Schumann began writing chamber music rather late on in his life. In 1842 he then wrote six substantial works, including his first piano trio, which he only published in 1850 under the title Four Fantasy Pieces op. 88. In the meantime he had already composed the Trios in d minor op. 63 (1847) and F major op. 80 (1847/49). When he was in Dusseldorf, in 1851, he wrote the g minor Trio op. 110. Together with the trios by Mendelssohn and Brahms, Schumann’s four compositions are the most important works for this genre written in the 19th century.
- Trio d minor op. 63
- Trio F major op. 80
- Trio g minor op. 110
- Fantasy pieces a minor op. 88
- Finale, Early Version op. 88
Although Robert Schumann (1810–56) had already been encouraged by Franz Liszt in a letter of 5 June 1839 to “write some chamber music works, trios, quintets or septets”, it nevertheless took another three years before he turned to chamber music. As so often before, Schumann then wrote several such works one after the other. Schumann scholars thus justifiably refer to 1842 … 続き
Connected with his oeuvre is the term he coined, Poetic Music, with which he strove for a fusion of literature and music, a paradigm particularly seen in his lyric piano pieces prior to 1839. Thereafter he devoted himself to other genres (song, symphony, chamber music, among others).
|1810||Born in Zwickau on June 8, the son of a bookdealer.|
|from 1828||Studies law in Leipzig, piano with Friedrich Wieck. Decision to pursue a career in music.|
|1830–39||He exclusively composes piano works, mostly cycles, including “Papillons,” Op. 2 (1829–32); “Carnaval,” Op 9 (1834/35); “Davidsbündlertänze,” Op. 6 (1837); “Kinderszenen” (“Scenes from Childhood”), Op. 15 (1837/38); “Kreisleriana,” Op. 16 (1838); “Noveletten,” Op. 21 (1838).|
|1832||A paralysis of a finger in his right hand makes a career as a pianist impossible. Founding in 1833 of the fantasy brotherhood the “Davidsbund” (“League of David”).|
|1835–44||Editor of the Neue Zeitschrift für Musik (New Journal of Music).|
|1840||Marriage to Clara Wieck; 138 songs, including the Eichendorff Liederkreis, Op. 39; the song cycle “Dichterliebe,” Op. 48|
|1841||Symphony No. 1 in B-flat major (“Spring” Symphony), Op. 38, and Symphony No. 4 in D minor, Op. 120.|
|1842||Three string quartets, Op. 41; further chamber music.|
|1843||Teacher of composition at the Leipzig Conservatory. Oratorio “Paradise and the Peri,” Op. 50.|
|1845||He settles in Dresden. Journey to Russia.|
|1845||Piano Concerto in A minor, Op. 54, Symphony No. 2 in C major, Op. 61.|
|1850||City music director in Düsseldorf. Premiere in Leipzig of his opera “Genoveva,” Op. 81. Symphony in E-flat major (“Rhenish”), Op. 97; Cello Concerto in A minor, Op. 129.|
|1853||Beginning of his friendship with Brahms. Completion of the Scenes from Faust. Violin Concerto in D minor for Joseph Joachim.|
|1854||Suicide attempt and admission to the psychiatric institution in Endenich, near Bonn.|
|1856||Death in Endenich on July 29.|
It never ceases to amaze me how fastidiously researched are the Henle Verlag editions and this excellent publication of the Schumann Piano Trios is no exception. (...) The reader could not be better informed. (...) Highly recommended.