Uploaded March 2025 | Updated September 2026, 2 hours ago
Robert Schumann - Davidsbündlertänze, Op.6
Performer: Wilhelm Kempff
Heft Ⅰ:
00:00 - 1. Lebhaft
01:29 - 2. Innig
02:58 - 3. Mit Humor
04:29 - 4. Ungeduldig
05:18 - 5. Einfach
07:08 - 6. Sehr rasch
09:12 - 7. Nicht schnell
12:56 - 8. Frisch
13:59 - 9. Lebhaft
Heft Ⅱ:
15:42 - 10. Balladenmäßig - Sehr rasch
17:20 - 11. Einfach
19:07 - 12. Mit Humor
19:58 - 13. Wild und lustig
23:16 - 14. Zart und singend
26:14 - 15. Frisch
28:11 - 16. Mit gutem Humor
30:09 - 17. Wie aus der Ferne
34:34 - 18. Nicht schnell
Robert Schumann - Davidsbündlertänze, Op.6
Performer: Wilhelm Kempff
Heft Ⅰ:
00:00 - 1. Lebhaft
01:29 - 2. Innig
02:58 - 3. Mit Humor
04:29 - 4. Ungeduldig
05:18 - 5. Einfach
07:08 - 6. Sehr rasch
09:12 - 7. Nicht schnell
12:56 - 8. Frisch
13:59 - 9. Lebhaft
Heft Ⅱ:
15:42 - 10. Balladenmäßig - Sehr rasch
17:20 - 11. Einfach
19:07 - 12. Mit Humor
19:58 - 13. Wild und lustig
23:16 - 14. Zart und singend
26:14 - 15. Frisch
28:11 - 16. Mit gutem Humor
30:09 - 17. Wie aus der Ferne
34:34 - 18. Nicht schnell
![Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253
Performer: Yi-Chung Huang
The manuscript of the Grand Concert Fantasy upon Spanish Themes is dated ‘Lisbonne, 2 Février, [18]45’, but the work was not published until after Liszt’s death. It appeared in 1887, with a dedication to Liszt’s first biographer, Lina Ramann. We do not know why Liszt kept this piece to himself for so many years, but he must have thought about it quite late in life to apply the dedication. The later Spanish Rhapsody shares one theme with the piece, and an unfinished manuscript in Weimar also contains some material in common. The present enormous piece is based upon three melodies: a fandango, which is heard in an opening flamboyant fantasy, and will be recognized immediately by anyone who recollects the third act of Mozart’s Figaro; the Jota aragonesa, encountered in a number of famous musical homages to Spain and here treated in a slow and rhapsodic manner; and a cachuca, which first appears as a subsidiary melody to the jota, and then returns—after further development of the fandango—as a section in its own right and at the proper tempo, now with fragments of the jota which eventually gains supremacy in the coda. Franz Liszt - Grosse Concert-Phantasie über spanische Weisen, S253](https://i.ytimg.com/vi/QEoXCri_yok/mqdefault.jpg)









