Robert Schumann is perhaps best remembered for two things: the
sheer number of his compositions, particularly his piano music,
produced in his relatively short life; and his passionate and
deeply tumultuous relationship with Clara Schumann, née Wieck,
his highly accomplished pianist wife. Schumanns life was clouded
with episodes of depression and emotional turmoil, to the extent
that he spent the last two years of his life in an asylum,
tormented by incidents of paranoia and delusion, as well as a
fading memory. Despite or maybe because of his turbulent
emotional state, Schumann managed to complete hundreds of
compositions, from expansive orchestral works to tender Lieder
and even a fully fledged opera. Schumann found inspiration at
different points in his life to write for different forces. The
year 1840 became known as his Lieder year, and among his many
inspired compositions was the cycle Frauenliebe und leben, a
compelling account of a womans life and love. In 1841, not long
after marrying Clara, he was inspired by her encouragement to
start writing for orchestra. He composed his first Symphony
(Spring) in February of that year, later sketching his Overture,
Scherzo and Finale Op.52 in April/May and composing what would
become the Piano Concerto in May. In the same year he completed
his D minor Symphony, though he wouldnt publish it for another
ten years, making it his Fourth. The next year would come to be
known as his Chamber Music year; despite struggling with
resentment that Claras popularity as a pianist was outstripping
his own as a composer, Schumann managed to turn his unhappiness
into a productive spell of composition. In February 1842 he began
the first two String Quartets, finishing them off in the summer,
and in July he composed his third. The Piano Quintet was written
in October, and November saw him working on the Piano Quartet.
This highly productive period saw the composer exploring a range
of styles, with intricate fugues as well as lighter motifs taken
from Haydn and Mozart. In 1843 Schumann began working on
oratorios, including Das Paradies und die Peri, but his true
ambition was to write an opera. Unimpressed with Wagners
offerings, Schumann spent a lot of time in thought before
settling on the medieval tale of Genoveva for his first operatic
work, completed in 1848. The opera is far removed from the vast
forces required for Wagner; the work is a scene opera,
characterised by recitative style phrasing and a sumptuously
lyrical orchestral score. Throughout his life Schumann composed
for the piano, inspired at first by his forbidden love for Clara
(only receiving permission to marry her in 1840 after a long
legal battle). His piano compositions continued well into the
latter stages of his life, even during his time in the asylum. 14
of the 45 s on this release are dedicated to Schumanns
solo piano music, not to mention his intricate writing for the
Piano Concerto and piano chamber works. Among the many singers
featured are Arleen Auger, one of the most highly regarded
sopranos of the 20th century, who performs the magnificent
Frauenliebe und leben, as well as Peter Schreier, who focuses on
Lieder penned by Heinrich Heine. Newer s include
Schumanns chamber works, performed by Quartetto Savinio described
by La Repubblica as the heirs to the Quartetto Italiano along
with Quartetto Klimt and the Daniel Quartet.