Schumann -Violin Sonata 전곡[1, 2, 3번]

Schumann

 

[1810~1857]

 Violin Sonata No 1 in A minor, Op. 105

Yoojin Jang, violin
Renana Gutman, piano
Sunday, April 26th, 2015
Jordan Hall, Boston

The violin sonata no. 1 in A minor, opus 105 of Robert Schumann was written the week of September 12– 16 September 1851.^[1] Schumann was reported to have expressed displeasure with the work ("I did not like the first Sonata for Violin and Piano; so I wrote a second one, which I hope has turned out better"). This was also the year of the premiere of the Rhenish symphony [1], and among compositions the substantial revision of the fourth symphony, the third piano trio, the oratorio Der Rose Pilgerfahrt, a number of piano works and two of his concert overtures, Julius Caesar (after Shakespeare) and Hermann und Dorothea after Goethe. ([2])

It was given its official premiere by Clara Schumann and Ferdinand David in March 1852 [3].

The sonata has three movements:

1. Mit leidenschaftlichem Ausdruck (dotted quarter=68, or, 68 dotted quarter notes in each minute), 6/8 time, 209 bars in A minor
2. Allegretto (eighth note=96), 2/4 time, 79 bars in F major
3. Lebhaft (quarter note=94), 2/4 time, 213 bars in A minor

제1악장 : Allegro appassionato, a단조, 6/8박자.  소나타 형식.

피아노의 아름답고 세밀한 움직임 위에서, 바이올린이 동경에 찬 제1주제를 내놓습니다. 이 주제를 피아노가 받은 후에 전개가 있은 후,  C장조의 밝은 제2주제가 바이올린과 피아노로 나와, 피아노로 되풀이 되고, 그것이 바이올린에 이어집니다. 이 제2주제는 제1주제와 밀접한 관계를 가지고 있습니다.

전개부는 동기적으로 관련이 있는 제2주제를 교묘히 다루고, 새로운 음형을 도입하여 짧지만 꼼꼼하게 쓰여져 있습니다.

 재현부는 제1주제를 도중에서 바이올린으로 재현하여 시작되고 이하 제시부와 마찬가지로 나아가, 제2주제를 A장조로 재현시킵니다.

코다는 이 양(兩)주제 사이에 있었던 경과부의 음형을 이용하고 정열적이고 격렬한 클라이맥스를 구축합니다.

The first movement begins passionately, with the theme first played by the violin and amenable like so many of Schumann's themes to canonic treatment. (Schumann once remarked on this fact himself. [4]) This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms (new themes often are based on some of the same rhythms as older ones, and overlap with them as well). The sonata is also driven by the intensity added by canonic treatment of themes, revolving around and pushing towards a small number of climaxes, one of which is the reappearance of the opening theme in a much-slowed-down form just preceding (and followed without pause by) the recapitulation.

 

The coda is in two parts — quiet sustained over an F-E pedal with several recurrences of the main theme, gaining intensity and leading to a section — most of a page — in which the violin has running sixteenth notes, the piano mostly chords, until the final harmonies A major - A minor - B diminished - E major - A minor.

 

제2악장 : Allegretto, F장조 2/4박자, 론도 형식.

로망스풍의 성격을 가진 것으로 슈만의 성품이 잘 나타나 있는 악장입니다.

부드러운 바이올린의 밝은 주제부터 시작이 되면,  이 주제가 변화하여 바이올린이 되풀이한 다음

들뜬 음형의 악구를 끼고 다시 한번 주제를 제시합니다.  론도의 제1부주제는 f단조로, 바이올린의

정열적인 노래에 피아노를 대위법으로 얽어놓고 있으며, 이어 주제가 f단조에서 F장조로 옮기면서 재

현하고,  다시 한번 주제가 나온 후, 아니마토가 되고, d단조로 격렬함을 간작한 제2부주제가 바이올린에

나온 다음, 주제가 세번 나타나고, 마지막에 조용히 피치카토를 수반하며 끝납니다.

 

Allegretto

An intermezzo at a brisk pace somewhere between a slow movement and a scherzo, in the form of a rondo with two episodes (in F minor and D minor, the latter Bewegter).

 

제3악장 : Allegro con brio,  a단조 2/4박자. 소나타 형식.

토카타풍의 제1주제 후 트릴을 가진 경과부가 있은 다음, 부드러운 표정이 있는 제2주제가 바이올린에 나타나며 코데타는 제1주제에 다릅니다.

전개부는 제1주제를 다루며 시작되는데, 잠시 후 밝은 E장조로 바뀌어 속도를 떨어뜨리고, 바이올린이 표정이 풍부한 새로운 선율을 연주합니다. 그 다음에 원래 속도로 돌아와 제1주제를 다루고, 얼마 후 재현부로 들어가며, 제2주제도 공식대로 재현됩니다. 코데타 후의 코다는 a단조로 돌아와, 바이올린이 제1악장의 제1주제를 회상하고 거기에 피아노가 이 악장의 제1주제의 음형으로 응답하고, 점차 이 음형으로 열을 더해 가서 제2주제의 음형도 섞어 가며 정점을 구축한 뒤 제1주제를 회상하면서 상승하여 힘차게 마칩니다. 

Lebhaft

The finale begins with a theme similar to that which opens Felix Mendelssohn's second piano trio. The sixteenth-note motion dominates the exposition, present in all but a few bars. A group of themes in F major enters about halfway through the fifty-eight bar exposition, but is quickly diverted back to the main flow of A minor. The development introduces new themes mostly based on the exposition's material (some by augmentation and other variation) and treats them, again, canonically before gradually introducing a songful episode. This is also based on the main material of the movement, and is only a brief moment in which to relax before the scurrying sixteenths return. A transitional passage leads to the recapitulation, which is for about twenty bars the same as the equivalent passage in the exposition. The material which leads to the second group opens in C major this time rather than A minor, however, and the second group is heard in A major.

 

The major-mode themes are accorded slightly less space this time around before A minor returns in the form of a quiet pair of octaves, F in tremolo in the left hand and A held in the right, occasionally alternating with the scurrying sixteenths; over which the violin plays the longer version of its main theme from the first movement, twice, then, crescendo, joins in the piano's perpetual motion frenzy until a recall of the canonic theme that had opened the development is reached - now played sforzando (mit Violoncell, Schumann also writes), opening the last stage of the coda punctuating the rush to the final chords sixteen bars later.

 

The sonata was published, by Hofmeister in 1852 or perhaps late 1851^[2] as a sonata for piano and violin, not violin and piano.^[3]

 

Violin Sonata No.2 in D minor Op. 121(1851)

Kyung-Wha Chung plays Schumann violin sonata No.2 with Itamar Golan at the piano.

This recital took place in March 1997.

Schumann spent most of 1851 working on pieces in minor keys. In all of these -- two of the three Phantasiestücke, Op. 111, the Piano Trio in G minor, Op. 110, and the two Violin Sonatas -- we sense an introspective, fatalistic character imbued with uncertainty and tension. The string parts have few pizzicato passages or flights of virtuosity, and in the Violin Sonatas the violin spends most of its time in the middle register, never given a chance to soar.

The second Violin Sonata was composed very quickly; Schumann began the piece on October 26, 1851, and finished it on November 2. It followed on the heels of his first Violin Sonata, that in A minor, Op. 105, which was composed in mid-October. one of Schumann's comments on the A minor Sonata may explain his immediate composition of another work in the genre: "I didn't like the first violin sonata, so I wrote a second, which I hope turned out better." The Violin Sonata in D minor, Op. 121, was published in 1853

Schumann seems to have been more comfortable with the intimate instrumentation of the chamber works than he was with a large orchestra. The intimate chamber-music genres allowed the composer to indulge his preference for intricate figurations and subtle harmonic inflections that are a salient feature of his solo piano pieces. Not surprisingly, the chamber works, aside from the string quartets, are clearly piano driven, with the violin either following the keyboard part or acting in opposition to it.

I. Ziemlich langsam - Lebhaft 0:04
II. Sehr lebhaft 12:29
III. Leise, einfach 17:26
IV. Bewegt 23:41

 

Violin Sonata No.3, WoO 2 (1853)

1. Ziemlich langsam - Lebhaft
2. Scherzo
3. Intermezzo
4. Finale

The Sonata No. 3 for Violin and Piano in A Minor is heard much less often and was composed in two stages in 1853. The last two movements were part of the socalled "FAE" Sonata, a joint composition by Robert Schumann, Albert Dietrich and Johannes Brahms, which was intended to be a gif for their mutual friend Joseph Joachim. The Sonata is based on the anagram "FAE" which stands for Joachim's motto: "Frei, aber einsam" (Free, but lonely").
A short time later Schumann added two additional movements he had himself composed. "The concentrated, energetic addition fits perfectly with the other movements. This is now without a doubt a new whole by itself!" was Joachim's ｅxpression of approval. All the movements of this sonata are likewise related by the sequence "FAE" which literally distinguishes the two original movements and is also found in the later, modified version.

The Sonata No. 3 for Violin and Piano is Schumann's last composition in cyclical sonata form and

was, moreover, the last work he completed before the outbreak of his mental disorder. After the composer's breakdown Clara Schumann and Joachim drew comfort and hope from playing it together. This may have been the reason that the piece did not appear in print until 1956, the hundredt anniversary of Schumann's death.