User:Ageclap/sandbox

Source #5
Schumann dedicated the piano quintet to his wife, the great pianist Clara Schumann. She was due to perform the piano part for the first private performance of the quintet on 6 December 1842 at Carl and Henriette Voigt's home. However, she fell ill and Felix Mendelssohn stepped in, sight-reading the "fiendish" piano part. Mendelssohn's suggestions to Schumann after this performance led the composer to make revisions to the inner movements, including the addition of a second trio to the third movement. This section however became one of the hardest cello passages of all chamber music.

Brahms in 1854 made a four hand piano version of the piano quintet for Clara Schumann's 35th birthday coming up.

Clara Schumann did play the piano part at the first public performance of the piano quintet on 8 January 1843, at the Leipzig Gewandhaus. Clara pronounced the work "splendid, full of vigor and freshness." She often performed the work throughout her life. On one occasion, however, Robert Schumann asked a male pianist to replace Clara in a performance of the quintet, remarking that "a man understands that better."

The tempo marking for the first movement is Allegro brillante and throughout the movement you can see Schumann's different personalities when it comes to music which goes by Florestan and Eusebius. The Italian adjective brillante means "glittering" or "sparkling." The energetic main theme is characterized by wide, upward-leaping intervals. The contrasting second theme, marked dolce, is reached after a transitional section marked by glances at remoter flat keys. It is presented as a duet between cello and viola, and its "meltingly romantic" character is typical of Schumann's ardent inspiration in this quintet.

The main section of this lively movement is built almost entirely on ascending and descending scales which could have been taken from Haydn's String Quartet in Eb, Op. 76, No. 6 where similar material arrives. This movement is a double scherzo and has two trios. Trio I, in G-flat major, is a lyrical canon for violin and viola. Trio II, added at the suggestion of Mendelssohn, is a heavily accented moto perpetuowhose 2

4 meter and restlessly modulating, mostly minor tonality are in sharp contrast to the 6

8 and relative stability of the rest. After the third and final appearance of the scherzo, a brief coda based on the scales concludes the movement, slipping in a recall of Trio I in the final bars.

The finale begins in G minor, on a C-minor chord, rather than in the tonic. The movement as a whole is cast in an unusual form that partly reflects, but ultimately triumphs over Schumann's frequent difficulties with the conventional sonata form in his larger-scale instrumental movements. The original handling of both form and key contrasts sharply with the largely conventional formal organization of the previous three movements.

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Biography

 * 1) Biography about Schumann and information about the piece. (tertiary, secondary?)

2. "Robert Schumann metrical revisions". This seems to go into the mind of Schumanns' decision making when making the piece. (secondary)

3. This seems to go over sonata form and how this quintet is different. (secondary)

4. A newspaper or article talking about a striking performance of this piece in Steinway Hall with other events coming up. (secondary)

5. Analyze and background of the piece. (tertiary, secondary?)