Fantasiestücke, op. 12, a set of eight pieces for piano, was
composed in 1837. Schumann was greatly influenced by literature, as his father
was a bookkeeper, publisher, and novelist, and the title of this work reflects
that. It was largely inspired by the 1814 collection of novellas Fantasiestücke
in Callots Manier by E.T.A. Hoffmann. Other pieces of Schumann's were also
inspired by literature including Kreisleriana and Papillons.
It is not just that title, however, the was influenced by
literature. Schumann had invented two fictitious characters, or alter egos, to
represent the duality of his own personality. Eusebius represented the dreamy,
introspective side and Florestan, the passionate. Schumann's characters were
modeled after Vult and Valt in Jean Paul's novel Flegeljahre. Eusebius
and Florestan made many appearances both in Schumann's music and his critical
writings.
Like the earlier Davidsbündlertänze,
Fantasiestücke is designed as a musical dialogue between Florestan and
Eusebius. Eusebius begins the work with "Des Abends" ("In the
Evening") which is to represent a "gentle picture of dusk."
Florestan then has his turn with "Aufschwung" ("Soaring").
The two characters alternate in each piece, until both are represented in the
fifth piece "In der Nacht" ("In the Night") and in the
sixth "Fabel" ("Fable"). The seventh piece, "Traumes
Wirren" ("Dream's Confusion"), is suggestive of the struggle
within Schumann and describes the character of Eusebius under the influence of
Florestan. Finally, the work concludes with "Ende vom Lied"
("End of the Song") and it is Eusebius that has the last word.
Schumann described the final piece in a letter to his wife Clara thus: "At
the time, I thought: well in the end it all resolves itself into a jolly
wedding. But at the close, my painful anxiety about you returned." Joseph DuBose
Aufschwung (Rapture), from Fantasiestücke, Op 12 Robert Schumann
The Fantasiestücke of 1837 were written during
a time of estrangement between Schumann and Clara Wieck. They are dedicated to Anna
Robena Laidlaw, a British-born pianist with whom Schumann became acquainted
after hearing her play a concert in Leipzig in 1837. The gentle D-flat Major Des Abends is the opening piece in the
eight-piece set. It is followed by the
well known f minor Aufschwung. Michael Cansfield
Classical Music | Piano Music
Robert Schumann
Aufschwung (Rapture), from Fantasiestücke, Op 12 Play
Recorded on 02/20/2007, uploaded on 01/26/2009
Musician's or Publisher's Notes
Fantasiestücke, op. 12, a set of eight pieces for piano, was composed in 1837. Schumann was greatly influenced by literature, as his father was a bookkeeper, publisher, and novelist, and the title of this work reflects that. It was largely inspired by the 1814 collection of novellas Fantasiestücke in Callots Manier by E.T.A. Hoffmann. Other pieces of Schumann's were also inspired by literature including Kreisleriana and Papillons.
It is not just that title, however, the was influenced by literature. Schumann had invented two fictitious characters, or alter egos, to represent the duality of his own personality. Eusebius represented the dreamy, introspective side and Florestan, the passionate. Schumann's characters were modeled after Vult and Valt in Jean Paul's novel Flegeljahre. Eusebius and Florestan made many appearances both in Schumann's music and his critical writings.
Like the earlier Davidsbündlertänze, Fantasiestücke is designed as a musical dialogue between Florestan and Eusebius. Eusebius begins the work with "Des Abends" ("In the Evening") which is to represent a "gentle picture of dusk." Florestan then has his turn with "Aufschwung" ("Soaring"). The two characters alternate in each piece, until both are represented in the fifth piece "In der Nacht" ("In the Night") and in the sixth "Fabel" ("Fable"). The seventh piece, "Traumes Wirren" ("Dream's Confusion"), is suggestive of the struggle within Schumann and describes the character of Eusebius under the influence of Florestan. Finally, the work concludes with "Ende vom Lied" ("End of the Song") and it is Eusebius that has the last word. Schumann described the final piece in a letter to his wife Clara thus: "At the time, I thought: well in the end it all resolves itself into a jolly wedding. But at the close, my painful anxiety about you returned." Joseph DuBoseAufschwung (Rapture), from Fantasiestücke, Op 12 Robert Schumann
The Fantasiestücke of 1837 were written during a time of estrangement between Schumann and Clara Wieck. They are dedicated to Anna Robena Laidlaw, a British-born pianist with whom Schumann became acquainted after hearing her play a concert in Leipzig in 1837. The gentle D-flat Major Des Abends is the opening piece in the eight-piece set. It is followed by the well known f minor Aufschwung. Michael Cansfield
More music by Robert Schumann
Widmung
Maerchenbilder for viola and piano - I mov, op.113
Fantasie in C Major for Violin and Piano, Op. 131
Carnaval, Op. 9
Toccata in C Major, Op. 7
Adagio and Allegro for Viola and Piano, Op. 70
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Wehmut, from Liederkreis, Op. 39
Novellette no. 6 in A Major: Sehr lebhaft mit vielem Humor, from Novelletten, Op. 21
Romance in F-sharp Major, Op. 28, No. 2
Performances by same musician(s)
Liebesträume No. 3 in A-flat Major (Dreams of Love)
Piano Sonata No. 8 in a minor, K 310
Meditation, from 18 Pieces, Op.72
Russian Dance, from 12 Pieces, Op. 40, No. 10
Sonata No. 7 in F-flat Major, Op. 83
Hungarian Rhapsody No. 6 in D-flat Major
Toccata in C Major, Op. 7
Des Abends (in the Evening), from Fantasiestücke, Op 12
Etude Op. 25, No. 6 in g-sharp minor
Etude Op. 25, No. 7 in c-sharp minor
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