![the end of all things piano notes the end of all things piano notes](https://www.music-for-music-teachers.com/images/boilem-cabbage-down-piano-alphanotes-helper.jpg)
The original pieces, probably for the reasons mentioned above, are limited to the medium and medium-low registers. On the other hand, with the performers' approval, we did not always follow the tempo markings indicated by Schumann, which often seem too fast (there are in addition several contradictions between Schumann's comments on the pieces and the tempi indicated). To bring out the "childish" or enchanting quality of the music, I made use of several additions, that I will evoke later: nevertheless, I wanted to respect the text completely, in the sense that not a single note is missing from the original score, that the tonal harmonies are completely respected, the same for the rhythmic writing.
![the end of all things piano notes the end of all things piano notes](https://www.skoove.com/blog/wp-content/uploads/2020/11/Skoove-2-1024x640.jpg)
I tried to emphasize the character of each piece, and to reveal the intentions behind the simplicity of Schumann's piano, thus obtaining contrasts that the original version does not allow - or allows less. Reutilizing an approach to the instrumentation that I have already implemented in pieces such as La Barque mystique, I make each instrument change roles quickly, giving the illusion of an orchestration much ampler than a simple trio. The cello is used with all of its articulation, timbre and register options, changing very rapidly from one playing modeĪnd sonority to another. The flutist often plays the alto flute, with its warm and expressive timbre, and whose low register allows the cello to sing the upper voice in some places. Based on these reflections, for my vision of Scenes from Childhood, I did not hesitate to use the entire modern palette of instrumental techniques, thus multiplying available timbres and the acoustic effects resulting from their combinations. Ravel did not simply "orchestrate" the piano, he tried to discover the very essence of the musical ideas hidden behind Mussorgsky's pianistic version, which in fact was clearly only one of many possible versions. I thought about, all things equal besides - because we are not at all on the same level here - the magnificent example of Pictures at an Exhibition orchestrated by Ravel.
![the end of all things piano notes the end of all things piano notes](https://www.singthebiblestory.com/images/and-can-it-be-piano-page-1.jpg)
In the end, I tried to provide "colouring" for Schumann's pieces (just as old black and white films are now sometimes "colourised"), amplifying the ideas and feelings, while remaining as faithful as possible to the letter and spirit of the score. How would this realization be approached, or rather what would "reinterpretation" mean: one composer's take on another composer? I quickly put aside the idea of instrumentation in a plausible "period style" - that would hardly have enhanced the original pieces, much as an overly thoughtful "rewriting" risked becoming untrue. But, almost all of them are little masterpieces, with great inventive power, based however on simple and concise ideas. some pieces are not so easy, others require stretches beyond that of a child's hand. He no doubt wanted to remain "simple" and "easy" - in his mind, the pieces would be playable by children. In fact, Scenes from Childhood has musical, expressive and evocative potential that far surpasses Schumann's version for piano. It quickly occurred to me that the Kinderszenen (Scenes from Childhood) would be perfect for this project. This work would of course be written for the three partners on the disc, cello, flute and piano. Finally, to illustrate the encounter that is the theme of this album, the idea developed, and quickly took hold, of my making an instrumentation of a piece by Schumann that would establish the most obvious link between the two sound worlds. Segry (France), Abbaye de La Prée - Samuel Bricault (flute), Marie Ythier (cello), Marie Vermeulin (piano) Note