Festival Concerto (Piano Concerto in A Minor, Op. 54)
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Orchestration by Piotr Ilyich Tchaikovsky Orchestration by Maurice Ravel Martha Argerich delivers an amazing performance of the Schumann piano concerto. See all 5 reviews.
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- Work: Piano Concerto in A minor, Op.54.
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Amazon Restaurants Food delivery from local restaurants. None of these works were completed. Already on January 10, , Schumann first expressed the idea of writing a Piano Concerto in A minor.
Piano Concerto (Schumann)
In a letter to his future father-in-law, Friedrich Wieck , he wrote: In August and January Schumann revised the piece, but was unsuccessful. His pianist wife Clara then urged him to expand it into a full piano concerto. In he added the Intermezzo and Allegro vivace to complete the work. It was the only piano concerto that Schumann completed. The premiere of the first movement Fantasy took place on August 13, in the Leipzig Gewandhaus with the soloist Clara Schumann.
Piano Concerto A minor, Op. 54
The complete 3-movement version was premiered in Dresden on December 4, again with Clara on the piano and the dedicatee Ferdinand Hiller as conductor. Less than a month later on January 1, , the concerto was performed in Leipzig under the conductorship of Felix Mendelssohn-Bartholdy.
However, only a few months after his Lucerne performance - released for the first time in its entirety - he developed "focal dystonia", making the use of his right hand impossible. Complete Recordings on Deutsche Grammophon, Vol. Robert Schumann, Johannes Brahms. Andantino grazioso — The eminent Hungarian pianist Annie Fischer made her Swiss debut in Zurich when she was 14, but she was forced to spend the Nazi era in Sweden, as a Jewish artist in exile, and once she returned home in , her touring outside Hungary was limited. Till Eulenspiegels lustige Streiche.
After this concerto, Schumann wrote two other pieces for piano and orchestra: The concerto is scored for 2 flutes , 2 oboes , 2 clarinets , 2 bassoons , 2 horns , 2 trumpets , timpani , strings , and solo piano. With this instrumentation Schumann chose the usual line-up of orchestration in early Romantic music for this concerto.
Schumann preferred that the movements be listed in concert programs as only two movements: The main movement of the concerto is marked Allegro affettuoso ; its origin lay in the one-movement fantasy written by Schumann in , at whose core is the musical development of the conflict between the boisterous Florestan and the dreamy Eusebius, two characters Schumann often used to express the duality of being.
The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. This exposition chord is followed by a descending, rhythmically incisive chord progression of the solo piano corresponding to the ideal of the boisterous Florestan. Only then, the main, dreamlike theme of Eusebius is introduced by the oboe along with other wind instruments.
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After its introduction by the woodwinds, the theme is then given to the soloist. Schumann provides great variety with this theme. In the course of the first movement Schumann varies this theme in many ways. He first offers it in the A minor key of the movement, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A-flat section.
The orchestra and especially the clarinet is often used against the piano in this movement: This is followed by a subsection labeled Animato. At its end Schumann introduces a second theme, which, however, does not reach the significance of the main theme. Subsequently, the development of the main movement begins in form of a dramatic lament bar This part almost reaches the position of an independent middle section. In A-flat major, the metrically altered main theme is referenced by piano arpeggios. Suddenly, however, chords of the Florestan theme interrupt the peace of the main theme.
It comes to a struggle between the two ideals, which shapes the development further with rapid changes of soli and tutti. With further dramatic progression and the modulation to A minor, the reprise is finally reached and cites the exposition almost tone for tone. The last tense progression brings forth a solo cadenza of monumental size and virtuosity bar It is undoubtedly the culmination of the movement.