Robert Schumann, Träumerei, Op. 15 No. 7

Träumerei is widely regarded as belonging to Vladimir Horowitz. The piece is part of the Kinderszenen suite of 13 piano miniatures finished by Robert Schumann in 1839, when the composer was 29. Horowitz adopted the piece as one of his most oft-performed encores — whether that was because it was a favorite of his or whether he pandered to his electric full houses can't be sure, but I am inclined to think the former, since popular favor wasn't necessarily a first concern of his.

Easily the most popular of its suite, strange things are done to Träumerei, which may mean either "Dreaming" or "Reverie," depending on who you ask (and I'm not sure translating titles from the original language was the best use of anyone's time). There is an unfortunate tendency to discard rhythm with the piece, with the pianist tossing in the next notes whenever he or she feels their time has come. Perhaps the title is to blame. But frankly, I don't care. My comment is entirely removed from the discussion of tempo; I'm not saying it's too slow or too fast, though allowing it to drag does make it harder to respect the beat.

At Horowitz's last concert, in Hamburg in 1987, he was at his best, playing Träumerei in a comparatively spritely 2:29. You can hear an informative clip at that Amazon link. Here is a video of the master at his infamous 1986 Moscow recital. Contrast that with Donald Betz's rendition at nearly a minute longer, which offers not much new. And for fun, here's Victor Borge doing it in 2:02, the way only Victor Borge could.

Mine is about 2:34, accounting for silences. But please, take my recording with the figurative sodium. I have never studied the piece formally, and in fact just began to play around with them this week. They are ideal exercises in voicing. To pass them, the composer would agree, requires the now-clichéd "singing tone" of the piano.

The genius of Schumann, in this case, is making conventional key modulations sound groundbreaking. In my version, listen for the modulation to B-flat major (a perfect fourth above the F major tonic (for our purposes, tonic means "home key") — it's a standard key change; please just take my word for it, yes?) at 1:32. Then at 1:48, we're already moving back to F major. But notice how pleasantly surprising each of these is when you hear them for the first time.

This recording will sound different from others I've made. I hope so, at least, since this was made tonight on my prized Steinway Model L! The sonics could be better, but for a $75 microphone that I bought because it's disguised as quaint-looking black box (think law school lectures; I'll say no more), it's stereo — who am I to complain? And man, did I engineer the heck of out of this. I needed a set-up that put the microphone higher up than the piano, so I took two bar stools and placed them at the far (narrow) end of the piano. On one, I placed my laptop. On the other, I stood up Jan Swafford's wonderful biography of Brahms. On that went the microphone. Bam, home recording studio. Frought with symbolism! Don't you just love it when things are frought?


mp3 | score*

* Open the link and scroll down in the PDF to the seventh piece.