello è in degree di primerne al meglio l'intenso lyricism. The most discourso is the Sonata op.105, in which the malinconiche sonority of the cello is egregiously replaced by the most acute timbre of the violin. The program is complete from Suite n. 3 for solo cello by Bach, alla quale Schumann added a part for pianoforte. Come now and show us in the primo volume (BRIL 94150), Francesco Dillon ed Emanuele Torquati if we show the ideal interpretation of this wonderful repertorio.Francesco Dillon, cello