Musician's or Publisher's Notes
I. Introduzione: Andante espressivo - Allegro II. Scherzo: Presto. Intermezzo III. Adagio IV. Presto
1842 was the year of chamber music for Robert Schumann (as 1840 and 1841 were the years of song and of orchestral music, respectively), and he commenced his remarkable instrumental explorations with the three string quartets eventually published together as Opus 41. While there is a great "pianistic" feel and a general lack of independence between the voices in these quartets, their lack of use of the dry cliches of the mid-nineteenth century and their intensely expressive musical poetry more than compensate. The Quartet in A minor, Op.41, No.1 was actually the last of the group to be finished (though there is good evidence that Schumann worked on all three more or less simultaneously). However, this quartet has a sizeable, dramatic introduction to recommend it as the opening work of a cycle.
The first of the work's four movements is in many ways the most unorthodox. The primary theme of the movement, introduced after the extended introduction (marked Andante), reflects in miniature the tonal organization of the entire three-quartet cycle. Like many of the composer's works, there is really no second theme-proper, but rather a clever reorganization of the lilting six-eight melody that opens the exposition. This single idea is played out, almost obsessively, throughout the development.
Schumann chooses to place the scherzo second. It is also in six-eight, but with much greater vitality than the subdued opening movement. The melody of the lovely Adagio third movement features gentle arpeggiations in the cello to support the first violin's song; the two switch roles a short while later. The placid atmosphere is interrupted, briefly, by a stormier central section.
The energetic, marcato main theme of the Presto finale, is positively bursting with rhythmic and developmental possibilities, of which Schumann makes good use. Like the first movement, there is no true second theme, but rather a continuous unfolding of elements from one basic idea. A Moderato digression and a coda employing only subsidiary thematic ideas draw the work to a close. The Haussman Quartet
Classical Music | Music for Quartet
Robert Schumann
String Quartet No.1 in a minor, Op. 41, No. 1 Play
Recorded on 10/27/2010, uploaded on 03/11/2011
Musician's or Publisher's Notes
I. Introduzione: Andante espressivo - Allegro
II. Scherzo: Presto. Intermezzo
III. Adagio
IV. Presto
1842 was the year of chamber music for Robert Schumann (as 1840 and 1841 were the years of song and of orchestral music, respectively), and he commenced his remarkable instrumental explorations with the three string quartets eventually published together as Opus 41. While there is a great "pianistic" feel and a general lack of independence between the voices in these quartets, their lack of use of the dry cliches of the mid-nineteenth century and their intensely expressive musical poetry more than compensate. The Quartet in A minor, Op.41, No.1 was actually the last of the group to be finished (though there is good evidence that Schumann worked on all three more or less simultaneously). However, this quartet has a sizeable, dramatic introduction to recommend it as the opening work of a cycle.
The first of the work's four movements is in many ways the most unorthodox. The primary theme of the movement, introduced after the extended introduction (marked Andante), reflects in miniature the tonal organization of the entire three-quartet cycle. Like many of the composer's works, there is really no second theme-proper, but rather a clever reorganization of the lilting six-eight melody that opens the exposition. This single idea is played out, almost obsessively, throughout the development.
Schumann chooses to place the scherzo second. It is also in six-eight, but with much greater vitality than the subdued opening movement. The melody of the lovely Adagio third movement features gentle arpeggiations in the cello to support the first violin's song; the two switch roles a short while later. The placid atmosphere is interrupted, briefly, by a stormier central section.
The energetic, marcato main theme of the Presto finale, is positively bursting with rhythmic and developmental possibilities, of which Schumann makes good use. Like the first movement, there is no true second theme, but rather a continuous unfolding of elements from one basic idea. A Moderato digression and a coda employing only subsidiary thematic ideas draw the work to a close. The Haussman Quartet
More music by Robert Schumann
Maerchenbilder for viola and piano - I mov, op.113
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
Carnaval, Op. 9
Adagio and Allegro, Op. 70
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)
Adagio and Fugue in c minor for String Quartet, K. 546
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