Andras Schiff and Peter Frankl, second to none in this repertoire, team up to present the complete works for piano four-hands of Robert Schumann, along with the variations for two pianos, two cellos, and horn.
The keyboard duet blossomed in the nineteenth century. Social changes and the development of the piano gave rise to a proliferation of compositions for the medium, while a growing prosperous middle class became eager to cultivate the arts, particularly in the home. Because it was comfortably suited for music-making in the parlor, the duet readily met with wide acceptance, a boon for composers and publishers alike.
Robert Schumann's (1810-1856) contributions to the four-hand repertory largely consist of five collections of short pieces: Eight Polonaises (Op. III), Pictures from the East (Op. 66), Twelve Pieces for Little and Big Children (Op. 85), Ball Scenes (Op. 109), and Children's Ball (Op. 130). Though none of these have enjoyed the acclaim of his more well-known works, each is unmistakable Schumann in their warmth, vitality, intrinsic charm, interesting harmonies, rich textures, and simple direct melodies.
The early Eight Polonaises, penned while Schumann was only eighteen, show the direct influences of the polonaises of Franz Schubert, whose music was just becoming known. Throughout the set Schumann's abundant imagination is evident, and several of these pieces were reshaped into his solo piano suite 'Papillons' a few years later. Ball Scenes and Children's Ball, from the last years of Schumann's short life, are collections of dances suggesting a fascination with things foreign and exotic. (The nineteenth century is, after all, the height of Orientalism in art and culture.) Pictures from the East and Twelve Pieces for Little and Big Children represent Schumann at the height of his creative powers. Pictures from the East is inspired by a collection of Arabic folktales, but are thoroughly German in sound. Lighter in content, the Twelve Pieces are thoroughly captivating in their gracefulness, charm, and innocence, and from these pieces it is evident that his imagination was ideally suited to children and that writing for them was a pleasure.