Schumann intended the eight pieces of his Noveletten, Op. 21 (1838) to be performed as a group, though they are often successfully performed separately. These "tales of adventure," as the composer referred to them, provide a wholly representative example of the composer's keyboard style. No. 1 in F major alternates a staccato March with a flowing legato passage within its five sections. Technically tricky thumb repetitions provide an element of challenge for the pianist in No. 2 in D major; otherwise, this bravura piece is quite graceful and effective. A lyrical central Intermezzo provides an element of contrast. No. 3 in D major demonstrates the composer's sense of humor with rapid staccato chords; a contrasting section in B minor is passionate and wild. No. 4 in D major is a rather loosely organized but interesting Waltz that employs cross-rhythms and syncopation to good effect. No. 5 in D major is a full-blown Polonaise; its principal section, with three main ideas, is set into relief by the persistent rhythms of the Trio. Gradually increasing tempos characterize the progression of the sections in No. 6 in A major. Starting from the staccato opening, each of the subsequent, predominantly lyrical, passages is marked a few metronome beats faster until the coda, which returns to the original tempo. No. 7 in E major bookends a beautifully lyrical central section with passages featuring fast, brilliant octaves. The last member of the set, No. 8 in F sharp minor, is actually two pieces in one. The first part, a passionate Etude in 2/4, uses a jaunty dance for its first Trio. It is followed by a second Trio, similar in character but different in content. A romantic interlude connects this first large division with the second section. The march-like nature of this section is contrasted by more lyrical passages; the melody from the romantic interlude (which Schumann calls the "Voice from Afar") returns as the climax.

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1.Markiert und kräftig

While 1838 was a joyful time for Schumann because of his impending marriage to pianist/composer Clara Wieck, it was also frustrating, owing to the spiteful actions of Clara's father Friedrich, who constantly attempted to sabotage his daughter's marital plans. Still, Schumann had much to be happy about, and that year, he produced Kreisleriana, Kinderszenen, and the Novelletten for piano. This Novellette in F major, the most popular of the group, projects an air of confidence in its brilliant, celebratory music. The piece opens with a march-like theme of heroic character in big muscular chords, splashing its festive colors about while seeming to yearn for a full orchestral treatment. The somewhat serene alternate theme has a nonchalance in its soaring Romantic spirit, as if to express a sense of passion or love in a restrained manner. The main theme is heard again, but is now followed by a variant of warm Romantic character, this time imparting greater passion. The material from the opening is reprised and the work closes with a glorious restatement of the main theme. This masterwork typically has a duration of five minutes.

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