Robert Schumann

Generally described as numbering among Schumann's least impressive works, the three Phantasiestücke, Op. 73 (1849) nonetheless contain moments of real interest. While each of the three pieces conveys a different mood, together they form a harmonically unified whole: the first begins in A minor and ends in A major, while the second and third are in A major. Further, at the end of each of the first two pieces, Schumann directs the performers to proceed to the next piece attacca, clearly demonstrating that the three pieces were conceived as a unified whole.

The first of the pieces, a song without words marked "Zart und mit Ausdruck" (Delicately and with expression), maintains a constant triplet-rhythm accompaniment in the piano, which supports a mostly independent clarinet line. The central section is distinguished by a move away from A minor and falling arpeggio figures in the clarinet. The return to the first section is nearly literal until the final harmonic shift to A major.

Piano and clarinet share the melody in the blithe second piece, an intermezzo marked "Lebhaft, leicht" (Lively, light). The busy central section, itself cast in two parts, is marked by a sudden change to F major. The return of the first section soon goes astray, leading to an elegant coda.

The third piece, "Rasch und mit Feuer" (Fast and with fire) begins forte and with a sense of urgency. Triplet rhythms again dominate the piano part, while the clarinet plays its most animated melody yet. The central section provides the least harmonic contrast of all, moving unobtrusively from the opening A major to A minor. Schumann writes an extended coda to confirm both the mood and key of the piece and the entire set.

Though originally intended for the clarinet, Schumann directed that the solo part could be also performed on violin or cello.