Violin Sonata No. 2 - Violin

Sonata for violin & piano No. 2 in C major, Sz. 76, BB 85
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dvigavto23.ru/includes/67.php Composer or Director:. Robert Schumann.

Itzhak Perlman, Bach Sonata No.2 in A minor BWV 1003

Magazine Review Date:. Media Format:.

Catalogue Number:. Robert Schumann Composer.

Sonata for Violin and Piano No. Follow us. Editor's Choice.

About the Work

Violin Sonata No.2, Op No.2 (Beethoven, Ludwig van) Performers, Wolfgang Schneiderhan, Violin - Wilhelm Kempff, Piano. Publisher Info. Deutsche. Misc. Notes, # Colour scan with digital watermark # This file is part of the Sibley Mirroring Project. # Original images: dpi, color jpg.

Am I right? His fragile mental health, frequent irritability and incompetence as a conductor seriously strained his relationship with the orchestra musicians, and he was bluntly told to focus on composition. Great surges and emotional upheaval permeate much of the composition, and Clara could never come to terms with the concluding movement. Schumann was seemingly unable to find a satisfactory musical solution to the work, and it is worth remembering that only a couple years later he attempted to commit suicide by jumping into the icy waters of the Rhine River.

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Within a few weeks after finishing his first violin sonata, he wrote a second work for the same combination of instruments. Violin Sonata No.

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Robert Schumann Composer. The whole has a symmetrical structure: the first two parts are conjoined and performed attacca , and so are the last two. Ballades, Op. Two further ideas alternate with this melody in a rondo-like design: a broad, warmly expressive violin theme characterized by its initial falling octave, and a more reserved cantabile melody underpinned by elusive chromatic harmonies. A second melody, announced espressivo on the violin, hovers hauntingly between E major and the remoteness of F minor; its subsequent developments, often in canon, attain a moving intensity, impassioned yet restrained. It is a language full of purely tonal turns, abounding in unexpected harmonic ideas and extreme melodic chromaticisms, the semitonal motifs, rhythmically changeable and permeated with polyphony.

This they will do ad libitum, perhaps several times in the course of one tune. Hence at times peculiar leaps of a seventh occur.

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