His recordings tend to come few and far between, so it's especially exciting to be able to welcome these transcendent interpretations back into the catalog.
Deutsch Friedrich Wieck was, as Schumann discovered, the father-in-law from hell. As history relates, his efforts came to nothing, and love triumphed. While apart during that long tour inRobert and Clara wrote constantly to one other, and from Schumann streamed a succession of piano works, not least Kinderszenen, the most touching recollection of childhood.
The forest that it explores was a subject close to the heart of any self-respecting Romantic, be they writer, poet, artist or musician. Its appeal lay in its contrast: Certainly, in Waldszenen this is no objective foray into the woods but a very personal reaction to this imagined landscape; and equally striking is the sense that each piece represents just a shard of a larger experience, an aural snapshot, if you will.
On the whole it is the more bucolic aspect that Schumann explores, though these pieces are not without darker shadows. And while they may be technically fairly straightforward, their changeability calls for the quickest of reactions and a wealth of subtle nuance. But the wind now blows several degrees chillier, the subject matter is darker and more oblique and the piano writing is deceptively treacherous, many of the difficulties far from overt.
And it was as part of the fifth volume of this publication dating from that three of the pieces that became parts of On the overgrown path first saw the light of day. However, they had by this point become mood pieces rather than straightforward arrangements of folksongs.
One of the striking aspects about this cycle is the titles themselves. Yet those proved to be no more than an interim thought: Frequently pieces within On the overgrown path begin disarmingly but are emotionally derailed, within the briefest of spans. Though it returns to its initial mood, it is now uneasy, its equilibrium shattered by the outburst.
This may be a reminiscence of childhood visits to the famed Madonna, who had been the subject of pilgrimages for centuries.
In this musical evocation, the hymn tune traditionally sung by pilgrims is heard approaching and then receding, as the faithful disappear into the distance. A greater sense of calm is achieved only at the end—though it may be emotional exhaustion rather than repose. The melody that then appears, triple piano in the right hand and marked espressivo, is built from that left-hand line, the flickering motif now also, in the alto register, tracing the interval of a third.
During the hot summer nights that angelic being lay in such mortal anguish. The barn owl had long been associated with bad omens, from the Ancient Greeks onwards. What comes next is quite unexpected—a chordal theme, faintly religious in its overtones, that moves the music from minor-key instability to a major-key reassurance.
It ends with a final reference to the call of the barn owl, its lack of resolution entirely in keeping with the cycle as a whole and leaving the listener with a profound sense of disquiet.
Mais il y a plus: Er schrieb an Clara: Mit Abschied scheint sich die Unschuld des Anfangs wieder einzustellen und es wird dem Wald ein ergreifendes Lebewohl gesagt. Die dann erklingende Melodie hat ein dreifaches Piano in der rechten Hand und eine als espressivo markierte Linie in der linken, und das flimmernde Motiv erscheint nun in Altlage und zeichnet zudem ein Terzintervall nach.
Die Schleiereule ist schon von den alten Griechen als schlechtes Omen verstanden worden.Schumann wrote his Kinderszenen in Ashetold Clara, he had composed thirty little pieces, and from these he selected a baker's dozen, all of them designed to express an adult's reminiscence of childhood, or, as he said in a letter to Clara a reflection of her comment that he sometimes seemed to .
Robert Schumann (8 June – 29 July ) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era, and left an array of acclaimed music in virtually all the forms then known. Jun 30, · Enter your email address to follow this blog and receive notifications of new posts by email.
Join other followers. Schumann then turned his attention to multi-instrumental composition, producing the Piano Concerto, Piano Quintet and Symphonies Nos. 1, 2 and 4.
Following the Cello Concerto and Rhenish Symphony (both ), there was a marked decline in Schumann's creative powers and . Mailing list. Sign up to our Presto Classical mailing list to find out all the latest news, reviews and special offers. Whereas Schumann composed the Album for the Young for children, his Scenes from Childhood (Kinderszenen) are reflections of childhood for adults.
Like many of his character pieces, Schumann notes that the 13 selections in this set.