Obras para piano de Schumann

Nesta postagem estou ofertando as obras para piano de Schumann; Davidsbündelrtanze, Op.6 e Fantasiestücke, Op. 12. A primeira obra apresenta as peripécias do grupo imaginário : Companheiros de David. Um grupo imaginado por Schumann que se dedicava a combater a falsidade na música, incluindo as músicas que não buscavam a beleza, e a dramaticidade sonora. Já o Fantasiestücke representa os sentimentos contraditórios de Schumann, na época em que estava tendo um affair com uma artista da época. Antes de ser dominado pelos sentimentos relacionados à Clara Wieck. As duas obras mostram a capacidade de Schumann de adaptar a forma musical à suas vivências. A forma é determinada pelos anseios de Schumann, além disso as sonoridades mais belas e inusitadas são obtidas do piano. Uma prática comum no romantismo, pois se desejava o virtuosismo extremo nessa época.

Davidsbündlertänze (Dances of the League of David), Op. 6

1. Lebhaft (Vivace), G major, Florestan and Eusebius;
2. Innig (Con intimo sentimento), B minor, Eusebius;
3. Etwas hahnbüchen (Un poco impetuoso) (1st edition), Mit Humor (Con umore) (2nd edition), G major, Florestan (Hahnbüchen, now usually hahnebüchen (also hanebüchen or hagebüchen), is an untranslatable colloquialism roughly meaning "coarse" or "clumsy." Apparently, it originally meant "made of hornbeam wood." (See the article "Hanebüchen" in the German version of Wikipedia.) Ernest Hutcheson translated it as "cockeyed" in his book The Literature of the Piano.);
4. Ungeduldig (Con impazienza), B minor, Florestan;
5. Einfach (Semplice), D major, Eusebius;
6. Sehr rasch und in sich hinein (Molto vivo, con intimo fervore) (1st edition), Sehr rasch (Molto vivo) (2nd edition), D minor, Florestan;
7. Nicht schnell mit äußerst starker Empfindung (Non presto profondamente espressivo) (1st edition), Nicht schnell (Non presto) (2nd edition), G minor, Eusebius;
8. Frisch (Con freschezza), C minor, Florestan;
9. No tempo indication (metronome mark of 1 crotchet = 126) (1st edition), Lebhaft (Vivace) (2nd edition), C major, Florestan;
10. Balladenmäßig sehr rasch (Alla ballata molto vivo) (1st edition), ("Sehr" and "Molto" capitalized in 2nd edition), D minor (ends major), Florestan;
11. Einfach (Semplice), B minor-D major, Eusebius;
12. Mit Humor (Con umore), B minor-E minor and major, Florestan;
13. Wild und lustig (Selvaggio e gaio), B minor and major, Florestan and Eusebius;
14. Zart und singend (Dolce e cantando), E♭ major, Eusebius;
15. Frisch (Con freschezza), B♭ major - Etwas bewegter (poco piu mosso), E♭ major (return to opening section is optional), Florestan and Eusebius;
16. Mit gutem Humor (Con buon umore) (in 2nd edition, "Con umore"), G major - Etwas langsamer (Un poco più lento), B minor; leading without a break into
17. Wie aus der Ferne (Come da lontano), B major and minor (including a full reprise of No. 2), Florestan and Eusebius; and
18. Nicht schnell (Non presto), C major, Eusebius.

Fantasiestücke, Op. 12

1. "Des Abends" ("In the Evening") in D-flat major / Sehr innig zu spielen (Play very intimately)

"Des Abends" (3:23 minutes) Schumann, after completing the work, then gave the piece its title, which introduces the character of Eusebius, who serves as a symbolic representation of Schumann's dreamy self. He intended the imagery to be a "gentle picture of dusk."[1]

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2. "Aufschwung" ("Soaring", literally "Upswing") in F minor / Sehr rasch (Very rapidly)

"Aufschwung" (3:29 minutes) Schumann conceived of "Aufschwung" as a depiction of the character Florestan (from Beethoven's Fidelio) indulging in his desires, and as the Norton Anthology of Western Music describes "at the height of his passions."[2]

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3. "Warum?" ("Why?") in D-flat major / Langsam und zart (Slowly and tenderly)

"Warum?" (1:37 minutes) The title "Why?" was intended by Schumann to signify Eusebius's reflection on the excesses of Florestan in "Aufschwung".[2] The piece proceeds with "gentle questioning" and ends with an "inconclusive answer."[1]

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4. "Grillen" ("Whims") in D-flat major / Mit Humor (With humor)

"Grillen" (3:47 minutes) With its whimsical, quirky nature, this piece solely represents Florestan and his eccentricities.[1]

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5. "In der Nacht" ("In the Night") in F minor / Mit Leidenschaft (With passion)

"In der Nacht" (4:25 minutes) The two characters of Florestan and Eusebius (the interaction of which Schumann was attempting to represent within the Fantasiestücke) unite for the first time in this piece, which has both "passion together with nocturnal calm."[1] Schumann is said to have perceived in "In der Nacht" the story of Hero and Leander, albeit not until after writing it.

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6. "Fabel" ("Fable") in C major / Langsam (Slowly)

"Fabel" (2:09 minutes) Like the previous piece, this also juxtaposes both the passionate and dreamy side of Schumann within the same work (as opposed to representing each separately, as in the first subset). The key of C major breaks from the pattern of D-flat major/F minor established by the previous pieces. In this piece, the whimsical nature of Florestan is set against the ethereal tranquility of Eusebius, resulting in a "placid narrative together with rich veins of humor."[1]

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7. "Traumes Wirren" ("Dream's Confusions") in F major / Äußerst lebhaft (Extremely lively)

"Traumes Wirren" (2:43 minutes) The title is implicative of the struggle between the dreams and the passions within Schumann. In this piece the dreamy quality of Schumann, represented by the character of Eusebius, becomes entangled by the passions of Florestan, who symbolizes Schumann's more emotional side. Like the previous piece, this piece also departs from the established D-flat major/F minor key signature scheme, as it is written in the key of F major which is also the key of "Ende vom Lied", the next piece. The piece is rhythmically intense and a rapid pulse permeates it.[1]

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8. "Ende vom Lied" ("End of the Song") in F major / Mit gutem Humor (With good humor)

Murray Perahia, piano BAIXE AQUI

"Ende vom Lied" (4:01 minutes) Schumann described this piece as a combination of wedding bells and funeral bells. In a letter to Clara Schumann, his wife, he wrote about this last piece: "At the time, I thought: well in the end it all resolves itself into a jolly wedding. But Sony Classical, 1973