Oeuvres pour piano

Description

« I is another » Kreisleriana op.16: Most of the works that Robert Schumann (1810-1856) composed for the piano are "the paraphrases of the poems he did not write." This particularly applies to the "Kreisleriana" op.16, which takes its name from Kreisler, the mad musician invented by the writer E. T. A. Hoffmann (1776-1822). One, Robert Schumann, is a composer who writes. The other, E.T.A Hoffmann, a writer who composes. For them to artistically converge, a bridge had to be built between them, and it is Schumann who constructed this bridge with the Kreisleriana. The duality, most often conflicting, is at the heart of this work, that of Kreisler with society, of Robert with Clara's father, of Schumann with Hoffmann, of Florestan and Eusebius, of Robert with Schumann, anticipating the "I is another" of Rimbaud. « The forest is a state of mind » Forest Scenes op.82: An emblematic figure of German Romanticism, like E.T.A. Hoffmann, the painter Caspar David Friedrich had died eight years earlier when Schumann composed the "Forest Scenes" in 1849. But while listening to this work, it is impossible not to think of his painting "The Hunter in the Forest," which features a bird in the foreground and, in the distance, a hunter. With all its symbolism of mystery and the unconscious, the forest, "which is a state of mind," as the philosopher Gaston Bachelard so aptly wrote, is one of the great themes of Romanticism, and it is not surprising that Schumann seized upon it. « This obscure clarity that falls from the stars » Variations on the theme of spirits WoO 24: Marked by a tragic seal, the "Variations of the spirits" are the last work for piano written by Robert Schumann. In the night of February 17 to 18, 1854, he hears voices of angels dictating a theme in E-flat major inspired by Schubert and Mendelssohn. He "notes" it a few days later, probably around February 22 or 23. On the 27th, he continues his work on variations, which he suddenly interrupts to leave his home, and he throws himself into the Rhine. Saved by the boatmen, he is brought back home. On March 4, he is interned at his request in the asylum of Dr. Richarz in Endenich, near Bonn, from which he will not emerge and where he will die two years later. Suzana Bartal is one of the rising talents of the new generation. Born in 1986 in Timisoara (Romania) to a Hungarian family, she began her musical studies in her hometown. She gave her first solo recital at the age of 12 and at 13, her first concert as a soloist with an orchestra. She moved to France in 2005, where she studied with Denis Pascal, Pierre Pontier, and Florent Boffard in Paris and Lyon at the Conservatoire National Supérieur de Musique et de Danse. Between 2011 and 2014, Suzana honed her skills with Peter Frankl at Yale University in the United States, where she also taught in 2013 and 2014. She was awarded the Harriet Gibbs Excellence Prize from Yale University. In 2013, Suzana Bartal won the New York Concert Artists Concerto Competition and made her orchestral debut in New York. She also won the Woolsey Concerto Competition, which allowed her to perform with an orchestra under the direction of Peter Oundjian. A laureate of the prestigious Yamaha Music Foundation of Europe scholarship, Suzana has also received support from the Nadia and Lili Boulanger Foundation, ADAMI, and the Williamson Foundation.