Piano Quintet (Schumann)
The Quintet in E flat major for 2 violins, viola, cello and piano, Op 44 by Robert Schumann wrote the 23 September and 16 October 1842.
Is dedicated to the Piano Quintet and his wife Clara Schumann, originally, however, the following dedication was provided by the composer: " Quintet for piano, two violins, viola and violoncello your Imperial Highness the Grand Duchess Maria Pavlovna of Saxe- Weimar reverently appropriated by Robert Schumann. "
The work was first presented at a R. and Cl. Sch. given morning musical entertainment on January 8, 1843 listed by Clara Schumann, Ferdinand David, MG Klengel, HO hunger and C. Wittmann public.
Published on September 13, it is 1843 Clara's 24th birthday, by Breitkopf & Härtel in Leipzig.
Source location
For Quintet, Op 44, there are three sources:
Genesis
The household book of Schumann contains the following data for the development:
September 23, 1842 - " approach to a quintet. " September 24, 1842 - " First movement of the quintet finished. " September 25, 1842 - " On working quintet. " September 26, 1842 - " Hardworking the quintet. " September 27, 1842 - " Very busy and happy at the quintet. " September 28, 1842 - "Quite finished with the quintet. " October 5, 1842 - " to write Started quintet. " October 12, 1842 - " My quintet written ready."
The sketch itself is in the cover sheet to the period from 23 to 28 September 1842. Next to the Marcia It contains a with " Scena " overridden sentence fragment, which was not incorporated in the autograph. However, the final fugal missing, only after completion of the autograph, it was added. This shows as the final data for the elaborated sentences:
1st Set " 6 October 1842. " 2nd Set " 8 Oct. 42 ' 3rd movement " 9 Oct. 42 ' 4th movement " 12 October 1842 Leipzig Rob. Schumann. "
The final date for changes or enhancements in Fugatoschluss of the finale is the " 16 October 1842 ".
In marriage diary Clara Schumann wrote: " The last week of September month is what affects our outer life, gone very quiet; all the more but my Robert has worked with the Spirit! he has fairly completed a quintet that after what I overheard, again seems to me wonderfully - a work full of vigor and freshness! - I very much hope it is still open to the public to play this winter here. "
After Clara on November 29, has heard in a sample, the quintet for the first time, she declares: "In the evening we tried for the first time Roberts has just perfected Quintet, which is a magnificent work, and also extremely brilliant and effective. "
From Schumann himself only three utterances have been handed to his Op 44, so in a letter dated January 3, 1843 Franz Liszt: "I have written a quintet; this should be my wife perhaps as games; I would be happy if you heard it -. makes it a very fresh effect "
About the first public performance on January 8, 1843, he writes to Taubert (10 January 1843): "Our matinee is prospered gone - I wish you had been there. Quartet [A minor ] and quintet made a very lively effect, even in the concert hall ".
An Verhulst he wrote on June 19, 1843: " On my quintet and quartet you will appeal to many; it is a fairly busy life in it. "
The fact that the quintet appeared at Clara's birthday, Schumann had asked for his publisher R. Härtel in a letter dated March 7, 1843: " My quintet is ready for printing. It depends entirely on you when you want to make it appear. Gladly I would like to have it but for my wife's birthday ( early September)! "
Edits
On 1 July 1845 Schumann asked in a letter to Hartel, " if not an 4händiges arrangement of" his " quintet of effort worth while " and advises for this work to the Leipzig piano teacher A. Dörffel. This proposal was rejected.
It was Johannes Brahms made to such processing. He wrote on 12 September 1854 Joseph Joachim: "Tomorrow, the 13th is her [ Clara's ] birthday; I have her efüllt a longstanding desire, and arranges the quintet by Schumann for four hands. While she was in the east end, I took the manuscript in secret out of the closet, so that she has no idea. I have sunk deeper and deeper into it, as in a few dark blue eyes ( so kömmt 's me that before ). I have therefore only write jetz Also this letter. "
Record descriptions
1st movement: Allegro brillante
4/4-time, Tonality: E flat major
The first movement in sonata form begins with a latent monothematic main theme, which developed in an unusually large sequences Ambitus. The main theorem underlying three-part song form differs in the recapitulation harmoniously into the dominant. During the presentation of the themes is started with the evaluation issues. A contrasting expression level is assigned to the subjects head in the middle part of the main clause. This serves as a cantabile Fort spin -drying as a sequence model whose structure is compressed by imitating inserts. The beginning of the mediant bridge to the sentence continues as an evaluation of the main issues head on the principles of kaleidoscope art. The page set itself has a rondo -like internal structure.
Second sentence: In modo d' una Marcia
In the sketch the slow second movement is longer and follows what follows construction scheme:
A - Marcia C minor (bars 1-29 ) B - Maggiore C major, transposed in return as a trio called (bars 30-61 ) A1 - Marcia C minor, only final measure changes (bars 62-84 ) C - Trio Ace A2 - Marcia C minor with an extended deadline (bars 186-191 ) / to D via conductive bars ( 85-91 ) D - Intermezzo in F minor, Doppia Agitato (bars 92-109 ) A3 - Marcia C minor, variation with figure of intermezzo (bars 110-132 ) B1 - Trio in F major (bars 133-164 ) A4 - Marcia F minor to C minor, closing in C major (bars 165-193 )
However, parts C and A2 are not included in the output.