Symphonic Études

The Symphonic Etudes (first version, 1834) is one of Schumann’s most exuberantly inventive scores, yet he never settled on a truly definitive version. Structured as a theme and variations, the original melody on which the work is based came from Baron von Fricken, an amateur flautist and guardian of Ernestine von Fricken, to whom Schumann had become briefly engaged. Schumann’s original plan was for a set of études (“studies”) of “orchestral character” that would reflect the two sides of his personality, which he symbolised as the extroverted Florestan and the introspective Eusebius. This version had 10 variations, arranged in alternating moods, of which only two were retained for the first published edition in 1837. Five of the remainder, chiefly of a poetic nature, were later rescued by Brahms and published as an appendix. These are often performed today (usually as a group), within the main work, according to the whim of the performer. The 1837 version consists of a set of 12 études, the last of which incorporates a theme from Heinrich Marschner’s then highly popular opera, Der Templer und die Jüdin (“The Templar and the Jewess”, based on Walter Scott’s novel Ivanhoe). However, in 1852 Schumann revisited the work with a view to emphasising its variation format. Two études were jettisoned, the piano writing was revised and the title was changed to Études en forme de Variations. This is the version that is almost invariably performed today.