Two months before his death in 1828, Franz Schubert wrote three final piano sonatas which form the high point of his piano oeuvre. Above all, the A major Sonata, D 959 is characteristic of Schubert’s highly individual handling of sonata form. Figured themes, episodic extensions, but also...more
"Hisako Kawamura legt ein Diskus-Debüt hin, an dem alles stimmt, was nur stimmen kann: Es ist manuell perfekt, musikalisch klangschön, ausgewogen und flüssig, und sogar die beträchtlichen gestalterischen Hürden werden von ihr mit sozusagen lächelnder Selbstverständlichkeit genommen. Für sich betrachtet also eine fabelhaft runde Sache, und auch die Aufnahme des ungewohnt weich intonierten Kawai-Flügels lässt keine Wünsche offen." (Fono Forum)
Two months before his death in 1828, Franz Schubert wrote three final piano sonatas which form the high point of his piano oeuvre. Above all, the A major Sonata, D 959 is characteristic of Schubert’s highly individual handling of sonata form. Figured themes, episodic extensions, but also rhythmic wit, bold outbursts and perfect proportions make it a Schubertian delicacy. Despite the high musical value of his compositions, the Viennese master’s production was already forgotten a few years after his death.
It was Robert Schumann who persistently pushed for a revival of the “great” C major Symphony of Schubert, thus turning the attention of the musical world towards the Viennese composer. Schumann also occupied himself intensively with sonata form: his “Faschingsschwank aus Wien” (Carnival Jest from Vienna) is an original attempt at an alternative to the sonata cycle. Outwardly continuing the idea of a series of character pieces that he had realised in “Carnival,” Schumann is less concrete in this work; it is marked by abrupt contrasts, varying between effervescent lightness and inward-looking reflection, wandering harmonies, passionate, fantasy-like expression and high virtuosity. Schumann follows his own advice in this sonata-in-disguise: “So go ahead and write sonatas or fantasias (what does the name matter?), but don’t forget the music, and implore the rest from the good genius.”
The pianist Hisako Kawamura, born in Japan and living in Germany, has won prizes at renowned international competitions. She won first prizes at the “Concours Clara Haskil” in Vevey, the “A. Casagrande International Piano Competition” in Terni, the “G.B. Viotti International Music Competition” in Vercelli and the “Chopin Competition” in Darmstadt; in addition she became laureate at the “Concours Géza Anda” in Zurich, the “ARD International Music Competition” in Munich and the “Queen Elisabeth International Music Competition” in Brussels. Numerous concert engagements have taken her through Germany, Europe and Japan. On the occasion of the Schumann anniversary audite presents her impressive debut recording as a redesigned digipack with new cover picture.
1838/39, als Robert Schumann in Wien lebte, war Franz Schubert bereits soMehr lesen
This disc showcases an artist who holds promise for the future. In thisMehr lesen
The sound is excellent and, in SACD mode, there is an added openness and clarity. Hisako Kawamura was born in Japan in 1981 and is now based inMehr lesen
The debut recording for Hisako Kawamura (b. 1981), a pupil of VladimirMehr lesen
Hisako Kawamura, die bei Vladimir Krainjew in Hannover studiert, legt ein Diskus-Debüt hin, an dem alles stimmt, was nur stimmen kann: Es ist manuellMehr lesen
Born in Japan in 1981, Hisako Kawamura was raised and trained in GermanyMehr lesen
Lauréate de plusieurs concours internationaux, la pianiste HisakoMehr lesen
Sur un grand piano de concert Kawai EX, Hisako Kawamura a choisi de se présenter aux mélomanes avec le si peu enregistré Carnaval de Vienne deMehr lesen
Mit knapp 23 Jahre hat die in Japan geborene, in Deutschland lebende HisakoMehr lesen
Cela commence à venir... Audite met un peu de temps avant d'apprivoiser laMehr lesen