Name: Clara Schumann - Piano Trio in G Minor, Op. 17 (1846) | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming
Uploaded: 2022-02-09T05:00:00.000Z
Duration: 29 min 19 s
Description: Clara Josephine Schumann (née Wieck; 13 September 1819 – 20 May 1896) was a German pianist, composer... | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming

Bartje Bartmans

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Clara Josephine Schumann (née Wieck; 13 September 1819 – 20 May 1896) was a German pianist, composer, and piano teacher. Regarded as one of the most distinguished pianists of the Romantic era, she exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital from displays of virtuosity to programs of serious works. She also composed solo piano pieces, a piano concerto (her Op. 7), chamber music, choral pieces, and songs.

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Piano Trio in G Minor, Op. 17 (1846)
Dedicated to Robert Schumann

I. Allegro moderato (0:00)
II. Scherzo. Tempo di menuetto — Trio (11:37)
III. Andante (16:28)
IV. Allegretto (21:38)

The Atlantis Trio
PENELOPE CRAWFORD (fortepiano: Conrad Graf,Vienna, 1835)
JAAP SCHRÖDER (violin: Matteo Gofriller, Venice, c. 1700)
ENID SUTHERLAND (cello: anon Tyrolean, 18th century)

On 12 September 1846, the Schumanns’ sixth wedding anniversary, Clara presented her husband Robert with the piano trio in G minor she had been working on since the previous May. A year and a day later, on 13 September 1847, Robert serenaded Clara on her twenty-eighth birthday by arranging for a private performance of the piano trio in D minor that he had begun earlier in the summer. In October of the same year, Schumann wrote of the “great joy” he experienced when both works were played, one after the other, at an informal reading session.

Clara’s assessment of her trio was considerably less favourable than Mendelssohn’s. While conceding that it contained “some pretty moments” and that “its form was fairly successful,” she ultimately wrote it off as “no more than women’s work [Frauenzimmerarbeit], lacking in power and often in invention as well.” In fact, her critique is overly harsh. The first movement in particular embodies a quality of internalized longing, projected through the restless accompaniment to the plangent first theme and the urgent syncopations of the second. Although the opening section of the second movement (Scherzo) takes the form of a delicate salon piece for solo violin, the broad rhythmic groupings of the central Trio create a sense of expansive and deeply expressive calm. Likewise, the agitated middle part of the Andante provides a foil for the heartfelt song without words surrounding it. (The cello’s statement of this melody is oneof the lyrical highpoints of the trio.) From a formal perspective, the finale is the most subtle movement of all, its playful second theme growing imperceptibly out of the previous transition, and its development and reprise welded together so deftly that it is impossible to say where one section leaves off and the other begins. The movement ends on a poetic note, with a fleeting allusion to its chromatically tinged main theme and a last-minute switch into the major mode.
No less exacting a judge than Felix Mendelssohn was impressed by the contrapuntal profile of the finale, where Clara treats the opening theme both as the subject of a fugato and as the springboard for passages in close imitation (stretto) during the course of the development section. Textures of this kind, which also prevail in the development of the first movement, serve the dual function of tightening the motivic argument and of liberating the cello from its traditional role: in a piano trio, as an extension of the left hand of the keyboard part. #ClassicalMusic

Clara Schumann - Piano Trio in G Minor, Op. 17 (1846)

Bartje Bartmans

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