Ian Hobson: The Complete Schumann Piano Works – Love and Nature III
Ian Hobson, Pianist
Tenri Institute, New York, NY
April 25, 2025
Ian Hobson returned to the Tenri Institute on April 25th for the latest installment in his Schumann works cycle, entitled Love and Nature III. This was one of the briefer programs in his multi-year endeavor, with only three works on the program – Gesänge der Frühe, Op. 133 (Songs of the Morning), Thema mit Variationen in Es Dur WoO 24 , better known as Geistervariationen (Ghost Variations), and Waldszenen, Op. 82 (Forest Scenes). Mr. Hobson has developed a following for his Schumann programs – there were several audience members talking about having attended many of these programs and already enthusiastically looking forward to the next installment in September.
I’m not going to repeat all of Mr. Hobson’s credentials, as they have appeared in his past reviews. Any new readers or interested persons can read about Mr. Hobson by clicking on this link: Ian Hobson .
Before beginning the program, Mr. Hobson spoke about the first two works, Gesänge der Frühe, Op. 133 (Songs of the Morning), and the Geistervariationen (Ghost Variations). About the Gesänge der Frühe, he mentioned several interesting observations he had made in his studies of the work: Schumann’s love of music cryptograms (using letters from the titles of the individual pieces as musical notes), his wife Clara’s uneasy relationship with the work (she thought it “so very strange”), and the Wagnerian influence on the third song, Lebhaft. As Mr. Hobson shared, in spite of Schumann telling Mendelssohn (after a hearing of Tannhäuser) that he had serious reservations about Wagner, it seems that Schumann had a change of mind. Though one could hear a superficial similarity in the Lebhaft, his listener is not entirely convinced of the Wagnerian influence. Nonethless such thought-proving ideas are part of what make this series so stimulating. As for the Geistervariationen (Ghost Variations), Mr. Hobson reminded us that this music was probably the last that Schumann ever wrote. More about this later.
Mr. Hobson opened with Gesänge der Frühe. One must admit that Clara was on to something – this work has some seemingly random dissonances, sudden arbitrary outbursts from nowhere that disappear as suddenly as they appear, and awkward hesitations that make the performer sound as if they are groping for the right notes, amongst other things. If one were unaware of these pitfalls, one would probably think that the pianist is making mistakes or has not prepared properly – not exactly an ideal situation for the performer. Mr. Hobson took no notice of these challenges as he made the very most of the divine moments with true sensitivity and careful attention to voicing, while dealing with the “strange” aspects with equal attention and care. Mr. Hobson deserves praise for taking a thankless task and fashioning something memorable.
The Geistervariationen followed Gesänge der Frühe. Again, these Geistervariationen constitute the last work that Schumann completed. It was not published until 1939, and both Clara Schumann and Brahms had thought it unworthy of publication. The variations mirror Schumann’s mental state, with the final variation revealing a composer who is losing his sanity. If one were not aware of Schumann’s declining mental health, the variations might just be considered the less than masterful work of a very ill man, with flashes of his genius intermingled with disturbing moments; knowing the history, however, one hears the heartbreak. Schumann was in the throes of aural hallucinations, with horrible sounds filling his ears, while desperately seeking relief from his anguished mental state. A respite was brought with a sudden inspiration of a heavenly sort. Schumann claimed the theme was dictated to him by an angel (though he did not recognize that he had already used this same theme material several times in earlier compositions). He then added variations, but the torment was too strong, and he threw himself into the Rhine. Very soon after his rescue, he was committed to an asylum from which he would never leave. We don’t know whether Schumann intended to write more variations, but it is a reasonable assumption that he would have been unable to do so.
Mr. Hobson played the theme with a simple steadiness, bringing its heavenly beauty forward without any self-indulgence, letting the sublime beauty of the music speak for itself. This was his overriding approach – Mr. Hobson did not feel any compunction to place his own “stamp” on the music. He is the servant of the composer (as it should be) – every note and phrase has been studied, considered, and played accordingly. If I had any quibble, it would have been wanting more of the left hand brought out in the fourth variation. The disconcerting fifth variation ended this journey with an unsettling feeling that was hauntingly appropriate. Thankfully, Mr. Hobson had altered the order of the program, as the Geistervariationen were originally intended to be the final work of the evening.
After a brief intermission, Mr. Hobson returned for the final work of his program, Waldszenen, Op. 82 (Forest Scenes). After the “strangeness” of the first half, this was a delightful reminder of how masterful Schumann was with small pieces that evoke scenes or scenarios. Waldszenen is a set of nine short pieces that depict a hunting outing of some less than fearsome hunters. The forest creatures have little to fear from these fellows, but the hunt is really just a means to enjoy nature and camaraderie. Our hunters find themselves unnerved by some frightening scenery and an ominous sounding bird song, but seek shelter in an inn, where they drink and brag to each other about their adventures, before leaving the forest and heading back home.
Mr. Hobson was most successful at capturing the ineptitude of the hunters, as when they are scurrying about in Hunters on the Lookout. The Lonely Flowers and Friendly Landscape were as pastoral sounding as their names suggest. The Bird as Prophet had an eerie, quirky quality. Mr. Hobson may have not completely formed his conceptions of all these pieces – as there were moments when Schumann’s “surprises” seemed to have surprised him as well. There were some smudges here and there, but these were infrequent. All in all, it was a “fun trip,” and one this listener greatly enjoyed. The audience enjoyed it as well, giving Mr. Hobson enthusiastic applause.
Mr. Hobson’s next Schumann installment is on September 26, 2025.
