Robert Schumann (1810-1856)
Trois Romances, op. 94
L'amour et la vie d'une femme, op. 42
Myrthen, op. 25

Martin Steger, alto
Tomoko Takahashi, piano

Martin Stegner and Tomoko Takahashi adapted romances and songs by Robert Schumann for viola and piano. This is with no doubt legitimate when we talk about the 'Romanzen' op. 94. It could be said that Schumann's mood pieces for a melody instrument plus the piano – e. g. the 'Adagio und Allegro' op. 70 for cornet, the 'Fantasiestücke' op. 73 for clarinet and the 'Drei Romanzen' op. 94 for oboe and piano - are his contribution to the genre of the 'Songs without Words'. All pieces mentioned date back to the year 1849. It marks a period of his work that endowed – second to the year 1840 that was decidedly characterized by song – the composer with yet another rich, though autumnal, harvest of songs. It was the unexpected call to Düsseldorf that re-awakened Schumann’s spontaneous delight both in the human voice and in the melodic solo instrument in a dialogue with the piano. In the 'Romanzen' op. 94 he allows for the use of the violin as well.