Arabeske (Schumann)

Background#

In Vienna, Schumann found himself beset by depression and professional disappointment. Nevertheless, he managed to create a few compositions of remarkable grace and beguiling charm, writing (as he put it) in a “lighter more feminine style”. In his letter of 15 August 1839 to Ernst Becker, Schumann characterized both the Arabeske and Blumenstück as “delicate – for ladies”. He was influenced by Christian Schuburt’s book on musical aesthetics, in which C major, the key of the Arabeske, was identified with the childish and simple, relegating more intense emotions to the sharped keys. Schumann wrote in the year of the creation of the Arabeske, “Never refer me again as Jean Paul II or Beethoven II … I am willing to be ten times less than these others, and only something to myself.”

Description#

The term Arabeske is used here as a poetic metaphor, not only to describe florid decoration, but also, in Schlegel’s terms, to suggest a fluid, organic system of fragments that transcends artificial Classical forms. Schumann employs modified rondo form to encompass a short ABACA rondo form, with the gently lyrical main section A, two more intense episodes B (Florestan) and C, and a beautifully pensive Epilog (Eusebius). The piece moves lithely between contrasting moods, and seems to conclude with a gentle recapitulation of the opening material. The poignant postlude that follows comes as an exquisite surprise. Schumann’s original metronome markings for this work appear to have been too fast. Clara Schumann later revised them as Light and delicate Leicht und zart (crotchet =126), Minor #1 Minore I (crotchet =112), and Minor #2 Minore II (crotchet =120).

Further reading#

• Program notes for a recording by Youri Egorov
• Program notes for a concert at Carnegie Hall

External links#

• Performance by Jonathan Biss from the Isabella Stewart Gardner Museum in MP3 format
• , Piano Soloist: Maurizio Pollini
• , Piano performed by Mogens Dalsgaard