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Fermette cette nuit dans les veine de Dieu This night is fermenting in the veins of God ROBERT SCHUMANN (1810-1856) Piano Quartet in E flat major, Op. 47 As a critic, Schumann viewed the “proper” string quartet as a continuation of the classical style with its conversational texture where “everyone has something to say” and where “symphonic furore” should be avoided. In 1842, Schumann focused almost exclusively on chamber music, studying the string quartets of Haydn and Mozart and completing contrapuntal exercises. It is no surprise then, that his first compositional fruits were his three String Quartets, Op. 41. For his next project, Schumann decided on more Romantic genres by including the piano for his Piano Quintet, Op. 44, and the Piano Quartet, Op. 47. These more Romantic genres called for a different compositional

Schumann composed a work that is concise and clear. While he borrows stylistic ideas from earlier composers, the compositional voice is unmistakably his. The work begins with a slow introduction that will eventually become part of the sonata form plot—similar to Mendelssohn’s Midsummernight’s Dream Overture. The ensuing Scherzo actually has two trios—just like Mozart’s “Stadler” Quintet. The aria-like qualities of the third movement seem to show traces of Beethoven, while the last movement is full of counterpoint—a common trait of late Mozart and Beethoven. Most importantly, however, Schumann is able to seamlessly integrate all of these stylistic traits into his own, highly expressive style, thereby offering Romantic chamber music that points toward a neo-classical style—a style music critic Eduard Hanslick would later describe as “absolute music.” - Siegwart Reichwald

Composed in 1842 during Schumann’s “Chamber Music Year,” the Piano Quartet is a deeply Romantic statement build upon a reflective introduction, song-like melodies, and a lively scherzo.

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CHAMBER

Poéte, prends ton luth; le vin de la jeunesse Poet, take up your lute; the wine of youth

approach, as this type of chamber music occupies an intermediary position between private entertainment and public concert. His Piano Quartet lives at this intersection, with its intimate sounds and yet symphonic approach to form.

JULY 24

Clarke inscribed her Viola Sonata with a quotation from La nuit de mai (1835) by Alfred de Musset:

Profile for Brevard Music Center

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...