Midori Explores Uncharted Romantic Territory with Schumann Recordings
Renowned for her extensive repertoire spanning classical giants like Bach and Beethoven, violinist Midori has now ventured into a new musical realm by tackling a lesser-known romantic piece. Her latest album highlights Robert Schumann’s Violin Concerto in D Minor, a work that has been notably absent from her past performances. This album also features chamber works by Robert and Clara Schumann, offering a fresh perspective on music’s first power couple.
The Violin Concerto in D Minor, penned by Robert Schumann during the decline of his health in 1853, is known for its introspective nature rather than the flamboyant style typical of romantic concertos. After Schumann’s institutionalization, Clara Schumann and violinist Joseph Joachim privately retained the piece, worried about its critical reception. Joachim even stipulated it remain unpublished until a century after Schumann’s death in 1956, a decision overturned in the 1930s when a séance supposedly contacting Schumann’s spirit rekindled interest in the “lost” concerto. The concerto finally debuted in 1937 and has since been occasionally recorded, with musicians addressing the manuscript’s errors.
Midori’s interpretation of Schumann’s concerto, accompanied by the Lucerne Festival Strings under conductor Daniel Dodds, is notable for its sensitivity, particularly in the introspective second movement.
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Midori’s album further includes chamber works where she collaborates with pianist Özgür Aydin. Among these are Clara Schumann’s Three Romances for Violin and Piano, Op. 22, composed in 1853 as Clara prepared for a concert tour with Joachim. These pieces complement Robert’s concerto, with Midori and Aydin drawing out the emotional depth of each movement.
The album also features works not originally intended for the violin. Robert Schumann’s Three Romances, Op. 94, initially written for oboe and piano, were first performed on the violin due to the absence of an oboist in 1850 and are now commonly played on both instruments. Additionally, Schumann’s “Five Pieces in Folk Style,” Op. 102, originally composed for cello, are presented here in a violin and piano arrangement, adding a lighter tone to the compilation.
Midori’s execution of these works demonstrates her ability to uncover their intricate nuances. Her Schumann album is available on the Pentatone label.
