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5037529-B4dcf8-4260330918864.Pdf ROBERT SCHUMANN (1810–1856) [01] Arabeske op. 18 .............................................06:15 Konzert ohne Orchester op. 14 [02] Allegro brillante ...........................................08:03 [03] Andantino de Clara Wieck – quasi variazioni ................. 07:17 [04] Prestissimo possibile ........................................07:55 [05] Blumenstück op. 19 ........................................ 07:25 Faschingsschwank aus Wien, Fantasiebilder F r Klavier op. 26 [06] Allegro ...................................................08:29 [07] Romanze ..................................................02:38 [08] Scherzino .................................................02:09 [09] Intermezzo ................................................02:28 [10] Finale ......................................................05:33 [11] Scherzo (Ursprünglich dem Konzert ohne Orchester zugehörig) ...03:08 Total 61:38 CHRISTOPHER PARK, KLAVIER TR UMERISCHES, VERMISCHT MIT DUNKLEN FARBEN m September 1838 reiste Robert Schumann sind die Ecksätze vertauscht: am Beginn steht ein Inach Wien, besuchte die Gräber von Beetho- Rondo, am Ende der für den Stirnsatz übliche ven und Schubert und machte Bekanntschaft Sonatensatz. Karnevalsstimmung suggeriert nur mit Schuberts Bruder Ferdinand, bei dem er das der Mittelteil des dritten Satzes. Von Mendels- Autograph der großen C-Dur-Symphonie ent- sohns Liedern ohne Worte inspiriert, zeigt sich das deckte. Schumann ist begeistert über das „Neue virtuos nach vorne drängende Intermezzo. Mit der Instrumentation, die Weite und Breite der dem Untertitel dieser fünfteiligen Klaviersuite, Form“ und schickt eine Kopie des Werks an Felix Phantasiestücke, macht Schumann deutlich, dass Mendelssohn Bartholdy, der diese Symphonie er dieses Werk in der Tradition seiner früheren am 12. Dezember 1839 im Leipziger Gewandhaus Fantasie stücke op. 12 verstanden wissen will. zur Uraufführung bringt. Zu dieser Zeit ist Schu- Zu den Werken, die Schumann während die- mann längst zurück in Leipzig. Seinen Wunsch, ses Wien-Aufenthalts komponierte, zählen auch in Wien einen Verleger für seine „Neue Zeit- die Arabeske op. 18 und das Blumenstück op. 19. Als schrift für Musik“ zu finden, haben Intrigen und „schwächlich und für Damen“ bezeichnete er die das Spitzel-Wesen des dafür berüchtigten öster- beiden Stücke, die 1839 im Wiener Verlag Me- reichischen Staatskanzlers Metternich zunichte chetti herauskamen und die der Komponist der gemacht. Der 1838 begonnene, 1839 vollendete mit ihm befreundeten Frau von Serre aus Maxen fünfteilige Faschingsschwank aus Wien ist eine bei Dresden widmete. „Die ganze vergangene Reflexion auf diese Erfahrungen. Aber auch ein Woche verging unter Componiren; doch ist keine Zeichen, wie man einer noch so peniblen Zensur rechte Freude in meinen Gedanken und auch kei- ein Schnippchen schlagen kann, denn im Kopf- ne schöne Schwermuth“, schrieb Schumann an satz dieses Werkes hat Schumann die damals in seine Verlobte Clara am 26. Jänner 1839 aus Wien. Wien verbotene Marseillaise zitiert. Ursprüng- „Sonst hab’ ich fertig: Variationen über kein lich wollte Schumann den Faschingsschwank als Thema: Giurlande will ich das Opus nennen; es „Romantische Sonate“ bezeichnen. Dafür aber verschlingt sich Alles auf eigene Weise durch- 3 einander: Außerdem ein Rondelett, ein kleines, Robert Schumann vorausahnen lässt? Zum ersten und dann will ich die kleinen Sachen, von denen und zugleich einzigen Mal bezeichnet Schumann ich so viel habe, hübsch zusammenreihen und sie die einzelnen Abschnitte dieses Des-Dur-Opus ‚Kleine Blumenstücke‘ nennen, wie man Bilder so übrigens mit römischen Ziffern. nennt. Gefällt Dir der Name?“, beschrieb er die Wie viele Klaviersonaten Schumann kompo- neuen Werke näher. Welchen Stücken sind diese niert hat, lässt sich unterschiedlich beantworten. Bezeichnungen tatsächlich zuzuordnen? Verbirgt Geht es um die ausdrücklich so bezeichneten sich hinter „Guirlande“ die Arabeske, wie Clara Werke, sind es zwei: die fis-Moll-Sonate op. 11 und Schumann meinte? Oder ist sie nicht treffen- die g-Moll-Sonate op. 22. Geht es um die Form, der mit „Rondelett“ charakterisiert? Schließlich muss man sein Opus 14 dazuzählen, das auf handelt es sich um ein Rondo, das träumerische Grund seiner ungewöhnlichen Entstehungsge- Atmosphäre mit zuweilen dunklen Farben ver- schichte in mehreren Versionen vorliegt. Begon- knüpft, zwischendurch mit Marschrhythmen auf- nen hatte Schumann die Arbeit an dieser f-Moll- wartet. Wie sehr hat Schumann dazu die Lektüre Sonate im Herbst 1835, fertiggestellt hat er sie im der Brüder Schlegel inspiriert? darauffolgenden Juni. In der ursprünglichen Fas- Alles andere als ein „Damenstück“, wie es sung weist das Werk fünf Sätze auf: ein Allegro der Komponist wohl mit einiger Ironie abtat, brillante, zwei Scherzi, sechs Variationen über ein ist auch das vom Jahresbeginn 1839 datierende Andantino de Clara Wieck und ein Finale. Auf Blumenstück. Auch dazu scheint Schumann durch Wunsch seines Verlegers Tobias Haslinger, der Literatur angeregt worden zu sein, konkret durch sich von einem kürzeren Stück einen größeren den Roman Blumen-, Frucht- und Dornenstücke oder Verkaufserfolg erhoffte, schrieb Schumann einen Ehestand, Tod und Hochzeit des Armenadvokaten neuen Finalsatz, strich die beiden Scherzo-Sätze F.St. Siebenkäs seines Lieblingsdichters Jean Paul. und zwei der sechs Variationen. War auch die Liebe seiner Verlobten Clara zu In dieser dreisätzigen Version erschien das Blumen Inspirationsquelle für dieses fünfteilige, Werk mit dem ungewöhnlichen Titel Concert sans thematisch miteinander eng verwobene Opus, orchestre. Als eineinhalb Jahrzehnte später Julius das bereits den kommenden Liederkomponisten Schuberth aus Hamburg diese Sonate heraus- 4 geben wollte, bat er Schumann, die dreisätzige Sonate um ein Scherzo zu ergänzen, um sie als „Grande sonate pour le pianoforte“ – wie es auch dem Komponisten vorschwebte – publizieren zu können. Schumann nutzte dies zu einer gründ- lichen Revision der bisherigen Sätze und fügte eines der beiden früheren Scherzi wieder ein. Orchestrale Fülle spricht aus dem im Wesentli- chen auf zwei großen Themenkomplexen basie- renden, stürmisch bewegten Stirnsatz. Dessen Pathos setzt sich im folgenden Scherzo fort, wäh- rend sich das Folgende durch kunstvolle Rhyth- mik und einen Zug zur Phantastik auszeichnet. Ein Beweis, dass das Aufgangsthema des beson- dere Eindringlichkeit für sich einnehmenden Variationensatzes von Schumanns damaliger Verlobten und späteren Frau Clara stammt, hat sich bis heute nicht erbringen lassen. Schumann ging es offensichtlich darum, auf diese Weise seine besondere Beziehung mit ihr öffentlich zu machen. Trotz aller funkelnden Virtuosität bleibt auch im Prestissimo-Finale der melancholische Grundton der vorangegangenen Sätze präsent. Walter Dobner 5 DREAMS WITH SOMETIMES DARKER HUES n September 1838, Robert Schumann travelled and last movements were swapped: at the begin- Ito Vienna, visited the graves of Beethoven ning, there is a Rondo, and at the end the sonata and Schubert and made the acquaintance of movement customary for the opening. A carni- Schubert’s brother Ferdinand, at whose house he val atmosphere is suggested only by the central discovered the autograph of the great Symphony section of the third movement. The Intermezzo, in C major. Schumann was thrilled by the ‘in- pushing ahead in virtuoso manner, shows itself novation in instrumentation, the width and to be inspired by Mendelssohn’s Songs Without breadth of the form’ and sent a copy of the work Wo rd s . With the subtitle to this five-part piano to Felix Mendelssohn Bartholdy, who premiered suite, Fantasy Pieces, Schumann made it clear that the symphony at the Gewandhaus in Leipzig on he wanted the work to be understood in the tradi- 12 December 1839. By then, Schumann had long tion of his earlier Fantasy Pieces, Op. 12. been back in Leipzig. His desire to find in Vien- The works Schumann composed during his na a publisher for his ‘Neue Zeitschrift für Musik’ sojourn in Vienna also included the Arabesque, had been confounded by intrigues and the in- Op. 18, and the Flower Piece, Op. 19. He described former system of the infamous Austrian State the two pieces, which were published by Mechetti Chancellor Metternich. The five-partFaschings - in Vienna in 1839 and which the composer dedi- schwank aus Wien, commenced in 1838 and com- cated to Frau von Serre from Maxen near Dres- pleted in 1839, is a reflection on these experiences. den, as ‘frail and for ladies’. ‘I spent the whole of But it is also a sign of how even such a fastidious last week composing; but there is no real joy in regime of censorship can be outwitted, for in the my thoughts, nor any lovely melancholia’, Schu- opening movement of the work Schumann quo- mann wrote to his fiancée Clara from Vienna ted the Marseillaise, banned in Vienna at the time. on 26 January 1839. ‘Otherwise, I have finished: Originally, Schumann had intended to call the Variation on no theme. I want to call the work Faschingsschwank a ‘Romantic sonata’. But the first “Giurlande”. Everything intertwines chaotically 6 in a strange way. I have also written a Rondelette, Schumann as the future composer of songs? For a little one, and then I want to put together tidi- the first and only time, Schumann numbered the ly the small things, of which I have so many, and individual sections of this work in D-flat major call them “Little Flower Pieces”, as pictures are with Roman numerals. named. Do you like the name?’ So he described The question
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