Arabeske (Schumann)

The arabesque op 18 is a short piano piece by Robert Schumann, which he composed in Vienna in 1839. Like its flowers, Op 19, he dedicated it to Friederike Serre, an important art patron, musicians and poets invited to her estate near Dresden and had supported the connection between the composer and Clara Wieck.

The title arabesque is again an indication of the nature of the piece, the somewhat ornamental, complacent has Decorated by an intimately - simple melody is caressed by delicate figures.

Content

In the light and delicate to be played piece in C major is a rondo, returns the refrain three times, two darker interludes in E and A minor ( Minore I and II, slightly slower ) is interrupted and contrasted with a coda ends ( the end ).

The simple Cantilena is characterized by the repeated proposal motif and the forward-moving, dotted rhythms and flowing modulations. The melody unfolds on a seemingly polyphonic fabric, in which, similarly to the first piece of Kinderszenen played by foreign countries and people, two voices of the left hand. The up- rising topic in clock reaches 5, the Subdominantparallele D minor is again performed after a repetition of the four-bar period to the dominant G major and the tonic in measure 16. In the second section, which receives a wistful character by the two-time twist in the relative key of E minor, the tonic is reached in measure 25, and making the topic as the beginning.

Only in the two serious interludes, there is a dynamic increase in the predominantly subdued piece, the piano becomes denser. While reminiscent of a quartet set Minore I can see the theme of the refrain only removed the similarity in the second a- minor episode is unmistakable - the proposal motif characteristic can be found as well as the upward movement of the subject.

Background

Schumann himself was critical of the tender, something Biedermeier acting piece and described it as " weak and for women. "

Unlike, say, Ludwig van Beethoven, Schumann had not gone of his own accord to Vienna, but a transfer of his future father Friedrich Wieck followed to set up her own existence. Wieck had repeatedly tried to prevent the relationship between Clara and Robert, his daughter sent on tours and dictated letters to her repellent Schumann.

During the painful separation from Clara Schumann was very productive; next to the arabesque he composed the flower piece op 19 Humoresque, parts of the lively carnival farce from Vienna and other pieces.