Schumann Papillons Op.2 II Rachel Naomi Kudo, Piano

Robert Schumann (1810-1856)
Papillons Op.2 (1831)
Recorded July 5, 2023
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00:10 Introduction. Moderato
00:21 No.1 Waltz
01:08 No.2 Waltz - Prestissimo
01:36 No.3 Waltz
02:30 No.4 Waltz - Presto
03:28 No.5 Polonaise
05:22 No.6 Waltz
06:22 No.7 Waltz - Semplice
07:34 No.8 Waltz
09:00 No.9 Waltz - Prestissimo
09:49 No.10 Waltz - Vivo
12:22 No.11 Polonaise
15:16 No.12 Finale
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Two artistic influences flutter over Robert Schumann’s second published work, an interconnected cycle of twelve dance pieces appearing in 1831 under the title Papillons (i.e., “Butterflies”). The first is the piano music of Schubert, especially his dance pieces and variations, which intrigued the young composer with their “psychologically unusual connection of ideas.” The second is the work of German Romantic novelist Jean Paul Richter, with whose fanciful writings Schumann became utterly besotted in his student years in Leipzig while studying law.
It is, in fact, the scene of the masked ball at the end of Richter’s novel Flegeljahre (1804) that provides the dramatic “setting” for the cycle, a scene in which two brothers, in love with the same woman, vie to win her heart amid the gaiety and varied musical offerings of a social evening with dance orchestra.
These brief pieces, most of which are waltzes, manage to fit a maximum of drama within their diminutive formal frames. Eyebrow-raising is the occasional use of the minor mode in this collection of generally festive dances, as well as the frequent presence of two wildly contrasting moods within the same piece - features which hint at the testosterone- soaked rivalry between the two brothers. Noteworthy as well is how the personalities of the rival brothers in Richter’s novel - one dreamy-eyed and introspective, the other passionate and action-oriented - parallel the two alter-egos that Schumann was to develop for his own split musical personality: Eusebius and Florestan.
Most clearly narrative is the final dance in the set, which opens with a quotation of the Grossvatertanz (Grandfather’s Dance), a centuries-old tune traditionally played at the end of wedding celebrations. Against the backdrop of this tune, Schumann recalls the opening waltz as the clock tolls repeatedly to signal the end of the ball. The final cadence features a dominant 7th chord that is peeled up from the bottom to leave only its top note sounding, before the final chord brings a quiet close to this kaleidoscopic evening of musical nostalgia.
Notes by Donald G. Gíslason, Ph.D.
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Engineer: Federico Furlanetto
Piano Technician: Massimiliano Pinazzo
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[@EmilianoManna]

Wonderful playing, wonderful recording, wonderful video quality!

[@Alex-iu7dl]

A rather splendid interpretation

[@pianothingsmusic]

I love the papillons - so much elegance in this music!! Thanks for your fabulous interpretation 🙏🏻