Schumann Elisabeth Leonskaja
- Robert Schumann (1810 - 1856): Variations on the name "Abegg" in F Major, Op. 1:
- 1Variations on the name "Abegg" in F Major, Op. 1: Thema – Animato00:48
- 2Variations on the name "Abegg" in F Major, Op. 1: Variation I01:23
- 3Variations on the name "Abegg" in F Major, Op. 1: Variation II01:09
- 4Variations on the name "Abegg" in F Major, Op. 1: Variation III01:02
- 5Variations on the name "Abegg" in F Major, Op. 1: Variation IV. Cantabile01:11
- 6Variations on the name "Abegg" in F Major, Op. 1: Finale alla Fantasia. Vivace02:46
- Papillon, Op. 2:
- 7Papillon, Op. 2: Introduzione00:10
- 8Papillon, Op. 2: No. 100:40
- 9Papillon, Op. 2: No. 2. Prestissimo00:21
- 10Papillon, Op. 2: No. 300:48
- 11Papillon, Op. 2: No. 4. Presto00:46
- 12Papillon, Op. 2: No. 501:04
- 13Papillon, Op. 2: No. 600:54
- 14Papillon, Op. 2: No. 7. Semplice00:56
- 15Papillon, Op. 2: No. 801:11
- 16Papillon, Op. 2: No. 9. Prestissimo00:49
- 17Papillon, Op. 2: No. 10. Vivo02:00
- 18Papillon, Op. 2: No. 1103:37
- 19Papillon, Op. 2: No. 12. Finale02:00
- Symphonic Etudes, Op. 13:
- 20Symphonic Etudes, Op. 13: Thema – Andante 01:29
- 21Symphonic Etudes, Op. 13: Variation I01:47
- 22Symphonic Etudes, Op. 13: Variation II02:17
- 23Symphonic Etudes, Op. 13: Variation III01:43
- 24Symphonic Etudes, Op. 13: Variation IV03:28
- 25Symphonic Etudes, Op. 13: Variation V03:24
- 26Symphonic Etudes, Op. 13: Thema – Andante 01:28
- 27Symphonic Etudes, Op. 13: Etude I. Un poco più vivo01:20
- 28Symphonic Etudes, Op. 13: Etude II03:17
- 29Symphonic Etudes, Op. 13: Etude III. Vivace01:30
- 30Symphonic Etudes, Op. 13: Etude IV00:53
- 31Symphonic Etudes, Op. 13: Etude V01:24
- 32Symphonic Etudes, Op. 13: Etude VI. Agitato01:03
- 33Symphonic Etudes, Op. 13: Etude VII. Allegro molto01:46
- 34Symphonic Etudes, Op. 13: Etude VIII. Presto possibile02:16
- 35Symphonic Etudes, Op. 13: Etude IX00:43
- 36Symphonic Etudes, Op. 13: Etude X01:22
- 37Symphonic Etudes, Op. 13: Etude XI02:14
- 38Symphonic Etudes, Op. 13: Etude XII (Finale). Allegro brillante07:34
- Theme and Variations in E-Flat Major WoO 24 "Geistervariationen":
- 39Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Theme – Leise, innig01:52
- 40Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Variation I01:41
- 41Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Variation II. Canonisch01:48
- 42Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Varation III. Etwas belebter02:08
- 43Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Variation IV01:53
- 44Theme and Variations in E-Flat Major WoO 24 "Geistervariationen": Variation V02:50
- Piano Sonata No. 1 in F-Sharp Minor, Op. 11:
- 45Piano Sonata No. 1 in F-Sharp Minor, Op. 11: I. Un poco adagio – Allegro vivace13:38
- 46Piano Sonata No. 1 in F-Sharp Minor, Op. 11: II. Aria. Senza passione, ma espressivo02:55
- 47Piano Sonata No. 1 in F-Sharp Minor, Op. 11: III. Scherzo. Allegrissimo05:46
- 48Piano Sonata No. 1 in F-Sharp Minor, Op. 11: IV. Finale. Allegro un poco maestoso13:15
- Piano Sonata No. 2 in G minor, Op. 22:
- 49Piano Sonata No. 2 in G minor, Op. 22: I. So rasch wie möglich07:38
- 50Piano Sonata No. 2 in G minor, Op. 22: II. Andantino. Getragen04:44
- 51Piano Sonata No. 2 in G minor, Op. 22: III. Scherzo. Sehr rasch und markiert02:03
- 52Piano Sonata No. 2 in G minor, Op. 22: IV. Rondo06:52
Info for Schumann
This recording of Schumann’s piano works by Elisabeth Leonskaja relates to three aspects of the composer’s character: his multiple personalities, his love of cryptograms and musical enigmas, and his passionate belief in spiritualism. Schumann was born in 1810 and lived through a crucial period in the union of metaphysics, philosophy, magic and music. These influences were especially important in the creation of his last works, perhaps more so than many musicologists and experts would recognise or consider.
The climax of this double cd is Elisabeth Leonskaja’s interpretation of the Symphonic Etudes Op.13, one of the most magnificent works of the piano repertoire.
What makes this presentation special is its new approach and beginning, based on the sketches and earlier draft-versions. Clara, who was responsible for the first complete publication (Breitkopf & Härtel), confessed in 1873, "I've copied some symphonic etudes for Simrock found among Robert's unpublished drafts, which he wanted to be printed as appendices. I was against the idea at the beginning, but many have insisted so strongly that I have finally given in." (Simrock 1873, Oeuvre posth., Suite de l‘Oeuvre 13).
This recording puts its audience in the position of opting for either the earliest emanation of a work in progress – something like a fragment of a visionary idea never allowed to reach fruition – or for an exemplary performance in the shape of a concise and distinctive mature version.
Elisabeth Leonskaja, piano
has long been among the most celebrated pianists of our times. In a world dominated by commercial media, she has remained true to herself and to music, in the tradition of great Russian musicians such as David Oistrakh, Sviatoslav Richter and Emil Gilels. Like them, she has always stood for the quintessence of music even under the most difficult political conditions. And like them, she has never been interested in showy appearances. On stage, however, she overwhelms the audience with the power of the music; this has been the substance and the goal of her life.
Born into a Russian family in Tbilisi, Elisabeth Leonskaja gave her first concerts at the age of eleven. While still a student at the Moscow Conservatory, she won prizes at major international piano competitions, including the Enescu Prize, the Marguerite Long-Jacques Thibaud Competition and the Queen Elisabeth of Belgium Prize. Her musical development was decisively influenced by her collaboration with Sviatoslav Richter who recognized her exceptional talent and encouraged her by inviting her to play duo concerts with him. This musical and personal friendship continued until Richter’s death in 1997.
Leonskaja left the Soviet Union in 1978 and made Vienna her home. Since then, she has performed as soloist with the world’s finest orchestras and has worked with many renowned conductors. She is a regular guest at numerous international festivals, such as the Wiener Festwochen, the Schleswig-Holstein Music Festival, the Schuertiade Schwarzenberg, the Spring Festival Tokyo and the December Nights in Moscow. Her name is also to be found among international recitalists in the most prominent piano series of major musical centers oft he world from Paris to Vienna to Melbourne.
In addition to her many solo engagements, chamber music remains an important part of her work. She has performed many times with string quartets, such as the Belcea, Borodin Artemis and Jerusalem quartets. She also had a longstanding musical friendship with the Alban Berg Quartet, and their piano quintet recordings are legendary.
Numerous LPs and CDs bear witness to the pianist’s high artistic level, and her recordings have repeatedly been awarded prizes. The most recent appeared on eaSonus (www.easonus.com). “Paris”, with works by Ravel, Enescu and Debussy, was named the Solo Recording of the Year 2014 by the ICMA Jury. “Saudade”, an homage to Russian culture with works by Tchaikovsky, Shostakovich and Rachmaninoff, was released in November 2017. A complete recording of Franz Schubert’s piano sonatas in two volumes of four CDs each has been available since April 2016 and May 2019 respectively. A double-CD with variations and sonatas by Robert Schumann followed in January 2020.
In her second homeland, Austria, Elisabeth Leonskaja is an honorary member of the Vienna Konzerthaus. In 2006 she was awarded the Austrian Cross of Honor for Science and Art, First Class, for her outstanding service to the culture of the country. It is the highest award in Austria. In Georgia, she was named Priestess of Art in 2016, this country’s highest artistic honor. In 2020 she received the International Classical Music (ICMA) Lifetime Achievement Award.