Schumann intended his Six Intermezzi, Op. 4 (1832) as "longer Papillons." Like Papillons (1829-1831) the Intermezzi resemble a dance suite in form, if not content, and were intended to be played as an intact group. Unlike Papillons, however, the Intermezzi contain neither literary allusions nor musical idiosyncrasies. Some of the individual pieces are unidentifiable as specific dances, though they retain typical ternary dance forms.

No. 1 in A major alternates a march-like section with a livelier middle section. The scherzo-like No. 2 in E minor is a depiction of Faust's and Mephistopheles' journey through the air; there is much interest in the complex rhythms that throw the underlying pulse out of sync with the melodic and harmonic rhythm. Unusual rhythms and accentuation highlight the main section of No. 3 in A minor; Schumann curiously labels the faster central section "Alternativo." Schumann constructed No. 4 in C major, the shortest of the Intermezzi, from fragments of three earlier discarded works. No. 5 in D minor is more lyrical than its partners, in spite of its fast tempo; the central section, labeled "Alternativo" as in No. 3 above, is probably the most beautiful passage in the entire set. Impetuous and virtuosic, No. 6 in B minor offers the greatest contrast between the main section and its lightly Mendelssohnian "Alternativo."

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.