![]() This melody, along with a more energetic idea beginning with an ascending minor-key scale figure, dominates the movement. The work opens with a brief, slow introduction which is to reappear twice in altered form during the course of the movement, and which contains a four-note motif that is the basis of the Allegro’s main theme. However, the father bestowed distinct identities upon each of his E-flat chamber children, and if the Quintet emerged as the grander of the two, the Quartet is still a splendid specimen that is deficient only in a first movement that lacks somewhat in substance. It is staggering to realize that portions of the last two works were composed simultaneously – perhaps there was method to Schumann’s setting both pieces in the same key. In very quick succession starting in June, he turned out three string quartets, a piano trio, a piano quintet, and the present Quartet for the same forces minus one violin both Quartet and Quintet are in the key of E-flat. Having taken on the full orchestra, Schumann then narrowed his instrumental thinking, and 1842 became a year of chamber music. ![]() 2 in D minor (revised ten years later and now known as No. After composing primarily for the piano until 1840, Schumann turned in that year of his marriage (to Clara Wieck) to the writing of song, and only after the outpouring of emotions into some 120 vocal pieces did he make his first serious move into the symphonic realm, producing two symphonies in 1841 – No. Schumann’s creative impulses, unlike those of most other major composers, operated in extremely narrow ranges of repertoire at various times in his life.
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