Sonata for violin & piano No. 1 in A minor, Op. 105
Sonata for violin & piano No. 2 in D minor, Op. 121
Sonata for violin & piano No. 3 in A minor, WoO 27
Robert Schumann's three sonatas for violin and piano were rarely played until the end of the 20th century, but they have gradually come to be seen as complex, original, rather thorny works that must have made a great impact on the young Brahms with their combination of expressiveness and thematic unity. Like Mozart and Beethoven, Schumann studied Bach's music closely toward the end of his creative life, and those studies are evident in a certain soberness as well as the overall thematic economy. Yet the works are full of ...
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Robert Schumann's three sonatas for violin and piano were rarely played until the end of the 20th century, but they have gradually come to be seen as complex, original, rather thorny works that must have made a great impact on the young Brahms with their combination of expressiveness and thematic unity. Like Mozart and Beethoven, Schumann studied Bach's music closely toward the end of his creative life, and those studies are evident in a certain soberness as well as the overall thematic economy. Yet the works are full of highly original devices such as the extended pizzicato passage in the slow movement of the Violin Concerto No. 2 in D minor, Op. 121, of 1853. Violinist Anthony Marwood and pianist Aleksándar Madzar, who have recorded Brahms' sonatas in this same series, do well with these in this live performance from London's Wigmore Hall (there is hardly a crowd noise to be heard). In the outer movements, which have a restless, difficult quality, he may be a bit too by-the-book (or by-the-notes) for...
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