General Overview

This work, the most popular among Schumann's piano solo pieces, consists of 13 short pieces, each with a descriptive title. It was composed over approximately one month, from February 12 to March 17, 1838 (Pieces No. 6 and No. 9 may have been completed in the autumn of 1837). From Schumann's diary, several more specific composition dates can be traced: February 17: "Composed two or three small, lovely Kinderszenen at night." February 24: "Composed the piece 'Träumerei'." February 25: "Composed again from Kinderszenen, F major, very beautiful, at night." March 11: "Composed 'Glückes genug' and the Polonaise from Novelletten."

On March 17, having completed the work, Schumann wrote the following in a letter to his fiancée, Clara Wieck (1819-96): "You once wrote that I sometimes appear like a child in your eyes, and those words lingered... So I wrote about 30 small pieces. From those, I selected 12 and named them Kinderszenen. You will be pleased with them. However, forget that you are a virtuoso." This explains that approximately 30 short pieces were initially composed, and from these, 12 were selected for Kinderszenen. Thus, at this point, the work was conceived as a 12-piece collection. Ultimately, Kinderszenen became a 13-piece collection, with the final piece, 'Der Dichter spricht,' known to have been added, though it is unknown when or how it came to be included in the collection. It is presumed that several pieces not included in Kinderszenen from the initial 30 compositions were later incorporated into Bunte Blätter Op. 99 (published 1851) and Albumblätter Op. 124 (published 1853).

There is another important point regarding its genesis: there was a period when this work was conceived as an appendix to Novelletten Op. 21. Novelletten is a collection of eight pieces, published in its entirety in 1839, with its approximate composition period being January to April 1838, concurrent with Kinderszenen. The aforementioned diary entry from March 11 indeed indicates that both works were being composed simultaneously. The printer's manuscript for Novelletten bears the title "Novelletten for Piano, dedicated with friendship by Robert Schumann to Frédéric Chopin, Book 2, with an appendix of Children's Stories, Op. 16," and the crossed-out part "Children's Stories" refers precisely to Kinderszenen. From this, it can be inferred that Schumann initially planned this work as an appendix to Novelletten but later changed his mind to publish it separately, hence the deletion. The fact that these two distinct works were, in fact, related is noteworthy for understanding the composition.

Due to its title and musical character, this work is often misunderstood as being "for children," but according to Schumann, it is "recollections of an older person and for older people." Franz Liszt (1811-86) also interpreted it as "a work like a story to be read to children, as it is probably too difficult for children to play." This work, embodying Schumann's longing for the world of childhood, is thus for adults recalling their early years. Furthermore, it is plausible that Schumann's envisioned happy family life with Clara is also projected here. Finally, regarding the titles given to each of the 13 pieces, Schumann stated that they "were added after each piece was completed, and were merely given as hints for performance and interpretation."

Analysis of Each Piece

• No. 1: Of Foreign Lands and Peoples
  G major, 2/4 time. ABA ternary form. It proceeds throughout in three voices. The theme, repeatedly appearing in the upper voice of the right hand, is developed in the lower voice of the left hand in the middle section. It evokes the image of a child dreaming of unseen foreign lands.
• No. 2: A Curious Story
  D major, 3/4 time. Just when one expects a rhythmic and lively character with ornaments, rests, and dotted notes, a soft, legato melody with long phrases suddenly appears. One should enjoy the contrast between these two alternating sections.
• No. 3: Blind Man's Bluff
  B minor, 2/4 time. ABA ternary form. The staccato melody in the right hand, marked with sforzando-piano and accents, is striking, truly resembling a child desperately running away from the 'it.' At the end of the middle section, the left hand has a chromatic ascending figure with its first sforzando, evoking a scene where the child is almost caught by the 'it.'
• No. 4: Pleading Child
  D major, 2/4 time. A clear connection to the theme of No. 1 can be observed. It depicts a child sweetly pleading repeatedly. As if to express an unfulfilled desire, the piece ends on a D major dominant seventh chord.
• No. 5: Happy Enough
  A major, 3/4 time. The unfulfilled feeling that ended on the dominant in No. 4 is finally resolved to the tonic of the dominant key at the beginning of this piece, thus fulfilling the title. The right-hand theme is imitated by the left hand, progressing contrapuntally.
• No. 6: An Important Event
  A major, 3/4 time. ABA ternary form. The piece generally progresses in chords. It is a powerful work with a rich, resonant sound. In the middle section, the left hand plays an active role with octave progressions.
• No. 7: Träumerei
  F major, 4/4 time. 'Träumerei' refers to 'dreaming' or 'reverie.' The atmosphere changes completely from the previous piece, exuding a calm and dreamy air, as the title suggests. Schumann avoids a strong beat on the first beat and blurs the 4/4 meter, thereby creating the dreamy character of this piece. The piece closes with a four-bar melody in four voices, repeated eight times with changing harmonies. How to make these eight repetitions captivating will be a test of the performer's skill.
• No. 8: At the Fireside
  F major, 2/4 time. In the same F major as No. 7, the piece begins similarly with an ascending fourth from C to F. The connection to the previous piece is evident.
• No. 9: Knight of the Hobbyhorse
  C major, 3/4 time. The right hand maintains a consistent rhythmic figure throughout. A rest on the first beat, followed by syncopation, and an accent on the third beat, demonstrate Schumann's rhythmic ingenuity.
• No. 10: Almost Too Serious
  G-sharp minor, 2/8 time. Following No. 9, the piece quietly unfolds with syncopation. The 'ernst' in the original title 'Fast zu ernst' means 'serious' or 'earnest.' Is a child earnestly engaged in something?
• No. 11: Frightening
  G major, 2/4 time. A contrasting piece where a slow and gentle main theme alternates with rapid, playful interjections. In the four appearances of the main theme, the right-hand melody is imitated by the left hand.
• No. 12: Child Falling Asleep
  E minor, 2/4 time. ABA ternary form. In the A section, centered around B, the same rhythm is alternately repeated by the right and left hands, and this cradle-like motion leads the listener into a drowsy state. In the B section, it modulates to the parallel major, E major. The piece ends quietly throughout, without resolving to the tonic chord, as if the world of sleep extends infinitely.
• No. 13: The Poet Speaks
  G major, 4/4 time. ABA ternary form. The B section features a recitative, and it has been noted that this melody is quoted from the inner voice of No. 2, 'Aufschwung,' from Fantasiestücke Op. 12. Schumann often reuses material and melodies from one work in others, and this is considered another example. Clara commented on this piece, saying, "Is not the poet speaking in this piece my beloved one?" suggesting she interpreted the title's 'poet' as Schumann himself.