Robert Schumann (1810-1856) possessed unusual talents, both musical and literary. As he struggled to express himself with matters such as his love for Clara Wieck or pursuit of artistic excellence, Schumann experienced creative bouts that drew upon one or the other gift, or both, depending on his physical and emotional state. The two gifts maintain an extraordinary relationship, inspiring and informing each other. As blessed recipients of Schumann’s creative output, we are privy to the special images, experiences and literary thoughts that animated his music. Davidsbündlertänze, Opus 6 Schumann’s ability to target and refine musical character was fueled by boundless imagination. He composed the Davidsbündlertänze, Opus 6 (Dances of the Tribe of David) in the spring of 1837, a complicated time in his romance with Clara. Considered autobiographical in their depiction of Roberts consuming love for Clara and his thoughts of a wedding, the dances display Schumann’s reliance on two of his several imaginary companions or muses, Florestan (the extrovert) and Eusebius (the introvert). Eighteen sketches reveal Schumanns complex emotional state: joy as he awaits a reunion with Clara following a prolonged separation and anxiety concerning her fathers resistance to their nuptial union.
01. Davidsbündlertänze, Op. 6: No. 1, Lebhaft – No. 2, Innig – No. 3, Mit Humor – No. 4, Ungeduldig 17:30
02. Davidsbündlertänze, Op. 6: No. 5, Einfach – No. 6, Sehr Rasch – No. 7, Nicht schell – No. 8, Frisch – No. 9, Lebhaft 20:47
03. Faschingsschwank aus Wien, Op. 26: I. Allegro 8:56
04. Faschingsschwank aus Wien, Op. 26: II. Romanze 2:46
05. Faschingsschwank aus Wien, Op. 26: III. Scherzino 1:52
06. Faschingsschwank aus Wien, Op. 26: IV. Intermezzo 2:01
07. Faschingsschwank aus Wien, Op. 26: V. Finale 5:57
08. 8 Novelletten, Op. 21: No. 8, Sehr lebhaft in F-Sharp Minor 11:32
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