Manual Märchenbilder, Op. 113 (Violin Part)

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These participants also get access to their "intern"'-section. Musicalion Player Add new recording. Free sheet music for members. I still view them as the best works of my earlier period, and Mendelssohn often expressed a similar opinion to me. Schumann intended the three quartets to be played as a cycle, and thus an overarching structure runs across them.

Schumann, R :: Marchenbilder op. 113 [Fairy-Tale Pictures Op. 113]

Its melody goes through a process of strophic variation, a technique Schumann used ubiquitously in his songs. In the final Presto, imitation and counterpoint are constant — never can one idea exist without something complementary to steer it forward.


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The third-movement scherzo flows from a vast violin arpeggio, while the accompanying instruments obscure the rhythmic flow with syncopation. The quartet concludes with a spirited Allegro molto vivace folk dance, in which the instruments seem to depart from their proscribed parts for moments of humorous imitation and improvisation. A series of cello runs at an increasing pace brings the other instruments along for an animated final cadence.

Schumann Märchenbilder op.113 mvt.1&2

The theme of the Assai agitato theme and variations movement only becomes apparent in a later variation, when it is presented in a gloomy canon between first violin and viola. Schumann writes rhythms that are equally unclear — only partway through the first variation does the downbeat become apparent. A constant dotted rhythm provides unity between the contrasting sections, returning to bounce the quartet to its rousing conclusion.

Could anything be more logical? But prior to Schumann, piano quintets had employed a double bass in place of the second violin.

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Schumann dedicated the quintet to its intended pianist, his wife Clara, and the piano is central to this work. Clara did not play in the first performance, however, as she fell ill and their friend Felix Mendelssohn stepped in at the last minute. Mendelssohn left his own mark on the piece by suggesting some changes to the piano part — perhaps this is part of why Franz Liszt found the quintet too conservative. From the beginning, though, others were enchanted by the piece, even Richard Wagner, who almost always disliked Schumann.

Fairy Tale Pictures, Op. for Viola and Piano | Southwest Strings

Sonatas for viola and piano composed by Julius Harrison, Arthur Bliss and Arthur Benjamin - composers whose early careers were interrupted by military service to Britain during World War I. The inherent understanding of Patricia McCarty and Eric Larsen and their spot-on choice of tempos are much to be admired This is a most worthwhile and musically valuable recording all round.

However, the real discovery and treasure is to be found in English composer Julius Harrison's Sonata in C minor - a very beautiful but neglected work It is exquisite music, exquisitely played with a very warm sound. The interpretation of all the works is most imaginative, sensitive and musically very expressive.

Eric Larsen's playing rounds out superb ensemble performances. My favorite movement is a fast and furious furiant [Bliss Sonata] that McCarty plays at full speed, at full volume, and with full precision.

Fairy-Tale Pictures for Viola and Piano op. 113 - Edition for violin - violin and piano - (HN 694)

It is extremely impressive. This is a vinyl LP. Please contact us for purchase information.

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