Classical Music | Piano Music

Recorded on 01/05/2009, uploaded on 03/09/2010

Musician's or Publisher's Notes

Complete recording of Kinderszenen Op.15

Von fremden Ländern und Menschen (About strange lands and people) -- Curiose Geschichte (Curious story) -- Hasche-Mann (Blindman's bluff) -- Bittendes Kind (Pleading child) -- Glückes Genug (Happiness) -- Wichtige Begebenheit (An important event) -- Träumerei (Reverie) -- Am Kamin (At the Fireside) -- Ritter vom Steckenpferd (Knight of the hobbyhorse) -- Fast zu ernst (Almost too serious) -- Fürchtenmachen (Frightening) -- Kind im Einschlummern (Child falling asleep) -- Der Dichter spricht (The poet speaks)

Of the collections of character pieces Schumann composed for the piano, one perhaps stands out a little more than the rest, at least in terms of its popularity with both performers and the emotional connection it establishes with audiences. Nearly all adults have a nostalgic view of the carefree and innocent days of childhood and it was these reminiscences that served as Schumann's inspiration, and artistic goal, in his Kinderszenen ("Scenes from Childhood").

Having left Leipzig for Vienna, Schumann was separated from his fiancée Clara and faced the daunting challenge of persuading her father for her hand in marriage. During this time, Schumann wrote to Clara in letters and in his music. In March 1838, in a letter to Clara, Schumann remarked, "You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces." Of these thirty pieces, thirteen were selected to become the Kinderszenen.

Nearly all of the thirteen pieces are simple ternary forms. However, their simple construction and harmonies conceal a deeper complexity, which makes them all the more touching. Furthermore, Schumann's masterly command of imagery is in no way hampered by such simple expression. Beginning in G major, Kinderszenen embarks on a musical journey that is quite fitting for the vivid imagination of a child. Moving through various key relationships, in the tenth piece Schumann finds himself as far removed from G major as is musically possible—G sharp minor. Though, in a daring move, and a wholly Romantic one at that, the music comes full circle to close in G major in the final piece.