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Schumann op 17 Fantasie - What's So Great About It?

I've been working my way through Schumann's piano music since last year when you guys assisted with my introduction to the piano music specifically [I know the symphonies well].

With all of the attention and excitement recent devoted to op 17, I've listened and absorbed it. I have to say, I don't get it. Everyone - you guys here, critics, everyone - seems to rate this piece very, very highly, but I just don't see what's so great about it. For reference, I find the 2nd piano sonata to be excellent Schumann.

Here's what I get out it: Schumann starts with a bold, pretty good statement, but then immediately veers of into a really inward, pianissimo episode. The effect, at least to me is that, just when the music should be pressing forward and establishing forward momentum, it just stops cold, and wanders aimlessly through some labyrinth of quietness. Bruckner is often pulvirized for the same thing, but at least there's a point the he's getting at. I don't see one with Schumann.

Then, the finale that everyone's so impressed with: what I hear is a kind of weak improvization on the Beethoven's Moonlight sonata, followed by some original episodes that are ok, but nothing all that great. Certainly nothing like the finale of Mahler's 3rd, as one guy here said.

Anyway, not trying to shoot anyone down; I'm saying all of this to show what I hear and how obtuse I am with this piece. So, if you can point the way to better understanding, I'd appreciate it.

PS. the recordings I've got are Earl Wild and Hamelin.



Edits: 05/07/12

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Topic - Schumann op 17 Fantasie - What's So Great About It? - Mike Porper 14:29:52 05/07/12 (21)

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