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Robert Schumann Fantasiestucke (Fantasy Pieces) Op.73 for Clarinet and Piano.
No.2 Lebhaft. leicht
Maksim Shtrykov clarinet and Alina Kiryayeva piano
In 1849, following several years of intermittent ill health that had limited his composing, Schumann enjoyed a burst of creative energy resulting in some 20 new works, including four for instrumental duet with piano, the featured instruments being horn, clarinet, cello, and oboe. In virtually all these cases the composer bowed to practicality and sanctioned performance by other instruments as well. In the case of the Fantasiestücke (Fantasy Pieces), composed for clarinet, Schumann offered either cello or violin as an alternative.
For publication Schumann replaced his original title Soiréestücke (Soirée pieces), with the more poetic definitive title, Fantasiestücke, one that he was apparently fond of; he used it in three different works for solo piano (Op.12, Op. 111, and one piece in the Op. 124 set) and one other ensemble work, a Trio for piano, violin, and cello, Op. 88. A title of that sort promotes the fundamental Romantic stance that creative work is the product of the artist's untrammeled imagination, as if the artist is merely a medium taking dictation of music that arrives from another world. Moreover, the flickerings of "fantasy" justify the sudden changes of mood that are so much a part of Schumann's music.
In the case of Op. 73, these short pieces are essentially songs without words, lyrical miniatures that allow—and require—legato performance and expressive phrasing from the melody instrument, whether it be the clarinet or an alternative. They form a small triptych in the key of A major (the first is minor, the last two are in major), progressing from a mood of tender lyricism through fleet passage work and soaring melodies to a conclusion of fiery energy.
Program Notes by Steven Ledbetter
