Schumann - Fantasie | Isabelle Faust | Andrew Manze | WDR Sinfonieorchester

Robert Schumann's Fantasy in C major for violin and orchestra performed by violin soloist Isabelle Faust (Artist in Residence 25/26 with the WDR Symphony Orchestra) and the WDR Symphony Orchestra under the baton of Andrew Manze. Recorded live on November 28, 2025, at the Cologne Philharmonic Hall. Robert Schumann - Fantasy in C major for violin and orchestra, Op. 131 Isabelle Faust, violin WDR Symphony Orchestra Andrew Manze, conductor ► For more information about the symphony orchestra, concerts, and current livestreams, visit https://sinfonieorchester.wdr.de ► The WDR Symphony Orchestra on Facebook   / wdrsinfonieorchester   Introduction to the work: The Fantasy for Violin and Orchestra is one of Robert Schumann's late works. It was composed in 1853 in Düsseldorf, during a phase between creative euphoria and increasing emotional turmoil. The impetus came from the young violinist Joseph Joachim, who performed Beethoven's Violin Concerto at the Lower Rhine Music Festival under Schumann's baton. Joachim gave Schumann the score and wrote a note expressing his wish that he might dedicate a new, uplifting work to “the poor violinists.” Schumann Schumann did not hesitate and drafted the fantasy in September of the same year. He sent the draft to Joachim with the request to check “what might not be practicable in it.” Schumann accepted all of the 22-year-old violinist's suggestions, especially regarding the solo cadenza: an example of close artistic collaboration, as Mendelssohn had also cultivated with the violinist Ferdinand David. The character of the work is marked by a peculiar mixture of lyrical introspection and virtuoso brilliance. A melancholic introduction in minor opens the fantasy; a free recitative violin solo rises above the calmly flowing orchestral melody. But soon the mood changes: the lively main section in C major brings music of springy cheerfulness and dance-like agility. Wide melodic leaps, staccato figures, and trills lend the first theme a sparkling esprit, while the second theme appears delicate and floating . But memories of the introduction repeatedly permeate the action—like shadows in the midst of light. Contemporary critics sometimes judged the work to be “gloomy” or “ungrateful” and drew a connection with Schumann’s illness – though only after it had become known. Yet this composition reveals a masterful balance of poetic intimacy and brilliant virtuosity. As a result, this long-neglected late work by Schumann has become increasingly established in the concert repertoire today. Text: Christian Lehmann