Mit leidenschaftlichem Ausdruck [With passionate expression]
Allegretto
Lebhaft [Lively]

Schumann often composed in bursts of creative speed, and his Violin Sonata No.1 Op.105 was written in less than a week in September 1851 – starting on his wedding anniversary (12 September) and finishing five days later. Originally he described the work as a ‘Duo for piano and violin’ and it was the first of what Linda Correll Roesner has described as ‘an exceptional group of three chamber works’ written within a couple of months – along with the Piano Trio in G minor Op.110 and the Violin Sonata No.2 Op.121. In his articles, Schumann often wrote about the challenges of musical form for any composer after Beethoven. In this sonata, Schumann uses great economy of means, evident right from the start: the themes of the first movement are based on a limited range of notes, characterised by a falling semitone figure that is heavy with melancholy. The central movement is less anguished – a kind of quirky intermezzo in F major –while the finale is urgent and uncompromising. Near the close, a recollection of the sonata’s opening theme is undermined by the restless, rapid semiquavers that dominate the movement.

The sonata was first played by Joseph von Wasilewski (leader of Schumann’s orchestra in Düsseldorf) and Clara Schumann, at a private run-through on 16 October 1851. The public premiere was given a few months later in Leipzig on 21 March 1852, performed by Ferdinand David with Clara Schumann. Both Clara and Wasilewski recalled playing the piece through for Schumann. According to Clara, ‘I was so restless, I had to try Robert’s new sonata this very day. We played it, and were particularly moved by the very elegiac first movement and the lovely second movement. Only the somewhat less charming third movement caused us some difficulty.’ Wasilewski recalled that ‘on the whole Schumann was satisfied with my performance. Only my playing of the finale failed to please him. We went through it three more times, but Schumann said that he had expected the violin part to have a different effect. I was unable to convey the unyielding, brusque tone of the piece to his satisfaction.’ The finale clearly proved troublesome for both pianist and violinist. Clara’s suggestion that it is ‘less charming’ is puzzling. While the music is indeed brusque (as Wasilewski says) – Schumann resists any hint of easy allure by interrupting its more tender moments with abrupt chords – it is strong and intense, bringing this highly original piece to an impassioned conclusion.

Nigel Simeone ©2014