Schumann - Symphonic Etüden op.13
Taste of minimalistic repetition (he would have loved it) - non-ending spiral
The size and ending of every of Schumann's piece is always a surrendering to the human factor
Fascination of the transformation, repeated and hammered
Papillions - op. 2
Even the notes are extremely human, small, they apologize for themselves: Schumann needs a piano forte, almost a clavecin
Repetitions of a phrase (bouclage) have to sound
completely different: sonority, rythm.
Richard Goode on Schumann's "Kreisleriana": Schumann always off-balance, showing irrationality and uncertainty. Division.
And yet, possible to play like Mikhail Pletnev with full round sound, confidence and no faked nervosity. The boldness of the sound to contrast with the inside anti-existent nature, the obsession of death or poesy, non-existence.
Magistral voicing.
