“Jonathan Helbig succeeds in a special and skillful way to lean on the cycle of the same name by Robert Schumann, not to imitate it but to redraw the idea behind it.“
Children's scenes
Recording of the Kinderszenen at the Fürstenhaus Weimar in June 2023.
At the piano: Iva Zurbo
Total duration: 21:50 min
“A completely new work, wonderful music that I had the pleasure of developing with my student, Iva Zurbo. This was a great pleasure for me, I enjoyed it very much, especially as one constantly discovers new things.
I hope that the piece will be played very often.“
A Glimpse into or out of carefree life? Even Robert Schumann's cycle of the same name (consciously) leaves the question of perspective open in his music. However, the subject suggests that it must be more of a reflection, a partly transfiguring look back at childhood. This is also the case in my cycle Kinderszenen.
The present cycle aims to emulate the great poetry of Robert Schumann. The reference in the structure of the cycle with its 13 small character pieces is unmistakable, each of which explores a romantic ideal. The framing movements “Von fremden Ländern und Menschen” (Of Foreign Lands and People) and “Der Dichter spricht” (The Poet Speaks) are regarded in their form, tonal language and meaning as a direct homage to Robert Schumann.
The middle pieces lead along versatile scenes, which were written in their own tonal language, but in constant awareness of the reference and its statement. After an opening that wanders into the distance, the journey leads into the domestic room with familiar childlike scenes such as “Auf dem Schaukelpferd” (On the rocking horse), “Hasche-Mann” (Blind Man's Bluff) or “Curiose Geschichte” (Curious Story).
The scenes of the first half of this cycle deal more with the outer, visible world, until finally the central element “Des Träumers Traum” (The Dreamer's Dream) is reached. A daydream as a framing movement, which captures the dream that is actually dreamed. This piece represents the link between the outward-looking view and the inward-looking view.
The second half of the cycle now delves scene by scene into the world of the interior, which is equally distinguished from the exterior world by a multitude of facets. Be it the bright sides as in “Ballerina auf Spieldose tanzend” (Ballerina Dancing on Music Box) or the rather gloomy sides as in “Nächtliche Fantasterei” (Nocturnal Reverie).
The conclusion is the piece “Der Dichter spricht” (The Poet Speaks), in which the experienced is reflected and rearranged from a higher perspective, mystically disappearing into the light.
The cycle for piano was written in 2022.
"On the rocking horse" - the end.
*Professor for piano at the HfM Weimar
