# Schumann violin concerto



## otterhouse (Sep 6, 2007)

The slow movement of Schumann's violin concerto (how do you write that, "violin concerto" or "violinconcerto?) was written at the end of his life. Yet, this moment, written when he already was described as "mad", is one of his most personal and most beautiful compositions. I uploaded a rare LP version by Peter Rybar from a Concert hall LP (issued 1951 but recorded in 1948) on youtube:






I am curious what you think of this piece and performance!

Greetings,
Rolf 
Netherlands


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## Yosser (May 29, 2009)

otterhouse said:


> The slow movement of Schumann's violin concerto was written at the end of his life. Yet, this moment, written when he already was described as "mad", is one of his most personal and most beautiful compositions. I uploaded a rare LP version by Peter Rybar from a Concert hall LP (issued 1951 but recorded in 1948) on youtube:
> 
> 
> 
> ...


Don't know whether you're still around Rolf. If so, you will have been very disappointed by the lack of response to this post.

As regards the concerto, you are presumably familiar with its history i.e. that it was written for Joachim, who not only never played it, but with the complicity of Clara and the young Brahms, gave it to a library with the stipulation that it was not to be revealed until a century after Schumann's death. In fact, via mysterious circumstances that have never been adequately explained, it was discovered 20 years earlier than this and, after squabbles about rights, the first performance was given by Kulenkampff, followed by Menuhin, who had been approached by a publisher and asked for his opinion.

I don't think we really know for sure why Joachim suppressed it. Deficiencies in the orchestration is possibly the reason for Brahms' complicity -- he was a notorious perfectionist and terrified of leaving a work of his own that did not meet his own very high standard. It has been suggested that Joachim felt it was morbid, and one has to understand this in the context of Schumann's illness. At the time, mental illness was a taboo subject, something to be ashamed of. Joachim's motive may have been to protect Robert's 'good name', possibly for Clara's sake. We will never know.

As to the music, I think it is quite sublime. I have never played it, but I have played the sonatas and got utterly hooked on them. Anyone who thinks Schumann could only write for the piano is obviously not a violinist (or for that matter a cellist).

However, it's easy to see the difficulties in bringing the piece off in the concert hall. It is so introspective. Compare this with the drama of the Brahms, the melodic innocence, almost naivety of the Mendelssohn, the melodrama of the Bruch, the vivacity of the Tchaikovsky, and add in this century the Sibelius and the Berg. It's not surprising that the Schumann appears relatively rarely in concert. I'm sure violinists would love to play it, but recognize that even a stunning performance is not going to move a typical audience to a standing ovation.

I liked Peter Rybar's performance of the slow movement but was not awfully impressed with the orchestra. Kulenkampff's interpretation is available on YouTube, along with Menuhin's and Szeryng's. I like Menuhin's in particular, though the sound quality leaves a lot to be desired.

Thank you, Rolf, for the post and I hope you get to read this very belated response.


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