Grand Piano Masters: Dreamscenes

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Grand Piano Masters: Dreamscenes 1:16:35 $17.98
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# Track Title Length Format Sample Rate Price
1 Mazurka No. 30 in G major, Op. 50, No. 1 2:47 $2.49 Buy
2 Mazurka No. 31 in A flat major, Op. 50, No. 2 3:03 96/24 Album only
3 Mazurka No. 32 in C sharp minor, Op. 50, No. 3 5:11 96/24 Album only
4 Mazurka No. 5 in B flat major, Op. 7, No. 1 3:02 96/24 Album only
5 No. 1. Des Abends 3:57 96/24 Album only
6 No. 2. Aufschwung 2:47 $2.49 Buy
7 No. 3. Warum? 1:58 96/24 Album only
8 No. 4. Grillen 2:51 96/24 Album only
9 No. 5. In der Nacht 3:47 96/24 Album only
10 No. 6. Fabel 2:22 96/24 Album only
11 No. 7. Traumes Wirren 2:33 $2.49 Buy
12 No. 8. Ende vom Lied 5:17 96/24 Album only
13 I. Allegro maestoso 10:09 96/24 Album only
14 II. Andante espressivo 9:46 96/24 Album only
15 III. Scherzo: Allegro energico 4:33 96/24 Album only
16 IV. Intermezzo (Ruckblick): Andante molto 3:32 96/24 Album only
17 V. Finale: Allegro moderato ma rubato 9:00 96/24 Album only

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© ℗ 2011 K&K Verlagsanstalt

"Through evening's shade, the pale moon gleams - While rapt in love's ecstatic dreams - Two hearts are fondly beating," quoted Johannes Brahms above the notes for the "Andante" in the Piano Sonata No.3. This excerpt of a poem by C.O. Sternau (a pseudonym of Otto Inkermann) characterizes the mood of this piece, which had a large contribution to the fame of the young composer. Written in 1853 this poetic sonata marks the end of a cycle of three sonatas. Likewise, it was the last tune the 20-year-old composer submitted to Robert Schumann for commentary. Robert Schumann himself described Brahms in an article titled "Neue Bahnen" (New Paths) in October 1853 as "a man with a calling" who was "destined to give ideal expression to the times".

Accordingly, Magdalena Mullerperth has prepended of the Brahms-Sonata, which filled the second part of her recital in the lay refectory of Maulbronn monastery on June 4th 2011, a creation of significance for the compositions of the romantic era: the cycle Fantasy Pieces for Piano, Opus 12 by Robert Schumann. Inspired by a collection of novellas by E.T.A. Hoffmann, called Fantasiestucke in Callots Manier, it seems that Schumann had the characters "Florestan" and "Eusebius" in mind - two characters he created for representing the duality of his personality: Eusebius depicts the dreamer and Florestan represents Schumann's passionate side. The virtual dialogue between both characters during the movements ends in the piece "End of the Song," which Schumann has described in a letter to his wife Clara: "Well in the end it all resolves itself into a wedding..." Before these literary-inspired compositions full of poetic pictures and dream scenes by Schumann and Brahms, Magdalena Mullerperth introduced the concert with five dances by one of her personally favourite composers Frederic Chopin, in continuation to her first published recital which included Chopin's Impromptus Nos. I-III and the Fantaisie-Impromptu, Op.66. Chopin's Mazurkas are based on a traditional Polish folk dance in triple meter with an accent on the third or on the second beat, called Mazurek. Chopin started composing his Mazurkas in 1825, and continued composing them until 1849, the year of his death.