Read PDF String Quartet No. 1 in A Minor, Op. 41, No. 1 - Cello

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The second movement begins as a halting funeral march, departing from choppy phrases only briefly for legato piano lines.

A carefully restrained cello and violin duet follows, over a blurry accompaniment played by the rest of the ensemble. After a return to the march, an uneasy agitation builds until the violin and cello duet returns and the movement closes with a final funeral march. The fourth movement Allegro ma non troppo begins with an accented theme in the piano. Typically for Schumann, he moves suddenly between different sections, allowing for striking juxtapositions.

Schumann connects the themes skillfully, bringing the tone of the two movements together and meeting somewhere in the middle. Even before their marriage, Robert tutored Clara in composition and counterpoint, using techniques dating back to the Baroque period.

His Six Etudes in the Form of Canons , written in strict contrapuntal style, served this didactic purpose. The Schumanns used this instrument to practice organ at home. Each etude is a compositional study as well as a technical one, in that Schumann creates musical interest while following strict contrapuntal rules. Nearly impossible to play with only two hands and no pedal, the etudes have been subsequently transcribed for piano, four hands, by several composers, including Claude Debussy. After composing primarily for the piano until , Schumann turned in that year of his marriage to Clara Wieck to the writing of song, and only after the outpouring of emotions into some vocal pieces did he make his first serious move into the symphonic realm, producing two symphonies in — No.

Having taken on the full orchestra, Schumann then narrowed his instrumental thinking, and became a year of chamber music. In very quick succession starting in June, he turned out three string quartets, a piano trio, a piano quintet, and the present Quartet for the same forces minus one violin; both Quartet and Quintet are in the key of E-flat.

However, the father bestowed distinct identities upon each of his E-flat chamber children, and if the Quintet emerged as the grander of the two, the Quartet is still a splendid specimen that is deficient only in a first movement that lacks somewhat in substance. This melody, along with a more energetic idea beginning with an ascending minor-key scale figure, dominates the movement.

The movement ends with a whispered echo of the first Trio. Only Schumann could make such a melody. Toward the end of this Andante, the cello is instructed to tune its lowest string, a C, down to B-flat so that in the final measures it can provide a pedal bass in octaves of the tonic of the key. This main theme — a falling fifth and ascending sixth followed by sixteenth-note figures — is treated fugally, and later set into sharp contrast to more lyrical material.

Forgot your password? Close Window. Redmond J. Request a Brochure. Brahms, Sextet No. Dvorak, Quartet no. Dvorak, Trio no. Haydn, Piano Trio No. Janacek, Quartet No. Mendelsson, Quartet in A minor, Op. Schubert, Trio in B flat.

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Haydn Piano Trio No. Haydn Quartet No. Haydn Flute Quartet No. Ligeti String Quartet No. Ranjbaran Dance of Life. Ranjbaran Fountains of Fin. Ranjbaran Elegy. Schubert Fantasia for 4 hands in F minor, D. Schubert Piano Trio in B flat. Schumann Sonata No.