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- 000 02272cjm a2200337 a 4500
- 008 151009s2015 enkvrnne n zxx d
- 028 02 |a CHAN 10874 |b Chandos
- 028 02 |a 10874 |b Chandos
- 040 __ |a TDF |b eng |c TDF |d OCLCO |d TEF |d AP
- 100 1_ |a Schumann, Robert, |d 1810-1856.
- 245 11 |a 'Abegg variations' |h [compact disc] : |b Davidsbündlertänze ; Novelletten, op. 21, nos. 2 and 8 ; 'Geistervariationen' / |c Robert Schumann.
- 260 __ |a Essex, England : |b Chandos, |c p2015.
- 300 __ |a 1 sound disc (CD) : |b digital ; |c 4 3/4 in. + |e issued with booklet (39 p.)
- 505 0_ |a Novellette, op. 21 (book IV), no. 8 (11:57) -- Davidsbündlertänze, op. 6 (36:13) -- Novellette, op. 21 (book 1), no. 2 (6:34) -- Thème sur le nom Abegg varié pour le pianoforte, op. 1 (8:56) -- Variationen über ein eigenes Thema, WoO 24, F. 39 (11:54).
- 511 0_ |a Imogen Cooper, piano.
- 520 __ |a This album includes the Davidsbündlertänze which Imogen Cooper describes as a 'work of stirring beauty and humour that make it one of the great romantic masterpieces for the piano'. It also illustrates the journey between two sets of variations: Schumann's first published and last composed piano pieces. While the 'Abegg' is 'virtuosic, extroverted, challenging to play, and charming', the Geistervariationen are 'introverted and sparse, with a deep but elusive emotion'. Finally, in the two Novelletten Imogen Cooper reveals what she calls the 'hidden narrative filaments to be discovered' in Schumann's music; this requires 'a skill which is very necessary in the interpretation of scores that frequently appear disjointed and illogical'.
- 650 _0 |a Variations (Piano)
- 700 1_ |a Cooper, Imogen.
- 700 12 |a Schumann, Robert, |d 1810-1856. |t Thème sur le nom Abegg varié.
- 700 12 |a Schumann, Robert, |d 1810-1856. |t Davidsbündlertänze.
- 700 12 |a Schumann, Robert, |d 1810-1856. |t Novelletten, |n op. 21. |n No. 2.
- 700 12 |a Schumann, Robert, |d 1810-1856. |t Novelletten, |n op. 21. |n No. 8.
- 700 12 |a Schumann, Robert, |d 1810-1856. |t Variationen über ein eigenes Thema.