Having left Leipzig for Vienna in the fall of 1838, Robert
Schumann found himself separated from his fiancée Clara. Though geographically
separated from her, Robert continued to communicate with her in letter and,
even more touchingly, in music. While it would be nigh impossible now to
uncover whether the piano compositions that followed Schumann's arrival in
Vienna were his way of remaining, not physically but in spirit, close to Clara,
it is at least a safe assumption that they were, in part, just that.
Of those compositions, the Arabeske in C major of
1839 lends itself quite well to that interpretation. Cast in a rather
straightforward rondo form, it alternates wistful passages with more intense
and extroverted episodes. The lyrical opening melody in C major frames two
minor key episodes—the first in E minor and the second in A minor. The
episodes, though quite different in character, take their material directly
from the C major principal theme. After the final statement of the principal
melody, a beautiful Epilogue commences, ultimately drawing the work to a close
with a final echo of the C major melody.
The title "Arabeske" comes from a more generic term to
denote a florid design in the fine arts or other ornamental objects such as
rugs, mosaics, etc. When applied to music, it is often used, as in this case,
with short compositions for piano. While the structure of Schumann's Arabeske adheres closely to Classical standards, it is mainly its melodic and harmonic
ornamentation that justifies the title of "Arabeske." Joseph DuBose
Classical Music | Piano Music
Robert Schumann
Arabesque in C Major, Op. 18 Play
Recorded on 10/21/1998, uploaded on 02/24/2009
Musician's or Publisher's Notes
Having left Leipzig for Vienna in the fall of 1838, Robert Schumann found himself separated from his fiancée Clara. Though geographically separated from her, Robert continued to communicate with her in letter and, even more touchingly, in music. While it would be nigh impossible now to uncover whether the piano compositions that followed Schumann's arrival in Vienna were his way of remaining, not physically but in spirit, close to Clara, it is at least a safe assumption that they were, in part, just that.
Of those compositions, the Arabeske in C major of 1839 lends itself quite well to that interpretation. Cast in a rather straightforward rondo form, it alternates wistful passages with more intense and extroverted episodes. The lyrical opening melody in C major frames two minor key episodes—the first in E minor and the second in A minor. The episodes, though quite different in character, take their material directly from the C major principal theme. After the final statement of the principal melody, a beautiful Epilogue commences, ultimately drawing the work to a close with a final echo of the C major melody.
The title "Arabeske" comes from a more generic term to denote a florid design in the fine arts or other ornamental objects such as rugs, mosaics, etc. When applied to music, it is often used, as in this case, with short compositions for piano. While the structure of Schumann's Arabeske adheres closely to Classical standards, it is mainly its melodic and harmonic ornamentation that justifies the title of "Arabeske." Joseph DuBoseMore music by Robert Schumann
Maerchenbilder for viola and piano - I mov, op.113
Adagio and Allegro, Op. 70
Wehmuth, from Liederkreis, Op. 39
Novellette no. 6 in A Major: Sehr lebhaft mit vielem Humor, from Novelletten, Op. 21
Nur wer die Sehnsucht kennt, from Lieder und Gesänge aus Wilhelm Meister
Intermezzo
Carnaval, Op. 9
Presto Passionato in g minor, Op. 22a
Faschingsschwank aus Wien, Op. 26 (Carnival of Vienna)
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Performances by same musician(s)
Liebesleid (arr. Rachmaninov)
Sonata No. 2 in b-flat minor, Op. 35
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