"Notice that opening of the Scherzo anticipates the "Clara" theme of the third movement." That motif comes from the very opening motif, which is seen in all four movements.
I love how the "classical" piano, especially in the period of the late romantic, freed itself from every constraint or restriction.- and the mad genius Schumann was the very personification of this process.
The desperation, searching nature and sense of fragility to the melody at 23:57 that is echoed throughout the 4th movement makes this my favourite movement in all of the Schumann Sonatas. Pure passion just before as well at 23:42 where I am reminded of much from Puccini's Manon Lescaut. Excellent handling, balance and portrayal by Glemser here
This musical work does well to demonstrate Schumann's unique ability to tell stories through his compositions. A snippet of this work puts this work in a completely different category than similar works such as Chopin’s piano sonatas, Liszt’s piano sonatas and Brahms piano sonatas is when Schumann rolls his E major theme after the deacclimatization of the arpeggio section. Such a beautiful sequence sticks in the head far better than any theme from works of other composers of his time. Schumann really was an author to heart. Schumann evidently created his works as if he was writing a novel, whereas composers such as Chopin and Brahms composed musical paintings of emotion.
To my own disgrace I must admit that I didn’t know this masterpiece before, but after hearing the first 5 notes, I already knew that I would fall in love with yet another Schumann piece… ❤️
*This is so wow! This have to be known by everyone, anyone, even animals. Animals can't understand the pain, but they surely can appreciate this. I pray that someone will pass this piece on to the world, never will it be forgotten. Thank you, Schumann, for making unforgettable music. No one else can ever compose one sonata like this.*
@@johnstaf Yeah. They can't understand the pain that is conveyed in this piece. I mean, they would appreciate the music, but they don't have the same perceptions as us human beings. We are totally different species with totally different ways of expressing emotions. They feel pain of course, and express it in their own animal way. I'm sure though it would be an awesome experiment to see how they would react to this. Would be really cool.
I've always loved how Schumann transitions into the main themes so effectively ie. ~ 12:22 . And wow the last movement is like a giant etude. Really like this Sonata.
This sonata was first called concerto for piano without orchestra due to pressure from the publishers, however when liszt remarked that it goes against the definition of a concerto it got renamed to sonata in f minor
1:16, 2:28, 2:52, 5:00, 6:15, 6:36 but seriously, these passages are the reason I fell in love with dotted-rhythms. P.S I love the fourth movement and the syncopated variation from the third movement!
The first movement must have been the inspiration for Brahms' own sonata in the same key. This is a great work -- wild, challenging, passionate! I have read that this was one of Scriabin's favorite works and the last movement has some similarities to the finales of Scriabin's Sonatas nos. 2 and 3. Like a whirling dance of death. Love Glemser in this piece.
I would like to thank you for this excellent and well-founded description. You open me for that. Their written language creates additional music worlds. I am glad that you describe the interpretation of Mr Glemser's piano playing.
I can see why it is seldom played. But the difficulties not withstanding, the material and handling of the rhythms and harmonies is truly masterful. As impetuous as the music is, I can see why Brahms loved it. Not due only to the fact the two people closest to him were in involved its creation, but it contains subtleties of rhythm and harmonic progression that are built into the thematic development. I had never heard this piece before. Thanks for posting and I also do not know anything about the pianist.
The program notes for your postings are some of the best to be found online - they are very articulate and informative and exhibit a very thorough knowledge of music theory and analysis. I'll be looking forward to more in the future.
Why i have heard often that this is “seldom played?” I know that ‘virtuosi need apply’ in this case, but is it because it’s incredibly difficult for the performer to present it as a cohesive whole? I think it’s a masterpiece of the highest standard.
Some of my earliest memories are of my parents playing this again and again. It remains my favourite piece of the period, reminding me of how fortunate I was to grow up in the house that I did.
I’m her because of Murakami, and i always did like classical music; but now it totally took a whole different perspective on it and I must no more and listen to more! I love this song that I’m trying to buy a record on it by someone who plays it this well. Who might that be? Research must be don I guess.
Robert Schumann:3.f-moll Zongoraszonáta Op.14 1.Allegro brilliante 00:00 2.Scherzo: Molto commodo 07:49 3.Quasi variazioni: Andantino de Clara Wieck 14:02 4.Prestissimo possibile 22:20 Bernd Glemser-zongora
The harmony of one of the passages in Moszcowski’s etude Op.72 No.9 is extremely similar to that in one the passages in the second movement of this sonata!
These are wonderful program notes!-and so accurate. Thank you. In the theme of the last movement is there also something of the very first pages of the sonata? I find in Schumann something that is wild, savage, which distinguishes him from the other Romantic composers. The strange relationship with the bar line; the accented sixteenth notes that begin after a sixteenth rest after the bar line. In the third variation (Andantino) there is something so antic!-how did Schumann hear these things and come up with them? They're like nothing else. He is so good at wearing his heart on his sleeve, perhaps even too good sometimes, and the sleeve can be tattered, smudged, torn-he doesn't care; he loves it. And man, those guys-Brahms and Schumann-were as determined as gangbusters to wring every last amount of Romantic possibility and noble statement from the sonata form in their first three works, each of them, in the form. I find Glemser superb here. He avoids dragging the tempo in the Andantino, doesn't draw it out into something funereal. And he gives the staccato markings their due, especially in the opening movement. If I'm not mistaken, he even eschews some of the pedaling as marked, in favor of a drier texture. The clarity of the prestissimo is astonishing. Schumann is like no other: it's as if, in his mind, the grotesque and the beautiful are never far from each other, are cousins. This is dangerous territory, and I don't know that I'd want to live there, but it's territory that, in some deeper layers of the mind, humanity passes its confused days in. Marc Vincenti
When you say "wild, savage," I'm reminded of that Intermezzo from "Faschingsschwank aus Wien"....What are your favorite performances of that? Gracias desde México!
I think what strikes you is RS's mental instability and emotional swings: wide and uncontrolled. Remember he was heavily influenced by Jean Paul and the excesses of the literary romantics at this time in Germany.
@@hwh1946 -- No, being 'mental unstable' myself, I'd not be stricken by its presence in someone else. Besides, the same may be said of Rakhmaninov. I disagree with "uncontrolled" mood swings, too. Same'd go with Tschaikowsky as well. I find them all incredibly focused and disciplined in both their 'sound-concepts' and musical notation. Greetings, pal, from México!
@@fogonpr -- De acuerdísimo, distinguidísimo maestro letrado….seria la concreción de un sueño! (Tut mir Leid...Ich meinte 'Schuldaufdeckungsangst…..Ebenmäißgkeitsentzückung- Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz! Herzlich, Mexikaner Donaudampfschiffahrtsgesellschaftskapitän ! )
Solo il genio malato di Schumann, a metà strada fra Chopin e Scrjabin, poteva concepire un quarto movimento di questa straordinaria bellezza, movimento quasi impossibile da suonare in modo fluido (grandissimo Glemser) facendo risaltare l'insana passione del compositore.
@@luizfernandg See... Horowitz is a extraordinary pianist, but his playing in this piece (all being live recordings) is too spontaneous and, well, slightly unrefined. Glemser's last movement beats Horowitz's in quality and cohesion by a mile - not that Horowitz doesn't have good ideas, though.
From the interesting comment above: "hair-raising gear-shifting". I am no connaisseur, but I feel that the "gear-shifting" movements are what strikes me with Schumann. Am I wrong? Are there any other artists who display similar movements in their sonatas? Strange, I like Liszt for the opposite motives that make me love Schumann...
Only the speed. The notes themselves fall well under the hand. What's a killer is that there's so much of it. It's a stamina problem, like the octaves in Erlkönig.
It's not too bad. A lot of it just feels like arpeggiated chords. I think it sounds harder than it is, unlike a lot of Schumann's piano music, which is harder than it sounds.
Juan Mas Choclán Great question, Debussy used melodies of popular French counting rhymes to compose Jardins sous la pluie so I don’t think that he was specifically inspired by This sonata. This particular bar is exactly similar to Debussy tho... That’s strange
Ok, i'm quite suffering from this piece, cause all the melodies seem familiar to me, although i can not identify them; may you can help me? It's the main theme of the Scherzo 7:52, and then the second theme 10:00 Do you know pieces by Brahms that sound similar to that?
I was listening to Chopin's three posthumous etudes, and the first one reminded me of something but i can't quite lay my finger on it then I realized it's probably Schumann then i realized it's the beginning of this
Hi Ashish. did you realize, that Bernd Glemser plays the first edition of the sonata while we watching the sheetmusic of the second edition. Despite....thanks for doing that video
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
Hello, thank you for this post. I'm curious how you assert that the notes of the theme of the variation movement spell out the name "CLARA" in German. Unless I'm missing something very obvious, they do not do that at all. C-Bb-Ab-G-F in German spelling is C-B-As-G-F. Could you explicate?
@@calebhu6383 Since B-flat is "B" in German, it would indeed be C-B-As-G-F. ("H" is B-natural). And yes, I remain puzzled by the assertion. I think there is something very obvious that I am missing.
@@nicholasfox966 According to Robert Haven Schauffler, it is a theme that Clara wrote and variations of it are seen in many of Schumann's compositions, including the Symphonic Etudes and Kreisleriana. Not much to do with her name.
Now finally this sonata seems a revelation . Its taken decades to feel anything but the last mov . The last mov iseasy to get though it is full of wild brashness and changes . When one contrasts the cycles with these Sonatas one sees why they are programmed less . Wild creations full of rare insight . Sonata 2 and 3 are really hard going to make sense of from the page . Hearing both of their wild changes of rhthms , keys , textures melodies overlapping . Both are wilder seeming than even Chopin Bb minor which is wild like Beethoven .Yet Chopin loved Missa Solemnis but understood so little of other Beeth. What did Berlioz ,Liszt and Chopin think of this man's wild originality ?
Chopin probably never heard this sonata. Chopin was very sophisticated, in his lifestyle and his compositions. Schumann seemed to him a bit of a brute, no doubt.
Well, I would`nt go so far, but Brahms lacks Schumanns spontaneity. As opposed to Schumann, who`s music is organic, Brahms music seems constructed (with some exeptions (e.g. second Symphony).
knut haakenaasen That's a bit exaggerated if you ask me. Even if that's the common stereotype assigned to Brahms, a lot of his melodies are incredibly beautiful. Schumann is Schumann and Brahms is Brahms.
Brahms = Bach + Beethoven + Schumann - intrinsic inspiration + hard work. Brahms is a great example of how far acquired skill can take you when you lack a deep reservoir of creativity and vision. Schumann always sounded like spring and summer, Brahms always sounded like autumn and winter. If Schumann had had Brahms' technique or Brahms had had Schumann's creativity/vision/spontaneity, all I can say is...holy crap.
Sorry but this is rubbish, or I misunderstood it. Schumann doesn't need to hide from anyone in terms of "technique", his harmonies and structural ingenuity are second to none. The motivically-obsessed, Beethoven-like manner which you find in Brahms is just not the style he wanted to compose in. Although the first mvt of this sonata is a nice example of him very creatively transforming the descending note motive. Also, the Brahms comment is ridiculous. You don't get to compose something like the Werther Quartet or the 2nd piano concerto without immense creativy or vision.
@@MaestroTJS the argument of Brahms not being super creative and only being a hard worker is something I remember reading a long time ago in some book about Brahms. So I know some people say that about him, buy I spontaneously disagree. Brahms has a uniquely deep and dark sound, his music makes me see through vast abysses in a way that none other does, and I can't call that anything else than pure and deep creativity. **Going to listen to Brahms piano quintet**
This. Schumann always makes great use of circle of fifths progressions. Not too common to the point of being overused similarly to baroque and early classical, but used with great discipline to keep it a treat for every listen! Others with similar mastery: Brahms, Bruckner, Medtner.
Thank you so much for the analysis! It helped me so much to understand and appreciate more this great, painfully beautiful piece. Could you also explain how the theme notes represent the name Clara?
I realize you wrote this a year ago but if you're still interested, the Clara theme is represented by a descending perfect fifth. Any time you see a falling fifth in Schumann's repertoire, there's a good chance it's a reference to Clara. The theme is presented in this Sonata as a fifth from C down to F, with notes Bb, Ab, and G in between. The reason that a perfect fifth represents Clara's name, to my understanding, is because there are five letters in her name.
This is a great and under appreciated work by Schumann and deserves attention by all the serious top notch pianists. I'm glad you love Glemser's performance but can't say I do. High marks for clarity though - perhaps too much emphasis on clarity, for the nature of work. I'll look for some other recordings, perhaps the Pollini mentioned below, though he can be overly reserved with the Romantics ..
Grigory Sokolov's recording here on YT is worth checking out - it's a live recording. Another is by Alexei Volodin - a full, rich, passionate sound, perhaps the tempo is pressed at times - a nice contrast to Glemser's rendition.
No I assure you, this is the *best* recording of this piece - Glemser's overall sense of direction is everything one could hope for, even though there are a few small areas I might play differently. The storytelling in each movement is much more direct compared to Sokolov or Pollini, and Glemser's dynamics and pedaling have so many nuances which really carry the unique structure of the sonata. The pacing in the first three movements is excellent, and the last movement is near perfect. Glemser doesn't ever do anything gratuitous, and he doesn't play to sound pianistic; he brings out a vocal quality in every line.
@@anotherdepressedmusician "No I assure you, THIS is the BEST recording of the piece" - - too funny!! Anyone would have a tough time proving a "best" of anything when it comes to such subjective areas. But your conviction and commitment is clear.
@@brynbstn Your quote isn't accurate - I didn't write that sentence so enthusiastically. It was more about adamancy than enthusiasm. Obviously we can't compare different pianists' musical ideas on a direct scale of bad to good, because they're different of course. But you can explain the coherency/cohesion of one pianist's interpretation to another, accounting for how all their different ideas fit together, and how convincing the overall performance ends up being. Art in general is about communication - which art communicates its intent well, and which communicates it poorly? My attempt to outline which aspects of Glemser's playing give him the best overall coherency was just my hope to be logical (as far as logic goes here...)
@luciddreamerROM Maybe in a broader performance sense, but many of the composers you listed were kinder on a purely pianistic level than Schumann, I think.
f minor (1st movement) Deep depression, funeral lament, groans of misery and longing for the grave. D♭ Major (2nd movement) A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.--Consequently only unusual characters and feelings can be brought out in this key. f minor (1st movement) Deep depression, funeral lament, groans of misery and longing for the grave. www.wmich.edu/mus-theo/courses/keys.html
+c never beautiful? You must be a musical dolt. His music is some of the most beautiful created. You do have to be intelligent to understand its complexity, though. I’m sorry it’s beyond your comprehension.
I just want that someone loves me as much as Schumann loved these gallop rythms
Or as much as Brahms loved hemiola
Caleb Hu or as much as Liszt liked fermatas
@SIU MAN LI more like liszt loves octaves, or chromatic scales, or broken octave chromatic scales... Yeah
Luca what peace is on your profile picture ?
@@julianprzemyski2201 Rachmaninoff Prélude op. 23/2
"Notice that opening of the Scherzo anticipates the "Clara" theme of the third movement." That motif comes from the very opening motif, which is seen in all four movements.
True genius how Schumann can transition from one rythmic pattern to a completely different one without losing cohesion of the whole movement.
Probably he learned a little bit from the master mind BEETHOVEN
I love how the "classical" piano, especially in the period of the late romantic, freed itself from every constraint or restriction.- and the mad genius Schumann was the very personification of this process.
Mad genius?
He went mad and died in an asylum @@brkahn
@@ThePainist I think I read about Dr. Frankenstein 🤣
The last movement of this sonata may be the single most visionary thing Schumann ever composed.
The last movement shows signs of madness-a beautiful madness-a portrait of Schumann's gigantic soul.
@@katbullar Well put.
this is a wildly underrated sonata.
Oh? What is its rating?
@@KneeJerkish9
@@largoallegrorisoluto out of 1
The desperation, searching nature and sense of fragility to the melody at 23:57 that is echoed throughout the 4th movement makes this my favourite movement in all of the Schumann Sonatas. Pure passion just before as well at 23:42 where I am reminded of much from Puccini's Manon Lescaut. Excellent handling, balance and portrayal by Glemser here
I have always interpreted this part as wishing something so much than everything else becomes noise.
The last movement, in seemingly endless waves, is pure RS, a miracle.
This musical work does well to demonstrate Schumann's unique ability to tell stories through his compositions. A snippet of this work puts this work in a completely different category than similar works such as Chopin’s piano sonatas, Liszt’s piano sonatas and Brahms piano sonatas is when Schumann rolls his E major theme after the deacclimatization of the arpeggio section. Such a beautiful sequence sticks in the head far better than any theme from works of other composers of his time. Schumann really was an author to heart. Schumann evidently created his works as if he was writing a novel, whereas composers such as Chopin and Brahms composed musical paintings of emotion.
The 3rd piano sonatas is the best of all three! Great work
Absolutely!
To my own disgrace I must admit that I didn’t know this masterpiece before, but after hearing the first 5 notes, I already knew that I would fall in love with yet another Schumann piece… ❤️
*This is so wow! This have to be known by everyone, anyone, even animals. Animals can't understand the pain, but they surely can appreciate this. I pray that someone will pass this piece on to the world, never will it be forgotten. Thank you, Schumann, for making unforgettable music. No one else can ever compose one sonata like this.*
I agree with u 100%
Animals can't understand the pain?
@@johnstaf Yeah. They can't understand the pain that is conveyed in this piece. I mean, they would appreciate the music, but they don't have the same perceptions as us human beings. We are totally different species with totally different ways of expressing emotions. They feel pain of course, and express it in their own animal way. I'm sure though it would be an awesome experiment to see how they would react to this. Would be really cool.
I've always loved how Schumann transitions into the main themes so effectively ie. ~ 12:22 . And wow the last movement is like a giant etude. Really like this Sonata.
.
Yeah, it blends together so smoothly
This sonata was first called concerto for piano without orchestra due to pressure from the publishers, however when liszt remarked that it goes against the definition of a concerto it got renamed to sonata in f minor
1:16, 2:28, 2:52, 5:00, 6:15, 6:36 but seriously, these passages are the reason I fell in love with dotted-rhythms.
P.S I love the fourth movement and the syncopated variation from the third movement!
とても魅力的な曲だったのですね。ポリーニの演奏で聞いていましたが、気付きませんでした。ここまで弾きこなす技術だけでも素晴らしいけど、シューマンの音楽の魅力的な縺れが感じられて、曲の魅力を再認識しました。素敵です。
Dear Lord, even Beethoven sonatas do not start so passionately ! What a vehemence !
ぬくもりのある音色、この様相から想像できないような繊細さからダイナミックさまで、自由に表現できる素晴らしいピアノです。
Lovely, Schumann was very complicated to play and memorize.
i have a hard time believing that you can find a better recording of this piece than this one
The first movement must have been the inspiration for Brahms' own sonata in the same key. This is a great work -- wild, challenging, passionate! I have read that this was one of Scriabin's favorite works and the last movement has some similarities to the finales of Scriabin's Sonatas nos. 2 and 3. Like a whirling dance of death. Love Glemser in this piece.
Finally, something about Scriabin! I knew his second sonata's finale was inspired by this.
I would like to thank you for this excellent and well-founded description. You open me for that.
Their written language creates additional music worlds.
I am glad that you describe the interpretation of Mr Glemser's piano playing.
The piece, playing, and commentary are all of the highest order. Thank you for this superb upload.
22:30 Beethoven Sonata No.16
17:50 one of my all-time favourites!
I agree. And especially the part from 18:09, so moving.
Greetings to China !
The fourth movement is relentless! In a good way.
The third movement is heart wrenching 😢 Beautiful!
This is such a quintissential Romantic work! Very well crafted indeed.
6:36, 11:57, 19:45, 26:49, 27:39
I can see why it is seldom played. But the difficulties not withstanding, the material and handling of the rhythms and harmonies is truly masterful. As impetuous as the music is, I can see why Brahms loved it. Not due only to the fact the two people closest to him were in involved its creation, but it contains subtleties of rhythm and harmonic progression that are built into the thematic development. I had never heard this piece before. Thanks for posting and I also do not know anything about the pianist.
What an expressive masterpiece.
The program notes for your postings are some of the best to be found online - they are very articulate and informative and exhibit a very thorough knowledge of music theory and analysis. I'll be looking forward to more in the future.
Why i have heard often that this is “seldom played?” I know that ‘virtuosi need apply’ in this case, but is it because it’s incredibly difficult for the performer to present it as a cohesive whole? I think it’s a masterpiece of the highest standard.
Some of my earliest memories are of my parents playing this again and again. It remains my favourite piece of the period, reminding me of how fortunate I was to grow up in the house that I did.
I love this piece very much although not very popular among Schumann's music. 3rd Mov. variation is deeply touching.
00:00
7:49
14:02
22:22
Me too, at 22:22.
wow. amazing piece and INCREDIBLE pianist
I’m her because of Murakami, and i always did like classical music; but now it totally took a whole different perspective on it and I must no more and listen to more! I love this song that I’m trying to buy a record on it by someone who plays it this well. Who might that be? Research must be don I guess.
Robert Schumann:3.f-moll Zongoraszonáta Op.14
1.Allegro brilliante 00:00
2.Scherzo: Molto commodo 07:49
3.Quasi variazioni: Andantino de Clara Wieck 14:02
4.Prestissimo possibile 22:20
Bernd Glemser-zongora
Köszönöm az értékelést
what a truly magnificent masterpiece performed to perfection.
The harmony of one of the passages in Moszcowski’s etude Op.72 No.9 is extremely similar to that in one the passages in the second movement of this sonata!
These are wonderful program notes!-and so accurate. Thank you. In the theme of the last movement is there also something of the very first pages of the sonata? I find in Schumann something that is wild, savage, which distinguishes him from the other Romantic composers. The strange relationship with the bar line; the accented sixteenth notes that begin after a sixteenth rest after the bar line. In the third variation (Andantino) there is something so antic!-how did Schumann hear these things and come up with them? They're like nothing else. He is so good at wearing his heart on his sleeve, perhaps even too good sometimes, and the sleeve can be tattered, smudged, torn-he doesn't care; he loves it. And man, those guys-Brahms and Schumann-were as determined as gangbusters to wring every last amount of Romantic possibility and noble statement from the sonata form in their first three works, each of them, in the form.
I find Glemser superb here. He avoids dragging the tempo in the Andantino, doesn't draw it out into something funereal. And he gives the staccato markings their due, especially in the opening movement. If I'm not mistaken, he even eschews some of the pedaling as marked, in favor of a drier texture. The clarity of the prestissimo is astonishing. Schumann is like no other: it's as if, in his mind, the grotesque and the beautiful are never far from each other, are cousins. This is dangerous territory, and I don't know that I'd want to live there, but it's territory that, in some deeper layers of the mind, humanity passes its confused days in.
Marc Vincenti
When you say "wild, savage," I'm reminded of that Intermezzo from "Faschingsschwank aus Wien"....What are your favorite performances of that? Gracias desde México!
I think what strikes you is RS's mental instability and emotional swings: wide and uncontrolled. Remember he was heavily influenced by Jean Paul and the excesses of the literary romantics at this time in Germany.
@@hwh1946 -- No, being 'mental unstable' myself, I'd not be stricken by its presence in someone else. Besides, the same may be said of Rakhmaninov. I disagree with "uncontrolled" mood swings, too. Same'd go with Tschaikowsky as well. I find them all incredibly focused and disciplined in both their 'sound-concepts' and musical notation. Greetings, pal, from México!
beautiful comment, thanks for posting
Ich liebe Schumann ! (aus Buenos Aires.Argentinien)
Du bist aus Buenos Aires? Warum sprichst du Deutsch?
@@fogonpr -- De acuerdísimo, distinguidísimo maestro letrado….seria la concreción de un sueño! (Tut mir Leid...Ich meinte 'Schuldaufdeckungsangst…..Ebenmäißgkeitsentzückung- Rindfleischetikettierungsüberwachungsaufgabenübertragungsgesetz! Herzlich, Mexikaner Donaudampfschiffahrtsgesellschaftskapitän ! )
Stevee GALLO hahahaha good one 😂 but the word must still make sense 😉
Solo il genio malato di Schumann, a metà strada fra Chopin e Scrjabin, poteva concepire un quarto movimento di questa straordinaria bellezza, movimento quasi impossibile da suonare in modo fluido (grandissimo Glemser) facendo risaltare l'insana passione del compositore.
Middle part of mvmt. no. 4 reminds me to the Intermezzo of "Faschingsschwank aus Wien" - fascinating!!
Awesome piece, love the final movement, thanks for sharing!
I personally know no better recording of this stupendous work!
So you are missing the best interpretation of all, by far the best, from Mr. Horowitz!
@@luizfernandg I prefer this.
@@luizfernandg See... Horowitz is a extraordinary pianist, but his playing in this piece (all being live recordings) is too spontaneous and, well, slightly unrefined. Glemser's last movement beats Horowitz's in quality and cohesion by a mile - not that Horowitz doesn't have good ideas, though.
his rythmic and texture is phantastic at the start
Schumann amazing
Ashish Xiangyi Kumar, so good, and so good of you.
I like this pianist, very nice interpretation. :)
From the interesting comment above: "hair-raising gear-shifting". I am no connaisseur, but I feel that the "gear-shifting" movements are what strikes me with Schumann. Am I wrong? Are there any other artists who display similar movements in their sonatas? Strange, I like Liszt for the opposite motives that make me love Schumann...
너무너무좋다ㅠㅠ제일 좋아하는 소나타
😇😇
I've always loved the last movement so much... those incredibly rapid triplets must be a pain in the ass though
Only the speed. The notes themselves fall well under the hand. What's a killer is that there's so much of it. It's a stamina problem, like the octaves in Erlkönig.
Sebastien Traglia Ass? Why?
It's not too bad. A lot of it just feels like arpeggiated chords. I think it sounds harder than it is, unlike a lot of Schumann's piano music, which is harder than it sounds.
Has anyone observed the moment at 23:04 and the rest about five seconds , the staccato note at the triplets sounding like a trumpet???
26:10 those staccatissimos
Thank you very much for posting the music! I love this great music very much. This is the really marvelous work by a genius.
26:07 I love it!
WONDERFULL! Thanks for posting this!!!!
The last movement I was waiting for that usual slower B section with the side theme where the poor pianist can catch his breath, but that never came.
Wow 22:29 reminds me of Debussy's "Jardins sous la pluie"
Wow I didn't realize that's amazing! Perhaps Debussy was influenced (?)
Juan Mas Choclán Great question, Debussy used melodies of popular French counting rhymes to compose Jardins sous la pluie so I don’t think that he was specifically inspired by This sonata. This particular bar is exactly similar to Debussy tho... That’s strange
@@juanmaschoclan Debussy loved Schumann and arranged a lot of his pieces. It's easy to believe that he got the idea for that piece from this sonata.
This appears to be a huge inspiration for Respighi's own sonata in F minor..
고딩때 옆방 피아노전공언니가 이곡을 치는데
와...진짜 너무좋아서 찾아본곡은 이곡이처음이었음
들을땐 좋은데...연습할때는...진짜 극악난이도입니다. 엉엉TT
I like Bob Schumann!
I love Robert Dylan
Lol
Ok, i'm quite suffering from this piece, cause all the melodies seem familiar to me, although i can not identify them; may you can help me? It's the main theme of the Scherzo 7:52, and then the second theme 10:00 Do you know pieces by Brahms that sound similar to that?
ok i think i founded it by myself, it's last movement of Brahms third sonata and last movement of his first piano concerto
both sound like brahms esp the first 7:52 tho which piece I know not...i will listen to 3rd of Brahms now ..
0:48 sounds very much like a theme in Brahms' First Rhapsody
Right. The theme in B major, if I remember correctly.
Brahms quoted Schumann very often; it'd take a real scholar to find all of the tidbits that Brahms took from Beethoven and Schumann.
Awesome! Just a question, which is the full name of the pianist? Is it Bernd Glemser?
29:03 Schumann Sonata 1 Introduction
I was listening to Chopin's three posthumous etudes, and the first one reminded me of something but i can't quite lay my finger on it
then I realized it's probably Schumann
then i realized it's the beginning of this
Hi Ashish. did you realize, that Bernd Glemser plays the first edition of the sonata while we watching the sheetmusic of the second edition. Despite....thanks for doing that video
He's actually playing a score that's a mix of both editions.
존나어려워보이잖아요 한양대님
"Florestan" the sonata.
Ashish Xiangyi Kumar, parabéns pelo seu maravilhoso trabalho. Ele vai além do tradicional, da simples postagem. Temos os comentários técnicos das obras, o que faz justiça à grandeza da obra. Essa leitura enriquece a apreciação das apresentações, temos o alcance artístico do que ela representa. O visual das partituras está magnífico. Fica à altura da alta cultura musical, além de que temos o luxo da sincronização, acompanhar passo a passo a apresentação das obras. Por último, mais importante, temos uma ótima seleção das peças musicais e com os seus virtuosos intérpretes. Estávamos precisando desse trabalho como o seu: beleza, técnica, arte.
BUt he should have mentioned that the best recording of this piece was made by Horowitz, live performance!
in the mov1 in 6:58 great fantastic
Herrlich !! Dankeschön Bernd Glemser
28:12 from fantastik music
Hello, thank you for this post. I'm curious how you assert that the notes of the theme of the variation movement spell out the name "CLARA" in German. Unless I'm missing something very obvious, they do not do that at all. C-Bb-Ab-G-F in German spelling is C-B-As-G-F. Could you explicate?
It would be C-H-As-G-F. Still, I am as lost as you.
@@calebhu6383 Since B-flat is "B" in German, it would indeed be C-B-As-G-F. ("H" is B-natural). And yes, I remain puzzled by the assertion. I think there is something very obvious that I am missing.
@@nicholasfox966 Yes, my mistake.
@@nicholasfox966 According to Robert Haven Schauffler, it is a theme that Clara wrote and variations of it are seen in many of Schumann's compositions, including the Symphonic Etudes and Kreisleriana. Not much to do with her name.
Part at 17:51 is fantastic
Very creative variation
Now finally this sonata seems a revelation . Its taken decades to feel anything but the last mov . The last mov iseasy to get though it is full of wild brashness and changes . When one contrasts the cycles with these Sonatas one sees why they are programmed less . Wild creations full of rare insight . Sonata 2 and 3 are really hard going to make sense of from the page . Hearing both of their wild changes of rhthms , keys , textures melodies overlapping . Both are wilder seeming than even Chopin Bb minor which is wild like Beethoven .Yet Chopin loved Missa Solemnis but understood so little of other Beeth. What did Berlioz ,Liszt and Chopin think of this man's wild originality ?
Chopin probably never heard this sonata. Chopin was very sophisticated, in his lifestyle and his compositions. Schumann seemed to him a bit of a brute, no doubt.
It is Brahms that sound like Schumann, not the opposite! Brahms learned a lot of his elder collegue.
Well, I would`nt go so far, but Brahms lacks Schumanns spontaneity. As opposed to Schumann, who`s music is organic, Brahms music seems constructed (with some exeptions (e.g. second Symphony).
knut haakenaasen That's a bit exaggerated if you ask me. Even if that's the common stereotype assigned to Brahms, a lot of his melodies are incredibly beautiful. Schumann is Schumann and Brahms is Brahms.
Brahms = Bach + Beethoven + Schumann - intrinsic inspiration + hard work. Brahms is a great example of how far acquired skill can take you when you lack a deep reservoir of creativity and vision. Schumann always sounded like spring and summer, Brahms always sounded like autumn and winter. If Schumann had had Brahms' technique or Brahms had had Schumann's creativity/vision/spontaneity, all I can say is...holy crap.
Sorry but this is rubbish, or I misunderstood it. Schumann doesn't need to hide from anyone in terms of "technique", his harmonies and structural ingenuity are second to none. The motivically-obsessed, Beethoven-like manner which you find in Brahms is just not the style he wanted to compose in. Although the first mvt of this sonata is a nice example of him very creatively transforming the descending note motive.
Also, the Brahms comment is ridiculous. You don't get to compose something like the Werther Quartet or the 2nd piano concerto without immense creativy or vision.
@@MaestroTJS the argument of Brahms not being super creative and only being a hard worker is something I remember reading a long time ago in some book about Brahms. So I know some people say that about him, buy I spontaneously disagree. Brahms has a uniquely deep and dark sound, his music makes me see through vast abysses in a way that none other does, and I can't call that anything else than pure and deep creativity. **Going to listen to Brahms piano quintet**
25:02
This.
Schumann always makes great use of circle of fifths progressions. Not too common to the point of being overused similarly to baroque and early classical, but used with great discipline to keep it a treat for every listen!
Others with similar mastery: Brahms, Bruckner, Medtner.
고맙습니다
楽譜がついているのが良いです👍
*So romantic.* It shows alot on Florestan.
В детстве вёл переписку с Инной шуманн.
Не родственники они были???я жил тогда в Ленинграде.
Мне нравится эта музыка 🎶
Sounds like he didn't take his medication.
Lol
Back then they treated bipolar disorder with mercury, so perhaps it's for the better
Thank you so much for the analysis! It helped me so much to understand and appreciate more this great, painfully beautiful piece. Could you also explain how the theme notes represent the name Clara?
I realize you wrote this a year ago but if you're still interested, the Clara theme is represented by a descending perfect fifth. Any time you see a falling fifth in Schumann's repertoire, there's a good chance it's a reference to Clara. The theme is presented in this Sonata as a fifth from C down to F, with notes Bb, Ab, and G in between. The reason that a perfect fifth represents Clara's name, to my understanding, is because there are five letters in her name.
awesome
Not sure 'Glemser' has earned last-name-only status. This is a really nice recording, though. I'll be looking out for more from him or her.
From which piece by Clara did Schumann use for his variations???
Not bad, but I prefere Pollini. There all is fire and passion with great technique.
Not bad? Who are you
@@exequielchuaqui5968 I have simply expressed my taste. I am sorry if I hurted you. It was not my intention.
Beautiful melodi 🎹🎼👏
The chord of the third movement sounds like the first one of Rach piano concerto number... meh, I don't remember the number. You know what I mean.
Beautiful
Is there any person who know why no.3 sonata is op.14? No.2 sonata is op.22! What happened?
This is a great and under appreciated work by Schumann and deserves attention by all the serious top notch pianists. I'm glad you love Glemser's performance but can't say I do. High marks for clarity though - perhaps too much emphasis on clarity, for the nature of work. I'll look for some other recordings, perhaps the Pollini mentioned below, though he can be overly reserved with the Romantics ..
Grigory Sokolov's recording here on YT is worth checking out - it's a live recording. Another is by Alexei Volodin - a full, rich, passionate sound, perhaps the tempo is pressed at times - a nice contrast to Glemser's rendition.
No I assure you, this is the *best* recording of this piece - Glemser's overall sense of direction is everything one could hope for, even though there are a few small areas I might play differently. The storytelling in each movement is much more direct compared to Sokolov or Pollini, and Glemser's dynamics and pedaling have so many nuances which really carry the unique structure of the sonata. The pacing in the first three movements is excellent, and the last movement is near perfect. Glemser doesn't ever do anything gratuitous, and he doesn't play to sound pianistic; he brings out a vocal quality in every line.
@@anotherdepressedmusician "No I assure you, THIS is the BEST recording of the piece" - - too funny!! Anyone would have a tough time proving a "best" of anything when it comes to such subjective areas. But your conviction and commitment is clear.
@@brynbstn Your quote isn't accurate - I didn't write that sentence so enthusiastically. It was more about adamancy than enthusiasm. Obviously we can't compare different pianists' musical ideas on a direct scale of bad to good, because they're different of course. But you can explain the coherency/cohesion of one pianist's interpretation to another, accounting for how all their different ideas fit together, and how convincing the overall performance ends up being. Art in general is about communication - which art communicates its intent well, and which communicates it poorly? My attempt to outline which aspects of Glemser's playing give him the best overall coherency was just my hope to be logical (as far as logic goes here...)
Horowitz is always worth checking out when it comes to Schumann
Magnificent!!!
Schumann is so hard to master, exceeding Chopin and Lizst I would say, and I think he is the same level as Rachmaninoff
i think Shostakovich tops the list of hardest piano music to master
@luciddreamerROM Maybe in a broader performance sense, but many of the composers you listed were kinder on a purely pianistic level than Schumann, I think.
I mean liszt's sonata in b minor is even harder to interpret.
@@p-y8210 Haha 1 year ago I was still a dumbasslol
f minor (1st movement)
Deep depression, funeral lament, groans of misery and longing for the grave.
D♭ Major (2nd movement)
A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.--Consequently only unusual characters and feelings can be brought out in this key.
f minor (1st movement)
Deep depression, funeral lament, groans of misery and longing for the grave.
www.wmich.edu/mus-theo/courses/keys.html
Fast Schumann is a little busy for me, the slower sections though, BEAUTIFUL!!!!!!
benjamin beam Schumann is never beautiful
chris, I agree. schumann is beautiful beyond belief!!
Schumann is never beautiful?! Wha'??
c
NEVER?! HIS MUSIC IS MORE BEAUTIFUL THAN WORDS CAN SAY!
+c never beautiful? You must be a musical dolt. His music is some of the most beautiful created. You do have to be intelligent to understand its complexity, though. I’m sorry it’s beyond your comprehension.
Mi piacciono Horowitz e Glemser
Somehow it sounds really like Rachmaninoff. Especially the beginning...
Rachmaninov came after!!!!!!!
@@romanleon76 What? I just said, that the beginning is very Rachmaninoff like.