Between Fire and Silence is Dreaming”: An Interview with Danish Pianist David Munk-Nielsen
BY HANA GUBENKO

David, welcome to Fanfare. Your traditionalist new release is a kind of goody for the ear and soul of a troubled classical music admirer. Pianists tend to turn to Schumann’s Kinderszenen toward the very end of their careers, like Horowitz when he melted hearts in Moscow 1986 at the age of 81 with the “Träumerei.” In his case it was a farewell, but in your case it’s a debut. Why have you chosen a rather contemplative program instead of something spectacular like Liszt’s B-Minor Sonata?
As much as I love Liszt’s B-Minor Sonata, there are already so many virtuosic pianists out there today. Young pianists in my generation are perhaps more technically accomplished than ever. What truly interests me, however, are those who can play poetically and tell a story in a way that makes you feel you simply have to listen.
It’s not that virtuosity and lyricism don’t go hand in hand—but I think this program offers a contrast to the typical “competition winner showman.” Although Schumann’s Fantasy certainly allows for great virtuosity—especially in the second movement—I feel this program speaks more to the reflective side, which may be needed now more than ever in our fast-moving and often distracting times. I’m very drawn to repertoire where storytelling and inner atmosphere matter more than pure brilliance.
Where is the “fire” and the “silence” embedded in this program?
They exist in the contrasts between the intimate Kinderszenen and the passionate Fantasy! I almost don’t think you can find greater extremes within Schumann’s output—between the innocence and naïveté of Kinderszenen and the grand, monumental nature of the Fantasy. Hence the title of my CD.
Schumann himself said that the Fantasy was the most passionate piece he ever wrote. And yet, within this longing and emotional outburst, silence plays a crucial role—it carries a hidden message to Clara. This becomes clear through the Friedrich Schlegel poem printed at the beginning of the score: “a quiet tone for the one who listens in secret.”
Sibelius provides a beautiful counterbalance and acts as a bridge between these two Schumann worlds. It also reflects my years of study in Helsinki at the Sibelius Academy, and my wish to bring these lesser-known gems to a wider audience.
In the booklet notes you mention those pieces following you your life path. When and how did it start?
I clearly remember discovering Murray Perahia’s recording of the Fantasy in my early teenage years and immediately being drawn into Schumann’s incredible universe. Listening to the last movement, I felt this was music bigger than life itself.
Perahia is exceptional at letting the music speak for itself—his playing feels very pure and sincere, which made the experience especially powerful for me.
I discovered Kinderszenen a bit later. Of course, I already knew “Träumerei,” but I soon realized how beautifully the whole cycle complements the Fantasy, allowing one to experience the full emotional range of Schumann.
I encountered Sibelius during my studies in Helsinki and was struck by how much piano music he actually wrote. Many of these works are real gems—they sometimes remind me of Brahms, Grieg, and even Liszt. My professor, Erik T. Tawaststjerna, recorded all of Sibelius’s piano works, so I feel I’ve learned from the best.
Your favorite version of the Kinderszenen by one of the piano gods?
Difficult question! I don’t really have one favorite version of the Kinderszenen, but I love of course Horowitz’s version, and especially his “Träumerei” from the Moscow recital has something just magical and touching about it.
I also adore Volodos’s piano colors, which suit the many intimate moments of Kinderszenen so well. Another version would be Maria João Pires’s—her purity and way of letting the music speak for itself is beautiful.
Schumann’s Fantasy is packed with all sorts of emotions. What story do you have for the piece?
To me, the Fantasy captures the essence of Romanticism. It feels like a cry of love from Robert to Clara—a love they were initially unable to fulfill because of her father, Friedrich Wieck.
I imagine a kind of utopian “bubble” filled with pure and true love that cannot fully exist in reality. Within this space, you find everything: heroism, tenderness, hope—and in the final movement, even something like a prayer.
Creating a background story, a bit alike a sensuous fantasy, is a part of the creative process in music, isn’t it?
Yes—definitely in Schumann’s music, and especially in the Fantasy. At the beginning of learning a piece, I like to follow my intuition quite freely. Later, I shape that into a more personal narrative—hopefully one that still goes well with the composer’s intentions.
Schumann’s vulnerability is well acknowledged, but the expansive side of his personality, which almost crossed the line of abusiveness, stays behind the scenes. Have you ever felt that side of Schumann’s personality?
Absolutely! Especially in the Fantasy, there are moments where the emotional intensity becomes almost overwhelming, as if it’s almost losing control. I think that contrast between vulnerability and inner turbulence is part of what makes Schumann’s music so unique and powerful.
Sibelius is a fascinating composer. A few words about how you found each other?
I discovered Sibelius naturally during my years in Helsinki. While his symphonies are widely performed, his piano music remains relatively unknown. Yet you can clearly hear his symphonic thinking in these works—they are beautifully written for the piano and very rewarding to play.
How would you like to see your professional future?
Ideally, I would like to combine life as a recitalist, soloist, and chamber musician with teaching. I very much enjoy all of these aspects. I already perform regularly and also assist my professor with teaching at the Royal Danish Academy of Music as part of my postgraduate studies, which I will complete next year.
I hope the future will bring many exciting musical adventures.
Your next recording plans?
I don’t have any fixed plans yet—but I’ll be speaking with Lars Hannibal from OUR Recordings to see what ideas we can develop. I’m already looking forward to the next project.
Looking forward to following up again.