Papillons

Historical context

Robert Schumann finished his Papillons, Op. 2, with the expectation that the work would appear in print within a fortnight, as he noted in 1832. He dedicated the collection to his three sisters-in-law, mentioning in 1831 that these “Papillons musicals” were for them. While composing, Schumann felt “the stirring of a certain independence,” and he explained in 1832 that the “Papillons” were inspired by the last scenes of Jean Paul’s “Flegeljahre,” a “musical representation of that masquerade.” He often turned to the novel’s final page, finding that the end felt like a fresh beginning, which led him to the piano and the creation of one “Papillon” after another. However, Schumann later clarified in 1834 that the words for the “Papillons” were fitted to the music, not vice versa, and that “Only the last number — by a freak of fortune similar to the first — was inspired by Jean Paul.”

Upon its release, Schumann noted in 1832 that his “Papillons” were “pretty universally popular.” He observed that Wieck was “quite in love” with them, and Clara played them “most delightfully.” A very favorable Vienna criticism was enclosed in a letter, which Schumann found “quite too delightful and undeserved.” Yet, Leipsic was surprised by Rellstab’s criticism because nobody understood the work, though Schumann knew the “hidden meaning” of the remarks. Gottfried Weber, a critic, quoted the “Papillons” in 1834 to support his opinion, noting they were “anything but ultra-original.”

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.