Brahms - Variations on a Theme of Schumann, op.9

[andhow04]

live from a concert called "Amantes sunt Amentes," which meeans lovers are lunatics.  the lunatic in this case is Schumann; these variations were written as an homage to him and clara after he attempted suicide and was committed to an ayslum.  here is what i wrote about this very special piece in the program notes:


A piece that fascinated his closest friends and a favorite of scholars and critics, Johannes Brahms’ Variations on a Theme of Schumann are a set of variations of uncommon richness in their multiple layers and hidden messages. Written in 1854, they are based on a theme from Schumann’s Bunte Blätter, op.99 that was also Schumann’s code for the name of his wife Clara (C-B-A-G#-A). Brahms wrote his set in a fit of inspiration (or desperation) after Schumann, failing a suicide attempt, was committed to an insane asylum in Endnich.

   At their heart, the variations are a rhapsody of sadness. Many of them take the form of a dialogue, suggesting a male and female voice; the Clara theme is woven throughout like a cantus firmus; and stunning canons abound - four total, all using different techniques.

   Spiritually, the dialogue may be the defining characterstic of this piece. As Charles Rosen pointed out, each variation appears to be modeled in some way on a piece or specific musical idea by Schumann. Not only was Brahms varying the theme, he was writing variations on Schumann’s life work, conducting a dialogue with the former mind, now lost to mental illness, of his mentor and predecessor.

   Brahms’ biographer Jan Swafford called the musical symbols in this piece “cabalistic,” which may explain its powerful attraction to those who love to study music in private.  Essentially, the prevalent mood is as intimate as the later Klavierstücke, rather than the extroverted buoyancy of other variation sets such as Handel or Paganini Variations.

[krystellle]

That was a wonderful rendition of a very obscure work.  I wasn't familiar with it.  I've played very little brahms so far.  He really did try to emulate Schumann in this work while maintaining his own voice.  You can hear his lament at the loss of his friend.  And the clara theme is so predominant - as it will be in his life.  You have a very singing pp which is so difficult to obtain.  I thank you for this gift!
krys

[scottmcc]

I hAven't listened to it yet...it will be my morning wakeup present tomorrow.  I look forward to it greatly.  The weird, geeky, unrequited Brahms/clara love has always fascinated me.  Where's the rest of the Prokofiev op 75?


Edit: i listened to it this morning, and was very much impressed.  I think that this piece definitely shows your gift for Brahms and as usual you have presented interesting repertoire in a very accomplished manner.  Bravo!

[rachfan]

Hi andhow,

I'm surprised not many people have commented thus far.  That notwithstanding, I must say I was very moved and completely convinced by your fine artistry in these Brahms variations.  You play the long line throughout and pay attention to all the exquisite details along the way.  Bravo!

David

[mnmleung]

Thank you, andhow04, it is beautiful!

My wife D'Arne and I performed a selection of songs by Clara and Brahms last year, interspersed with readings of their letters.  I thought about including a few variations of Clara's variations and a few from Brahms' (of the same theme) but I am glad I didn't 'butcher' the Brahms (and Clara's) work.

I have to listen to this recording again now ...  thank you !

Ming

[andhow04]

That was a wonderful rendition of a very obscure work.  I wasn't familiar with it.  I've played very little brahms so far.  He really did try to emulate Schumann in this work while maintaining his own voice.  You can hear his lament at the loss of his friend.  And the clara theme is so predominant - as it will be in his life.  You have a very singing pp which is so difficult to obtain.  I thank you for this gift!
krys

thanks and glad you liked this piece. as i wrote in the notes, it has always been a favorite of those close to brahms and to scholars, but not as much to pianists at large i think.  i think part of the reason is, a lot of the music is just very slow and reflective.  and in that sense i fiind it more like the later intermezzi than the other variation sets.
the major difficulty might be that the variationsdont form one narrative together, and you have to really find a way to link them that makes sense.  on this program i originally had Kreisleriana in this spot, but changed it because kreisleriana was too long for the program, and of course that has a similar, but more extreme version of the same problem.

[prongated]

as i wrote in the notes, it has always been a favorite of those close to brahms and to scholars, but not as much to pianists at large i think.

Perhaps another reason why is, it's an incredibly difficult piece to play really well, requiring true mastery of the instrument and honest artistry.

I appreciate very much the thoughts you've put into this that you share in your playing and the short notes that accompany this post - isn't Jan Swafford's account of Brahms just beautiful?! And thank you for sharing your quality, sensitive performance.

[andhow04]

Perhaps another reason why is, it's an incredibly difficult piece to play really well, requiring true mastery of the instrument and honest artistry.

I appreciate very much the thoughts you've put into this that you share in your playing and the short notes that accompany this post - isn't Jan Swafford's account of Brahms just beautiful?! And thank you for sharing your quality, sensitive performance.

yes, i think you are right, it is exceptionally difficult to pull off, in a different way than say the handel variations, where the meaning of the music is basically laid more bare.  this you have to dig a little deeper and even interpret the symbols.

i adore jan swaffords brahms biography, and dont know a better one!  I've read it at least twice all the way thru but always reference it in large sections whenever i play music of brahms.  i supplement that book with the large brahms biography that is based around his letters, the editors names escape me at the moment...

in those letters he makes an interesting comment, referring to his op.21 variations, which apparently he was slightly embarrassed about later (though not enough to destroy them as he did a lot of other music) to the effect that variations should be about bass line and harmony, rather than melody.

schumann varations seem to lie somewhere in between, because he does use the melody verbatim as a kind of cantus firmus (though not exclusively) and also as the basis for variations based on canons, but the harmony does go pretty far out , because he has other goals, liekc harles rosen pointed out, of showing schumann's influence in so many different ways.  but the fact that the last variation is based just on the bass line surely points to his later observation.

he called handel variations his "lieblingswerk," or favorite work, and i do love handel variations, but i developed a relationship with schumann variations that i just can't deny!

[andhow04]

by the way, here is the video of the brahms from the concert.

somehow the hall looks a little drab!

[tb230]

I would have loved to be in that 'drab' hall, this is high quality playing. I have just started a deep dive into Brahms and it was interesting reading the feedback to your performance in this thread. Your sensitive interpretation has already been commented on, that was striking to me as well, and I just want say 'thanks for posting'!