{"id":16581,"date":"2020-07-03T16:45:13","date_gmt":"2020-07-03T14:45:13","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=16581"},"modified":"2025-05-06T15:57:55","modified_gmt":"2025-05-06T13:57:55","slug":"schumann-kinderszenen-op-15-fantasy-op-17-four-fugues-op-72-arabesque-op-18-scherzinger-piano-etudes-bobby-mitchell-piano-live","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/schumann-kinderszenen-op-15-fantasy-op-17-four-fugues-op-72-arabesque-op-18-scherzinger-piano-etudes-bobby-mitchell-piano-live\/","title":{"rendered":"SCHUMANN : KINDERSZENEN, OP. 15 \u2013 FANTASY, OP. 17 \u2013 FOUR FUGUES, OP. 72 \u2013 ARABESQUE, OP. 18 \u2013 SCHERZINGER : PIANO ETUDES \u2013 BOBBY MITCHELL, PIANO (LIVE)"},"content":{"rendered":"

Robert SCHUMANN :<\/strong> Kinderszenen, Op. 15 – Fantasy in C Major, Op. 17 – Four Fugues, Op. 72 – Arabesque, Op. 18 \u2013 Martin SCHERZINGER :<\/strong> Piano \u00c9tude No. 1 “fast zu sorglos” – Piano \u00c9tude No. 2 “The Horse is Not Mine, An Imitation Horse” – Piano \u00c9tude No. 5.<\/p>\n

Bobby Mitchell<\/strong>, Piano.<\/p>\n

https:\/\/www.bobbymitchellpiano.com\/<\/a><\/p>\n

Booklet GALLO CD-1618.pdf<\/a><\/p>\n

While playing Schumann\u2019s music in concert, a multitude of powers take over and guide the performance. The piano-playing summons otherworldly natural forces and lets these conjure their spells. In a particular performance, they collaborate in unforeseen ways that are unique to that moment \u2013 it will be different the next time around. In a sense, this kind of witchcraft takes place during every live performance, but I believe that Schumann\u2019s music is an especially potent platform for relinquishing control to these powers.<\/p>\n

Behind his carefully notated scores lies an inner world of tense psychological suspense. The unpredictable ways in which different humors (joy, or despair, sorrow, or elation) co-mingled in Schumann\u2019s mind captivated but certainly also bewildered him. He even took measures to catalog his inner world by naming certain attributes, thus personifying them. Florestan and Eusebius are often understood as imaginary \u201cpeople,\u201d but could also be understood as opposing forces, interacting in much the same way as yin and yang do. Schumann\u2019s inner world was not exceptional as a phenomenon \u2013 every human has one, different than Schumann\u2019s but equally unique and complex. The exceptional thing was how Schumann created access for us to his through music notation, a collection of symbols that can transmit so much meaning.<\/p>\n

In Schumann\u2019s scores I see an undercurrent of unbearable tension. It is visible almost everywhere. It\u2019s like a geyser that doesn\u2019t ever quite trigger but leaks gas constantly, and now and then a series of bubbles or the occasional spew of boiling water. Although the poet speaks so calmly and wisely (at the end of Kinderszenen), short spurts of black ink disrupt the page and expose an anxious and uncertain undertone. Schumann\u2019s Tr\u00e4umerei is not just anybody\u2019s daydream \u2013 the micro-canonic entries of the opening gesture expose an underlying restlessness that cannot be repressed, even during innocent and aimless contemplation. Martin Scherzinger\u2019s creative extrapolations of Schumann\u2019s score-content, in the form of piano \u00e9tudes, stand in sunny relief to Schumann\u2019s depictions of childhood. Childish in their own outgoing, rhythmic way, Scherzinger\u2019s music influenced the way I can see and then sonify layers in Schumann\u2019s music. The first page of the Fantasy overflows with natural energy, a river of boiling water rapidly flowing underneath an outcry of melodic passion. I hear this melody as a setting of Schlegel\u2019s text with which Schumann prefaces the music:<\/p>\n

Durch alle T\u00f6ne t\u00f6net<\/strong><\/em>
\nim bunten Erdentraum<\/strong><\/em>
\nein leiser Ton gezogen<\/strong><\/em>
\nf\u00fcr den der heimlich lauschet<\/strong><\/em><\/p>\n

In an attempt to translate these lines, I think of something like a quiet resonance within the world that resounds for you, the listener listening in secret.<\/p>\n

This recording contains live performances from 2016 and 2019 at the Old First Methodist Church in downtown San Francisco.<\/p>\n

Bobby Mitchell, 2020<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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