Classical Music | Piano Music

Recorded on 06/14/2005, uploaded on 01/21/2009

Musician's or Publisher's Notes

Schumann's initial output as a composer was completely dominated by the piano. From his literature-themed sets of miniatures to the sonata, Schumann touched all the forms in vogue during his day. He also attempted to champion the Classical piano sonata, a form taken to new heights at the hands of Beethoven, but was suddenly left without a suitable representative after his death. Though it would be Schumann's protégé, Johannes Brahms, that would ultimately define the Romantic piano sonata, Schumann's attempts mark a new era of musicians struggling to find their place between their own artistic philosophy and tradition.

Though much ado has been made of Schumann's unrealistic and comical tempo indications for the first movement—indicating from the beginning “So rasch wie möglich” (“As fast as possible”) and then later in the coda giving the direction “schneller” (“faster”) and “noch schneller” (“even faster”)—the movement itself is no laughing matter. Beginning with an accented tonic chord, the left hand breaks into a swiftly moving, though widely spaced, arpeggio accompaniment that is perhaps more idiomatic of the violin and viola than the piano. The opening theme, entering in the right hand, presses the music onward. It is heard in full twice before its syncopated figure becomes the focal point of the transition leading to second theme. The milder second theme provides a brief repose from the furious rhythmical activity of the first theme. The development section makes use of both themes, though neither are altered much from their original form. Proceeding along similar lines as the exposition, the recapitulation reaffirms both themes though with the second theme appearing in the tonic major. However, Schumann soon breaks off into a furiously descending passage of sixteenth-notes in octaves that lead into the coda. The principal theme makes its return at the marking “noch schneller,” and its opening descent from tonic to dominant becomes the driving force to the movement's dramatic close.

Following the energetic first movement is a charming Andantino. Adapted from the 1828 song, “Im Herbste,” the movement is set in a straightforward ternary form. Over a tranquil accompaniment of repeated eighth-notes, the principle melody is announced and then immediately repeated, this time with a more florid background. This new accompaniment remains throughout the middle section against a new, but related, melody. A full statement of the opening melody is given before the coda concludes the movement.

The brief Scherzo following the Andantino nearly passes by without notice. A scant 64 bars in length, it begins with a snappy dotted rhythm. Embodying two distinctive ideas—the first a gradually descending line and a more sprightly second theme—the scherzo itself is hardly enough to stand on its own. The brief Trio momentarily recalls the gentle syncopations of the opening movement's second theme and passes back into a short restatement of the Scherzo.

The original finale Schumann composed for the sonata was deemed by both himself and Clara as too taxing in its demands on the abilities of the performer. Consequently, Schumann composed the Rondo that presently closes the work. As is usually the case with alternate finales, the replacement often lacks the fire and originality of the first (for example, the alternate finale that replaced the Grosse Fuge in Beethoven's String Quartet No. 13). Strictly speaking in sonata-rondo form, the opening theme recalls the character of the first movement. It passes by quickly, moving directly into the first episode. Marked to be played slightly slower and more lyrical in nature, the first episode fulfills the role of a sonata's second subject. After developing the principal theme to some length, Schumann brings the sonata to an electrify close with a final section marked Prestissimo, quasi cadenza.     Joseph DuBose

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Piano Sonata No. 2 in G minor, op. 22             Robert Schumann

Schumann's initial output as a composer was completely dominated by the piano. From his literature-themed sets of miniatures to the sonata, Schumann touched all the forms in vogue during his day. He also attempted to champion the Classical piano sonata, a form taken to new heights at the hands of Beethoven, but was suddenly left without a suitable representative after his death. Though it would be Schumann's protégé, Johannes Brahms, that would ultimately define the Romantic piano sonata, Schumann's attempts mark a new era of musicians struggling to find their place between their own artistic philosophy and tradition.

Though much ado has been made of Schumann's unrealistic and comical tempo indications for the first movement—indicating from the beginning "So rasch wie möglich" ("As fast as possible") and then later in the coda giving the direction "schneller" ("faster") and "noch schneller" ("even faster")—the movement itself is no laughing matter. Beginning with an accented tonic chord, the left hand breaks into a swiftly moving, though widely spaced, arpeggio accompaniment that is perhaps more idiomatic of the violin and viola than the piano. The opening theme, entering in the right hand, presses the music onward. It is heard in full twice before its syncopated figure becomes the focal point of the transition leading to second theme. The milder second theme provides a brief repose from the furious rhythmical activity of the first theme. The development section makes use of both themes, though neither are altered much from their original form. Proceeding along similar lines as the exposition, the recapitulation reaffirms both themes though with the second theme appearing in the tonic major. However, Schumann soon breaks off into a furiously descending passage of sixteenth-notes in octaves that lead into the coda. The principal theme makes its return at the marking "noch schneller," and its opening descent from tonic to dominant becomes the driving force to the movement's dramatic close.

Following the energetic first movement is a charming Andantino. Adapted from the 1828 song, "Im Herbste," the movement is set in a straightforward ternary form. Over a tranquil accompaniment of repeated eighth-notes, the principle melody is announced and then immediately repeated, this time with a more florid background. This new accompaniment remains throughout the middle section against a new, but related, melody. A full statement of the opening melody is given before the coda concludes the movement.

The brief Scherzo following the Andantino nearly passes by without notice. A scant 64 bars in length, it begins with a snappy dotted rhythm. Embodying two distinctive ideas—the first a gradually descending line and a more sprightly second theme—the scherzo itself is hardly enough to stand on its own. The brief Trio momentarily recalls the gentle syncopations of the opening movement's second theme and passes back into a short restatement of the Scherzo.

The original finale Schumann composed for the sonata was deemed by both himself and Clara as too taxing in its demands on the abilities of the performer. Consequently, Schumann composed the Rondo that presently closes the work. As is usually the case with alternate finales, the replacement often lacks the fire and originality of the first (for example, the alternate finale that replaced the Grosse Fuge in Beethoven's String Quartet No. 13). Strictly speaking in sonata-rondo form, the opening theme recalls the character of the first movement. It passes by quickly, moving directly into the first episode. Marked to be played slightly slower and more lyrical in nature, the first episode fulfills the role of a sonata's second subject. After developing the principal theme to some length, Schumann brings the sonata to an electrify close with a final section marked Prestissimo, quasi cadenza.         Joseph DuBose

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Sonata No. 2 in g minor, Op.22        Robert Schumann

So rasch wie möglich; Andantino (getragen); Scherzo: Sehr rasch und markiert;   Rondo: Presto

Robert Schumann started his musical education on the piano. When a hand injury prevented him from becoming a keyboard virtuoso, he channeled his abundant creativity toward composition and music criticism. 

The Sonata Op. 22 in g minor has long been a favorite with performers and audiences.  The tempo marking for the first movement, So rasch wie möglich (as fast as possible), suggests not just the speed of the composition but also its tremendous emotional intensity, typical of high Romanticism.  The second movement, Andantino, with its haunting, long-lined melody and sparse choral accompaniment is reminiscent of an operatic aria.  The short Scherzo has an element of the grotesque with its big, theatrical gestures and figurations.  The swift Rondo brings the composition together by combining the impulsiveness of the first and third movements with the contemplative repose of the second.     Jie Chen

Courtesy of International Music Foundation.