Nikolai Lugansky – Schumann, Études Symphoniques

Robert Schumann (1810-1856)
Études Symphoniques (Symphonic Etudes), Op. 13 (1834-1861)
Nikolai Lugansky, 1994

[0:00] Theme – Andante
[1:36] Etude I – Un poco più vivo
[2:52] Etude II
[4:56] Etude III – Vivace
[6:11] Etude IV
[7:12] Etude V – Vivacissimo
[8:09] Etude VI – Agitato
[8:56] Etude VII – Allegro molto
[10:05] Posth. Var. 4
[12:16] Posth. Var. 5
[14:31] Etude VIII – Andante
[16:50] Posth. Var. 1
[18:28] Posth. Var. 2
[20:41] Etude IX – Presto possibile
[21:28] Etude X – Allegro con energia
[22:41] Etude XI – Andante espressivo
[25:33] Etude XII – Finale. Allegro brillante
“[…] Out of his romantically fertile imagination, Schumann created a gallery of fictional characters known as the Davidsbund (band of David), two of whom are opposing facets of Schumann’s alter ego: Florestan, representing his extroverted, exuberant side; Eusebius his quiet, meditative side. Davidsbund were the proud musical pioneers who went forth to do battle (with pens and notes, not swords and slingshots) against philistines and ultra-conservative composers of the day. Florestan and Eusebius are deeply bound up in the world of the Symphonic Etudes. Among the titles Schumann tried out before settling on the present one are Etuden im Orchestercharakter von Florestan und Eusebius and Davidsbündler Etudes.

The opening gesture, a full-fledged theme, forms an integral part of the composition and serves as the basis of a series of variations. The number of variations, the title of the set and their ordering went through numerous changes in the course of the nineteenth century, extending to well after the composer’s death. In the form most commonly encountered today, the Études symphoniques (Schumann used the French title for the first published edition of 1837), there are twelve numbers following presentation of the dirge-like theme in C sharp minor. Originally Schumann wrote six more as well, but withdrew them, mostly due to difficulties in arranging a proper sequence of so many variations in the same key and for the most part of similar character. Five of these “extra” variations were salvaged by Brahms and published as a supplement in 1873.

Most of the Etudes (or studies) are also variations, although very freely fashioned out of the original theme. The “symphonic” aspect of this music refers to the organic growth and extensive working out of the theme as well as to the orchestral textures, colors, sonorities and effects suggested or realized.”

- Robert Markow, Vancouver Recital Society

Видео Nikolai Lugansky – Schumann, Études Symphoniques канала Enchanted Wanderer