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Robert Schumann: Davidsbündler Gegen Philister

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Robert Schumann: Davidsbündler Gegen Philister 3.K Robert Schumann: Davidsbündler gegen Philister Carnaval – Klavierstücke, die im Umfeld des Davidsbündlertänze op. 6 Scènes mignonnes sur quatre notes op. 9 Carnaval op. 9 entstanden sind, aber vor (1. Fassung; 1837, erschienen 1838) (1833–1835, erschienen 1837) der Drucklegung ausgesondert wurden Heft I 1 Préambule (Quasi maestoso) 2:22 cn Albumblatt III As-Dur op. 99 Nr. 6 1:25 cu Nr. 1 Lebhaft G-Dur (F. und E.) 1:37 ep Nr. 7 Mit gutem Humor 2 Pierrot (Moderato) 2:03 (1836, erschienen 1851) dl Nr. 2 Innig h-Moll (E.) 1:22 D-Dur/h-Moll 1:37 3 Arlequin (Vivo) 1:12 co Romanze B-Dur op. 124 Nr. 11 1:31 dm Nr. 3 Etwas hahnbüchen eq Nr. 8 Wie aus der Ferne/ 4 Valse noble (Un poco maestoso) 2:06 (1835, erschienen 1853) G-Dur/D-Dur (F.) 1:32 Nach und nach schneller 5 Eusebius (Adagio – Più lento, cp Walzer a-Moll op. 124 Nr. 4 1:04 dn Nr. 4 Ungeduldig h-Moll (F.) 1:23 H-Dur/h-Moll (F. und E.) 3:29 molto teneramente) 1:54 (1835, erschienen 1853) do Nr. 5 Einfach D-Dur (E.) 1:58 er Nr. 9 Nicht schnell C-Dur 6 Florestan (Passionato) 1:01 cq Elfe As-Dur op. 124 Nr. 17 0:25 dp Nr. 6 Sehr rasch und in sich hinein (Ganz zum Überfluß meinte 7 Coquette (Vivo) 1:32 (1835, erschienen 1853) d-Moll/D-Dur (F.) 1:49 Eusebius noch Folgendes; 8 Réplique (L’istesso tempo) cr Asch-Capriccio B-Dur 0:59 dq Nr. 7 Nicht schnell – Mit äußerst dabei sprach aber viel Seligkeit Sphinxes 0:52 (1835?, Fragment, ergänzt starker Empfindung aus seinen Augen.) 1:59 9 Papillons (Prestissimo) 0:47 von Joachim Draheim)* g-Moll/As-Dur (E.) 3:54 bl A.S.C.H. – S.C.H.A. cs Fantasia sopra un tema di 1:13 dr Nr. 8 Frisch c-Moll (F.) 1:03 (Lettres dansantes, Presto) 1:00 quatre suoni e-Moll ds Nr. 9 Lebhaft C-Dur Total Time: 75:14 bm Chiarina (Passionato) 1:22 (1835?, Fragment, ergänzt (Hierauf schloß Florestan und bn Chopin (Agitato) 1:20 von Joachim Draheim)* es zuckte ihm schmerzlich um Höhe: 120 mm bo Estrella (Con affetto) 0:27 die Lippen.) 1:54 bp Reconnaissance (Animato) 1:46 ct (Tanz) g-Moll (zu den „Davids- 1:29 bq Pantalon et Colombine bündlertänzen“ gehörig, 1837, Heft II (Presto – Meno Presto – Tempo I) 1:00 erschienen 1984, Fragment, dt Nr. 1 Balladenmäßig. br Valse allemande (Molto vivace) 0:52 ergänzt von Joachim Draheim)* Sehr rasch d-Moll (F.) 1:33 bs Intermezzo: Paganini (Presto) – du Nr. 2 Einfach D-Dur (E.) 2:06 Tempo I ma più vivo 1:18 el Nr. 3 Mit Humor e-Moll (F.) 0:43 bt Aveu (Passionato) 1:16 em Nr. 4 Wild und lustig bu Promenade (Commodo) 2:13 h-Moll/H-Dur (F. und E.) 3:30 cl Pause (Vivo) 0:21 en Nr. 5 Zart und singend Es-Dur (E.) 2:22 cm Marche des „Davidsbündler“ eo Nr. 6 Frisch B-Dur/Es-Dur contre les Philistins (Non Allegro) 4:06 * Erstaufnahme/Premiere Recording (F. und E.) 2:27 98.050_TS|Booklet_© 3.indd 2-3 Breite: 121 mm Breite: 121 mm 12.12.14 15:32 Robert Schumann: Sämtliche Werke für Klavier 8 gründeten und bis 1844 geleiteten Neuen sohn oder Berlioz, schließlich gar die großen Zeitschrift für Musik wiederabgedruckt sind, Meister der Vergangenheit wie Bach und Davidsbündler gegen Philister schreibt er 1853: „Und hier sei noch eines Mozart. Bundes erwähnt, der ein mehr als geheimer eit etwa 60 Jahren sind immer wieder Klavierwerke von Robert Schumann durch war, nämlich nur in dem Kopf seines Stifters Dieses typisch romantische Spiel mit Mas- SVersuche unternommen worden, Robert Florian Uhlig versucht erstmals, mit thema- existirte, der Davidsbündler. Es schien, ver- ken und Pseudonymen gab jedoch nicht Schumanns Gesamtwerk für Klavier zu zwei tisch sinnvoll konzipierten CDs (z.B. „Robert schiedene Ansichten der Kunstanschauung nur der musikliterarischen Arbeit besonde- Händen, einen faszinierenden Kosmos von Schumann und die Sonate“, „Der junge Kla- zur Aussprache zu bringen, nicht unpas- re Würze, sondern auch dem kompositori- großer Vielfältigkeit und Bandbreite zwi- viervirtuose“, „Schumann in Wien“, „Schu- send, gegensätzliche Künstlercharaktere zu schen Schaffen seine Prägung. Die Davids­ schen hochvirtuosen Stücken für den Kon- mann und der Kontrapunkt“, „Variationen“) erfinden, von denen Florestan und Eusebius bündlertänze op. 6 und die Sonate fis-Moll zertsaal und wertvoller Literatur für den Kla- alle originalen Klavierwerke zwischen 1830 die bedeutendsten waren, zwischen denen op. 11 sind „Walther von Goethe“ (dem mit vierunterricht, auf Tonträgern festzuhalten. (Abegg­Variationen op. 1) und 1854 (Geister­ vermittelnd Meister Raro stand. Diese Da- Schumann befreundeten Enkel des Dichters, Diese ebenso reizvolle wie schwierige Auf- Variationen) nach den neuesten textkriti- vidsbündlerschaft zog sich, wie ein rother einem mäßig begabten Amateurkomponis- DEUTSCH gabe wurde leider, ganz abgesehen von rein schen Ausgaben und/oder Erstausgaben zu Faden, durch die Zeitschrift, ‚Wahrheit und ten) und „Clara“ „zugeeignet von Florestan künstlerischen Mängeln, nicht immer mit der präsentieren. Mehrere dieser CDs werden Dichtung‘ in humoristischer Weise verbin- und Eusebius“, wie es auf den Titelblättern gebotenen Sorgfalt angegangen, sodass kei- auch Erstaufnahmen enthalten. Die Booklets dend.“ heißt. Im Carnaval op. 9 sind nicht nur Flores- ne dieser Aufnahmen das Prädikat „Gesamt- von Joachim Draheim, der einige der Werke tan und Eusebius, sondern auch zwei weib- aufnahme“ zu Recht trägt. Da Schumann entdeckt und/oder ediert hat, erhellen die Nach der Definition des Schumann-For- liche Mitglieder des „Davidsbundes“, „Chia- DEUTSCH eine Reihe von Werken (Impromptus op. 5, biographischen und musikgeschichtlichen schers Friedrich Gustav Jansen ist Eusebius rina“ (Clara Wieck) und „Estrella“ (Ernestine Davidsbündlertänze op. 6, Symphonische Etü­ Hintergründe der jeweiligen Werkgruppe. „der zartbesaitete, sanfte Jüngling, der sich von Fricken, Schumanns damalige Verlobte), den op. 13, Concert sans Orchestre bzw. So- stets bescheiden im Hintergrund hält“, Flo- musikalisch porträtiert; am Ende gibt es gar nate f-Moll op. 14 und Kreisleriana op. 16) restan „dagegen der brausende, übermü- einen fulminanten Marche des „Davidsbünd­ Höhe: 120 mm in zwei mehr oder weniger divergierenden Davidsbündlertänze op. 6, 1. Fassung thige Sturmläufer, – grundehrlich, aber oft- ler“ contre les Philistins im Dreivierteltakt. Fassungen publiziert hat, ist es unstatthaft, mals den seltsamsten Grillen hingegeben“. unter dem Etikett „Gesamtaufnahme“ nur Robert Schumanns Doppelexistenz als Kom- Neben dieser Spaltung des eigenen Ichs, In den Davidsbündlertänzen op. 6 zeich- eine dieser Fassungen einzuspielen oder die ponist, der vor allem mit seinen frühen Kla- die dem Zwillingspaar Walt und Vult aus nen Florestan und Eusebius, einzeln oder in Fassungen gar miteinander zu verquicken. vierwerken kühn musikalisches Neuland be- den Flegeljahren seines literarischen Idols Gemeinschaft, für jedes der achtzehn Stücke Dabei wurden auch an entlegenen Stellen trat, und als Musikschriftsteller – wie David Jean Paul abgelauscht ist und bereits 1831 verantwortlich und geben jeweils vor Ende veröffentlichte oder unveröffentlichte Werke gegen die Philister – mutig dafür kämpfte, in dem berühmten Chopin-Aufsatz in der der beiden Hefte (in Nr. 9 bzw. 18) vielsa- sowie Fragmente, die sich ohne waghalsige „daß die Poesie der Kunst wieder zu Ehren Leipziger Allgemeinen Musikalischen Zeitung gende Kommentare ab. Somit stehen diese Spekulationen leicht ergänzen lassen, bisher komme“, manifestiert sich am schönsten in als witziger Dialog der beiden begegnet, Charakterstücke, wie sie erst in der zweiten nur in Ausnahmefällen berücksichtigt. der Idee der „Davidsbündler“. In der Einlei- zählte Schumann als weitere „Davidsbünd- Auflage von 1850 heißen, die im Spätsom- tung zu seinen Gesammelten Schriften über ler“ seine Freunde und Mitarbeiter in der mer 1837, wahrscheinlich zwischen dem Die auf 15 CDs angelegte erste wirkli- Musik und Musiker, in denen seine Essays Neuen Zeitschrift für Musik, aber auch ferner 20. August und 21. September, in Leipzig che Gesamtaufnahme der zweihändigen und Rezensionen aus der 1834 von ihm ge- stehende verwandte Geister, z.B. Mendels- entstanden sind und im Januar 1838 bei Ro- 4 5 98.050_TS|Booklet_© 3.indd 4-5 Breite: 121 mm Breite: 121 mm 12.12.14 15:32 bert Friese, dem Verleger seiner Zeitschrift, „Gewiß mag von den Kämpfen, die mir Klara und seyd / Dem Leid mit Muth bereit.“ Rein- schätzen, spielte es aber ziemlich selten im erschienen, im Brennpunkt von Schumanns gekostet, manches in meiner Musik enthal- hard Kapp kommentiert dies treffend: „Der Konzert. Ende 1895 gehörten die Davids­ Leben, Schaffen und musikalischem Denken. ten … sein. Das Concert [op. 14], die Sonate gotisierende Prunkrahmen stellt ein Portal bündlertänze allerdings zu den letzten Wer- Hier „verbindet Schumann in sehr konkreter [op. 11], die Davidsbündlertänze, die Kreis- vor, das den Adepten in den Davidsbund ken, die sie im privaten Kreis aufführte. Ihre Weise Gedanken um Clara mit seinen kom- leriana und die Novelletten hat sie beinah aufnimmt und zugleich Brauttür ist; er deu- Schülerin und Freundin Mathilde Wendt positorischen und ästhetischen Vorstellun- allein veranlaßt.“ tet den Aufbau eines Altars an, welcher der erinnerte sich: „Am Tage, bevor wir von ihr gen“ (Hans Joachim Köhler). Freundschaft geweiht sein mag, mehr noch Abschied nahmen, spielte sie … die von ihr Clara selbst gab er in einem Brief vom aber derjenige sein dürfte, vor den die Braut über alles geliebten Davidsbündlertänze. Letztere zeigen sich bei diesem Werk in 7. Februar 1838 weiteren Aufschluss: „Was geführt wird; er umrahmt den Bühnenguck- Während ihres Spiels schien die Greisin in einer planvollen
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