Claire Huangci - Piano Heroines (2026) [Hi-Res]

Artist: Claire Huangci
Title: Piano Heroines
Year Of Release: 2026
Label: Alpha Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:14:35
Total Size: 222 MB / 1.13 GB
WebSite: Album Preview
Tracklist:Title: Piano Heroines
Year Of Release: 2026
Label: Alpha Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:14:35
Total Size: 222 MB / 1.13 GB
WebSite: Album Preview
1. Hensel: Capriccio in B Minor, H. 349: I. Andante (1:31)
2. Hensel: Capriccio in B Minor, H. 349: II. Allegro molto (3:58)
3. Hensel: Das Jahr, H. 385: No. 2, February. Scherzo (2:42)
4. Hensel: Das Jahr, H. 385: No. 5, May. Frühlingslied (2:28)
5. Hensel: Das Jahr, H. 385: No. 6, Juni. Serenade (4:44)
6. Hensel: Das Jahr, H. 385: No. 9, September. Am Flusse (2:42)
7. Beach: Fantasia Fugata, Op. 87: I. Allegro vigoroso (1:54)
8. Beach: Fantasia Fugata, Op. 87: II. Fuga. Allegro moderato (3:16)
9. Beach: Cradle Song of the Lonely Mother, Op. 108 (3:56)
10. Beach: Four Sketches, Op. 15: No. 1, In Autumn (2:09)
11. Beach: Four Sketches, Op. 15: No. 2, Phantoms (1:47)
12. Beach: Four Sketches, Op. 15: No. 3, Dreaming (4:29)
13. Beach: Four Sketches, Op. 15: No. 4, Fire-Flies (2:48)
14. Wieck: Soirées musicales, Op. 6: No. 2, Notturno (3:57)
15. Wieck: Quatre pièces caractéristiques, Op. 5: No. 2, Caprice à la Boléro (3:26)
16. Wieck: Quatre pièces caractéristiques, Op. 5: No. 4, Scène fantastique - Le Ballet des revenants (4:12)
17. Wieck: Piano Concerto in A Minor, Op. 7: II. Romanze (3:40)
18. Wieck: Soirées musicales, Op. 6: No. 6, Polonaise (3:13)
19. Price: Fantasie Nègre No. 2 in G Minor (6:24)
20. Price: Meditation (2:14)
21. Price: Waltz of the Spring Maid (3:12)
22. Price: Your Hands in Mine (2:59)
23. Price: Cotton Dance (3:04)
After a 'spellbinding' album for Alpha devoted to her American roots (Alpha1071), pianist Claire Huangci now celebrates female composers, acknowledging: ‘The realities these women faced are difficult to imagine for any modern woman in the field.’ Clara Wieck (who became Schumann after her marriage to Robert in 1840) was a mother of eight and the main breadwinner, constantly on tour. Fanny Hensel composed largely in private, often publishing under her brother’s name. Amy Beach’s career was practically silenced during her marriage; only upon her husband’s death did she return to the stage. Florence Price faced both racial and gender discrimination and later raised two children alone. Across the centuries, the voices of these women reach us thanks to musicians like Claire: 'In their music, we don’t just hear history. We hear transformation. Heroines is my way of listening back—and adding my voice to theirs.'