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Träumerie - When Schumann Had A Dream
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- čas přidán 12. 01. 2024
- Robert Schumann composed Träumerie in 1838. It is the still, dreamy, central 7th piece in a cycle of 13 pieces called Kinderszenen (‘Scenes from Childhood’). Its wonderful evocation of dreaminess grows out of its rhythmic ambiguity and the beautiful subtleties of its melodic and harmonic writing. Each phrase floats like a song melody and then dissolves in a delicate web of counterpoint.
Robert Schumann: Träumerei (1838)
Pianist: Matthew King.
A longer video about this music, with detailed discussion, can be seen here: • Träumerei: Schumann's ...
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#Schumann #Traümerie #Kinderscenen #themusicprofessor
Edited by Ian Coulter ( www.iancoulter... )
Produced and directed by Ian Coulter & Matthew King
Pieces like this are why I absolutely adore romanticism and everything about it
SCHUMANN IS THE GOAT. KREISLERIANA, DAVIDSBUNDLERTANZE, PAPILLONS, CARNAVAL, SYMPHONIC ETUDES, PIANO CONCERTO, AND ANY OTHER PIECE. This man exemplifies the poetry of music in general and is not only a composer; but one of the greatest artists to ever live.
😂😂😂😂
Can't believe I ignored this piece for 20 years just because it was overused in one men's clothing ad.
Which ad?
please don't tell us more!!!!
Raymond's @@ldhdjzjjaklzjdbd6610
Cultural pollution is a serious problem. Take a palm tree. The image, the symbol, conjures up a specific feeling. Desert Island; Coconuts, etc. But when every gas station has one planted in the forecourt, the thing is overused, and the symbol becomes associated with gas fumes, your local city, and advertisement by advertisement, the beauty of the thing is lost.
@@riverstun yep
Absolutely beautiful...The inner voice movement in Schumann should never be underestimated, he was a poetic genius and a subtle master of counterpoint. I'm reminded of a story I read somewhere about a newspaper critic who was putting down the complexity of the Second Viennese School, saying something to the effect that they should all aim to write more "simple" music like Schumann...the following week, Alban Berg responded with a deep dive analysis of this piece, showing how deceptively simple it may sound, but is really constructed on a very sophisticated and subtle level, especially pointing out the inner voice movement and forward looking (for its time) harmony...let alone the gorgeous melody that puts the listener in a state of reverie
Thank you. Yes, absolutely right. Berg had a very strong connection with Schumann - they are both multilayered composers whose music tends towards labyrinthine inner structures, often with concealed codes and cyphers.
Absolutely loved this format: short, to the point, visually educative. Thank you very much!
I'm playing the Liszt transcription of his "Widmung" right now! It was apparently one of Clara's favorites.
One heck of a wedding gift that’s for sure.
Kinderszenen has so many gems. I'm partial to Kind Em Einschlummern. Schumann's at his best in his lyrical, Eusebian pieces in my opinion.
Schumann has become one of my favorite composers lately, and these videos have had me appreciate Schumann a lot more.
The magical chord at 2:03 is a favorite moment.
The V7/V turning the melody into appoggiatura is such an amazing color
That is one of my favourite Schumann pieces.
An absolute masterpiece
Please keep doing these kind of analysis!! Very helpful to understand music!,!,
These kinds of videos are my favorite! Love your channel!
Thank you!
I love Schumanns counterpoint
My favorite composition of all time. Okay, that's a bit much. It always evokes a strong emotion from me. I closed my senior recital with it and though technically far easier than the other works I performed, i was proudest of how I played Traumerai that day.
Nice! I played this one for Jazz Band MPA last year
It's a beautiful piece
This interpretation could not be less dreamy.
Please record your own more dreamy interpretation and share it with us.
I love Schumann but whoah, what? Wait-A-Fat-Minute!: There is no way he tops Beethoven. Having clarified that bit of provocative blithery, I love the narration. And I think Schumann's finale to his piano concerti is one of the highest moments in all of Western Art.
He's a wonderful composer. The blithery is just a provocation!
Wow your captions really did capture so much if what I’ve daydreamed about when Ive heard this. Love what you do!
Gorgeous.
I have sung some of his incredible lieder, and the miraculous piano parts are as important as the vocal line and the poetry more than in most other composers' work.
A great piece!
Great piano play. And a great illustration. You are really the pro.
I beg you kind Sir, analyse a Brahms piece for us dear Brahmsians. It would really be appreciated! I’d certainly enjoy some words about op. 117. no. 1, which always brings a tear to my eye because of its saddening motto and melody.
It is a beautiful piece. Thanks for the suggestion.
Very interresting
Beautiful presentation and performance. Thank you !
Thank you
Is the CAA(Clara) part really intended by him?? Wow
Well, it seems likely, knowing how much he liked musical ciphers and hidden messages.
@@themusicprofessor That's seriously romantic!
thanks for this super analysis...I really enjoyed that, also the sound of the piano! what for a precious piece of music. of which girl might have schumann dreamt as he wrote this? was it clara?
Yes
I'm gonna start learning it by next week. Wish me luck because I'm a beginner.
Good luck!
@@themusicprofessor TY! Is it a hard piece to learn?
Pieces like this are why I believe F major to be the most sublime major key.
I mean, you could transpose it?
what kind of piano have you got that tone is beautiful!!
This was recorded on a Steinway D
You deserve an A nonetheless.
Why are there two metronome markings given - one in brackets? Please excuse my ignorance.
We were unable use a first edition for this film. There is no metronome marking or even a tempo marking in the first edition. The metronome marks are added by a later editor - I presume there are two to suggest a range of possibilities between them
How interesting Thank you for all the knowledge and insight that you have shared.@@themusicprofessor
Are you going to do the Variations on a theme by Gluck?
Mozart?
@@themusicprofessor Yep. To complete the Mozartiana
Ah yes - I guess we should!
do different keys evoke different feelings, or is that just something we've been sold over time?
As with most things, it's really about context: different keys evoke different feelings in relation to each other. But keys always have had specific characters connected to them: e.g. D major has traditionally been a bright key, because of the sound of open strings, E flat has a connection with 'heroism' because of the sound of brass instrument in that key etc. F major, the lkey of Schumann's Täumerie has an old association with Pastoral and, by association, with serenity, both of which seem to be evoked in Schumann's music.
Very interesting! I've always wondered about this. Thank you for the detailed reply.@@themusicprofessor
Is that Clara reference really intentional by Schumann?
Knowing Schumann's love of musical ciphers, I think it very likely.
"Träumerei" is more meant as the process of day dreaming. So the title of this video does not seem to fit properly.
I dunno, i think Beethoven would make an adagio from this, it would be really interesting
Is it just me or does it really sound like gospel music?
Shouldn't D minor be vi and not ii?
ii in the new key: C major
The progression goes from F(tonic) to A7(V of the relative minor as you say) to D minor (vi because of the A7 but also ii of the ii-V-I in Cmajor) to G7 to C than C7 to go back to F.
The simplest way is to think of the progression as a I-III-vi-ii-V in F where the III and the ii are converted to a dominant chord to create local key centers. This happens all the time in Romantic music and jazz.
@themusicprofessor Another quick question. I've always wondered, why that clunky G9 chord with 3rds in the lower register with a doubling of the B note as well? Why not spread the chord out with G-D-B or something instead of G-B-B? Don't 3rds in lower registers make it sound strange?
Or is it all just to make sense by voice leading? But why bother, it's not a quartet. Sometimes when I play, I spread out the chord like G-G-D-B. Blaspheming am I?
@@Archiekunst It's an interesting question. From a voice leading point of view it's challenging because it's a step up from F to G with all sorts of potential parallelisms. It may not be a quartet, but for Schumann (or any composer) the counterpoint has to work. The low B is partly a question of avoiding a consecutive 5th which he would get if he went for the G-D-B formation you suggest. Secondly, I think that chord spacing is an extraordinarily rich and interesting topic: apprentice musicians are always (rightly) taught to avoid low thirds but advanced composers can - depending on taste and preference - use these kinds of spacings. Some composers (Chopin, for example) hardly ever do and, and others (e.g. Beethoven) are quite fond of the heavy over-saturated effect of the low third. In the 20th century, Stravinsky made something of a speciality out of growly low thirds (e.g. the opening chord of his Symphony of Psalms) and the spacing of Schumann's chord is actually not a million miles from Stravinsky: it's an absolutely unique chord spacing and that I think contributes to its magical effect, but it has to be played right! It's difficult to execute, like all Schumann!
Does not feel dreamy at all when played like this.
Thanks!
This is basically a berceuse.
I don't approve the clickbait image but very nice video otherwise
Schumann was gay
Ok?
How does it matter
WTF?
Schumann is SO BORING!
Hard to believe perhaps but nevertheless true; I first studied Schumann under a pupil of a pupil of Clara Schumann.
So she's technically your grand-grand-teacher. We're all related etc.. etc..