Robert Schumann: Bassoon & Piano

Matthias Rácz, bassoon; Yu Kosuge, piano
Fünf Stücke im Volkston, Op. 102;
Adagio und Allegro, Op. 70;
Drei Romanzen, Op. 94;
Drei Fantasiestücke, Op. 73;
Waldszenen, Op. 82
Bit by bit, Robert Schumann systematically explored each musical genre and form. After predominantly fragmentary experiments in various genres, he concentrated almost exclusively on works for solo piano until 1840, turning to Lieder later in 1840, symphonies in 1841, and chamber music in 1842 and again from 1847. During his years in Dresden (1844-1850), Schumann occupied himself with adapting the pianistic character piece to the domain of chamber music. Here too one is struck by the composers systematic procedure. After completing the Forest Scenes op. 82, Schumann opened this spate of chamber music pieces in February 1849 with the Fantasy Pieces op. 73 for clarinet and piano, and the Adagio and Allegro op. 70 for horn and piano. These were followed by the Pieces in Folk Style op. 102 for cello and piano in April 1849 and the Three Romances for Oboe and Piano op. 94. The current recording unites compositions from the close of the Dresden chapter of Robert Schumanns life, and provides new and exciting sound prospects through their performance on the bassoon. At the age of 21 Matthias Rácz (b. 1980) was already the principal bassoonist of the Gürzenich Orchestra of Cologne, and from 2003 he has had the same position in the Tonhalle Orchestra in Zurich. In addition he plays principal bassoon in Abbados Lucerne Festival Orchestra. Rácz is accompagnied by Yo Kosuge (b. 1983), one of the most respected young pianists in the world.