Published in 1834, Schumann's Toccata for piano well
lives up to its name, demanding a pianist of exception technique. Taking its
title from the Baroque toccata, or "touch piece," in which the primary focus
was a display of a performer's technique, Schumann then infuses the piece with
a wholly Romantic expression.
Cast in sonata form, the work opens with bold chords in a
syncopated rhythm. The principle theme, announced in broken chords requiring a
continuous rocking motion of the hands, begins the moto perpetuo of
sixteenth notes. Little relief comes in the secondary theme, first heard in the
left hand and then in octaves in the right. The development section is even
less forgiving. From chords spanning more than an octave to the recurring
passages written in octaves, the performer's abilities is brutally taxed. Even
more so, from such extremities must come music! The syncopated chords herald
the return of the first theme and, thus, the recapitulation. Unrelenting, the
music pushes on as if out of sheer force before it seems to collapse just shy
of its goal, concluding with full, yet quietly sounded, chords.
Though published in 1834, it appears that the Toccata
was devised years earlier possibly as a means for Schumann to test his own
virtuosic abilities. After his piano career ended abruptly due to a hand
injury, the work was revised and then published. Later it would be a
substantial piece in Clara Wieck's repertoire.
Classical Music | Piano Music
Robert Schumann
Toccata in C Major, Op. 7 Play
Recorded on 01/01/2006, uploaded on 02/03/2009
Musician's or Publisher's Notes
Published in 1834, Schumann's Toccata for piano well lives up to its name, demanding a pianist of exception technique. Taking its title from the Baroque toccata, or "touch piece," in which the primary focus was a display of a performer's technique, Schumann then infuses the piece with a wholly Romantic expression.
Cast in sonata form, the work opens with bold chords in a syncopated rhythm. The principle theme, announced in broken chords requiring a continuous rocking motion of the hands, begins the moto perpetuo of sixteenth notes. Little relief comes in the secondary theme, first heard in the left hand and then in octaves in the right. The development section is even less forgiving. From chords spanning more than an octave to the recurring passages written in octaves, the performer's abilities is brutally taxed. Even more so, from such extremities must come music! The syncopated chords herald the return of the first theme and, thus, the recapitulation. Unrelenting, the music pushes on as if out of sheer force before it seems to collapse just shy of its goal, concluding with full, yet quietly sounded, chords.
Though published in 1834, it appears that the Toccata was devised years earlier possibly as a means for Schumann to test his own virtuosic abilities. After his piano career ended abruptly due to a hand injury, the work was revised and then published. Later it would be a substantial piece in Clara Wieck's repertoire.Joseph DuBose
More music by Robert Schumann
Träumerei (Dreaming), from Kinderszenen Op.15
Maerchenbilder for viola and piano - I mov, op.113
Marchenbilder for viola and piano, Op. 113
Fantasie in C Major for Violin and Piano, Op. 131
Carnaval, Op. 9
Toccata in C Major, Op. 7
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Adagio and Allegro for Viola and Piano, Op. 70
Papillons in C-sharp Major, Op. 2
Dritte Sonate für Klavier und Violine op. post.
Performances by same musician(s)
Bagatelle No. 25 in A minor "Für Elise"
Sonata No. 13 Op. 27, No. 1 in E-flat Major, "Quasi una Fantasia"
32 Variations in c minor, WoO 80
Intermezzo No. 2 in A Major, from Six Piano Pieces, Op. 118
Träumerei (Dreaming), from Kinderszenen Op.15
Piano Concerto in D Major, Hob. XVIII
Sonata for Piano and Flute Op. 94, No. 2
Hungarian Rhapsody No. 6 in D-flat Major
Sonata in E major, K. 531
Etude Op. 10, No. 2 in A minor
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