Ian Hobson, piano
Tenri Cultural institute, New York, NY
November 15, 2024
Tonight’s performance was another retrospective into the complete piano works of Robert Schumann (1810-1856) by pianist Ian Hobson. This program, titled Visions of Youth, explored works that not only were composed for young pianists and students, but also reflected on childhood memories and themes.
It is rare for a recital program to feature works typically assigned to young learners, especially when performed by a pianist of Mr. Hobson’s caliber. The first half of the program, however, offered just that. Album für die Jugend, Op. 68 (Album for the Young), a staple in every piano instructor’s library, was presented in its entirety. Hearing the complete set was a different and enlightening experience, offering insights into Schumann’s thought process as he sought to encompass a wide range of fundamental piano techniques and expressive elements.
Mr. Hobson’s interpretations were thoughtful, imaginative, and sophisticated—qualities that brought a surprising depth to these simple pieces. Of particular note were No. 5, Stückchen, No. 16, Erster Verlust (First Loss), and No. 18, Schnitterliedchen (Little Reaper’s Song), which were rendered with supple lines and beautiful touches of imagination. The faster movements bristled with energy and verve: No. 2, Soldatenmarsch (Soldier’s March) was bold, and No. 12, Knecht Ruprecht (Servant Ruprecht) was suitably turbulent.
The program’s better-known pieces were a delight to hear. No. 10, Fröhlicher Landmann, von der Arbeit zurückkehrend (Merry Peasant, Returning from Work) radiated joy, and No. 14, Kleine Studie (Little Study) unfolded with ease. However, No. 8, Wilder Reiter (Wild Rider), with its galloping rhythm, was taken a bit too fast, resulting in some loss of clarity, particularly in the B section. Similarly, No. 17, Kleiner Morgenwanderer (Little Morning Wanderer) and No. 25, Nachklänge aus dem Theater (Reminiscences from the Theater) could have benefited from a warmer tone and a lighter touch.
The seldom-heard later movements were a revelation. No. 20, Ländliches Lied (Country Song) was tender, and No. 30 (untitled) revealed a more introspective and contemplative side of Schumann—one that might well have been attributed to Eusebius. These pieces encapsulate every facet of piano technique and musicality from beginner to advanced, offering a treasure trove of delights for both performers and listeners.
The second part of the concert began with Drei Clavier-Sonaten für die Jugend, Op. 118(Three Sonatas for the Young) —late works that provide a glimpse into the talent and skill of the composer’s three children, for whom these sonatas were written. While the idea of new piano sonatas for students is intriguing, these pieces require young learners of exceptional ability to navigate their challenges.
The first sonata in G major stands out as one of the more engaging works. Its short movements are captivating, and they were performed with great care. The second movement, a Theme and Variations, was particularly striking, in originality and character. The third movement, a lighthearted piece, felt more like an introduction to the lively Rondoletto that followed. A touch more rhythmic swing might have better conveyed the character of this final movement.
The second sonata, more esoteric in nature, was skillfully interpreted by Mr. Hobson. Despite the repetitive nature of the first movement, it maintained enough contrast to charm the listener. The second movement, an exercise in counterpoint, offered a technical challenge well-suited to young pianists. The serene Abendlied (Evening Song) served as the slow movement, while Kindergesellschaft (Children’s Company) captured the innocence and playfulness of childhood. An intriguing work!
The final sonata embarks on an adventurous journey in C major. The Allegro was played with a lively spirit and dynamic color shifts that highlighted harmonic changes. The second movement, reflective and meandering, was quintessentially Schumann in its introspective quality. The bold and bombastic Zigeunertanz (Romani Dance) brought energy and flair, while Traum eines Kindes (A Child’s Dream) closed the piece with imagination and nostalgia. By referencing the first movement, this finale achieved a satisfying sense of cyclicality.
Certainly, the most well-known works on tonight’s program are the Kinderszenen, Op. 15. Though inspired by childhood, these scenes are not intended as teaching pieces for children. Instead, they evoke a sense of nostalgia, capturing fleeting moments of childhood through a reflective lens.
One of my personal favorites, No. 1, Von fremden Ländern und Menschen (Of Foreign Lands and Peoples), was played with beautiful simplicity by Mr. Hobson. Among the highlights were No. 3, Hasche-Mann (Blind Man’s Buff), whose buildup to the climax was masterfully executed, and No. 4, Bittendes Kind (Pleading Child), which left the audience nearly breathless. No. 5, Glückes genug (Happy Enough) might have benefited from a more transparent interpretation, but it remained enjoyable.
At the heart of the work is, of course, the iconic No. 7, Träumerei (Dreaming), a piece with a history of being performed on its own by many world-renowned artists. However, tonight’s performance felt too grounded in the real world, lacking the fantasy and introspection that define this beloved movement. In contrast, No. 10, Fast zu Ernst (Almost Too Serious) and No. 11, Fürchtenmachen (Frightening) were especially memorable, showcasing Mr. Hobson’s sensitivity and attention to detail.
Tonight’s concert was a rare and remarkable experience, bringing together a complete performance of these cherished works. It is hard to imagine having the opportunity to hear these pieces presented collectively in a single recital again. Mr. Hobson’s dedication to Robert Schumann and his artistry made the evening truly special. The next all-Schumann concert, featuring trios, is scheduled for December 13—we eagerly await another extraordinary performance!
