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NI 5916
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NI 5916

Schumann: Cello Concerto & Works for Cello & Piano

The Classical Shop
release date: July 2014

Originally recorded in 2013


Sudwestdeutsches Kammerorchester Pforzheim

Niklas Willen

Raphael Wallfisch



Christopher Tarnow

Record Label




Total Time - 75:10
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Concerto in A minor for 'cello & string orchestra Op.129 (1850)

  Version by Arthur H Lilienthal (2008)  
1 I Nicht zu schnell Not too fast 10:43
2 II Langsam - Etwas lebhafter - Tempo I Slow - A bit quicker - Tempo I 3:54
3 III Sehr lebhaft - Schneller Very lively - Quicker 8:00
 Raphael Wallfisch cello
  Niklas Willen
  Works for Cello & Piano  

Stücke im Volkston Op.102 (1849)

4 I 'Vanitas vanitatum 'Mit Humor 'Vanity, vanity, all is vanity' With attitude 3:25
5 II Langsam Slow 3:36
6 III Nicht schnell, mit viel Ton zu spielen Not fast, to be played with full tone 3:56
7 IV Nicht zu rasch Not too quick 2:04
8 V Stark und markirt Strong and markes 3:13

Romanzen Op.94 (1849)

9 I Nicht schnell Not quick 3:14
10 II Einfach, innig Simple, heartfelt - A bit quicker 3:43
11 III Nicht schnell Not quick 3:58

Phantasiestücke Op.73 (1849)

12 I Zart und mit Ausdruck Tender and expressive 3:27
13 II Lebhaft, leicht Lively, light 3:21
14 III Rasch und mit Feuer - Schneller Fast and fiery - Quicker 4:17

Adagio und Allegro Op.70 (1849)


'Mondnacht' Liederkreis Op.39 No.5 (1840)


'Frühlingsnacht' Liederkreis Op.39 No.12 (1840)

  Arrangements by John York  
  TT 75:10      
  'Concerto', 19 September 2013, Recorded in St Laurentius-Kirche, Amthof, Oberderdigen, Germany  
  'Duos', 11 April 2014, Recorded by Nimbus Records at Wyastone Leys, Monmouth, UK  

 The latest work on this album is the Cello Concerto in A minor from 1850. In the worrying years leading to the composer’s death he was having trouble getting works published but a welcome approach came in 1853 from the publishing house Breitkopf with a fee of 20 Louis d’or for a few of Schumann’s latest pieces, including the cello concerto which they particularly liked. The composer tantalizingly offered them a version with string quintet, and a piano reduction along with a full orchestral score, but the last two never materialized. Raphael Wallfisch was inspired by this intriguing concept and he asked the distinguished Swiss composer Arthur Lilienthal to adapt the full score for strings. The result, heard on this recording, and which Raphael has performed many times in concert, lends fresh clarity and lightness to the texture, allowing the soloist even more freedom, especially at the low dynamic levels the composer calls for. Raphael has played it with very small orchestras, often without conductor, which emphasizes even more the pure chamber qualities of this wonderful work.

With that in mind it seemed highly appropriate to place the concerto in the context of Schumann’s other works for cello (the Stücke im Volkston), together with the exquisite pieces written for single instrument and piano; ‘songs without words’ in the vein of his friend Felix Mendelssohn.
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