The essence of Schumann can be found in THIS work

Started by Lilas Pastia, October 04, 2012, 10:24:47 AM

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Lilas Pastia

Starting a thread to find the ever elusive: what work do you consider the very essence of a composer?

It can be, but does not have to be a work one keeps returning to. It can be, but does not have to be your favourite work of his. It can be instrumental, chamber, orchestral, vocal etc.

For me it would be a work I consider to be totally and uniquely attributable to this particular composer. A work that contains many traits that characterize his aesthetic and artistic personality, his compositional technique, his particular sound world, IOW that is immediately recognizable as that of Schumann.

My nominee is symphony no. 4 in d minor. My favourite Schumann piece and the one I listen to most often is the piano concerto. But I find that the 4th symphony is the one that is the most characteristic of this composer.

I find in it all the attributes that are present into his music: it is structurally daring but awkward, it contains magnificent themes that are sharply contrasted. Its instrumentation is entirely appropriate to the rythmic and melodic material. Its moods are very varied and encompass anguish, swagger, proud utterances and introspective ones, driving rythms and passage of intense majesty and romantic yearning. It's the most kaleidoscopically schumannian outside his piano works (such as Kreisleriana).

What is your quintesential Schumann work?

Scarpia

Do you consider the original (1841) or revised (1841) version to be closer to the essence of Schumann?  Brahms reputedly strongly preferred the original version and arranged for its publication.

Lilas Pastia

I haven't heard the original version (I think Gardiner recorded it) nor the Mahler revision (I have the Chailly set safely sleeping on my shelves), only the widely used revised version that everybody and their uncle has conducted since the work was created.

Karl Henning

I'll agree with you in key, André, but a different work.  For essential Schumann, if one eschew the Lieder, then I think one still needs to turn to the chamber music.  So my vote will be cast for the d minor Violin Sonata, Op.121.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Quote from: karlhenning on October 04, 2012, 11:58:39 AM
I'll agree with you in key, André, but a different work.  For essential Schumann, if one eschew the Lieder, then I think one still needs to turn to the chamber music.  So my vote will be cast for the d minor Violin Sonata, Op.121.

I admit, though, that it was only with reluctance that I set aside the Cello Concerto and the Piano Quintet in Eb.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Scarpia

Quote from: André on October 04, 2012, 11:24:08 AM
I haven't heard the original version (I think Gardiner recorded it) nor the Mahler revision (I have the Chailly set safely sleeping on my shelves), only the widely used revised version that everybody and their uncle has conducted since the work was created.

Gardiner did it.  I have Harnoncourt's recording of the original 4th, which I like a lot (he did both versions at different times). 

I guess my idea for the most characteristic piece would be most common answer, the Fantasia in C.  Maybe the symphonic etudes.


mc ukrneal

Quote from: André on October 04, 2012, 10:24:47 AM
Starting a thread to find the ever elusive: what work do you consider the very essence of a composer?

It can be, but does not have to be a work one keeps returning to. It can be, but does not have to be your favourite work of his. It can be instrumental, chamber, orchestral, vocal etc.

For me it would be a work I consider to be totally and uniquely attributable to this particular composer. A work that contains many traits that characterize his aesthetic and artistic personality, his compositional technique, his particular sound world, IOW that is immediately recognizable as that of Schumann.

My nominee is symphony no. 4 in d minor. My favourite Schumann piece and the one I listen to most often is the piano concerto. But I find that the 4th symphony is the one that is the most characteristic of this composer.

I find in it all the attributes that are present into his music: it is structurally daring but awkward, it contains magnificent themes that are sharply contrasted. Its instrumentation is entirely appropriate to the rythmic and melodic material. Its moods are very varied and encompass anguish, swagger, proud utterances and introspective ones, driving rythms and passage of intense majesty and romantic yearning. It's the most kaleidoscopically schumannian outside his piano works (such as Kreisleriana).

What is your quintesential Schumann work?
Excellent choice. There are probably three that I would choose from: Sympony No.4, Kinderszenen, and Dichterliebe. I think all of these capture his essence beautifully. But if forced to pick one, I think I'd actually go with Kinderszenen. I can listen to this endlessly. Just listening to 'Child Falling Asleep' and that has this beautiful haunting sound at the start (which I envision as one not wanting to sleep or perhaps fear of it), which then opens up into this 'safe' melody. The piece has everything you described for the 4th symphony. By the way, here is my favorite version (you will need real player I think): http://www.rsi.ch/argerich/player.cfm?lng=1&idc=19937. Here was the recital from that day: http://www.rsi.ch/argerich/welcome.cfm?lng=1&ids=489&idc=18528
Be kind to your fellow posters!!

North Star

Quote from: karlhenning on October 04, 2012, 11:58:39 AM
I'll agree with you in key, André, but a different work.  For essential Schumann, if one eschew the Lieder, then I think one still needs to turn to the chamber music.  So my vote will be cast for the d minor Violin Sonata, Op.121.
Quote from: karlhenning on October 04, 2012, 12:06:12 PM
I admit, though, that it was only with reluctance that I set aside the Cello Concerto and the Piano Quintet in Eb.

Earlier, when I first saw this topic, I was thinking of exactly those three - in fact, I'm listening to du Pré & Barenboim in the Cello Concerto now.  8)
"Everything has beauty, but not everyone sees it." - Confucius

My photographs on Flickr

Sammy

For me, Schumann's essence has to be in works that strongly highlight his two alter-egos.  My pick is Kreisleriana.

DavidW

I agree with Sammy, it has to be something bipolar.  Symphony #4 is not true Schumann.  It has to be from his piano music or closely related.

Ten thumbs

The ultimate expression of Schumann's split personality is surely Carnaval. However, any representative work should also illustrate his obsession with making every opus an integrated thematic entity. Almost any of his piano sets would do this, but so would the Symphony. I'll settle for Carnaval.
A day may be a destiny; for life
Lives in but little—but that little teems
With some one chance, the balance of all time:
A look—a word—and we are wholly changed.

Lilas Pastia

Quote from: Ten thumbs on October 04, 2012, 01:45:48 PM
The ultimate expression of Schumann's split personality is surely Carnaval. However, any representative work should also illustrate his obsession with making every opus an integrated thematic entity. Almost any of his piano sets would do this, but so would the Symphony. I'll settle for Carnaval.

Well said (Schumann's obsession for integrated thematic entity). Of course there are a number of works to choose from, in different genres, which is great, as it shows he was a composer of many facets. The Piano Quintet, Carnaval, Symphonic Etudes and Fantasia are good cases in point, whereas the ever adorable concerto is not, for obvious reasons (it's really two works independently composed at different times conflated in a concertante structure).

Karl, I love the G major violin sonata too, my very first disc of anything schumannian (can't recall the violinist, but the pianist was Malcolm Frager and the label BASF). My first exposure to the composer's quirky way with themes, development, and shifting moods.

madaboutmahler

I certainly agree with the 4th symphony! Absolutely love that work, it recieves a weekly listen from me! (every Saturday on the train journey back from the academy :) ) So, it's probably one of the works I listen to most often!
"Music is ... A higher revelation than all Wisdom & Philosophy"
— Ludwig van Beethoven

Brahmsian

For me:

Fantasy in C, Carnival

His piano trios

Symphony No. 2

Piano/Cello/Violin Concertos

madaboutmahler

Ah yes, definitely the 2nd symphony, C Major Fantasie and Piano Concerto too! Thank you for reminding me, Ray! :)
"Music is ... A higher revelation than all Wisdom & Philosophy"
— Ludwig van Beethoven

Lilas Pastia

Guys, walk the plank ! Be men and make ONE choice!  ;)

CaughtintheGaze


Sammy

Quote from: CaughtintheGaze on October 04, 2012, 03:02:52 PM
Davidsbundlertanze

That's a great pick for Schumann's essence.  However, it's clear from some other entries that the alter-ego theme is not thought to be the real essence. 

CaughtintheGaze

Quote from: Sammy on October 04, 2012, 03:11:21 PM
That's a great pick for Schumann's essence.  However, it's clear from some other entries that the alter-ego theme is not thought to be the real essence.

Well the alter-ego was only part of why I chose the work. I mainly chose it for it being a keyboard work and because of its romantic lyricism, both which I think suit Schumann's character.

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot