In Die Romantische Seele, Judith Jáuregui presents works by Robert and Clara Schumann, exploring the themes of love and longing that underlie many of their compositions.
The Op. 54 Piano Concerto was the product of a period of orchestrally-oriented output following marriage; completed in 1845, it was premiered by Clara. This work contains an interesting psychological component that also resides in many of Schumann’s other works: the relationship between opposing sides of his personality. Appearing as early as his Op. 2 Papillons, “Florestan” is an embodiment of the bold extrovert while “Eusebius” is the contemplative introvert.
In her interpretation, Jáuregui effectively expresses the relationship between these two characters. For example, the opening descending chords in the piano mark Florestan’s impassioned presence that quickly gives way to Eusebius’ delicate and sorrowful entrance. In particular, I felt that Jáuregui shows great expressivity throughout the movement each time Eusebius appears (the dreamy A-flat major section in the middle is very nice). However, her Florestan is in some cases a little too subdued and could use more vigor and edge to portray the conflict between the two forces that drives the movement.
The same goes for the joyful final movement, which is quite lovely but could use a little more of Florestan’s sprightly energy if not impetuousness. A notable comparison here is Martha Argerich (either with Riccardo Chailly and the Gewandhausorchester Leipzig or with Harnoncourt and the Chamber Orchestra of Europe) – her notes seem to have a little more ‘snap’ and swinging rhythmic presence, giving the movement a brightness and vitality. The Orquestra Simfònica Camera Musicae presents a strong performance that matches the soloist’s overall musicality. Throughout, one can hear its strength as a full force but there are also beautiful moments of chamber-style textures, such as the fine wind ensemble playing in the first movement.
Related Classical Music Reviews
- Review: “Romance” – Isata Kanneh-Mason Plays Clara Schumann
- Review: Schumann – Symphonies No. 1 and 3 – LSO, Gardiner
- Review: Schumann – Fantasy, Kreisleriana – Yeol Eum Son, Piano
Robert Schumann’s Op. 14 Sonata (1836) was named “Concerto Without Orchestra” by Schumann’s publisher Tobias Haslinger, in an attempt for it to appeal to a wider audience. While this title was not well received by the likes of Liszt or Ignaz Moscheles (to whom the work was dedicated), it is in some ways an apt moniker that reflects its immensity. The Quasi Variazioni movement featured on this album is perhaps the most poignant of the sonata and one of Jáuregui’s best performances: she has a breathtaking sound quality in the delicate and moving lyricism of the upper voice and the resonant, swirling bass line (also thanks to the fine Bösendorfer grand she plays). She evokes a vibrant musicality from the deep, hymn-like quality of the opening to the delicate polyphony of the middle. The profundity of the final F minor chords sounds like tolling bells dissipating into the distance.
Clara Schumann is represented with a set of variations of her own – the Op. 20 Variations on a theme of Robert Schumann. The performance is impressive; the interpretation speaks to the refined nature of the writing while remains passionate and honest, a valuable glimpse into the musical and emotional connection between Robert and Clara.
Though not as expansive as the Fantaisie in the same key, the “Arabeske” in C Major that closes the album uses tonality both as a novel compositional device and as a means of reflection upon emotional conflict. Jáuregui highlights this aspect while still maintaining the overall unity of the work. Her playing from from 2:07 until the return of the C major section expresses a nuanced yet painful longing, and in the final section (5:21 onwards) this feeling now takes on a less anguished form; her tender sensitivity and the key of F major help create a sense of gentle reminiscence.
Jáuregui’s playing is elegantly restrained yet emotive, highlighting the romantic themes prevalent throughout the music. A highly recommended listen.
“Die Romantische Seele”
R.Schumann – Piano Concerto, Variations form Piano Sonata No. 3, Arabeske
Clara Wieck-Schumann – Variations, Op. 20
Judith Jáuregui – Piano
Orquestra Simfònica Camera Musicale
Tomàs Grau – Conductor
Schumann Piano Concerto – Recommended Comparisons
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