Schumann's Eight Fantasiestücke, Op. 12 (1837), together constitute one of the composer's finest and most representative works. Intended to be played as an intact group, the set retains enough typical dance forms to be regarded as a sort of dance suite, though the pieces are longer and more complex than those of "true" dance suites like Carnaval, Op. 9 (1833-1835), and Davidsbündlertanze, Op. 6 (1837). Most of the pieces are constructed in novel permutations of rounded binary and ternary forms; nearly all have contrasting, trio-like middle sections.

The first of the pieces, "Des Abends" (Evening), is a lyrical nocturne that makes interesting use of cross-rhythms. "Aufschwung" (Soaring) probably, the best-known member of the set, contrasts an aggressive opening with a fluent, lyrical "finger" passage; the central section, which employs longer rhythms, is more lyrical yet. "Warum?" (Why?) is simple and straightforward, in Schumann's most lyrical "Eusebius" style. In "Grillen" (Whims), Schumann demonstrates his ability to use rhythm to convey subtle humor; the central section employs a striking, almost archaic, chorale-like style. "In der Nacht" (In the Night), an impassioned, etude-like tone poem, is among the loveliest of the pieces. The one member of the set that eschews dance form is "Fabel" (Fable); here Schumann contrasts a slow introduction with faster episodic passages. "Traumes Wirren" (Restless Dreams) is also etude-like, but is light and buoyant in mood. The final piece, "Ende vom Lied" (End of the Song), has, despite its brevity, a certain epic quality. The coda almost seems like an afterthought, intended as an ending for the whole set rather than for this movement in particular. After the composer's death, an additional piece, "Feurigst" (Fiery), was added to the set. Though it is authentically by Schumann, it is generally considered a mismatch with the other pieces and is rarely performed with them.

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1.Des Abends: Sehr innig zu spielen

Unlike most composers, Schumann hit his stride in the realm of piano composition early on and declined as he matured. True, his symphonic works came later and undoubtedly diverted his inspiration into larger and more demanding areas. The eight Fantasiestück (Fantasy Pieces) here came during a period that saw some of his finest keyboard works: Davidsbündlertänze (1837), Symphonic Etudes (1834—1837), Kinderszenen (1838), and Kreisleriana (1838). Des Abends (Evening), the first of the fantasy pieces, is a fairly simple work, songlike and lovely, and having somewhat unusual metric features, 2/8 being the designated time signature with the right-hand melody played in triple meter. The theme is lovely in its U-shaped phrases and sense of yearning, and has a decidedly Romantic temperament in its lyrical and soaring manner. Rather than subject this melody to extensive development, Schumann expands its expressive range, the music turning a bit tense and somewhat mysterious in subsequent alternating sections. Still, the mood throughout the work exudes a sense of passion and romance in its slightly nocturnal character. This piece typically has a duration of four minutes.

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2.Aufschwung: Sehr rasch

Of the eight fantasy pieces comprising Schumann's Op. 12, this one, "Aufschwung" (Soaring), along with "In der Nacht" (In the Night), are the two stormiest, most unsettling works in the set. The formal design of "Aufschwung" is rather unusual, exhibiting a mixture of sonata and rondo features. Its turbulent mood suggests not the turbulence and frustrations associated with passion and love—Schumann was then courting Clara Wieck over the objections of her father—but with life's fears and disappointments. Indeed, much of the piece projects a dire, urgent sense in its insistent, crushingly powerful theme. The work opens with that ten-note theme whose vehemence in hammering home its sense of fate has all the trappings of a piano counterpart to that powerful motto dominating Beethoven's Symphony No. 5. But of course, the two works are entirely different in most other respects. "Aufschwung" also has a heroic sense and its second subject is less driven in its lively character. Another theme is soon heard, Romantic in character but somewhat agitated, yet still providing fine contrast to the dark resolve of the main theme, which returns more ominously than before to close out this approximately three-minute piece.

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7.Traumes Wirren: Äußerst lebhaft

If a Schumann work ever seemed at odds with its title, it is this piece, "Traumes Wirren" (Dream Visions). Unlike the entrancing Träumerei (Dreams), for instance, from his children's collection Kinderszenen (1838), this work sounds far afield from the subject of dreams or slumber in its racing playfulness and madcap manner. But of course, the quirky Schumann was original and unpredictable in his works and rarely less than compelling. This piece opens with an infectious, spirited theme that exudes joy and playful mischief as the fingers rapidly race up and down the keyboard. At several junctures, however, the music seems to initiate the introduction of slower material, only to quickly return to the main theme and its breathless course. The brief middle section features a second theme, a somewhat somber creation that no sooner states its wares than is interrupted by a variant of the main theme, which leads back to the theme in its original guise. A brilliant coda based on that theme then follows to close out the work. Pianists often program this work as an encore or with other showpieces in a recital, finding its challenges, audience-pleasing music, and two-and-a-half minute length a successful combination.

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