Fantasiestücke, op. 12, a set of eight pieces for piano, was composed in 1837. Schumann was greatly influenced by literature, as his father was a bookkeeper, publisher, and novelist, and the title of this work reflects that. It was largely inspired by the 1814 collection of novellas Fantasiestücke in Callots Manier by E.T.A. Hoffmann. Other pieces of Schumann's were also inspired by literature including Kreisleriana and Papillons.
It is not just that title, however, the was influenced by literature. Schumann had invented two fictitious characters, or alter egos, to represent the duality of his own personality. Eusebius represented the dreamy, introspective side and Florestan, the passionate. Schumann's characters were modeled after Vult and Valt in Jean Paul's novel Flegeljahre. Eusebius and Florestan made many appearances both in Schumann's music and his critical writings.
Like the earlier Davidsbündlertänze, Fantasiestücke is designed as a musical dialogue between Florestan and Eusebius. Eusebius begins the work with "Des Abends" ("In the Evening") which is to represent a "gentle picture of dusk." Florestan then has his turn with "Aufschwung" ("Soaring"). The two characters alternate in each piece, until both are represented in the fifth piece "In der Nacht" ("In the Night") and in the sixth "Fabel" ("Fable"). The seventh piece, "Traumes Wirren" ("Dream's Confusion"), is suggestive of the struggle within Schumann and describes the character of Eusebius under the influence of Florestan. Finally, the work concludes with "Ende vom Lied" ("End of the Song") and it is Eusebius that has the last word. Schumann described the final piece in a letter to his wife Clara thus: "At the time, I thought: well in the end it all resolves itself into a jolly wedding. But at the close, my painful anxiety about you returned." Joseph DuBose
Des Abends (in the Evening), from Fantasiestücke, Op 12 Robert Schumann
The Fantasiestücke of 1837 were written during a time of estrangement between Schumann and Clara Wieck. They are dedicated to Anna Robena Laidlaw, a British-born pianist with whom Schumann became acquainted after hearing her play a concert in Leipzig in 1837. The gentle D-flat Major Des Abends is the opening piece in the eight-piece set. It is followed by the well known f minor Aufschwung. Michael Cansfield
Classical Music | Piano Music
Robert Schumann
Des Abends (in the Evening), from Fantasiestücke, Op 12 Play
Recorded on 02/20/2007, uploaded on 01/15/2009
Musician's or Publisher's Notes
Fantasiestücke, op. 12, a set of eight pieces for piano, was composed in 1837. Schumann was greatly influenced by literature, as his father was a bookkeeper, publisher, and novelist, and the title of this work reflects that. It was largely inspired by the 1814 collection of novellas Fantasiestücke in Callots Manier by E.T.A. Hoffmann. Other pieces of Schumann's were also inspired by literature including Kreisleriana and Papillons.
It is not just that title, however, the was influenced by literature. Schumann had invented two fictitious characters, or alter egos, to represent the duality of his own personality. Eusebius represented the dreamy, introspective side and Florestan, the passionate. Schumann's characters were modeled after Vult and Valt in Jean Paul's novel Flegeljahre. Eusebius and Florestan made many appearances both in Schumann's music and his critical writings.
Like the earlier Davidsbündlertänze, Fantasiestücke is designed as a musical dialogue between Florestan and Eusebius. Eusebius begins the work with "Des Abends" ("In the Evening") which is to represent a "gentle picture of dusk." Florestan then has his turn with "Aufschwung" ("Soaring"). The two characters alternate in each piece, until both are represented in the fifth piece "In der Nacht" ("In the Night") and in the sixth "Fabel" ("Fable"). The seventh piece, "Traumes Wirren" ("Dream's Confusion"), is suggestive of the struggle within Schumann and describes the character of Eusebius under the influence of Florestan. Finally, the work concludes with "Ende vom Lied" ("End of the Song") and it is Eusebius that has the last word. Schumann described the final piece in a letter to his wife Clara thus: "At the time, I thought: well in the end it all resolves itself into a jolly wedding. But at the close, my painful anxiety about you returned." Joseph DuBose
Des Abends (in the Evening), from Fantasiestücke, Op 12 Robert Schumann
The Fantasiestücke of 1837 were written during a time of estrangement between Schumann and Clara Wieck. They are dedicated to Anna Robena Laidlaw, a British-born pianist with whom Schumann became acquainted after hearing her play a concert in Leipzig in 1837. The gentle D-flat Major Des Abends is the opening piece in the eight-piece set. It is followed by the well known f minor Aufschwung. Michael Cansfield
More music by Robert Schumann
Maerchenbilder for viola and piano - I mov, op.113
Carnaval, Op. 9
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
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)
Meditation, from 18 Pieces, Op.72
Piano Sonata No. 8 in a minor, K 310
Russian Dance, from 12 Pieces, Op. 40, No. 10
Etude Op. 25, No. 2 in F minor
Liebesträume No. 3 in A-flat Major (Dreams of Love)
Etude Op. 25, No. 1 in A-flat major
Sonata No. 7 in B-flat Major, Op. 83
Etude Op. 25, No. 12 in c minor
Hungarian Rhapsody No. 6 in D-flat Major
Aufschwung (Rapture), from Fantasiestücke, Op 12
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