On the one hand I want to portray how the young Clara Wieck, as a composer and
as an ambitious, budding artist, presented herself on stage.
How she showed an audience what she could do — and she could do a lot — and how
she was able to establish herself with her own composition, one which is full of
technical refinements that she could quite simply master
thanks to her great skill and very large hands.
The difficulty is that sometimes with very little material, and with just a
pizzicato section, one has to conjure up a whole world
in order to truly appreciate the piano.
It is necessary to achieve different levels of balance. Sometimes a large-scale sound,
a symphonic orchestral sound, and sometimes a very dense one.
Sometimes, such as in the second movement: with just the piano and a cello.
Then later, as a performer, she played in a much more reflective manner and that
is the second aspect of her which I wish to present on this album.
The fact that she very often performed Beethoven, and that her readings actually changed
over the course of some decades.
As a performer, I obtained some old nineteenth-century editions;
I studied the the way that nineteenth-century artists
would have interpreted Beethoven: that ranges from the
pedalling through the tempo markings
through to the dynamics. There are some lovely old scores which contain
markings about those performance indications, and I do of course endeavour to
draw conclusions, both from the scores and from her letters and diaries,
about how Clara viewed Beethoven and his works.
It was a wonderful idea of Clara Schumann, to incorporate her own cadenza
into Beethoven's Piano Concerto No. 4.
Ariane and I are very good friends; she has such a light touch when conducting
and yet she has the ability, even in the quiet notes, to show
such a sense of drama with the orchestra, so that it is not just an accompaniment,
but the whole thing remains as a dialogue throughout.
Sometimes I had the impression
that Clara Schumann's double was sitting there close to me, and that was very moving.
It was such a delight, to rehearse together, to develop the music together
and then to perform it live and edit it during the concerts.
I have all her diaries at home. I have all her letters at home. I have
all the biographies ever written, and the memoirs of her children.
I am at present studying all the repertoire lists, cataloguing what she played and when.
I find it incredibly exciting, studying her life story,
and she is a great role model for me.
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