German composer Robert Schumann didn’t initially set out on a career in music. In 1828 a young Schumann headed for the University of Leipzig to study law, however music was where his heart laid and, instead of focusing on his studies, he spent his time developing his improvisation and composition skills, taking piano lessons and writing novels!
Schumann was an accomplished pianist and composer, and an influential music critic during his lifetime. Sadly, he was plagued by a hand injury which quashed his dream of becoming one of Europe’s finest pianist, so instead turned all of his musical energy to composition.
One of Schumann’s great skills as a composer was infusing his music with characters through the use of short motifs, and imbuing his love of literature within his music through these character references, which is possibly a reason for his lasting popularity. But despite being regarded as one of the greatest composers of the Romantic era, and having a large output of symphonies, an opera, orchestral and chamber works, and a plethora of songs, until 1840 his composition was exclusively music for solo piano.
One such piece was his Nachtstücke, or Night Pieces. Originally for piano, the work was composed in 1839 under intensely stressful conditions. Whilst in Vienna he received word of the imminent death of his older brother, Eduard, and the implications this may have on the family’s publishing business. Then to boot he didn’t actually make it home in time for the funeral. Despite this, the Night Pieces are full of rhythmic drama, fluid harmonic progression and constantly shifting moods and characters – from the frolicsome to the coquettish, from uncertainty and incoherence to the finality of a funeral march.
The version performed here is arranged for Symphonic Brass Ensemble by our very own Principal Trombone, Donal Bannister, and conducted by Principal Conductor, Ryan Bancroft.
Programme note © Amy Campbell
