Published in 1834, Schumann's Toccata for piano well
lives up to its name, demanding a pianist of exception technique. Taking its
title from the Baroque toccata, or "touch piece," in which the primary focus
was a display of a performer's technique, Schumann then infuses the piece with
a wholly Romantic expression.
Cast in sonata form, the work opens with bold chords in a
syncopated rhythm. The principle theme, announced in broken chords requiring a
continuous rocking motion of the hands, begins the moto perpetuo of
sixteenth notes. Little relief comes in the secondary theme, first heard in the
left hand and then in octaves in the right. The development section is even
less forgiving. From chords spanning more than an octave to the recurring
passages written in octaves, the performer's abilities is brutally taxed. Even
more so, from such extremities must come music! The syncopated chords herald
the return of the first theme and, thus, the recapitulation. Unrelenting, the
music pushes on as if out of sheer force before it seems to collapse just shy
of its goal, concluding with full, yet quietly sounded, chords.
Though published in 1834, it appears that the Toccata
was devised years earlier possibly as a means for Schumann to test his own
virtuosic abilities. After his piano career ended abruptly due to a hand
injury, the work was revised and then published. Later it would be a
substantial piece in Clara Wieck's repertoire.. Joseph DuBose
Classical Music | Piano Music
Robert Schumann
Toccata in C Major, Op. 7 Play
Recorded on 02/20/2007, uploaded on 01/26/2009
Musician's or Publisher's Notes
Published in 1834, Schumann's Toccata for piano well lives up to its name, demanding a pianist of exception technique. Taking its title from the Baroque toccata, or "touch piece," in which the primary focus was a display of a performer's technique, Schumann then infuses the piece with a wholly Romantic expression.
Cast in sonata form, the work opens with bold chords in a syncopated rhythm. The principle theme, announced in broken chords requiring a continuous rocking motion of the hands, begins the moto perpetuo of sixteenth notes. Little relief comes in the secondary theme, first heard in the left hand and then in octaves in the right. The development section is even less forgiving. From chords spanning more than an octave to the recurring passages written in octaves, the performer's abilities is brutally taxed. Even more so, from such extremities must come music! The syncopated chords herald the return of the first theme and, thus, the recapitulation. Unrelenting, the music pushes on as if out of sheer force before it seems to collapse just shy of its goal, concluding with full, yet quietly sounded, chords.
Though published in 1834, it appears that the Toccata was devised years earlier possibly as a means for Schumann to test his own virtuosic abilities. After his piano career ended abruptly due to a hand injury, the work was revised and then published. Later it would be a substantial piece in Clara Wieck's repertoire.. Joseph DuBoseMore music by Robert Schumann
Maerchenbilder for viola and piano - I mov, op.113
Carnaval, Op. 9
Adagio and Allegro, Op. 70
Wehmuth, from Liederkreis, Op. 39
Novellette no. 6 in A Major: Sehr lebhaft mit vielem Humor, from Novelletten, Op. 21
Nur wer die Sehnsucht kennt, from Lieder und Gesänge aus Wilhelm Meister
Intermezzo
Presto Passionato in g minor, Op. 22a
Faschingsschwank aus Wien, Op. 26 (Carnival of Vienna)
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Performances by same musician(s)
Meditation, from 18 Pieces, Op.72
Piano Sonata No. 8 in a minor, K 310
Russian Dance, from 12 Pieces, Op. 40, No. 10
Etude Op. 25, No. 2 in F minor
Liebesträume No. 3 in A-flat Major (Dreams of Love)
Etude Op. 25, No. 1 in A-flat major
Sonata No. 7 in B-flat Major, Op. 83
Etude Op. 25, No. 12 in c minor
Aufschwung (Rapture), from Fantasiestücke, Op 12
Hungarian Rhapsody No. 6 in D-flat Major
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