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JOAQUÍNACHÚCARRO 17
Using a titled inspired by Kreisler, the mad musician of E.T.A. Hoffmann’s
Katers
Murr
, Clara, is by the composer’s own admission, present.
Throughout the eight pieces forming a cycle between hallucination and vertigo, we
get as close as possible to Schumann’s complex psyche; we also understand that“in
Schumann, as Marcel Beaufils underscored, the fundamental substratum of that
which is created, the primitive world where the work gestates before it springs
into being, is literary.” Andwhen you hear the chords
mit aller Kraft
resonating in the
middle of
Schnell und spielend
, the eighth and last piece of the
Kreisleriana
, how can
you not think of Beaufils.
“Schumann is not taken up with futile structures.
To him, they are only arbitrary combinations at
first,where the rhythmic element is falsely isolated
from the creative ensemble. Human rhythm does
not adhere to grammatic vocabulary. It follows
its own law, even if that law is anarchy, the law,
whichwould soon beNietzschean, of his own inner
force, his own power. And if the perspective of
lines seems imperfect, it is because the human eye
cannot follow them as they reach toward infinity”.