Schumann composed his ‘Etudes Symphoniques’ (‘Symphonic Studies’) for piano opus
13 in 1833-35. They consist of a set of variations on a theme by Clara Schumann and
constitute one of Schumann’s most effective concert works.
‘Kinderszenen’ (‘Scenes from Childhood’) for piano opus 15 was composed in 1838.
This set of pieces admirably captures the moods and innocence of childhood.
‘Träumerei’ (‘Dreaming’) is a particularly popular piece in the set which is deceptive in
its simplicity yet genuinely touching and refreshing.
‘Kreisleriana’ for piano opus 16 was also composed in 1838 and is dedicated to Chopin,
who, however, did not have as much admiration for Schumann’s works as Schumann did
for Chopin’s. ‘Kreisleriana’ is one of Schumann’s finest piano works and in this set the
composer extends his emotional range. ‘Johannes Kreisler’, the romantic poet brought
into contact with the real world, was a character drawn from life, the poet E.T.A.
Hoffman. Schumann used him as an imaginery mouthpiece for the expression in sound
of different emotional states.
The ‘Fantasy’ in C major opus 17 is a work of passion and deep pathos imbued with the
spirit of Beethoven. This is, no doubt, deliberate, since the proceeds from sales of the
work were initially intended to be contributed towards the construction of a monument to
Beethoven. According to Strelezki’s ‘Personal Recollections of Chats with Liszt’, Liszt,
to whom the work is dedicated, is said to have played the ‘Fantasy’ through to Schumann
(although this has been doubted). Strelezki noted that Liszt was of the view that the
‘Fantasy’ was apt to be played too heavily and should have a dreamier (träumerisch)
character than vigorous German pianists used to give it.
After a visit to Vienna in 1839 Schumann composed ‘Faschingsschwank aus Wien’
(‘Carnival Prank from Vienna’). Most of the joke is in the central section of the first
piece which contains a thinly veiled reference to the ‘Marseillaise’, which was then
banned in Vienna. The festive mood, however, does not preclude moments of
melancholic introspection in the Intermezzo.
Schumann also composed the ’Davidsbündlertanze’ (‘Dances of the League of David’)
opus 6, his exquisite Arabeske (C major) opus 18, and his three piano sonatas: F sharp
minor opus 11, F minor opus 14 and G minor opus 22. His late work ‘Waldszenen’
(‘Forest scenes’) opus 82 is not often played but contains many touching moments.
Schumann’s piano concerto in A minor opus 54, composed in 1845, is a famous romantic
piano concerto and has a firm place in the repertoire. Clara Schumann often performed it.
Schumann also composed chamber music including his Piano Quintet in E flat major
opus 44 which he composed in 1842 and dedicated to Clara. This much-loved
composition was the first piano quintet of any importance and established Schumann’s
reputation as a composer. The pianist in the first performance was Felix Mendelssohn.
Schumann & Liszt