BaL 20.10.12 - Schumann's Etudes symphoniques

[amateur51]

I have just found some concert notes by Claudio Arrau from the late 70's about the Symphonic Studies or Etudes Symphonique as he called them. As he was such a fine Schumann interpreter I thought others might enjoy reading his thoughts, albeit brief, on the piece.
'Etuden im Orchestercharakter von Eusebius und Florestan' was Schumann's first title for the Symphonic Studies op 13. It has a twofold significance, indicating the orchestral fullness of tone and colour which the piano writing seeks to achieve, and also the romantic duality of the 'two souls in Schumann's breast', personified in the two names - Eusebius, the dreamer and Florestan, the impetuous romantic.
Originally Schumann wrote17 variations, but when the work was published, he deleted five of them, probably on the advice of Clara (who always wanted him to 'write more like Mendelssohn'). The five deleted ones happen to be among Schumann's greatest inspirations, all pertaining to Eusebius. Further changes were made in later editions. In the collected edition of Schumann's works which was issued after his death, Brahms, the editor, fortunately rescued the five extra variations for posterity.
Pianists didn't begin to includethe five extra variations until Cortot came out with his edition in the 20's. he interpolated them into the body of the work,which is the only way to do it that makes any sense. To play them as a separate entity is another story altogether.
My interpretations differ from Cortot's and differ today from my 1972 recording on Philips records. It is an attempt to reconstruct Schumann's original inspiration. It changes the entire character of the work. Suddenly the work is no longer a mere virtuoso display piece bit a grand Variations work,almost as monumental in scope as the Diabelli Variations.
C.A.'
However, Arrau ended his performance with Florestan not Eusebius - Allegro Brillante!

Very interesting gradus - many thanks for this!