Kreisleriana and Fantasie in C Major

I had the privilege to perform the Fantasie in C and parts of the Kreisleriana. It is no easy task to play Schumann well. It requires certain creative and imaginative mind that does not come naturally to me. If often takes me quite awhile to understand Schumann's dream world in order to be in it completely while performing. Listening to his music is like watching a movie, seeing how the story unfolds.

Kreisleriana

The work of art here is the subtleness of the melody and harmony, which opens endless numbers of new expressions. Melodic lines are often hidden and are often brought out through accents, dynamics, and texture. It is interesting to note that every movement has two very different sections, resembling the two characters Schumann created himself: Florestan and Eusebius. The fast, quick-temper, extrovert section suggests Florestan; the lyrical, dreamy, introvert section suggests Eusebius.

It is a shame that this piece is not performed as much as other of Schumann's music. I wonder how much it has to do with the abstraction and complexity of it. It is not the typical crowd pleaser, meaning that it is not virtuosic in the same way as Liszt or Chopin. It is more introspective and meditative. Of course, it also depends on the performers. A wonderful performance can always guide and intrigue the listeners.


Fantasie in C Major

I have wonderful memories working on and performing this piece. The first movement, passionate and full of sensous melodic lines interrupted by syncopated rhythms and numerous Adagio interludes and the dark and epic development.

The second movement begins as a march and breaks out into 7 minutes of dotted rhythms. The middle section is tricky to feel the pulse because the accents are on the offbeats, which gives a limpy feel to it. The coda is a beast! Obviously, accuracy is a big issue here...

I just love the third movement. It doesn't get more beautiful than this. It is simple, gentle, reserved, and full of sentiment. Schumann transforms the three major themes in the movement through numerous modulations and key changes; first in C, then in A-flat (flat 6th of C), F (6th of A-flat), D-flat (flat 6th of F), before completing the circle and returns to C.