It was as if Schumann were predestined to suffer. Already at the age of 24 he wrote: "Do you want to give a name to my suffering? I could not point one out. I believe that is suffering itself. I cannot express it better".
On hte other hand, his ability to love was also very intense. Let us not think only of the depth of passionate love for Clara, but also on the way in which he was composing. Every composition was for him an act of love -a total giving of himself. He composed rapidly, in certain way consuming himself in the fire of his inspiration.
The "Arabesque" op. 18 and "To flower" Op. 19 stand for deligthful moments of respite in Schummanns creative activity. Tenderness and freshness make us aware of this change, although Schumann's life was still marked by problems and suffering.
Frederic Gerves is an amazing artist and human being. He arrives without making a sound, interprets all of the material by heart, spreads his aura of peace to everyone....and leaves as silently as he has come. It is impossible to forget the expression of this exceptional yet unaffected musician, renowned the world over and in love with music beyond the imaginable, as he listed to the scherzoso just after recording it with his gaze lost somewhere near the loudspeakers, exclaiming softly: " It is so sweet, so pretty!".
1. ARABESQUE, Op. 18, C (1839)
2. FANTASIE Op. 17 , C> Sempre fantasticamente ed appasionadamente
3. FANTASIE Op. 17 , C: Alla marcia. sepre energico
4. FANTASIE Op. 17 , C: Adagio, sempre piano
5. BLUMENSTUCK Op. 19, D Major (1839)
6. KINDERSZENEN, Op. 15 (1938) (Scenes from Childhood):Von fremden
7. Kuriose Geschichte
9. Bittendes Kind
10. Gluckes genung
11. Wichtige Begebenheit
13. Am Kamin
14. Ritter vom Steckenpberd
15. Fast zu Ernst
17. Kind im Einschlummern
18. Der Dichter Spricht
19. DREI ROMANZEN, Op. 28: I Sehr Markiet
20. DREI ROMANZEN, Op. 28: II. Einfach
21. DREI ROMANZEN, Op. 28: III. Sehr markiet. Intermezzo I, II