By Jacob Stockinger
It’s not as if the music of Robert Schumann (1810-1856) hasn’t found a secure place in the repertoire. His piano music, chamber music, songs and orchestral music are all pretty standard fare and are performed and heard often.
And yet Robert Schumann (below, in a photo from 1850), who started out as a music critic and would-be concert pianist before turning to composing, still remains an enigmatic figure whose personal life and musical compositions offer many mysteries to explore. This is especially true of the role of his mental illness and the quality of his late-life compositions.
Two weeks ago, NPR and its terrific blog “Deceptive Cadence” offered a mini-seminar on Schumann. It used many audio samples, including playing and insightful commentary by the contributor Jonathan Biss (below, in a photo by Jillian Edelstein) and others, including Maurizio Pollini, Sviatoslav Richter, Andras Schiff and Radu Lupu.
The young American pianist has recorded several outstanding CDs for EMI of major solo piano works of Schumann. His latest release is a terrific new recording of Schumann’s upbeat and extroverted Piano Quintet, coupled with Dvorak’s Piano Quintet, with the Elias String Quartet for the Onyx label).
Biss has also just published an outstandingly informative and personally revealing e-book on Schumann called “A Pianist Under the Influence” (below, $1.99 at amazon.com). Biss has also launched a season-long major project and international 30-concert tour — called “Schumann: Under the Influence” — of performing Schumann’s works with other instrumentalists and singers.
Biss also played the piano for NPR, which offers samples on its website.
HERE ARE THE SELECTIONS OR TOPICS OF THE WEEK-LONG EXPLORATION, IN ORDER FROM TOP TO BOTTOM EQUALING FIRST TO LAST. THE EAR LEARNED A LOT ABOUT SCHUMANN AND HOPES YOU DO TOO.
Five Things You Didn’t Know About Schumann, with some audio samples to highlight the discussion:
Pianist and Schumann enthusiast Jonathan Biss Shoots Down Schumann Detractors:
How the Schumann’s (below) – Robert Schumann and Clara Wieck — used an unusual joint written Journal more than conversation to communicate:
How Schumann created and furthered a Culture of Musical Nostalgia:
I love Schumann’s sense of bittersweet melody and harmony, his sense of longing and search for belonging, and have many favorite pieces.
But perhaps my most favorite work is the second section of “Kreisleriana,” which is about his longing for Clara before they were married and which was dedicated to Chopin. (Chopin dedicated his Ballade No. 2 to Schumann, and Chopin’s career was launched early by published praise from Schumann, who was writing as a critic.)
Perhaps because I heard it early on, I find the performance by Martha Argerich particularly moving. Here is that movement performed by Argerich. (Biss’ outstanding and beautiful recording of the complete “Kreisleriana,” which runs to more than 33 minutes, is also available on YouTube.):
By Jacob Stockinger
Yesterday I explained that I had not replied to so many kind and generous reader comments because I was recently out of the country on vacation for a two-week visit to family. But I did not say where.
That’s no surprise, I suppose, in hindsight. There were beautiful, well-cared-for flowers everywhere, bright colored and beautiful flowers in window boxes (below), in house gardens, in public parks, even in traffic roundabouts. I have seen similar sights in France and even in the city of Marquette, in the Upper Peninsula of Michigan. But nothing compared with Germany. The world could use more flowers.
Of course, there is a lot of classical music that evokes flowers, especially songs.
But I first heard the lovely and melodic Schumann piece during a performance by Vladimir Horowitz, who programmed it often. It reminds of the same composer’s charming “Arabesque,” Novelettes” and “Night Pieces” as well as some sections of his suites made up of the suite “Scenes of Childhood,” “Kreisleriana,” “Fantasy Pieces” and “Carnaval.”
Schumann (below, in a photo from 1850) was one of the composers with the greatest gift for evoking nature – the French composer Debussy also excelled – and when you see the flowers of his native land, you understand their influence on him. (You can also find other readings, including one by the great Russian pianist Sviatoslav Richter, on YouTube.)
So, here is the great Vladimir Horowitz playing Schumann’s “Blumenstuck” in New Haven in the 1960s, in an interpretation that was a bit more lively and engaging, to my taste, than a later one in the mid-1970s.
I hope you enjoy it with the same pleasure that both the music and its original inspiration gave me:
By Jacob Stockinger
In any case, if you are looking for pieces of classical music to play or listen to that are appropriate to celebrate Valentine’s Day, you have a lot of choices.
The Ear can think of specific pieces by Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Brahms, Verdi, Wagner, Tchaikovsky, Rachmaninoff, Dvorak, Faure and Poulenc, to name just a few of my favorites.
Many of them composed “romances” or pieces that could easily pass as a romance, some embodying requited love and some embodying unrequited love.
But I still think that the one composer who should be most identified with Valentine’s Day is Robert Schumann (1810-1856 and below in a photo from around 1850).
His deep and endless longing for Clara Wieck (with him, below), the young concert pianist who eventually became his wife — and after his death his champion — against the vociferous objections of her father, is palpable so much of his music in just about every form or genre including solo piano music, songs, chamber music and symphonic works.
In fact, I think one can argue that Schumann’s uncanny ability to capture love and passion in memorable and great sound makes him THE central Romantic composer of them all. Love and longing infuse his works.
I offer the following favorite Schumann moments as evidence, examples or case studies:
First, the slow movement from Schumann’s Piano Quartet:
Now, the second movement from his piano suite “Kreisleriana”:
Then there is the second of his Three Romances, the one in F-sharp major, for solo piano:
And from the song cycle “A Woman’s Life and Loves,” “Du, Ring an Meinem Finger” (You, Ring on My Finger):
And from the song cycle “Dichterliebe” (A Poet’s Loves), “Ich grolle nicht” (I won’t complain):
And then there is the magnificently poetic Piano Concerto, which is filled throughout its three movements with great moments of longing.
Here is a short but touching and memorable story about the role that the Schumann Piano Concerto played in two college students’ romance, courtship and love life:
And here is the opening of the first movement of that same Piano Concerto, dedicated to my own Valentine: I love you. Always have and always will.