Piano sonata in F sharp minor op.11
The Piano Sonata no. 1 in F sharp minor, Op. 11 by Robert Schumann was completed in 1835 and published in June 1836. The dedication to Clara Wieck with the words "Clara appropriated by Florestan and Eusebius" indicates not only a biographical background, but also a dualistic creative principle in many of Schumann's works, which is expressed in the opposing nature of Florestan and Eusebius . The work consists of four movements, some of which are linked together by quotations from the motifs.
In addition to this new type of connection, the work surprises with another innovation: Schumann combined different stylistic elements in one work by combining the classical sonata with basic ideas from the imaginary world of dance music and already processing a “fandango idea ” in the first movement .
The work can be viewed as an avant-garde, romantic-expressive tone poem that combines freely associative elements of the fantasy with the sonata concept and in which the creative work on the theme material takes a back seat.
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1. Un poco Adagio - Allegro vivace
Schumann introduces the work with an extended introduzione of 52 bars. This is in three parts. In the agitated opening and closing parts one can guess the character of Florestan, in the middle part the lyrical, dreamy Eusebius. The dotted ascending and descending motif is in two parts and is accompanied by an even triplet figure, first of the left, then the right hand. The first part is in F sharp minor and already reaches an exciting climax in bar 13. In the second part, the right hand takes over the accompanying figure and the theme, set in bass octaves, now sounds in the parallel key of A major . The second theme of the introduction is a cantilena in A major beginning with bar 22, which thematically refers to the second movement.
The following Allegro vivace is in 2/4 time and is dominated by a rhythmically distinctive, forward-driving theme that characterizes the entire movement, which Schumann (in his diary) called "Fandango thoughts" and which gives the movement the character of what is related to the Bolero There is Spanish dance, when Schumann also makes it feverishly nervous until it is increased to ecstasy.
This restless (“galloping”) motif is in turn introduced by an energetic rhythm of triple repeating fifths , which he took from the fourth piece from the Quatre piéces caractéristiques op. 5 by Clara Wieck and linked it with the ascending fandango theme. This energetic group of themes, repeated in different positions of the piano, dominates the exposition up to a passionate, rhythmically related secondary theme area in E flat minor from bar 107, which consists of a rondo-like repetition of the first theme ( piu lento ) - still in E flat minor - from bar 123 is replaced. After an energetic repetition in A major, a transition finally introduces the second theme in A major from bar 146, a simple, descending melody that continues to feel its way and the second part, set in octaves and chords, initially to the second theme of the The introduction is remembered in the same key and ends in an intimate ritardando movement, at the end of which the motif of Clara's bass sounds.
The implementation from clock 176 is comprised of two opposing elements: a modulation part which is formed from the main and side passionate subject, is compared to an incipient slip with clock 268 recapitulation. At this point, the quote from the gloomy introductory theme in the bass, which is accompanied by a steady sixteenth note movement, has a magical effect.
2. Senza passione, ma espressivo
Compared to the complex and expansive frame sets, the inside sets are simply built.
The melody of the second movement in A major repeats the second, lyrical (Eusebius) theme of the introduction, which rises above an evenly chordal accompanying figure. The haunting aria is also reminiscent of Schumann's early Lieder An Anna, based on poems by Justinus Kerner , which were published posthumously. Above all the fourth ("I wait a long time, but finally the window sash spreads apart"), but also the third song are recognizable. The short movement with its simple, three-part song form comprises only 45 bars and is interspersed several times with a gloomy quintet motif reminiscent of the introduction. In the F major middle section from bar 16, an intimate melody sounds in the bass, which is accompanied by sixteenth - note figures from the right hand.
3. Scherzo e Intermezzo
In the moving third movement in F sharp minor, Schumann approaches the dance sphere as it is present in the Papillons and Carnaval most clearly. The dance mood is already more exuberant with the side movement ( Più Allegro ) from bar 51 and is further intensified by a polonaise-like middle movement (intermezzo) in D major from bar 147. Schumann underlines the playful character of the music, which is overloaded with jumps and dotted rhythms, with the presentation titles and headings such as scherzando , ad libitum scherzando and alle burla, ma pomposo . A parodic train of the sentence is also not to be overlooked by Schumann with the ad libitum scherzando carried forward secco recitative in bars 167 to the opera buffa alludes.
4. Allegro and poco maestoso
The extremely long finale is a sonata rondo which, with its stormy introductory chords, intricate rhythms and ramifications, is reminiscent of improvisation and also features episodes of lyrical song melodies. Schumann dispenses with an implementation and varies the exposition, which is followed by a virtuoso coda , which ends the piece in F sharp major .
background
In addition to the Three Piano Sonatas for the Young, Op. 118 from 1853, Schumann composed three great piano sonatas, which were composed and published in a peculiar order. In 1833 he began work on two sonatas in F sharp minor and G minor and announced both works on April 8, 1836. Nevertheless, the Sonata in G minor op. 22 did not appear until over three years later in September 1839. He composed the third sonata in F minor op. 14 in 1836 and published it in September of the same year (second place) under the title “Concert sans Orchester ”.
The Fantasy in C major is linked in terms of content and form to his sonatas . The work was now entitled “Great Sonata by Florestan and Eusebius”, was composed shortly after the completion of the F minor sonata and, along with the Kreisleriana, is one of his most important piano compositions.
As early as 1810, when Ludwig van Beethoven was still writing his great piano sonatas , interest in this genre was declining. Numerous virtuosos from Muzio Clementi's school, such as John Field or Daniel Steibelt, had also turned to other forms. This development did not prevent Schumann from dealing with this very form of composition over twenty years later, between 1833 and 1839, which, however, seemed problematic and to a certain extent outdated to him. On the one hand, according to his reproach, it would be viewed by contemporary composers as "formal studies" with which one could "please ... the higher criticism", on the other hand it appeared to be the genre that suited the Bundestag members . So "you write sonatas or fantasies (what does the name matter!), But don't forget the music, and the other implores your good genius."
The long time it took for the sonatas to emerge has different causes. In addition to the high demands associated with the traditional genre, there was a personal pressure of expectation. Schumann had previously caught the audience's attention more as a composer of shorter, original poetic piano pieces and dance cycles, so he took his time with the new challenge and also intended not to leave the reception to chance. So he asked Ignaz Moscheles to write a review in the Neue Zeitschrift für Musik . The recognized pianist, friend and admirer of Beethoven, supported Schumann with a treatise that appeared in the magazine on October 25, 1836.
Schumann, who, along with Chopin and Franz Liszt, is part of the triumvirate of romantic piano music, was under great emotional stress at this time, which is reflected in many letters to Clara. Shortly before he was engaged to Ernestine von Fricken , he soon realized that his feelings for the gifted daughter of his piano teacher Friedrich Wieck were stronger. Wieck, however, refused the relationship and went so far as to dictate a letter to Clara in which she returned the sonata dedicated to her to Schumann.
The dedication to “Clara ... von Florestan and Eusebius” also shows the emotional ambivalence of Schumann, the compositionally fruitful fluctuation between the impetuous, passionate Florestan and the deliberate, lyrical mood of Eusebius . The figures themselves are modeled on two literary characters , the brothers from Jean Paul's flail years , a work that impressed Schumann very much.
Recordings (discography)
- Emil Gilels, Moscow Recital, 1961 (Melodiya, Naxos)
- Bernd Glemser, 1997 (Naxos)
- Angela Hewitt, 2007 (Hyperion Records)
- András Schiff, 2010 (ECM)
- Cheng Zhang, 2019 (Accentus Music)
Individual evidence
- ^ Arnfried Edler , Piano Sonata No. 1 in F sharp minor, Op. 11, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 234
- ↑ Arnfried Edler, Piano Sonata No. 1 in F sharp minor op.11, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 235
- ↑ Günther Batel, Robert Schumann, Sonate in F sharp minor, in: Masterpieces of Piano Music, Fourier Verlag, Wiesbaden, 1997, p. 322
- ↑ Arnfried Edler, Piano Sonata No. 1 in F sharp minor op.11, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 235
- ↑ Günther Batel, Robert Schumann, Sonate in F sharp minor, in: Masterpieces of Piano Music, Fourier Verlag, Wiesbaden, 1997, p. 322
- ^ Arnfried Edler, Sonata or Fantasy, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 233
- ↑ Quoted from: Arnfried Edler, Sonate oder Fantasie, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 233
- ^ Arnfried Edler, Sonata or Fantasy, works for piano for two hands until 1840, in: Schumann-Handbuch, Metzler, Stuttgart, Weimar 2006, p. 234
- ↑ Schumann, Robert Alexander, in: The music in history and present, Volume 12, Bärenreiter-Verlag 1986, pp. 277–278