| Summary: | This paper proposes a new approach to the performance of Schumann’s music, in particular to
his song cycle Dichterliebe op. 48. Starting from the many productive instabilities and inconsistencies that characterize the compositional approach in Dichterliebe, I ask under which conditions
we could think a performance practice that embraces these inconsistencies instead of stabilizing
them into a finished performance. To do so, I propose the appropriation from music performance
of the philosophical notion of “the problem” as formulated by Gilles Deleuze, connecting it with
the “pre-individual” in Gilbert Simondon and the notion of “outside,” mostly in the acceptation of
Maurice Blanchot and Michel Foucault. A critique is enacted of what I suggest calling the traditional “image of musical thought.” From this critique can emerge a performance practice that
moves away from the “problem of performance,” regarded in its traditional form as a representative practice oriented towards recognition, and that embraces instead the “performance of the
problem,” where the problematic dimension of Schumann is enhanced and further dynamized.
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