Masters recital performed in the Curtis Auditorium, CIT Cork School of Music, 1:00pm 10 June 2019
Link to Concert
Programme Notes
Robert Schumann
Papillons, Op. 2
Widmung trans. Franz Liszt
Franz Schubert
Sonata in A minor, D784
i)Allegro giusto
ii) Andante
iii) Allegro Vivace
Schumann’s Papillons are full of energy, humour and quickly shifting moods and
characters. The influence of Commedia dell’arte is clear. Each of the twelve short pieces
seem to represent a different character appearing on a stage or perhaps a different mask
being worn by a performer.
There is plenty of evidence to suggest that Schumann was inspired by the novel Flegeljahre
by Jean Paul and made a connection between Papillons and Jean’s text. Although the first
ten pieces were written before his reading of the novel – according to Schumann only the
last two were composed directly as a result of the novel – his own copy of Flegeljahre
contains numbers which he marked in and they match up with the 12 pieces in Papillons.
So he connected and joined even the music which was already written to key points in the
story. The story tells of two twin brothers Walt and Vult, their reunion after a long
separation and Walt’s attempts, with his brothers help, to overcome the many obstacles in
securing his inheritance. The final chapter is the most linked to Papillons. It takes place at a
costume ball (the title Papillons may well refer to the butterfly shaped masks often seen at
these balls). Both Walt and Vult share affection for the lady Wina. After Walt has danced
with Wina, Vult then exchanges costumes with his brother and dances with Wina. Wina,
still believing it to be Walt she is dancing with, professes her love for him which causes Vult
to storm off. He departs the next morning while playing the flute. The waltz in the 10 th
Papillon refers to Walt’s dance with Wina. The theme which appears both in the first and
last Papillon represents the love for Wina. This theme becomes more and more fragmented and distant in the last movement perhaps to show Vult disappearing into the distance – his
flute no longer heard.
While there are great contrasts in the piano music by Schubert and Schumann, what ties
both composers together is that they are both renowned for their Lieder. The way they
write for voice and use text is inspiring. The influence of this is clear in their solo piano
music – the way they create drama and atmospheres, and in the beautiful lyrical passages.
The text of Schumann's song Widmung, meaning "Dedication", describes a great love for
someone. Liszt alternates between a faithful transcription of the song and embellished
realisations of the melody – as if the singer is answered by an orchestra. Schumann's
original song finishes with an homage to Schubert's Ave Maria and Liszt also includes this.
Schubert’s piano sonata in A minor D784 was composed in 1823. In the same year
Schubert wrote a poem called “Mein Gebet”, meaning “My Prayer”. In it he expresses the
longing for the comfort of death. The disease, which later led to his early death, was
manifesting. Later the same year, while spending some time in hospital, he wrote a number
of songs from the cycle Die Schone Mullerin – a song cycle of love betrayed. The idea of
death being a place of comfort and peace is something which Schubert alludes to in a
number of his works. The piano sonata was his first great work of this year and it is clear to
see how reflections on death and his condition have coloured the work. However, it is not
so much a cry out of distress as it is an acceptance of inevitable fate.
The work filled with extremes. From tremendous warmth and passages which seem to
describe a peaceful haven to dark – even frightening – atmospheres! The beginning in
particular is so bare and empty. Something dark and seemingly nightmarish then rises out.
The second movement manages to stay in a beautifully warm comfortable place for the
most part with just a hint of the torment as an understated reply to the main theme. The
third movement then brings the slight unsettled feeling to the fore where and it becomes
quite ferocious although it is still contrasted with beautiful warm lyrical passages.
It is exciting to see how Schubert, who is famed for his Lieder songs, composes for solo
piano. The influence of working with text and voice is clear in the dramatic atmospheres
and lyrical passages but there are also textures and sounds which go beyond the scope of a
song and he experiments with larger and more complex structures. It is truly colourful
music.