(0-.25) So, the next variation is again a prophecy. It is a prophecy in the form of a Passacaglia. Here Schumann gives a nod to his colleagues from the past, hardening back to the Baroque era. But this Passacaglia form is enigmatic – its ancient form contains a reference to the future – to breakthroughs…

(If) in the previous variation, or in the previous study, Schumann retained the theme, just reversed in the main voice, and the dramaturgy: death, life, epitaph. However, in the next variation, Schumann practically disappears in his dreams, he moves away from the theme, moves away from this reality and he becomes abstract … There, in…

Schumann considered “Symphonic sketches” to be his best composition for pianoforte, although he discouraged their performance because he judged them to be “too internalized”, or too personally selfreferential – an “introversion”; he also believed that the score was seriously complex. He believed that the general audience, accustomed to overt emotional expression, would not appreciate the…

0.21. The material of the next variation, which we now consider, is music imbued with an incredible elegance. As I have already told you, Schumann possessed a very delicate coquetry, a subtle sense of humor. All his music is so subtle and sublime it touches our modern soul – our terse, noisy, decadent soul, which…

0.21 Next is variation number 5. Simply put, its just a wonderful song, period. Once again, its theme is firmly rooted in the idea of death. But, the emotion being conveyed is in flux, as it soon begins morphing into a love theme. Yes, Schumann wrote of love and death throughout his life. So, as…