Schumann R. Papillons. Op.2

The cycle “Butterflies” was composed in 1831. It's known to have been the first published work belonging to Robert Schumann. However, these are not really the butterflies that are depicted in it. The title of this cycle is connected with some circumstances from Schumann's piano practice. Being anxious to become а skilful executant, Schumann tried his best to perfect the piano technique. Meanwhile, those were not the pains to bring him to gains, for his new invented device, the trainingset for fingers, worked his hands out, having overstrained them. Thus there appeared the composer Robert Schumann, the other incarnation of а musician. The allusion looks quite clear, for is it not but а chrysalis, that terminates its existence simultaneously turning to а butterfly at the next stage of its life? That time Schumann was inspired by his favourite writer Johann Paul Richter (pen-name Jean Paul), predecessor of the German romanticists. The young composer shares his thoughts about the piano cycle in the letter dating 1832:“"Do peep into the final scene of Jean Paul's novel “Green Years”, for the “Butterflies” are implied as the musical performing of the masquerade episode”.

Here is the scene of fancy-dress ball is opened before our eyes in the “Butterflies”. The two brothers meet at this party. They are of quite contrary tempers. One of them is romantic dreamer as Schumann's Florestan from the piano cycle “Carnival” and the other resembles Eusebius, impetuous and ardent personage of the “Carnival” as well. There is also а female character here, а young lady, whom both of them desire so much. The twelve dances of the “Butterflies” depict diverse human natures, taking part in the ball. The final movement is used to be given to groβvater, the old German dance. Masks evenly resign, music fades away, the bell-tower clock strikes... The piano cycle “Butterflies” is ranked among the mostly favourite and widely performed compositions by Robert Schumann.

Muisc Text Example: No 1–2; No 12