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As for literature, the direct inspiration was E.T.A. Hoffmann's "Lebensansichten des Katers Murr." Loosely translated, it's the "Life and Thoughts of the Tomcat Murr." It's an odd book with kind of a strange gimmick:
The influence on Schumann is (in my opinion) most apparent in the 7th piece. The coda of the 7th piece bears no relation to the what comes before, but if we see the coda as being one of the places where Kreisler's biography and the Cat's story meet.
For more on Kreisler, you can also read E.T.A. Hoffmann's "Fantasiestücke in Callots Manier" which has a section entitled "Kreisleriana." (Probably where Schumann got the title. Hoffmann's book was published in the mid 1810's, and Schumann would definitely have been familiar with it.)
The set itself is a bit of a turning point in Schumann's output as well. Before the Kreisleriana, Schumann was much more concrete about what was being expressed. Papillons is a specific scene from Flegeljahre; the Davidsbundlertanze pieces are all signed by Florestan and Eusebius (or both.) Carnaval and Kinderszenen's pieces are all obviously titled, but other than the title "Kreisleriana", specific connections are not made between the pieces and whatever may have inspired them.
The work also has a rich recorded history. There are two famous recordings by Horowitz, excellent readings by Rubinstein and Argerich, and others from pianists as diverse as Cherkassky, Arrau, and Uchida. My favorite recordings (I own at least a dozen!) include Egorov, Lupu, and Mark Swartzentruber. I'm not as impressed with some of the other "big names" who've recorded it, but you might also check out Schiff, Perahia, Pollini, Brendel, Kissin, and Kempff. (And maybe Biss and Vogt.)
Our own Thracozaag also has his performance of the set on YouTube:
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)
Argerich turned me on to the piece. Kreisler, interesting that you admire Egorov. Most folks my age (or younger) have not heard of him, but I know that recording. It was very highly praised at the time, and the reviews in hindsight were spot on. What a tragedy Egorov's loss was. ' Schumann's very underrated -and underplayed- Humoresque was also based on E.T.A. Hoffmann, I believe.
Thanks for the info! Just wondering if there are some good English translations of the Hoffmann writings? I can't find much out there for that other than possibly a hundred dollar book on amazon. Any suggestions? I would like to get some of the background on the piece before just plowing through Makes it mean a lot more!
Justin NCTM
Working on: Solo program Grieg Sonata in e minor; Bartok Romanian Dances; Beethoven Sonata in A-flat, Op. 110; Mozart Concerto in d minor, K. 466
The Fantasiestucke is harder to find, but there is a good English translation of it as well. It's just titled "Fantasy Pieces" and was published by Syracuse University in 1995. There's also an anthology of all of Hoffmann's musical writings available. (Don't own it, so not sure about the details.)
Check local university libraries. The essays in the Fantasiestucke are short enough to read in a quick sitting and well worth it.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)
Really? You don't say? Sorry, but this made me laugh.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
I love Kreisleriana by Robert Schumann. And I don't want to believe that this work was inspired by a strange character created by E.T.A.Hoffmann. The work "Kreisleriana", I think, was a love letter to Clara. Robert and Clara played Anagram in their childhood. For example (this is not what they played.); A CLAVIER: I am looking at " A CLAVIER ". You may find " I've Clara." Is that right ? So I can dream of you. Then, "KREISLERIANA" "KLARA, SEI REIN!" "CLARA, BE PURE!" Kreisleriana contains full of love and desire towards Clara.
I don't know what's more zombie-like: this three year old thread, or the new post's GeoCities url! (Yahoo's GeoCities web portal shut down years ago. Except, apparently, in Japan.)
Really? You don't say? Sorry, but this made me laugh.
Gee, I missed this comment at the time it was posted!
Sorry you are no longer active -I always enjoyed reading your, shall we say, 'provocative posts'- but for the benefit of our current members: What difference does it make what pianist turned me on to the piece? The end result I think should justify the means.
Makes it mean a lot more!
