《幽默曲》绝非如今的音乐会舞台上最常听到的舒曼作品之一,其知名度相较《狂欢节》《C大调幻想曲》《童年情景》等流行曲目差之甚远。究其原因,不外乎作品本身由内至外带给演奏者的极大挑战:内心层面上,这部作品深刻地反映了作曲家不稳定的精神状态,具体表现手法则是被频繁打破的小节线以及音乐的节奏;外在层面上,这部作 Humor is by no means one of the most frequently heard Schumann’s compositions on the stage of today’s concerts, far less well known than popular tracks such as Carnaval, C Major Fantasia and Childhood Scenes. The reason is nothing less than the great challenge brought by the work itself from the inside to the outside. At the heart, the work profoundly reflects the composer’s unstable state of mind. The specific performance tactics are frequently broken Bar lines and the rhythm of music; on the external level, this work