I can assure you that none of these three violin sonatas gets played much on our local classical music stations. Such stations have a bias against chamber music anyhow, it seems to me.
It is the best violin sonata and one of the greatest instrumental dialogues ever written. I bought a vynil in the 80s with Kremer and Argerich playing it. I even wanted to start learning violin because of this magnificent masterpiece. You can truly hear a conversation without words in it.
Me, too. It resurrected my interest in the violin after 40 years of not playing. It's a bit harder, but if I can play even 1/3 of this piece I will consider it a success.
Schumann wrote three sonatas for violin and piano, the third one having been discarded by Clara, Brahms and Joachim and exhumed recently. The first one op. 105 is in my opinion a masterwork, but Schumann seemed not to be happy with it, so he wrote this impressive second sonata in d minor. This sonata shows how stupid it is to despise the last compositions by Schumann, who was depressive and ill at that time. This sonata has the strength of the first opus of the composer. Indeed, this is one of the greatest sonatas for violn and piano ever written.
@@joshscores3360 I know, you can even hear a beatiful version of this sonata on "RU-vid", posted by Bartje Bartmans . This is why I wrote " the third one having been discarded by Clara, Brahms and Joachim and exhumed recently".
@@Piero1809 You are fully right. This trio is also an absolute masterwork. The whole chamber music of Schumann deserves to be known. It is a pity that most music lovers know only the piano quintet - indeed a masterpiece of the genre, the greatest one with Franck's. Listen to the piano quartet: it is also an absolute masterpiece, in my modest opinion greater than Brahms', and equal only to the two by Mozart and Fauré's second one op. 45.
Mosaic Classics Maybe it is the other way around. Maybe devastation is the cause of true greatness. It's sad to think that genius requires sacrifice but that seems to be the case with many greats.
The opening to the second movement Scherzo is extremely Brahmsian, or should I say I see where Brahms got his inspiration for lively syncopated triplet figures (and penchant for unusual harmonic transitions.) The rich long lines that Brahms became known for are also seen in the contemplative third movement. (I notice these things well as I'm currently studying the Sonatansatz.). The more I hear of this piece, I'm actually kind of convinced this piece must have influenced Brahms for the finale in his own D minor sonata, the meter and resulting rhythm is totally different, but there are striking harmonic similarities. Dmin, E7 amaj cadence, pause then back to dmin then immediate B-flatmaj (this last change: d-min B-flat happens in the Scherzo of Brahms Famous B-flat piano concerto as well) Also there are the same abrupt pauses led to by dramatic harmonic changes seen throughout this finale especially, that are probably the single easiest way to ID a Brahms composition. Anyway, please, share this work to all your classical music appreciating friends, it is a masterpiece!! Edit: I just realized also, that playful figure in the last minute including the light piano accompaniment provides the same feel and effect as a similar figure at the close of Grieg's second violin sonata (composed 16 years later!) although in that piece the figure is triplets.
Marcos Vinicios Ribeiro yes, especially those runs from "9:06"- "9:13" in the violin, and the angular rhythm and harmony created by using the major 7ths in the piano there makes the music sound more like Astor Piazola, or improv between Grappelli and Rheinhardt than Schumann. I'm shocked this piece is not well known. It definitely stands on it's own with the 2 other great D minor violin sonatas (Brahms and Saint-Saens). I can't think of any others in the same key. Amazing writing, don't great things often come In threes, what's wrong with people this got snubbed for so long.
Well, you can love this sonata and dislike the pianist's performance - especially in the first movement. I wouldn't call it stupid, then. That being said, being a Schumann interpret's being so damn hard - he has such a specific style - that I wouldn't dislike it, just for that reason. Plus the violinist's renders well the intimate style of Schumann's chamber music, so it kinda compensates. But agreeing with you on the fact that this sonata is absolutely gorgeous !
It is an ambiguous situation, because from a pure analysis, it does not end with an inverted harmony: the D in the bass from the first and second beats sustains through with the pedal. You might say that he is thinking orchestrally--the basses and cellos and bassoons are holding that low D, while another chunk of the orchestra plays the "inverted" chord above it. However, you are right in observing that in real time, it can be difficult to ascertain this distinction. Because the low D will already be decaying in sound (even with the pedal), it will sound as though the piece suddenly finishes with an inverted harmony, even if it actually isn't. You might say it's the difference between a harmony and a sonority: strictly speaking, the piece ends with a HARMONY that is a tonic in root position (conventional), but at the same time ends with a SONORITY that suggests a tonic in second inversion (unconventional). Yet another of the million fascinating things about Schumann's visionary approach to composition.
An unusual performance of Schumann's best work. Some pauses thrown in, and a lot of dynamics thrown out, but still interesting. This composition above all of his, shows him as the compositional virtuoso he was.
Las sonatas para violín de Schumann son de un gran valor estético tienen un mensaje hacia lo alto del ser humano y me revelan el carácter suave y enérgico de este gran compositor
Excellent performance and a seriously underrated violin sonata; however, I have just one thing to complain about. In the third movement, the pizzicatos are way too separated. Not separated as in not legato, but the notes of one chord are not plucked in unison, creating no harmony and making it sound not beautiful at all.
This is a very strange interpretation of this masterpiece, with totally wrong phrasing and peculiar accents which sounds very unmusical! Both violinsonates of Schumann are the work of a genius. The best ever recording on disc of both sonates are with Christian Ferras and Pierre Barbizet on DG. These accounts were never surpassed and the only one who got out the ' Leidenschaft', which belongs to Schumann. I would also like to mention for the first sonata Perlman and Argerich on EMI.
I upload works which are available to me. If I for every single one of my 2000 videos have to search for the "best" performance my channel wouldn't exist. Some recordings are eccentric and a bit off the beaten path which also has appeal to me. BTW there are plenty of videos I think are in a league by themselves but you can bet on it some won't like them. Thanks for you comment though, I especially love Ferras performance of Sibelius Violin Concerto I was thinking about that for a near future project.
@@marensavino -- No reason. This happens every time that Mahler Maniac starts breaking his Prozacs in half....he starts to suppurate with gratuitous malice......