Composers: Robert Schumann
Artists: Klára Würtz, Vincenzo Maltempo
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Schumann’s father was a bookseller and publisher. After four years at a private school, the boy entered the Zwickau Gymnasium (high school) in 1820 and remained there for eight years. He began his musical education at the age of six, studying the piano. In 1827 he came under the musical influence of the Austrian composer Franz Schubert and the literary influence of the German poet Jean Paul Richter, and in the same year he composed some songs.
In 1828 Schumann left school and, under family pressure, reluctantly entered the University of Leipzig as a law student. But at Leipzig his time was devoted not to the law but to song composition, improvisation at the piano, and attempts to write novels. For a few months he studied the piano seriously with a celebrated teacher, Friedrich Wieck, and thus got to know Wieck’s nine-year-old daughter Clara, a brilliant pianist who was just then beginning a successful concert career.
In the summer of 1829 he left Leipzig for Heidelberg. There he composed waltzes in the style of Franz Schubert, afterward used in his piano cycle Papillons (Opus 2; 1829–31), and practiced industriously with a view to abandoning law and becoming a virtuoso pianist—with the result that his mother agreed to allow him to return to Leipzig in October 1830 to study for a trial period with Wieck, who thought highly of his talent but doubted his stability and capacity for hard work.
Schumann’s Opus 1, the Abegg Variations for piano, was published in 1831. An accident to one of the fingers of his right hand, which put an end to his hopes of a career as a virtuoso, was perhaps not an unmitigated misfortune, since it confined him to composition. For Schumann, this was a period of prolific composition in piano pieces, which were published either at once or, in revised forms, later. Among them were the piano cycles Papillons and Carnaval (composed 1833–35) and the Études symphoniques (1834–37; Symphonic Studies), another work consisting of a set of variations. In 1834 Schumann had become engaged to Ernestine von Fricken, but long before the engagement was formally broken off (Jan. 1, 1836) he had fallen in love with the then 16-year-old Clara Wieck. Clara returned his kisses but obeyed her father when he ordered her to break off the relationship. Schumann found himself abandoned for 16 months, during which he wrote the great Fantasy in C Major for piano and edited the Neue Zeitschrift für Musik (New Journal for Music), a periodical that he had helped to found in 1834 and of which he had been editor since early 1835. In 1837 Schumann formally asked Clara’s father for permission to marry her, but Wieck evaded his request. The couple were finally married in 1840 after Schumann had gone to court to set aside Wieck’s legal objection to the marriage.
00:00:00 Piano Sonata No. 1 in F-Sharp Minor, Op. 11: I. Introduzione. Un poco adagio – Allegro vivace (Klára Würtz)
00:12:42 Piano Sonata No. 1 in F-Sharp Minor, Op. 11: II. Aria (Klára Würtz)
00:15:45 Piano Sonata No. 1 in F-Sharp Minor, Op. 11: III. Scherzo e Intermezzo. Allegrissimo (Klára Würtz)
00:20:39 Piano Sonata No. 1 in F-Sharp Minor, Op. 11: IV. Finale. Allegro un poco maestoso (Klára Würtz)
00:32:30 Piano Sonata No. 2 in G Minor, Op. 22: I. So rasch wie möglich schneller- noch schneller (Klára Würtz)
00:38:16 Piano Sonata No. 2 in G Minor, Op. 22: II. Andantino. Getragen (Klára Würtz)
00:43:16 Piano Sonata No. 2 in G Minor, Op. 22: III. Scherzo. Sehr rasch und markiert (Klára Würtz)
00:44:52 Piano Sonata No. 2 in G Minor, Op. 22: IV. Rondo. Presto (Klára Würtz)
00:50:04 Piano Sonata in F Minor, Op. 14: I. Allegro (Vincenzo Maltempo)
00:58:05 Piano Sonata in F Minor, Op. 14: II. Scherzo – Molto commodo (Vincenzo Maltempo)
01:03:53 Piano Sonata in F Minor, Op. 14: III. Quasi variazioni – Andantino (De Clara Wieck) – 4 Variations (Vincenzo Maltempo)
01:10:41 Piano Sonata in F Minor, Op. 14: IV. Finale – Prestissimo possibile (Vincenzo Maltempo)
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