Classical Music | Clarinet Music

Robert Schumann

Märchenerzählungen (Fairy Tales) Op. 132 for Clarinet, Viola and Piano Play Play

Alexander Fiterstein	Clarinet
Amit Peled	Cello
Alon Goldstein	Piano

Recorded on 03/22/2005, uploaded on 01/21/2009

Musician's or Publisher's Notes

Märchenerzählungen (Fairy Tales) Op. 132 for Clarinet, Viola (Cello) and Piano Robert Schumann

Lebhaft, nicht zu schnell (Lively, not too fast); Lebhaft und sehr markiert (Lively and very decisive); Ruhiges Tempo, mit zartem Ausdruck (Calm, with tender expression); Lebhaft, sehr markiert (Lively, very decisive)

Robert Schumann composed his Märchenerzählungen for clarinet, viola and piano in 1853; it is one of his very last works. Märchenerzählungen means, literally, "tales of fables" and harkens back to the childlike world that Schumann had evoked fifteen years earlier in his Kinderszenen, Op. 15. While only the third of the four pieces of the collection is in a slow tempo, the entire work is pervaded with the deepest melancholy, which seems to be emphasized by the very natures of its instrumentation. Alon Goldstein

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Märchenbilder for viola and piano, op. 113 Robert Schumann

Schumann composed the Märchenbilder ("Fairytale Pictures") in March 1851, not long after the first signs of his mental illness began to show. These four pieces fall, chronologically, in between the first two violin sonatas, also composed in the same year. However, the Märchenbilder have more in common with the popular fantasy pieces of Schumann's earlier period than with the tormented music of his last years.

The first movement, marked "Nicht schnell" (not fast) begins in D minor with a melancholy melody in the viola followed by a more rhythmic second idea beginning in the piano. Both ideas constantly recur throughout the movement in various guises. Following this movement is a short rondo, marked "Lebhaft" (spirited). It begins with a fanfare-like idea and continues in a majestic rhythm and air throughout its first theme. The pomp seems to melt away into a more lyrical first episode, however, before long the opening fanfare thunders back to the fore. A second episode occurs, this time in like spirit and passes almost seamlessly into a final statement of the majestic opening theme. The third movement, "Rasch" (swiftly) begins with a consistent triplet sixteenth-note rhythm first in the viola then passing to the piano. A lyrical and subdued middle section provides a brief repose from the fiery opening section. The final movement, "Langsam, mit melancholischem Ausdruck" (Slowly and with a melancholy expression), presents a lyrical theme in the viola with a sonorous accompaniment in the piano. It is somewhat an unusual movement to conclude a multi-movement work with, but following the indication of the title, one interpretation could be that this movement represents the happy ending with which all fairy tales must end. Joseph DuBose