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Rubinstein plays Schumann's Fabel and Traumeswirren, Op. 12

submitted by Issykitty

1 decade 5 years 5 months ago

Arthur Rubinstein plays Schumann's Fabel and Traumeswirren from the suite "Fantasiestucke", op. 12. From a recital in 1975.
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Info about Schumann's Fantasiestucke:

Robert Schumann's Fantasiestücke, Op. 12, are eight pieces for piano, written in 1837. Schumann is said to have perceived in In der Nacht the story of Hero and Leander, albeit not until after writing it. Schuman composed the pieces with the characters Florestan and Eusebius in mind, representing the duality of his personality. Eusebius depicts the dreamer in Schumann while Florestan represents his passionate side. These two characters parlay with one another throughout the collection, ending self-reflectively with Eusebius in Ende vom Lied

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Fabel:

The sixth piece in Robert Schumann's Fantasiestucke piano collection is Fabel. 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). Fabel -- the German cognate for the English word 'Fable' -- precedes the piece In der Nacht and is followed by Traumes Wirren. As indicated by the tempo, langsam, the piece should be played at a slow pace. Regarding key signature, this piece breaks from the pattern of D-flat major/F minor established by the previous pieces and is written in C major, the functional dominant of F minor. 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."

Traumeswirren:

Traumes Wirren is german for 'tangled dreams' and is the seventh piece of Robert Schumann's Fantasiestucke. 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. The piece should be played in an extremely lively fashion, as indicated by the tempo of 'Äußerst lebhaft'. Like the previous piece, Fabel*, this piece 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.

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No. 6: Fabel(Fable), C Major - Langsam - schnell
No. 7: Traumeswirren(Tangled Dreams), F Major - Äußerst lebhaft