Robert Schumann endured a long and sometimes tortuous courtship with Clara Wieck; and as pianist Angela Hewitt’s excellent liner notes make quite clear, Clara’s father made no effort to enhance Schumann’s chances of winning his daughter’s hand in marriage. At the time this Sonata was written, Schumann was twenty-five and still struggling to find his place as a composer; Clara was only sixteen, and was renowned throughout Europe as a concert pianist and was a veteran of countless tours. Schumann described the Sonata as “A cry from my heart to yours,” and he soon won Clara’s heart – in Hewitt’s amusing telling of their first kiss, Clara states “When you gave me that first kiss, I thought I would faint; everything went blank and I could barely hold the lamp that was lighting your way out.” Some kiss, eh?
The oft-neglected pieces that appear here are classic examples of the genius of Schumann’s writing for the piano. Schumann openly acknowledged that the pieces were somewhat melancholy; in the case of the Humoreske, he explained that the pieces were not intended to be humorous, but more to evoke certain moods. And the piano sonata is written from the viewpoint of two persons, Florestan and Eusebius, whom Schumann later confides are both elements of his personality. Florestan is the outgoing, vigorous person, and Eusebius is the more melancholy of the two, and they wrestle with each other continuously, explaining the continuously contrasting moods of the piece.
The recording is superb; as always, Hyperion discs remain the benchmark for recorded piano sound. And of course Angela Hewitt is always incredible, both as pianist and historian. Very highly recommended.
– Tom Gibbs
