Papillons, composed in 1829-31, was Schumann's first
set of character pieces for the piano and, only a couple of years later, would
serve as the starting point for another set of character pieces—Carnaval. Greatly influenced by literature from a young age, Schumann based Papillons on Jean Paul Richter's novel Flegeljahre (Age of Indiscretion).
Originally, each of the twelve pieces of Papillons bore a title that
made direct reference to Jean Paul's novel. However, as was Schumman's custom,
he removed the descriptive titles prior to publication, attempting to conceal
his source of inspiration from the general music public.
The setting being of a fictitious festival, Papillons consists of a brief introduction followed by twelve dance movements, mostly
waltzes. Though Papillons was only Schumann's second published work, his
growing compositional skill is already quite evident. Later regarded as one of
the most experimental harmonists of the 19th century, Schumann
displays an already adventurous approach to harmony throughout Papillons.
A canon at the octave, although brief, in the third dances also shows his
contrapuntal skill was just as developed. Finally, Papillons betrays
Schumann's already keen sense of imagery and command of piano technique. In the
final dance, at the end of a surprisingly long tonic pedal (surprising, that
is, in considering the capabilities of pianos in the early 19th century), six repeated notes are heard indicating a clock striking the sixth
hour. The dispersal of the party goers is then depicted by a soft, but
full-voiced, seventh chord with each note slowly being released and fading into
silence until only the highest note remains. Joseph DuBose
Classical Music | Piano Music
Robert Schumann
Papillons in C-sharp Major, Op. 2 Play
Recorded on 12/31/2008, uploaded on 04/22/2009
Musician's or Publisher's Notes
Papillons, composed in 1829-31, was Schumann's first set of character pieces for the piano and, only a couple of years later, would serve as the starting point for another set of character pieces—Carnaval. Greatly influenced by literature from a young age, Schumann based Papillons on Jean Paul Richter's novel Flegeljahre (Age of Indiscretion). Originally, each of the twelve pieces of Papillons bore a title that made direct reference to Jean Paul's novel. However, as was Schumman's custom, he removed the descriptive titles prior to publication, attempting to conceal his source of inspiration from the general music public.
The setting being of a fictitious festival, Papillons consists of a brief introduction followed by twelve dance movements, mostly waltzes. Though Papillons was only Schumann's second published work, his growing compositional skill is already quite evident. Later regarded as one of the most experimental harmonists of the 19th century, Schumann displays an already adventurous approach to harmony throughout Papillons. A canon at the octave, although brief, in the third dances also shows his contrapuntal skill was just as developed. Finally, Papillons betrays Schumann's already keen sense of imagery and command of piano technique. In the final dance, at the end of a surprisingly long tonic pedal (surprising, that is, in considering the capabilities of pianos in the early 19th century), six repeated notes are heard indicating a clock striking the sixth hour. The dispersal of the party goers is then depicted by a soft, but full-voiced, seventh chord with each note slowly being released and fading into silence until only the highest note remains. Joseph DuBoseMore music by Robert Schumann
Träumerei (Dreaming), from Kinderszenen Op.15
Maerchenbilder for viola and piano - I mov, op.113
Marchenbilder for viola and piano, Op. 113
Fantasie in C Major for Violin and Piano, Op. 131
Carnaval, Op. 9
Toccata in C Major, Op. 7
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Adagio and Allegro for Viola and Piano, Op. 70
Dritte Sonate für Klavier und Violine op. post.
Romance in F-sharp Major, Op. 28, No. 2
Performances by same musician(s)
Piano Sonata 1.X.1905, From the Street
Adagio from Organ Concerto, BWV 593 (after Concerto Op. 3 No. 6 of Vivaldi)
Scherzo No. 3 in c-sharp minor, Op. 39
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