Schumann: Fantasiestücke, Op. 12 (reference recording: Sviatoslav Richter / Remastered)

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Robert Schumann (1810-1856) Fantasiestücke, Op. 12
00:00 I. Des Abends. Sehr innig zu spielen (2024 Remastered, Prague 1956)
04:11 II. Aufschwung. Sehr rasch (2024 Remastered, Prague 1956)
07:03 III. Warum? Langsam und zart (2024 Remastered, Prague 1956)
10:24 V. In der Nacht. Mit Leidenschaft (2024 Remastered, Prague 1956)
14:12 VII. Traumes Wirren. Äußerst lebhaft (2024 Remastered, Prague 1956)
16:19 VIII. Ende vom Lied. Mit gutem Humor (2024 Remastered, Prague 1956)

Piano: Sviatoslav Richter
Recorded in 1956, at Prague
New mastering in 2024 by AB for https://classicalmusicreference.com/
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Irmgard Knechtges-Obrecht: "Des Abends opens the cycle tenderly and lyrically, with an uninterrupted, shimmering flow of triplets. Set against this is a melodically transparent piano texture in which a syncopated line proceeds in duple motion. The peculiarly floating character thus achieved is followed, in complete contrast, by the lively, almost passionate upswing of Aufschwung. Rhythmic tension here is underscored by a powerfully animated melodic writing.

More introverted in character is Warum?, whose questioning, upward-directed opening figure permeates the entire piece. Grillen appears lively and in a dance-like three-quarter time, and is followed by what is likely the most elaborate composition of the collection. In der Nacht, laid out in four sections, begins dramatically and incorporates elements reminiscent of Chopinesque nocturnes as well as features of sonata-form. A calm, songful middle section is only briefly able to suspend the stormy passion.

The subsequent Fabel smooths all waves with its balanced manner, flowing in a quiet dialogue, before in Traumes Wirren a tension-laden atmosphere again builds—rhythmically pointed and with virtuosic piano writing. As a humorous retrospect—one that should nevertheless not blunt all the drama—Schumann shapes Ende vom Lied.

“...in the end everything dissolves into a merry wedding — but at the very end came again the pain about you, and thus it sounds like wedding bells and funeral bells together,” Schumann explained this conclusion to his Clara. He also told her about a connection he perceived — evidently only after composing the piece — between the outstanding fifth piece In der Nacht and the ancient Hellenistic-Roman legend of Hero and Leander: each night Leander swam across the sea in order to reach his beloved, who awaited him in a lighthouse, showing him the way with a burning torch. The end of this story, however — the lovers’ death — the composer left unmentioned.

As so often in the early piano works, such associations closely correspond to Schumann’s own situation, for he was entirely sustained by the hope that the separation from Clara, enforced by Friedrich Wieck, would finally come to an end. Yet tormenting doubts concerning Clara’s love remained, for he still did not feel assured of it. Thus it suited the moment that in the early summer of 1837 the pretty Scottish pianist Robena Ann Laidlaw (Schumann altered her name to “Anna Robena” for a more “musical” sound) was staying in Leipzig. One often saw the young composer in her company. Whether Schumann truly intended to arouse the jealousy of his future bride Clara, in order thereby to measure the degree of her love, remains questionable. In any case, he dedicated his Fantasiestücke, Op. 12 to the pianist Laidlaw."

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Robert & Clara Schumann PLAYLIST (reference recordings):    • Robert Schumann (1810-1856) Clara W.Schuma...