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FROM GRAMOPHONE '07 DEC. ISSUE
《A Million Love Songs Later》
With the advent of his long fought-for marriage to Clara, a deliriously happy
Robert Schumann poured out his love for her into his music. The Piano Quintet
was the crowning work and David Threasher compares its many recordings.
When Robert Schumann finally married Clara Wieck on September 12, 1840, it
marked the end of a long battle with Clara's father, who considered the young
composer unfit for her. As Wieck's arguments fell away and it became clear that
the young lovers would soon be able to marry, Schumann entered an extraordinary
phase of compositional productivity. During 1840 and into 1841 - his 'Year of
Song' - he composed no fewer than 125 Lieder, casting them off at white heat,
sometimes two in a day. This protean activity continued into the next year,
when he turned his mind to the symphony, composing the First and the original
version of the Fourth, along with the Overture, Scherzo and Finale. Then, in
1842, he shifted his attention to chamber music. His three String Quartets came
first; then, wishing to write music for his wife to perform, he added the piano
to the mix. The result was to be his most enduringly popular chamber work and
the finest of his gifts to Clara: the Quintet in E flat major for Piano and
Strings, Op 44.
The work was completed in October 1842 and Clara gave the first performance at
the family home, with the Gewandhaus Quartet led by the great violinist
Ferdinand David. The work was repeated in another private performance in
December: Clara had fallen ill shortly beforehand so the challenging piano part
was (avert your eyes, budding pianists) sight-read by Felix Mendelssohn, on
whose advice Schumann made some structural changes, adding a second Trio and
inserting into the slow movement a minor-key episode to replace the original
section in A flat. Clara had recovered in time to give the first public
performance at the Leipzig Gewandhaus in January 1843. The work was an instant
success and was published later that year; Berlioz - not usually thought of as
a great exponent of chamber music - loved it, while Liszt crabbily dismissed it
as 'too Leipzigerisch'.
With the Piano Quintet, Schumann brought a small-scale, salon form into the
concert hall, setting the template for quintets that would follow, by Brahms,
Dvorak, Franck, up to Faure, Elgar and Shostakovich. The work is in four
movements, opening with an assertive Allegro brillante, its bold, chordal
opening theme permeating the work, while the second subject, a conversation
between cello and viola, oddly foreshadows the contours of Cole Porter's 'Who
wants to be a millionaire?'. The slow movement is a funeral march, the theme of
which Mendelssohn would echo in his C minor Piano Trio of 1845; the Scherzo is
a breathtaking play of scales cascading into one another. The finale is the
work's tour de force, culminating in a cathartic coda in which the movement's
main theme is combined in an ingenious double fugue with the chordal theme of
the opening movement. It is this contrapuntal ingenuity coupled with the work's
irrepressible melodic generosity that makes it the finest of Schumann's love
songs to Clara and which has ensured its enduring popularity.
--
I'd be tender - I'd be gentle
And awful sentimental
Regarding Love and Art
--
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