Robert Shoemann

Already pointed out by my keyboard lit teacher, Schumann's first 23 opuses (is that a word?) are all for piano. . .

op.1: Abegg Variations

op.2: Papillons

op.3: Etudes (6) after Caprices from Paganini, set 1

op.4: Intermezzi

op.5: Impromptus on a Theme by Clara Wieck

op.6: Davidsbündlertänze

op.7: Toccata in C major

op.8: Allegro in B minor

op.9: Carnaval

op.10: Etudes (6) after Caprices from Paganini, set 2

op.11: Sonata no.1 in F-sharp minor, 'Florestan und Eusebius'

op.12: Fantasiestücke

op.13: Symphonic Etudes (12)

op.13a: Posthumous Variations from 'Symphonic Etudes (12)'

op.14: Concert sans orchestre (Grande Sonate) in F minor

op.15: Kinderszenen

op.16: Kreisleriana

op.17: Fantasy in C major

op.18: Arabesque

op.19: Blumenstück in D-flat major

op.20: Humoreske in B-flat major

op.21: Novelettes (8)

op.22: Sonata no.2 in G minor

op.23: Nachtstücke

Within these first 23 works, Schumann put out several masterpieces including three of his best works he ever wrote (Op. 9, Op. 13, and Op. 17). After watching a video of Claudio Arrau having his way with Carnaval I realized that this work rides on a couple things. One thing is the performer’s ability to bring these characters to life, which requires some humor, wit, and creativity. Although I was already familiar with the work, I found it refreshing to watch and listen to another performance. Even though Chopin said Schumann’s Carnaval “was not music at all” I found some really great moments within the music. For starters, check out the opening. It sets up the audience for a piece with a grand mindset almost to epic proporations. Following the Préambule are nineteen movements or short works. . .whatever you want to call them and two intermezzi. Some represent literary characters who Schumann worked with in his musical journal, Neue Zeitschrift für Musik, some were composers of the time (like Chopin and Paganini), and one is written in a way that makes you scratch your head when learning it (Sphinxes) . . .do I play it? Rachmaninov did! Overall, I definitely have a facination for this work and enjoy listening to it. Carnaval gets four stars. * * * *

Papillons, although less exciting is still a great work. The first time I heard it I thought it was never going to end, but now (a couple years later) I find it more entertaining. After finding out that it is programmatic music, it makes it more appealing. Whenever you finally hear the story behind a piece of music that you don’t understand, it makes everything that much better. I think that like Carnaval this piece, as well as much of Schumann’s piano music, requires a great deal of creativity. You are required, as the musician, to bring the scenery and characters to life. The audience should feel as though they are right there with you in the room or where ever you are. I give this work two and a half out of five stars. * * 1/2