Concerto for piano of Schumann

The Concerto for piano in minor COp 54 of Robert Schumann , completed in 1845, is one of large the Concerto S for Piano of the romantic era.

It is besides the only concerto for piano which the German type-setter completed, three former projects having remained unfinished.

History

In 1841, Schumann writes a Phantasie for piano and orchestra, conceived according to its own terms like “a happy medium between Symphonie, Concerto and large Sonate”. It is this Phantasie which will become, four years later, the first movement of its concerto. In 1845 indeed, it grafts there a intermezzo and final, on financial grounds, the editors finding a concerto more marketable than simple a Allegro .

Is work created with Leipzig on January 1st, 1846 (or with Dresden on December 4th, 1845?) by Clara, the woman of the type-setter, with the piano. The orchestra is directed by Ferdinand Hiller, dedicatee in addition of the part.

The concerto will not have an immediate success, not having been conceived like a purple passage. Schumann, whose right hand was damaged since 1832, had indeed turned the back on virtuosity in its works. He had entrusted since 1839 to its then been engaged besides, Clara: “I cannot write concerto of virtuoso; it is necessary that I imagine another thing”.

After the concerto in the minor, it will write still two other parts for piano and orchestra: the Introduction and Allegro appassionato in G major (COp 92) and the Introduction and Allegro concerting in minor D (COp 134).

The concerting work of Schumann also includes/understands a concerto for violoncello (1850) and a concerto for violin (1853), posterior all two with that for piano.

Influence

The concerto of Schumann could have been used as model with Grieg for the composition of its own concerto (whose Tonalité is in particular similar).

Movements

The three movements of the part are entitled:
  1. Allegro affettuoso
  2. Intermezzo: Long-lived Andantino grazioso
  3. Allegro
The last two movements are connected without interruption. The lyric value of this concerto was often underlined. The richness set of themes, in particular, in is remarkable. More intimist that those of Chopin or Liszt, for example, less shining, perhaps, that those of Brahms, it does not remain about it less one masterpiece of the romantic confidence. The dialog piano/orchestra of the finale, in particular, is a model of the genre.

Work lasts about thirty minutes.

External bonds

Discography with accompanying notes

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