Fantasiestucke, Op. 12 By Schumann

Lydia Artymiw is an American concert pianist who has gained decent reputation over 30 years. She is the Distinguished McKnight Professor of Piano at the University of Minnesota. During her career, she has made herappearances at nearly all major American orchestras across the nation, including Boston Symphony Orchestra,New York Philharmonic Orchestra, and the Los Angeles Philharmonic Orchestra at the Hollywood Bowl. An acclaimed chamber musician, Lydia Artymiw has collborated with many celebrated artists around the world. Solo recital tours have taken her to all major cities in America, improtant music centers in Europe and troughout the Far East. She aslo revceived several prizes and compliment by the media and press. For those who are not

Compared to Mozart’s Sonata K.330, this work is longer and more energetic at some parts. Mozart’s K.330 has a lot of fast-tempo and dotted melodies, which gives the peice a brisk feeling, but does not show many manipulations of strong harmonies as Schumann’s work does. Unfortunately, our textbook does not include piano music composed by Schumann, we should compare Fantasiestucke, Op.12 with other piano music our textbook has. The Fantasiestucke, Op.12 has several sections, some of which are smooth and delicate, yet others are very exciting. The entire peice shows some typical features of Schumann’s style. It is obvious that Beethoven’s Piano Sonata Op.27, No.2 Moonlight forms a huge contrast against many climax sections in Fantasiestucke, Op.12. Moonlight has delicate, singing melody that moves slowly. It uses a rather soft dynamics to express the tranquility of moonlight. Another examples is Chopin’s Mazurka in B-flat Minor, Op.24 No.4. Altough the Mazurka has wider range, dancelike dotted rhythms, rubato expression and much chromaticism, still does not have that much excitement compared to Fantasiestucke, Op.12. In Fantasiestucke Op.12, Schumann not only implemented the strong dynamic and intense tempo, but wrote some rather soft sections as transitions. Those characteristics examplify Schumann’s music style: impassioned melodies, novel changes of harmonies and driving rhythms that reveal him as a true Romantism composer. Lydia has carried out such experience in high