Diane Andersen - Scene D Enfants/Klavierstucke/Bagatelle

The pieces presented here, beside being absolute master pieces, reflect those composers that Schumann held in high esteem: Beethoven and Schubert. If the true value of Beethoven and Schumann's compositions were recognized during the composers lifetime, it was not the case with Schubert's last Impromptus which Brahms saved from oblivion, having them printed in 1868. Schumann - Scenes of Childhood op. 15 (1838). Chosen by Schumann among approximately 30 pieces written at the same time as the tumultuous Kreisleriana and Fantasie op. 17, these 13 small pieces made the delight of Clara. She could hide in this magic world that Robert had expressed to her as a young child in 1828. The first piece is certainly an homage to J. S.Bach with the quotation: b-a-c-h in the three first bars which are also bringing Clara's motive (b-g-f#-e-d). Liszt loved these pieces and wrote to Schumann on June 5th, 1839: 'Concerning the 'Kinderszenen', I feel them as one of the greatest enjoyments of my life.' The Arabesque op.18, in the form of a rondo with two verses, is a variant of abandoned pieces for Scenes of Childhood. The tonality is C major, same as the Fantasie op. 17, which symbolizes Clara. We notice the codas 'The poet speaks' and 'zum Schluss', a kind of moralizing or dreaming ended, always of intense poetic inspiration. Andersen's interpretation is very much influenced by Clara Schumann's indications. Schubert - Drei Klavierstücke D. 946, op. posth. (1828). The first is in e flat minor, dark and dramatic tonality, the second is opposite, in E flat major, the key of sweetness and melancholy. Both are in rondo form with three refrains and two verses. Exactly the same structure as Schumann's Arabesque. B. Massin suggests the third Impromptu in C major to be like a conclusion of the two previous cycles of Impromptus D899 and D935, starting in c minor. The refinement of the modulations here is exquisite. Beethoven - Six Bagatelles op. 126 (1824). Schumann admired the last works of the Master of Bonn. So did the critics of the time, who didn't seem to understand the title of 'Bagatelles' for pieces they were considering as 'little master pieces' and more over 'making them sound like music was not given to the mere amateur.' Beethoven himself considered this 'Cyclus von Kleinigkeiten' being the best of the kind he ever wrote. If some are more lyrical (1-3-5) other are rather animated (2-4-6), but they all have a strict structure and the tonal link between them gives them their unity as a cycle.