Fantasiestücke

Historical context

Robert Schumann considered his Fantasiestücke, Op. 12, among his ‘last pianoforte compositions (written in 1838),’ as he noted in 1843. He recommended these two books of pieces as works showing ‘more refinement and artistic merit’ than some of his smaller compositions, as he wrote in 1838. During their creation, Schumann told Clara Wieck in 1838 that the Fantasiestücke would be finished soon, alongside the “Davidsbündler dances,” with the latter inspired by “the most delicious excitement that I ever remember.” He specifically suggested Clara look at “In der Nacht” and “Traumeswirren” from the collection, though he later mused in 1838 that “In der Nacht” might be too long for public performance, while “Traumeswirren” and “Des Abends” could be suitable.

The Fantasiestücke quickly found an audience, with Schumann noting in 1843 that they ‘appeal, indeed, to a wide circle.’ In 1838, Kragen wrote to Schumann, saying kind things and “quite raves about them in his own way,” particularly favoring “Die Nacht,” which Schumann also considered his own favorite. Schumann himself discovered, after finishing “Die Nacht,” that it contained the story of Hero and Leander. The work also attracted the attention of Franz Liszt, who, according to Fischhof in 1838, played the Fantasiestücke in an “extraordinary way.” Schumann was ‘quite moved’ when he heard Liszt play part of the “Phantasie” in 1840, noting that while it differed from his own conception, it was “always genial and full of delicacy and strong feeling.” By 1839, Härtel’s books showed that 250 to 300 copies of the Fantasiestücke had been sold.

Drawn from Schumann, Robert, 1810-1856, The letters of Robert Schumann (1907); May Herbert, Early Letters Of Robert Schumann (1888); Schumann, Robert, 1810-1856; Storck, Karl, 1873-1920; Bryant, Hannah, The letters of Robert Schumann; (1907) — public domain, archive.org.