Schumann and his Intermezzo
Maria, a pianist from Malta, explored a variety of romantic expressions in her final recital, at the Royal Northern College of Music, in Manchester. Here we can hear her rendition of Schumann's Intermezzo.
Intermezzo in E-Flat minor
The Intermezzo is the fourth movement of Schumann’s solo piano work, his Faschingsschwank aus Wien Op. 26.
This movement as the most passionate movements among the five, marked by its flowing and soaring right hand song melody upheld by a turbulent accompaniment.
A critical review of Faschingsschwank, published in Germany 1842 describes this remarkable movement: “ The most substantial of these fantastic scenes is, in musical terms, incontestably the Intermezzo, which of all the pieces in this collection appealed to us the most.
How such a dour fellow, who peeks eerily and threateningly enough from his E-flat minor visor, could have stumbled into these cheerful surroundings is indeed quite unaccountable. Having successfully weathered this Intermezzo, one breathes a deep sigh of relief, as if released from an evil spell […]".
Faschingsschwank aus Wien Op. 26
In Schumann’s letter to Clara (Schumann’s wife, one of the most distinguished pianists of the Romantic era), he described Faschingsschwank aus Wien (Carnival Scene from Vienna) as a “Romantic spectacle”.
Schumann started to compose this work in 1839 in Vienna towards the end of his stay there, and completed it a few months later.
During this period however, Schumann reputedly suffered from schizophrenic symptoms.
Through his music, the audience could feel how psychologically, musically and metaphorically important the carnival seasons were for a schizonphrenic composer like Schumann.
Certainly, as always in Schumann’s music, this work reveals sharp contrasts between the brilliant exuberant moments and melancholic distress.
However, as Maria explains, she thinks Faschingsschwank is primarily about depicting a traditional Viennese carnival, which typically manifested in the carnival masked balls.
And in fact the dance element is very noticeable in the first, third and fifth movement of the work.
Robert Schumann
Robert Schumann died as a failure in his own eyes, though today he is recognised as the most influential and prominent figure of the nineteenth century musical scene.
He was a typical Romantic era composer with a deep knowledge of literature and philosophy. He thought it is his mission to fuse all the arts in music.
He once wrote: “I am affected by everything extraordinary that goes on in the world and think it over in my own way… then I long to express my feelings and find an outlet for them in my music: a poem, something infinitely more spiritual, the result of poetical consciousness.”
Schumann was an enigmatic and complex composer, he had a deep respect of classical forms (he was in awe of Beethoven), but he was quick to break away from them.
He created the unique changeable emotional climate in music passages, shifting from passion to nostalgia, or from pain to ingenuous optimism.
Early life
Schumann originally studied law at Leipzig university, but was told by his professor that he had no talent in the field of law whatsoever.
He continued his music studies seriously under a notable piano teacher Friedrich Wieck, who assured Schumann he could become an outstanding concert pianist in Europe in only a few years.
However, his hope to become a virtuoso was wrecked by the machine designed to strengthen his fourth finger, as well the disease - syphilis.
As a composer
Though his intention to be a concert pianist was not fulfilled, his talent as a composer had already shown.
The 1830s was the finest and most fruitful period for Schumann as a composer. He produced many masterpieces such as Papillons, Carnaval, Davidsbundlertanze, Fantasietucke, the piano sonatas etc.
Clara Schumann – an inspiration of Schumann
During this period, he also desperately attempted to marry Clara Wieck, the daughter of his teacher. However, Friedrich never agreed this marriage.
Clara herself was one of the most important musical figures of her day. Not only was she a phenomenal pianist and a talented composer, but also an extremely important inspiration both to her husband and to Brahms, with whom both she and her husband developed a life-long friendship.
Death
During Schuman’s last period of life, he suffered with the madness and illness of Syphilis. In 1854 he attempted suicide by throwing himself in the Rhine and finally, and afterwards he was sent to Endenich asylum near Bonne.
There he died in July 1856, aged 46.