Symphonic Etudes (Schumann)
The Symphonic Etudes of Schumann are character variations for piano solo . They belong to the most important piano literature of the 19th century.
history
As opus 13 dedicated to William Sterndale Bennett , the first edition of the XII Études Symphoniques was published by Tobias Haslinger in Vienna in 1837 . In their strict division and transparent structure, they combine the baroque , Viennese classical and romantic music . Her pianistic wealth unfolds "symphonic" abundance. So their original designation Etudes in the orchestral character of Florestan and Eusebius met the character of the work.
Without numbers 3 and 9, the edited version, which differed greatly in style, was published in 1852 with the title Études en forme de variations . The autograph and the Viennese manuscript contain five further movements as nos. 3, 4, 6 and 10 as well as the middle part of 7 that were not included in the first edition. A copy of these five posthumous sentences by Clara Schumann is in the Heinrich Heine Institute in Düsseldorf . Johannes Brahms transferred Schumann's corrections into it, which his wife apparently did not know.
construction
- theme
- Andante - The catchy theme in C sharp minor - chords comes from Captain von Fricken, the father of Schumann's first fiancée Ernestine. The Bohemian amateur had intended it for the flute . According to the classic rule, it consists of two eight bars.
- Etude I.
- Un poco più vivo , Allabreve - like a march in the Diabelli Variations (Beethoven). Middle voices color the sound. Subdued sound strength contrasts with sharp counterpoint . The voice guidance is more reminiscent of opera than instrumental drawing.
- Etude II
- Allabreve, marcato il canto - exuberanter Schumann, chordal broadly backed Kanzone with theme in the bass
- Etude III
- Vivace , 2 / 4 - the urgent post legato in the middle voice left in glittering Staccato - demisemiquavers right; operatic effect as in the 3rd act of Giuseppe Verdi's Aida
- Etude IV
- energetic syncopation of the theme in eighth chords, canonical sforzatos - "Florestan"
- Etude V
- Scherzando , 12 / 8 - "Eusebius"
- Etude VI
- Agitato, Con gran bravura - resumption of the theme with dismantled chords and wide jumps on the left, "all or nothing"
- Etude VII
- Allegro molto in the relative key E Major , 2 / 4
- Etude VIII
- Semper marcatissimo , Allabreve - grand gesture of romantic baroque
- Etude IX
- Presto possibile , 3 / 16 - gorgeous showpiece
- Etude X
- Allabreve, Con energia semper
- Etude XI
- Allabreve - instrumental canzone in the dominant G sharp minor , murmuring bass primer in thirty-second notes, two-part “Fantasy” on the right
- Etude XII
- Allegro brilliant , Allabreve - more rondo than variation, “Florestan versus the Philistines”; the intermediate clauses rather refer to Eusebius. The carefree d -flat major walks through the keys.
Web links
- Svjatoslav Richter (with the five postponed sentences)
Individual evidence
- ↑ Wolfgang Boetticher : Foreword to the early and late version (1976)
- ↑ a b Otto Emil Schumann : Handbook of Piano Music , 4th edition. Wilhelmshaven 1979
- ↑ a b c d Yuja Wang
- ↑ Exciting competition comparison
- ↑ Clelia Iruzun