Schumann Fantasy Pieces Clarinet Analysis Essay

 

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Listening to Robert Schumann’s Fantasiestücke, Op. 73 forces us to live in and enjoy the moment. The three short “Fantasy Pieces,” written in just over two days in February, 1849, are filled with abrupt, slightly schizophrenic, changes in mood. Moments of deep introspection, followed by bursts of euphoria, remind us of Florestan and Eusebius, the split personalities which inhabit much of Schumann’s music. In the Fantasy Pieces, each delightful and unexpected harmonic shift whisks us off to a new, distant world of expression. (Listen to the chord at 1:40 in the first clip, below, for example). These stream of consciousness “songs without words” develop through obsessively repeated musical fragments which toss and turn as they search for an ultimate resolution. The recurring opening motive in the last movement grabs our attention and then pauses, leaving us hanging. Listen for the moment towards the end where we get a sudden, sly resolution (9:58).

Schumann originally wrote this music for the clarinet, but his version for cello is equally interesting. In both versions there’s a strong sense of musical conversation between the piano and the other instruments. At moments (such as the passionate dialogue between the cello and piano at 6:50) you may be reminded of the musical link between Schumann and Brahms.

Here is cellist Mischa Maisky and pianist Martha Argerich:

…and here is the version for clarinet, featuring Martin Fröst and Jonathan Biss. Consider the ways the piece changes with each instrument.

Listen to the second and third movements.

  • Find the Mischa Maisky/Martha Argerich recording at iTunes, Amazon.
  • Find the Martin Fröst/Jonathan Biss recording at Amazon.

About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

View all posts by Timothy Judd | Website

Categories Chamber Music, Romantic Period, The Listeners' Club, UncategorizedTags cello, chamber music, clarinet, classical music, Fantasiestücke Op. 73, Fantasy Pieces, Florestan and Eusebius, Johannes Brahms, Jonathan Biss, Martha Argerich, Martin Frost, Mischa Maisky, piano, Robert Schumann, Romanticism, songs without words

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