The least important are not forbidden to dream of great things, and even modestly to aim at them, according to the measure of their abilities.

Liszt to Antal Augusz

25 January 2019, 19.00-21.00

Solti Hall


SCHUMANN’S PIANO CHAMBER MUSIC/2 Presented by Liszt Academy

Series Editor: Dénes Várjon

Schumann: Studies in the Form of Canons for Organ or Pedal Piano, Op. 56 (arrangement by Theodor Kirchner)
Schumann: Twelve Piano Pieces for Young and Older Children, Op. 85


Schumann: Violin Concerto in D minor, WoO 23 – 2. Langsam (arrangement by Steven Isserlis)
Schumann: Piano Trio No. 1 in D minor, Op. 63

Hanna Weinmeister, Mary Ellen Woodside (violin), Rafael Rosenfeld (cello), Izabella Simon, Dénes Várjon (piano)

Counterpoint – as prescribed. This is how one could sum up in a nutshell the background to works framing the second recital of Schumann’s piano chamber pieces. Both the Six Studies in Canonic Form (1845) and Piano Trio in D minor (1847) reveal Schumann’s contrapuntal fascination, although it was not solely professional motivation that drove the composer to reach for these methods from an earlier age: some researchers believe that in the midst of serious depression, he attempted to regain control through the intensive study of cool and strictly regulated counterpoint techniques. Schumann shows a completely different side with the far lighter tones of 12 Four-Hand Piano Pieces for Small and Large Children (1849): an imaginative father willing to play four-hand with his daughter Maria. Yet even the most wildly imaginative Schumann enthusiast could never come up with something more dramatic than the real backstory to the Violin Concerto in D minor (1853), transcribed for cello and played only in part at this concert. A stern wife, a manuscript left to languish, a seance and Nazi propaganda: these are all part of this exciting story.

Presented by

Liszt Academy Concert Centre


HUF 3 500, 4 200

Season ticket:

Complete Works Live Spring 2019 - Schumann