Back as a college student I wrote a paper on Schumann's first and second violin sonatas, the only ones I knew existed at that time. Later I learned about this piece, which I regard as quite a powerful work in its own right. Also, it's fascinating to see Schumann's own musical handwriting.
What a stupid idea from Clara, Brahms and Joachim to have discarded this splendid and so schumanian sonata ! It complements ideally the two sonatas that we already know. There is no repetition, it is a new world.
If you have a different opinion say it as it is without discarding the opinion of others - otherwise there will be others calling your opinion stupid, too. Respect is above all a matter of dignity...
Gérard Begni You have to understand the intense emotion which gripped Klara Schumann and Johannes Brahms, too, after Robert Schumann attempted to take his own life by jumping from the bridge you see in the painting above. Robert was her whole life and she and he had been in love with one another since she was an early teenager. He was 9 years older than she. After his suicide attempt, he went, voluntarily, to an asylum, believing that he would only need a few weeks to recover but his condition just got worse because he was unaware that he was actually suffering from venereal disease and not a nervous breakdown brought on by overwork. He died in that asylum or sanatarium would be a better description on 29 July 1856 with Klara seeing him for the last time about 30 minutes before his death. She reproached herself for a long time that she had not been at his bedside when he died. Brahms, too, was devasted as Schumann had been the first composer of stature who had seen the greatness in Brahms' youthful offerings - and both Robert and Klara love Brahms as a cherished friend and artist from the first day that Brahms visited them in Düsseldorf in late September, 1853, just before the FAE Sonata was written with Brahms contributing the Scherzo. It is really no wonder that the trio, Klara Schumann, Joh. Brahms and Joseph Joachim wanted to keep this work for themselves as a remembrance of Schumann's genius and which also engendered poignant memories of family and friends happily making Robert's music come alive - and they preserved and relived those moments by playing this work with Joachim playing the violin part and either Klara or Brahms playing the piano part.
@@chrisgordon6599 Mm? Keep this work for themselves as a remembrance of Schumann's genius? Then why hide it along with the violin concerto? Not to mention Clara burning the 5 Romances for cello and piano. I think we have clear evidence that they wanted to Schumann's name, thinking that these works would damage his reputation because they show signs of his madness, at least Clara. Of course, that is wholly faulty paranoia on their part. But I can understand why they opted to do so, just not the way you've described it.
@@saltag Well, it seems that the public was well aware of Robert Schumann's illness, and so his works began to be interpreted biographically. And the stigma with that and the general sense of having their personal lives revealed to the public must have significantly weighed into these decisions.
Their conceit was so monumental that they believed themselves entitled to sit in judgement of music that had gone beyond their ability to grasp it. Brahms can be forgiven - he was barely out of his teens, and hopelessly infatuated with Klara. But Joachim (hyped as a great composer in his own right), no. And what can be said of Klara destroying the last pieces for clarinet because they made her sad?
00:00 Ziemlich Langsam- Lebhaft
06:54 Scherzo
10:14 Intermezzo
13:40 Finale
No problem :)
Thank you!!!
Back as a college student I wrote a paper on Schumann's first and second violin sonatas, the only ones I knew existed at that time. Later I learned about this piece, which I regard as quite a powerful work in its own right. Also, it's fascinating to see Schumann's own musical handwriting.
The energic Schumann. Violin and piano with intense dialogue, with passion and Love.
This sonata is one of the most beautiful things I've ever heard... pure poetry
Such a haunting melody. I've finally found it.
Great interpretations
Thank you very much!! Wonderful!
Thanks!
What a stupid idea from Clara, Brahms and Joachim to have discarded this splendid and so schumanian sonata ! It complements ideally the two sonatas that we already know. There is no repetition, it is a new world.
If you have a different opinion say it as it is without discarding the opinion of others - otherwise there will be others calling your opinion stupid, too. Respect is above all a matter of dignity...
Gérard Begni You have to understand the intense emotion which gripped Klara Schumann and Johannes Brahms, too, after Robert Schumann attempted to take his own life by jumping from the bridge you see in the painting above. Robert was her whole life and she and he had been in love with one another since she was an early teenager. He was 9 years older than she. After his suicide attempt, he went, voluntarily, to an asylum, believing that he would only need a few weeks to recover but his condition just got worse because he was unaware that he was actually suffering from venereal disease and not a nervous breakdown brought on by overwork. He died in that asylum or sanatarium would be a better description on 29 July 1856 with Klara seeing him for the last time about 30 minutes before his death. She reproached herself for a long time that she had not been at his bedside when he died. Brahms, too, was devasted as Schumann had been the first composer of stature who had seen the greatness in Brahms' youthful offerings - and both Robert and Klara love Brahms as a cherished friend and artist from the first day that Brahms visited them in Düsseldorf in late September, 1853, just before the FAE Sonata was written with Brahms contributing the Scherzo.
It is really no wonder that the trio, Klara Schumann, Joh. Brahms and Joseph Joachim wanted to keep this work for themselves as a remembrance of Schumann's genius and which also engendered poignant memories of family and friends happily making Robert's music come alive - and they preserved and relived those moments by playing this work with Joachim playing the violin part and either Klara or Brahms playing the piano part.
@@chrisgordon6599 Mm? Keep this work for themselves as a remembrance of Schumann's genius? Then why hide it along with the violin concerto? Not to mention Clara burning the 5 Romances for cello and piano. I think we have clear evidence that they wanted to Schumann's name, thinking that these works would damage his reputation because they show signs of his madness, at least Clara. Of course, that is wholly faulty paranoia on their part. But I can understand why they opted to do so, just not the way you've described it.
@@saltag Well, it seems that the public was well aware of Robert Schumann's illness, and so his works began to be interpreted biographically. And the stigma with that and the general sense of having their personal lives revealed to the public must have significantly weighed into these decisions.
Their conceit was so monumental that they believed themselves entitled to sit in judgement of music that had gone beyond their ability to grasp it. Brahms can be forgiven - he was barely out of his teens, and hopelessly infatuated with Klara. But Joachim (hyped as a great composer in his own right), no. And what can be said of Klara destroying the last pieces for clarinet because they made her sad?
I didnt even know that he wrote a 3rd sonata!!
Discovered today..... and I thought I’m a well knower of Schumann....
Seems to have a bit of sadness throughout
+Harry Andruschak Welcome to the world of ROBERT SCHUMANN.... in my top TEN list of GREATEST composer EVER to live....
Deathbed
WoO 27, not "2"
Brian Hammer -- Why not simply take the Average of them both...for then Accuracy for the Whole Field increases four-fold......
A revelation
And just a day before his 210th birthday