Schumann: The Complete Works for Piano, Vol. 6 Cédric Pescia

• Robert Schumann (1810 - 1856): Kreisleriana, Op. 16:
• 1 Kreisleriana, Op. 16: I. Äußerst bewegt 02:41
• 2 Kreisleriana, Op. 16: II. Sehr innig und nicht zu rasch 08:56
• 3 Kreisleriana, Op. 16: III. Sehr aufgeregt 04:17
• 4 Kreisleriana, Op. 16: IV. Sehr langsam 03:31
• 5 Kreisleriana, Op. 16: V. Sehr lebhaft 03:13
• 6 Kreisleriana, Op. 16: VI. Sehr langsam 03:09
• 7 Kreisleriana, Op. 16: VII. Sehr rasch 02:02
• 8 Kreisleriana, Op. 16: VIII. Schnell und spielend 03:37
• Vier Fugen, Op. 72:
• 9 Vier Fugen, Op. 72: I. Fuge 1 - Nicht schnell 04:18
• 10 Vier Fugen, Op. 72: II. Fuge 2 - Sehr lebhaft 02:04
• 11 Vier Fugen, Op. 72: III. Fuge 3 - Nicht schnell und sehr ausdrucksvoll 04:08
• 12 Vier Fugen, Op. 72: IV. Fuge 4 - Im mäßigen Tempo 02:19
• Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3:
• 13 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: I. Caprice No. 1 02:33
• 14 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: II. Caprice No. 2 02:52
• 15 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: III. Caprice No. 3 01:33
• 16 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: IV. Caprice No. 4 02:39
• 17 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: V. Caprice No. 5 02:45
• 18 Etudes pour le pianoforte d'après les Caprices de Paganini, Op. 3: VI. Caprice No. 6 01:44
• Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10:
• 19 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: I. Etude No. 1 02:37
• 20 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: II. Etude No. 2 03:24
• 21 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: III. Etude No. 3 02:33
• 22 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: IV. Etude No. 4 06:54
• 23 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: V. Etude No. 5 02:26
• 24 Etudes de concert pour le pianoforte d'après les Caprices de Paganini, Op. 10: VI. Etude No. 6 04:26
• Toccata, Op. 7:
• 25 Toccata, Op. 7: Allegro 05:12
• Scherzo, Gigue, Romanze und Fughette, Op. 32:
• 26 Scherzo, Gigue, Romanze und Fughette, Op. 32: I. Scherzo 02:31
• 27 Scherzo, Gigue, Romanze und Fughette, Op. 32: II. Gigue 01:06
• 28 Scherzo, Gigue, Romanze und Fughette, Op. 32: III. Romanze 02:52
• 29 Scherzo, Gigue, Romanze und Fughette, Op. 32: IV. Fughette 02:07
• Exercices sur un thème de Beethoven WoO 31:
• 30 Exercices sur un thème de Beethoven WoO 31: I. B7 00:42
• 31 Exercices sur un thème de Beethoven WoO 31: II. C1. Un poco maestoso 00:51
• 32 Exercices sur un thème de Beethoven WoO 31: III. C2 00:28
• 33 Exercices sur un thème de Beethoven WoO 31: IV. C3 00:41
• 34 Exercices sur un thème de Beethoven WoO 31: V. A6. Passionato 00:45
• 35 Exercices sur un thème de Beethoven WoO 31: VI. C4. Molto moderato 01:15
• 36 Exercices sur un thème de Beethoven WoO 31: VII: C5 01:56
• 37 Exercices sur un thème de Beethoven WoO 31: VIII. A11. Legato teneramente 00:57
• 38 Exercices sur un thème de Beethoven WoO 31: IX. B5. Cantando 00:46
• 39 Exercices sur un thème de Beethoven WoO 31: X. C6. Presto 00:44
• 40 Exercices sur un thème de Beethoven WoO 31: XI. B4 00:45
• 41 Exercices sur un thème de Beethoven WoO 31: XII. A7. Idee aus Beethoven 01:10
• 42 Exercices sur un thème de Beethoven WoO 31: XIII. A10. Prestissimo 00:35
• 43 Exercices sur un thème de Beethoven WoO 31: XIV. C7 00:58
• 44 Exercices sur un thème de Beethoven WoO 31: XV. B3 01:48
• Vier Märsche, Op. 76:
• 45 Vier Märsche, Op. 76: I. Mit größter Energie 03:32
• 46 Vier Märsche, Op. 76: II. Sehr kräftig 03:39
• 47 Vier Märsche, Op. 76: III. Lagerszene. Sehr mäßig 03:11
• 48 Vier Märsche, Op. 76: IV. Mit Kraft und Feuer 04:19
• Sonaten für die Jugend Op. 118, Sonata No. 1 in G Major:
• 49 Sonaten für die Jugend Op. 118, Sonata No. 1 in G Major: I. Allegro. Lebhaft 01:52
• 50 Sonaten für die Jugend Op. 118, Sonata No. 1 in G Major: II. Thema mit Variationen. Ziemlich langsam 02:02
• 51 Sonaten für die Jugend Op. 118, Sonata No. 1 in G Major: III. Puppenwiegenlied. Nicht schnell 01:27
• 52 Sonaten für die Jugend Op. 118, Sonata No. 1 in G Major: IV. Rondoletto. Munter 02:26
• Sonaten für die Jugend Op. 118, Sonata No. 2 in D Major:
• 53 Sonaten für die Jugend Op. 118, Sonata No. 2 in D Major: I. Allegro. Lebhaft 04:36
• 54 Sonaten für die Jugend Op. 118, Sonata No. 2 in D Major: II. Canon. Lebhaft 00:59
• 55 Sonaten für die Jugend Op. 118, Sonata No. 2 in D Major: III. Abendlied. Langsam 01:19
• 56 Sonaten für die Jugend Op. 118, Sonata No. 2 in D Major: IV. Kindergesellschaft. Sehr lebhaft 03:13
• Sonaten für die Jugend Op. 118, Sonata No. 3 in C Major:
• 57 Sonaten für die Jugend Op. 118, Sonata No. 3 in C Major: I. Allegro. Im Marschtempo 03:45
• 58 Sonaten für die Jugend Op. 118, Sonata No. 3 in C Major: II. Andante. Ausdrucksvoll 01:58
• 59 Sonaten für die Jugend Op. 118, Sonata No. 3 in C Major: III. Zigeunertanz. Schnell 01:22
• 60 Sonaten für die Jugend Op. 118, Sonata No. 3 in C Major: IV. Traum eines Kindes. Sehr lebhaft 03:36
• Total Runtime 02:32:06

Info zu Schumann: The Complete Works for Piano, Vol. 6

The great pretender: The works recorded here offer a chronological cross-section of just about the whole piano oeuvre of Robert Schumann. The earliest work here is the Toccata op. 7 – originally entitled ‘Exercice’, and conceived in about 1830 when Schumann was still a student of law in Heidelberg, but desperate to abandon legal drudgery and embark on a career as an artist. He completely reworked it two years later, at roughly the same time that he wrote his Paganini Etudes opp. 3 and 10 and the Exercices on a theme of Beethoven. By now, Schumann was a pupil of the famed piano teacher Friedrich Wieck in Leipzig with the intention of becoming a concert pianist (the same Wieck whose daughter Clara he later married). All these works are testament to Schumann’s desire to explore aspects of piano virtuosity. The Toccata in particular is fiendishly difficult. The pianist’s hands constantly move contrariwise and back in a manner that seems to defy logic, and even the fingers of the individual hands often do the same. Then there are cross-accents and odd phrase lengths that confuse the ear into losing all sense of bar line. Schumann long remained proud of this work, though contemporaries later recalled that when he played it himself, he did so at a modest tempo.

Cédric Pescia, piano

Cédric Pescia
pianist of dual French and Swiss nationality, was born in Lausanne. He studied with Christian Favre at the Conservatoire de Musique in Lausanne, later with Dominique Merlet at the Conservatoire de Musique in Geneva where he earned a Premier Prix de Virtuosité with honors and completed his studies with Klaus Hellwig at the Universität der Künste in Berlin.

In addition he has studied with Pierre-Laurent Aimard, Daniel Barenboim, Henri Barda, Dietrich Fischer-Dieskau, Ivan Klansky, Christian Zacharias, Ilan Gronich and with the Alban Berg Quartet. From 2003 until 2006 he was invited to attend the famous International Piano Academy, Lake Como (Italy) where he worked with Dimitri Bashkirov, Leon Fleisher, William Grant Naboré, Menahem Pressler, Andreas Staier and Fou Ts´ong.

Cédric Pescia was the brilliant First Prize Winner (Gold Medalist) at the 2002 Gina Bachauer International Artists Piano Competition in Salt Lake City (USA).

Concert tours have taken him throughout Europe, China, South America, North Africa and in the USA. He has performed at the Berlin Philharmonie, the Berlin Konzerthaus, the Hamburg Laieszhalle, the Mozarteum Salzburg, Carnegie Hall New York, Shanghai Oriental Arts Center, Wigmore Hall London, Tonhalle Zürich, Vienna Konzerthaus and has appeared in leading music festivals such as: Prague Spring Festival, Lucerne Festival, Menuhin Festival-Gstaad, Schleswig-Holstein Musik Festival, Sommets Musicaux de Gstaad, Davos Festival, Festival de Radio France et Montpellier, Les Muséiques Basel and Schubertiade Hohenems.

His orchestral appearances have been with the Orchestre de la Suisse Romande, the Orchestre de Chambre de Lausanne, the Orchestra Sinfonica di Milano Giuseppe Verdi, the Utah Symphony, the Festival Strings of Luzern, the Orchestra della Svizzera Italiana, the Ensemble Oriol Berlin, the Klassische Philharmonie Bonn, the Camerata Bern, the Basler Kammerorchester, the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, the Göttinger Symphonie Orchester and the Orchestre National de Lille.

In addition to his activities as a soloist, his love for chamber music regularly leads to performances with other eminent musicians. For many years Cédric Pescia has been working in close collaboration with violinist Nurit Stark.

He is founding member and artistic director of the Lausanne chamber music series Ensemble enScène.

In 2005 and 2007 he served as a jury member in the Clara Haskil Competition in Vevey.

He is giving master classes in the USA and in Europe, a.o. at the prestigious Accademia Pianistica Internazionale \"Incontri col Maestro\" in Imola, Italy.

In 2012 he was appointed professor for piano at the Haute Ecole de Musique de Genève.

In 2007, Cédric Pescia was honoured with the Prix Musique de la Fondation Vaudoise pour la culture. He was a also a prizewinner at the Bourse de la Fondation Leenaards in Lausanne. The duo Nurit Stark (violin) and Cédric Pescia is supported by the Forberg-Schneider Foundation.

For Claves Records, he has recorded Bach\'s Goldberg Variations, Schumann\'s complete works for piano solo (vol. 2 + vol. 5) and a CD of French music featuring Couperin, Messiaen and Debussy, F. Busoni\'s and G. Enescu\'s Violin and Piano Sonatas with Nurit Stark, as well as Beethoven\'s Piano sonatas op. 109, 110 and 111, six CDs which were unanimously acclaimed by the critics. His new recording John Cage : Sonatas and Interludes for prepared piano is released by Aeon.

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