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- PROGRAM Robert Schumann (1810 - 1856) Etudes symphoniques for piano, op. 13 on a theme by Ignaz Ferdinand von Fricken Theme - Andante 1. Variation I - A little more alive 2. Variation II - Marked singing, expressive 3. Studio III - Vivace 4. Variation III 5. Variation IV - Joking 6. Variation V - Agitated 7. Variation VI - Allegro molto 8. Variation VII 9. Study IX - Soon possible 10. Variation VIII - Always with energy 11. Variation IX - With expression 12. Final - Allegro Brilliant Alberto Mozzati, piano Humoreske in B flat major for piano, op. 20 - Einfach Peter Frankl, piano NOTE The Symphonic Studies are in the form of variations. Variations on a theme that is not by Schumann but by an amateur, Baron von Fricken, father of the fiancée of that moment, before the great love, Clara Wieck, blossomed. The baron, who played the flute, had sent Schumann one of his themes with variations in 1834, soliciting an opinion. Schumann got away, diplomatically, saying that the theme had interested him to the point that he thought of writing variations himself. The gestation of the work, however, was long and tormented. Schumann first wrote the Pathetic Variations, then transformed them into Fantasies and final, assigned them opus number 9 and deemed them ready for printing. So he changed his mind, put aside the Fantasies and final by removing them also the opus number that passed to the Carnaval. In 1837 Schumann took over the Fantasies and finale, radically changed the structure of the theme, removed five variations, added others, moved the order by a few pieces, changed the title twice and assigned the opera number 13. The the result is a paradox not only because of the title, but also because the structure of the variations / studies no longer fully corresponds to the modified theme structure. The birth of this composition is announced by Schumann to Clara in a letter dated 11 March 1839: «All week I have been at the piano and composed, laughed and cried at the same time; you will find the imprint of all this in my great Humoreske ». a continuous, incessant mutation of moods, reflecting the tormented and schizophrenic personality of the musician, characterizes the work. For the sake of illustration, the "Humoreske" can be considered as consisting of five sections. The first is clearly recognizable for its cyclic and concentric structure: a lyrical and dreamy episode with which the work begins gives way to another of a contrasting character - Very lively and light - and leads to a swirling movement in which the typical Schumannian dotted rhythm. The second section hinges on a feverish and tormented thematic drawing that progressively leads to a climax of agitation and pathos, and then mysteriously subsides in a sort of barely whispered choral. The third section is in simple ternary form. Another theme of undoubted beauty, but this time open and serene, introduces the fourth section, marked by a pungent vivacity, and which ends with a pompous rhythm of march. The Conclusion is a long farewell in which Schumann's music almost seems to fold in on itself, in a very intimate inner discourse. The last word, however, is entrusted to a very short, flamboyant Allegro, boldly set on a descending chromatic scale.