Robert Schumann’s late piano solo works are not part of the standard repertoire for pianists, although his late chamber music is often performed. This monograph will focus on Drei Fantasiestücke, op. 111, composed in 1851. This work is essential for examining how Schumann’s psychological state in his final years affected his musical language and expression. Therefore, this research aims to provide a performance and interpretive guide for pianists, assisting them in developing a deep understanding of Schumann’s late style and applying it in practical performance. This monograph provides the historical background of Schumann’s late period, based on exploring his general compositional style alongside a comprehensive literature review with scholarly perspectives regarding the impact of his psychological instability on his compositional output, to offer performance insights by integrating historical performance practices of the Romantic era. Integrating historical performance practices, the research culminates in specific performance propositions for Opus 111, offering detailed suggestions on dynamics, articulation, and pedaling. To determine the interpretation, I compare the original manuscripts and Urtext editions, which are Henle and Peters, and the Breitkopf & Härtel editions by Clara Schumann. By navigating the discrepancies among these editions, I identify interpretive possibilities that manifest the multifaceted nature of Schumann’s late style.
Sarah Lee (Thu,) studied this question.