Schumann, Symphonic Etudes op.13 - Nikita Lukinov

In 1834 Schumann began to compose what would eventually become known as the "Symphonic Etudes" Opus 13. While almost entirely neglected during his lifetime, it has since taken its place among the greatest works in the piano repertoire.
It began as a theme and sixteen variations on a theme by Báron von Fricken that Baron composed himself, plus a further (last) variation on an entirely different theme from Heinrich Marschner’s opera. The work was first published in 1837 as "XII Études Symphoniques". The title "Etuden im Orchestercharakter von Florestan und Eusebius" had been also considered in 1834. In this case, the Études would have been signed by two imaginary figures in whom Schumann saw two essential, opposite and complementary aspects of his own personality and his own poetic world. The pieces divided so as to highlight the lyrical, mélancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan).
The "Études Symphoniques" learn the lesson of Beethoven’s Diabelli Variations: the theme that acts as a unifying element is amplified and transformed. It becomes the basis from which blossoms inventions of the expressive character. Schumann has also taken inspiration from the Goldberg Variations, most obviously in the use of various canonic effects (Variation 4 and 5).
The highly virtuosic demands of the piano writing are frequently aimed not for the bravura effect, but at clarification of the polyphonic complexity and at delving more deeply into keyboard experimentation. The Etudes are considered to be one of the most difficult works for piano by Schumann and in piano literature as a whole.