Clara Schumann | Variations on a theme by Robert Schumann, Op 20 | Konstanze Eickhorst, piano

Clara Schumann | Variations on a Theme by Robert Schumann, Op. 20
Konstanze Eickhorst, piano
0:00 Theme
1:08 Variation I
2:00 Variation II
3:08 Variation III
4:17 Variation IV
5:12 Variation V
6:19 Variation VI
7:22 Variation VII
Clara Schumann wrote her piano variations on her husband’s theme in 1853, and gave the first performance herself on May 27, 1845, with an audience including Johannes Brahms. He was so inspired by her composition that he wrote his own set of variations to the same theme, used in the fourth movement of Robert Schumann’s Bunte Blatter, Op. 99. This work was to be one of Schumann’s last, with the increasing responsibility of her children and her husband’s declining health.
Clara Schumann gave the variations to her husband on his birthday with the dedication, “To my beloved husband on the 8th of June, 1853, this humble, renewed essay by his old Clara.
Marked “Ziemlich Langsam,” rather slow, Schumann’s piece begin with her husband’s theme, followed by seven variations. The theme remains clear throughout the piece, as well as its subdued nature. The first variation is a run of triplets in the bass with the theme clearly defined by the upper voices. The second variation’s semiquavers create a feeling of forward movement and the technical difficulties show what a commanding pianist Schumann herself was. The third variation is a return to the initial subdued theme’s character, with a rhythmic and slow, mournful movement to it. The fourth variation moves forward again with more triplet semiquavers in the right hand and the theme clearly present in the left. The fifth set of variations is more agitated, with left hand octaves over which the there is an insistent chordal restatement of the theme. The sixth variation is a beautiful canon of the theme in which Schumann’s unique sense of harmony is explored. The last variation expresses the theme with spread chords and delicate arpeggios, with a coda drifting off to silence with more arpeggios.

[@vaclavmiller8032]

I think that these are Clara's masterpiece, far better in substance than the A-minor concerto and more powerful in expression than the G-minor trio. The moment at 8:52 where she states her theme from Robert's op.5 impromptus as a countersubject to his own is poignant beyond words.

[@maniak1768]

It is quite sad that Clara never really got herself to compose that much after Robert died. She was extremely talented and her skills evolved quite substantial as these variations prove. The canonic variation is amazing and if anybody recognized, she is quoting one of her own themes in the last variation as a countersubject to Roberts theme. I find that a very moving gesture, considering that he wrote a set of variations called 'Impromptus' op. 5 on that very theme of hers some twenty years earlier.

[@metodoinstinto]

I thought these variations were horrible. Way too basic and uninteresting. She probably wrote far better things than this.

[@maniak1768]

@@metodoinstinto I beg to differ. Especially compared to the Schumann-Variations of Brahms, this set has been very influential and is the very reason why Brahms developed his variations so far and soon away from the original theme. Clara's set is also written with a completely different intention and background, considering that she made this as a birthday gift for her husband. He don't need to be higher, bolder and wider - because they don't intend to. I find the delicacy of it so very compelling.

[@zanexiao4488]

@@metodoinstinto Not every variation has to be Goldberg...simplicity should not equal being horrible. Although I appreciate that you did not use your personal dislike of a piece to negate the talent of the composer.

[@tobyricardo1442]

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[@kenzofinn5782]

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[@jinnycello]

1:10 - var I
2:02 - var II
3:09 - var III
4:20 - var IV (bass melody)
5:12 - var V (octaves)
6:16 - var VI (canon)
7:23 - var VII (arpg.)

[@georgel2201]

Anybody noticed that heart scheme at 8:41? Maybe she made that legato lines deliberately to show her love to Robert !

[@vaclavmiller8032]

@Andrea Murrone I think this is far too simplistic. If you read their marriage diary and letters to one another it is clear that they were deeply in love. It just makes this piece (and indeed Brahms' own op.9 variations on the same theme) even more sublimely heartbreaking.

[@canaleteatrale6662]

Clara Schumann wrote her piano variations on her husband’s theme in 1853, and gave the first performance herself on May 27, 1845?

[@pianopera]

Hahaha I think that should be 1854.

[@쇼팽쇼팽]

Clara Schumann's masterpiece, which is not well known to the public. The melody of the main theme borrowed from Schumann's music is so beautiful that it shows a great variation.

[@bennyksmusicalworld]

Amazing performance! And sheet music! Keep up the good work! :)

[@patrickt5566]

why does this variation sound similar to chopin's piano sonata no. 2 in B♭ minor, op. 35?

[@andrewc9643]

Well that escalated quickly :p @2:00 variation 2. I Ioved this piece!

[@luxcorvi5396]

4:19

[@malina9190]

This piece is really demanding to play

[@marie-joelleroule3212]

Très belle performance de Clara. Le thème mélancolique est joli et est repris avec des variations. On peut aussi écouter le morceau de Brahms sur le même thème proposé par robert Schumann.

[@gi20376]

♒💏♉

[@asdfasdf-gm5uk]

1:10

[@kristinrasmussen1132]

I am a Clara stan through and through. Clara > Bob any day.