# Schumann and the String Quartet



## ProudSquire

I understand that Schumann had composed 3 string quartets, but they are rarely mentioned. From what I've heard, they seem fine to me, albeit, the music at times doesn't sound like chamber music. Maybe it's because he composed them in such a short period of time that they came to be this way. I don't really know, but what say you?

Do you like Schumann's style of composition for string quartet, or do you find his efforts lacking?


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## Novelette

There is nothing that Schumann composed that I dislike.

Schumann decided to tackle the string quartet genre, "the ultimate test of a composer", during his middle years. Schumann had long been criticized for having written only piano music during his early career, and so decided to prove himself competent at virtually every genre of music. He set about studying the late string quartets of Beethoven, as well as the Op. 76 quartets of Haydn, in order to familiarize himself with the art and the mechanical principles of quartet writing. His quartets were written in fairly short order and were largely composed in a conservative style to calm his more outspoken critics--those who criticized him for deviating from classical norms in his piano works.

Schumann dedicated the three quartets to his dear friend, Felix Mendelssohn, who expressed his admiration for these works [high praise indeed from Mendelssohn!]. These works are heavily contrapuntal, especially the nearly canonic introduction to the A Minor Quartet's first movement. Yet still, there is a distinct voice pervading these works that is unmistakably Schumann's. I find these excellent works, and worthy members of the genre. It's a pity that Schumann left us only three string quartets, however, they are sophisticated and ingenious works, revealing the hand of a master composer.

I find the third movement of the A Major quartet to be one of Schumann's most introverted works--it is very personal and intimate. The finale of the F Major quartet has an almost Haydn-esque wit to it: playful and a bit unconventional in form, but certainly not very lyrical. Schumann was not noted for his humor, but we get a rare, and pleasant, look at the less serious side of this very serious man.

All in all, I would count them invaluable works worthy of its place among the other, more famous works.


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## Novelette

I'm pretty much obsessed with Schumann. He never gets old for me.


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## ProudSquire

That's good to know. I do enjoy Schumann's music, and quite a lot in fact. I just a tad curious about the quartets, because they are very much excellent works, but you hardly seem them being mentioned. Perhaps a lack of exposure is the cause? As for me, I'm glad I discovered them. :]


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## Novelette

Chamber music is a difficult genre for most people to listen to, even more so than most other genres within the domain of classical music. There is little programmatic content, they are just pure music... almost completely abstract. Also, the very limited acoustic color of the instruments makes it very difficult to arouse much interest in most peoples' imaginations--that same acoustic limitation is the reason that the quartet is considered the most challenging genre, by some at least.

Schumann's works in general, with a few major exceptions, aren't so traditionally melodic. Schumann used harmony and modulation in very creative ways to give his melodic lines a more flexible characteristic than we would normally find in works of a more restrictive tonality. That's what made his music so difficult for me to listen to, at first. His string quartets are especially notable for this, an unorthodox style of sonority. They are less "direct" than Beethoven's or Mendelssohn's string quartets.

It took me some time to become attached to these works, but I've discovered much richness in them. This discussion inspired me to listen to the F Major quartet. Amazing music. 

I'm glad you discovered them too, they deserve more recognition.


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## ProudSquire

I agree that chamber music as a whole is a bit difficult to to get into at first, it's only after repeated sessions of listening does one begin to savor the wonder that is chamber music. I think I'm more drawn to it because of it's abstract and intense nature, and even when a composition strikes me as unusual at first, I'm still able to find bits and odds in the work that I can appreciate. It's rather ironic because, the main reason I wanted to listen to those Schumann quartets was so that I can listen to that distinct melodic Schumann sound. But as you mentioned above, the quartets are not melodic in nature, rather they are reinforced by a strong harmonic backing. All in all, they are remarkable pieces of music and should be indulged in as often as possible.


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## Novelette

It was that strangely non-melodic aspect of Schumann's music, and to a lesser extent, Brahms' music, that turned me off to his music. But as years passed and I began to appreciate more than a simply impressive presentation or a beautiful melody, I found an entire dimension of depth and subtlety that I had never before imagined.

The constraint placed upon composers to create different sonorities with the same limited timbres is what has made me appreciate the whole medium. There is so much difficulty in coordinating the voices in such a way as both to create harmonic momentum but also inherent expressiveness, that I have come likewise to regard the string quartet as among the most impressive, and most difficult, genres.


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## ProudSquire

For me, I've always found or rather regarded Schumann as an excellent melodist, and so, when I was exposed to his non-melodic side I was a bit startled. I remember, my first encounter with his work were his first two symphonies, which I immediately fell in love with because, they were so rich in melodies. Albeit, I do agree with you that even if a piece of music is not exuding a sense of strong melodic inventiveness, it does not necessarily make it a lesser work. As you pointed above, there are other areas that more than compensate for it, and often times propel it to an even higher plateau.

I've always struggled with Brahms' music, so I can align myself with you in that regard. Now I've come to love the guy, I'm just a bit unhappy that it took me quite some time to truly appreciate his music. I suppose it's was best that I was ever so late, and not late at all.


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## Novelette

It took me years to come to appreciate these titans, too. My first exposure to Schumann was "Estrella" from Florestan, of which there was a clip in Microsoft's Encarta PC Encyclopedia, and I also knew "Traeumerei". The exposure that followed, and one that dominated my impression of Schumann for nearly ten years, was the first movement of the second symphony. That movement made no sense to me whatsoever, it sounded rambling--utterly without direction. That was all that I listened to, I didn't bother listening to the rest of the symphony [alas!].

My impression of Schumann changed when I listened to the Piano Quintet. I realized immediately that I harshly misjudged Schumann. Perhaps he isn't always conventionally melodic [with the exception of his lieder and a few piano pieces], but his works are irresistibly compelling. It actually worked well for me that I waited so long to explore Schumann's works thoroughly, it was only recently that I became "musically mature" enough to appreciate Schumann's unique genius.


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## ProudSquire

I wholeheartedly share that exact sentiment with you about the first movement of the second symphony. it's devilishly charming, I'm still waiting for the day when that spell it has on me is dispelled, although, deep down in the inner chambers of my heart, I'm praying that that day never comes. To venture off slightly, I think my infatuation with the with first two symphonies may have caused me to rebel rather harshly towards his last two installments in the genre. 

I have yet to listen to the piano quintet, but I can already imagine myself by enamored by it.


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## violadude

The string quartets of Schumann were actually the first things of his that I really got into. Oddly enough, Schumann is a composer that I didn't really warm up to immediately like a lot of people seem to. I've actually been quite lukewarm about his music up until quite recently, but now I've been getting used to/starting to appreciate his style more. The first quartet that got me was the F major one. The melody in the first movement is so irresistible, the variations are great, the third movement is predictably fun but the finale even more so, with lots of jumps and surprises. In my angsty teenager years when I first heard these pieces, I really didn't like the a minor quartet because I was in the "I only like minor key stuff" phase that a lot of people go through and I felt like it was a rip off that the first movement proper was actually in a major key once the introduction was over haha. Now it's right next to #2 in my estimation of it. #3 I like only slightly less because I feel like the first and last movements get a little too repetative, but I do love the ambiguous way he starts off that quartet. And then once the movement proper begins, it still takes a couple phrases to finally reach a solid A major chord. Like Novelette, I also really like the 3rd movement of the 3rd as well.


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## violadude

Also, I hope I'm not derailing the thread too much, but Proudsquire and Novellete you guys seem pretty knowledgeable and experienced with Schumann so I feel compelled to explain my feelings about his music to see what your reaction is. 

I've always been told that Schumann's music (particularly his piano music) is very personal. In some ways I can hear this, but to me, a lot of his music sounds a little bit impersonal to me. Sometimes, I feel like the emotions he is expressing are less realistic caricatures of realistic emotions. In a way, it sort of sounds like he is trying to tell his life story to children through a story book. They aren't old enough to handle truly realistic versions of emotions, so the emotions are sort of presented in a condensed, for kids version that are not too heavy. I don't know why I feel this from his music, but maybe you have some insight on it. Also, Novellete, you say Schumann's music is very serious and not known for it's humor. That's not the impression I have got so far. When I listen to pieces like Carnaval and Papillons they don't sound too serious at all. The most serious sounding piano piece I've heard from him I think is Kreisleriana. Anyway, I'm not really challenging your statement by the way, just trying to get a better understanding of Schumann's music than I have now.


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## jurianbai

The quartet composed in 1842, in only five weeks. It was after Mendelssohn's Op.44 (also a set of three string quartet, 1838). While Brahms take op.51 string quartet no.1 and no.2 in 1865. So that Schumann was only having Beethoven, Schubert and Mendelssohn as his main study to composed this set in given time.

I also not sure why Schumann's always eclipsed , even by Mendelssohn, not to mentioned Schubert and Beethoven. I like to listen these three string quartets by Schumann. I remember the piece included passage with technically difficult/virtuoso playing. I notice that most of string quartet competition now also play Schumann. Especially no.1 in Am. Last, I think Schumann' string quartet is on rising popularity recently with CD of this keep coming out.

I listen to Eroica String Quartet, label Harmonia Mundi.


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## ProudSquire

@Violadude

I'm not certain that I'm quite knowledgeable about Schumann's music just yet , but I can sort of understand your reaction to his music. Since Schumann suffered from sever episodes of depression, so intense were those episodes that they almost caused him his life, I feel that his music seems to be a representation of those events, but in a veiled manner. And I think that's why the emotions in his music appear fragmented and not fully realized. It's like he was almost too afraid to let anyone into his world, and only dispersed his emotions ever carefully. I do feel the intimacy in his piano music, but often times it sounds anonymous, as is the case with some of his music. I think more than anything, his suffering from manic depression had a lot to do with the way his music came to be. Of course, this all mere speculation on my part, but perhaps someone more knowledgeable might enchant us.


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## violadude

Novelette said:


> It took me years to come to appreciate these titans, too. My first exposure to Schumann was "Estrella" from Florestan, of which there was a clip in Microsoft's Encarta PC Encyclopedia, and I also knew "Traeumerei". The exposure that followed, and one that dominated my impression of Schumann for nearly ten years, was the first movement of the second symphony. That movement made no sense to me whatsoever, it sounded rambling--utterly without direction. That was all that I listened to, I didn't bother listening to the rest of the symphony [alas!].
> 
> My impression of Schumann changed when I listened to the Piano Quintet. I realized immediately that I harshly misjudged Schumann. Perhaps he isn't always conventionally melodic [with the exception of his lieder and a few piano pieces], but his works are irresistibly compelling. It actually worked well for me that I waited so long to explore Schumann's works thoroughly, it was only recently that I became "musically mature" enough to appreciate Schumann's unique genius.


The piano quintet is one of the things that started changing my mind about Schumann as well! What a coincidence.

The section starting at 0:31 in this recording this melted my heart haha.


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## violadude

TheProudSquire said:


> @Violadude
> 
> I'm not certain that I'm quite knowledgeable about Schumann's music just yet , but I can sort of understand your reaction to his music. Since Schumann suffered from sever episodes of depression, so intense were those episodes that they almost caused him his life, I feel that his music seems to be a representation of those events, but in a veiled manner. And I think that's why the emotions in his music appear fragmented and not fully realized. It's like he was almost too afraid to let anyone into his world, and only dispersed his emotions ever carefully. I do feel the intimacy in his piano music, but often times it sounds anonymous, as is the case with some of his music. I think more than anything, his suffering from manic depression had a lot to do with the way his music came to be. Of course, this all mere speculation on my part, but perhaps someone more knowledgeable might enchant us.


Ya, the part about the intimacy in his piano music sounding anonymous is a good way to put it. That's how I hear it too.


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## Novelette

violadude said:


> Also, I hope I'm not derailing the thread too much, but Proudsquire and Novellete you guys seem pretty knowledgeable and experienced with Schumann so I feel compelled to explain my feelings about his music to see what your reaction is.
> 
> I've always been told that Schumann's music (particularly his piano music) is very personal. In some ways I can hear this, but to me, a lot of his music sounds a little bit impersonal to me. Sometimes, I feel like the emotions he is expressing are less realistic caricatures of realistic emotions. In a way, it sort of sounds like he is trying to tell his life story to children through a story book. They aren't old enough to handle truly realistic versions of emotions, so the emotions are sort of presented in a condensed, for kids version that are not too heavy. I don't know why I feel this from his music, but maybe you have some insight on it. Also, Novellete, you say Schumann's music is very serious and not known for it's humor. That's not the impression I have got so far. When I listen to pieces like Carnaval and Papillons they don't sound too serious at all. The most serious sounding piano piece I've heard from him I think is Kreisleriana. Anyway, I'm not really challenging your statement by the way, just trying to get a better understanding of Schumann's music than I have now.


You're right about the humor, for some reason I always forget about Carnaval and Papillons even though they're among my favorites. Eek! Also, the second movement of the D Minor piano trio is pretty witty and humorous, to me anyway. 

Schumann's personality was dominated by a melancholy and especially taciturn nature [with the exception of his Law School year, in which he avoided his studies by drinking with friends at the same pub and making trips down the Rhine and to Italy, hooking up with young ladies all the while]. His experiences of emotions were more or less insulated from what we might call "normative responses", that is, the usual ways of dealing with emotions. If you listen to his Novelettes [hence my name!  ], you might find a great deal of the introspective music, likewise with the Davidsbündlertänze and the Albumblätter. Kreisleriana is one of the most exciting and turbulent of Schumann's great piano works, although I dare be known to prefer the first piano sonata.

As an aside, when choosing my user name here, I knew that I wanted to choose "Novelette" from Schumann's little character pieces, but I had seen the word written with both one L and with two L's. In German, it is written with two; but I have often seen it in English with one. I decided to use one, although I would prefer that I used two.

Schumann was an intensely emotional person, given to extreme shifts of elation and hyper-productivity and languid gloom--probably manic-depressive. He believed that music was a language ideally suited to transmitting emotionality, believing that the measure of good music is the extent to which it is deep and profound [he famously found Henri Herz' music shallow catchpennies]. It's very possible that my admiration for his musical sophistication has led me to a kind of sympathy that makes me a bit eager to detect whatever "story" he seems to be trying to transmit through his music. I can't deny that I adore Schumann.


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## Novelette

Also, Violadude, you should never be reluctant to share your opinion. You always have very insightful thoughts about music, and I love the chance to discuss music with knowledgeable people.


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## peeyaj

I don't like them.


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## Vaneyes

Since acquiring the Auryn Qt. on Tacet, I'm a big fan of the three Schumann SQs. I detect nothing eccentric or lacking in them. :tiphat:


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## ptr

I quite like the quartets, Zehetmair Quartett (1&3)on ECM is excellent!

/ptr


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## Quartetfore

ptr said:


> I quite like the quartets, Zehetmair Quartett (1&3)on ECM is excellent!
> 
> /ptr


One of the very best quartet recordings of the past few years, and a very great favorite of mine.
Just a word about the Schumann Quartets. There is not doubt that they are over looked, at least as concerts go. Its a good thing that there is a very good choice of recordings to choose from.


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## Novelette

peeyaj said:


> I don't like them.


 That's fair, there were days wherein I also had dislike for Schumann's music.

Did you ever listen to his piano sonatas? They are yet again unfairly unrecognized masterpieces.


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## Feathers

Speaking of sonatas, does anyone know if there are any recordings of his unfinished 4th sonata yet? I downloaded the software, but it would be interesting to hear an actual recording or "completed" version of the piece.


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## Chrythes

Due to this thread I have listened to his quartets again and I have no idea why I thought of them as dry and uninteresting. They are certainly the opposite! Almost every movement has a memorable theme/melody/motif. Especially the eerie beginning of the first quartet, the beginning of the third quartet has a slight resemblance to Beethoven's Piano Sonata No.18 and I really enjoy the Tempo risoluto of the third movement of the third quartet.


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## Novelette

Chrythes said:


> Due to this thread I have listened to his quartets again and I have no idea why I thought of them as dry and uninteresting. They are certainly the opposite! Almost every movement has a memorable theme/melody/motif. Especially the eerie beginning of the first quartet, the beginning of the third quartet has a slight resemblance to Beethoven's Piano Sonata No.18 and I really enjoy the Tempo risoluto of the third movement of the third quartet.


The first movement of the A Minor Quartet has that wonderfully imitative introduction. Schumann excelled in every genre, including opera and sacred music: I dare be known to consider Genoveva an excellent opera, I have equally high esteem for the Requiem and the Missa Sacra. Glad you like the String Quartets!

Schumann's music is most rewarding to those who listen very closely for the subtleties.


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## Mahlerian

Novelette said:


> Schumann's music is most rewarding to those who listen very closely for the subtleties.


I think this goes for most great music! But the point about Schumann is well-taken. I don't love everything he wrote, but the works I do love, I really love.


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## Novelette

Mahlerian said:


> I think this goes for most great music! But the point about Schumann is well-taken. I don't love everything he wrote, but the works I do love, I really love.


Of course, you're right. The apparent features of Schumann's music were originally repellent to me. In my youth, when I searched primarily for catchy melodies [like most early listeners], I found Schumann virtually impossible to endure. Fortunately, as I've grown--and have come to appreciate less-conventional beauty, and the genius of creative harmonies--I've embraced Schumann as among my favorites.

Skepticism of my prior opinions is what is leading me to re-appraise other composers for whom I held low esteem. I've come to appreciate Sibelius lately. Next week, I am to begin examining Mahler's music.


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## Head_case

Quartetfore said:


> One of the very best quartet recordings of the past few years, and a very great favorite of mine.
> Just a word about the Schumann Quartets. There is not doubt that they are over looked, at least as concerts go. Its a good thing that there is a very good choice of recordings to choose from.


This is the same set I have (annoying the Zehetmair Quartet seem incapable of recording a complete cycle of anything they play brilliantly).

I still wish Schumann was Schubert when I listen to these. But they're not....they're just Schumann.

Not bad for Schumann still :lol:


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## ScipioAfricanus

there's a reason why Schumann's string quartets are not in my ipod but his trios, piano quartet and piano quintet are. I find his string quartets quite boring and I prefer to listen to Mendelssohn's, Cherubini and Volkmann's.


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## jurianbai

Another notes, his last movement in quartet no.3 contained the repetition, something that Schumann always overdone it. Same thing in his violin concerto.

Somebody mentioned Volkmann!


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## ScipioAfricanus

jurianbai said:


> Another notes, his last movement in quartet no.3 contained the repetition, something that Schumann always overdone it. Same thing in his violin concerto.
> 
> Somebody mentioned Volkmann!


yeah I did


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## Klavierspieler

violadude said:


> Also, I hope I'm not derailing the thread too much, but Proudsquire and Novellete you guys seem pretty knowledgeable and experienced with Schumann so I feel compelled to explain my feelings about his music to see what your reaction is.
> 
> I've always been told that Schumann's music (particularly his piano music) is very personal. In some ways I can hear this, but to me, a lot of his music sounds a little bit impersonal to me. Sometimes, I feel like the emotions he is expressing are less realistic caricatures of realistic emotions. In a way, it sort of sounds like he is trying to tell his life story to children through a story book. They aren't old enough to handle truly realistic versions of emotions, so the emotions are sort of presented in a condensed, for kids version that are not too heavy. I don't know why I feel this from his music, but maybe you have some insight on it. Also, Novellete, you say Schumann's music is very serious and not known for it's humor. That's not the impression I have got so far. When I listen to pieces like Carnaval and Papillons they don't sound too serious at all. The most serious sounding piano piece I've heard from him I think is Kreisleriana. Anyway, I'm not really challenging your statement by the way, just trying to get a better understanding of Schumann's music than I have now.


I think _Carnaval_ and _Papillons_ are kinda meant to be somewhat light. Same with _Kinderszenen_, _Faschingsschwank aus Wien_, and the _Humoreske_. Try _Nachtstücke_, _Waldszenen_, _Gesänge der Frühe_, as well as the _Geistervariationen_.


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## Novelette

^ As well as the Novel[l]ettes [hence my user name!] and piano sonatas.


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## Quartetfore

I read some where that Schumann gave names to his Piano music after he had composed the works. I place him among my three favorites for Piano music. the other two are Bach and Ravel.


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## TurnaboutVox

violadude said:


> I've always been told that Schumann's music (particularly his piano music) is very personal. In some ways I can hear this, but to me, a lot of his music sounds a little bit impersonal to me. Sometimes, I feel like the emotions he is expressing are less realistic caricatures of realistic emotions. In a way, it sort of sounds like he is trying to tell his life story to children through a story book. They aren't old enough to handle truly realistic versions of emotions, so the emotions are sort of presented in a condensed, for kids version that are not too heavy. I don't know why I feel this from his music, but maybe you have some insight on it.


I think you are on to something here. I have always been a little puzzled that some of Schumann's piano music doesn't move me as much as I would expect and maybe that's especially so with some of his more popular piano works. Your idea that he sometimes presents caricatures of real(istic) emotions seems plausible to me. I'm rather interested (I'm in the trade, you might say) in the relationship between Schumann's mental instability and his music.

Oddly enough I've been greatly moved by some of his least well known works (which I heard for the first time last year), particularly the Gesänge der Frühe and the 'Geistervariationen'.

I have known and enjoyed the Op. 41 quartets since my student days decades ago - I have the wonderful version by the Quartetto Italiano.


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## Mandryka

The questions raised here are interesting. You probably all know that the poems from Heine's Lyrisches Intermezzo , which RS set in Dichterliebe, are stuffed with irony. Most performances I've heard don't sound ironic, one exception is Gerald Finley/Julius Drake. I've never considered the idea that there may be some irony in the piano music. It doesn't sound right to me, but I need to think about it. Maybe someone could furnish an example.

Re the quartets, they've been promoted by some of the most important ensembles ever - Capet and Busch made recordings, so did the Paganini Quartet, and there is more than one recording by the Italiano. The Juilliard recorded them all. Recently I've enjoyed The Leipzig Quartet.

But it's true that they are rarely played in the concert hall, at least I can't remember seeing them billed here in London. Even rarer than the quartets are the violin sonatas and Märchenerzählungen. The latter is IMO a major masterpiece.


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## TurnaboutVox

Mandryka said:


> Re the quartets...there is more than one recording by the Italiano.


This I didn't know - mine are 1971 Philips recordings



Mandryka said:


> The Juilliard recorded them all. Recently I've enjoyed The Leipzig Quartet.


Would you recommend the Leipzig Quartet for a modern CD era recording of the Schumann? I have been enjoying their recordings of Mozart's 'Haydn', Hoffmeister and Prussian Quartets which seem very 'polished' and elegant


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## Itullian

TheProudSquire said:


> I understand that Schumann had composed 3 string quartets, but they are rarely mentioned. From what I've heard, they seem fine to me, albeit, the music at times doesn't sound like chamber music. Maybe it's because he composed them in such a short period of time that they came to be this way. I don't really know, but what say you?
> 
> Do you like Schumann's style of composition for string quartet, or do you find his efforts lacking?


Love his string quartets. But I love Schumann.


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## Mandryka

TurnaboutVox said:


> This I didn't know - mine are 1971 Philips recordings
> 
> Would you recommend the Leipzig Quartet for a modern CD era recording of the Schumann? I have been enjoying their recordings of Mozart's 'Haydn', Hoffmeister and Prussian Quartets which seem very 'polished' and elegant


There was an Italiano record in the 1960s with op 41 /2 and the Verdi Quartet. I'm happy to upload it for you if you're interested. I'm not a great fan of the Italiano myself, so I rarely play it. I seem to remember the sound isn't so good. The Juilliard set is fabulous, by the way.

I recommend the Leipzig set. There used to be a wonderful Op 41/3 recording from the Leipzig, a concert in 2005 at the Mendelssohn Haus in Leipzig. It was on symphonyshare, if it has disappeared and you're a member I can do a reup.

If you are enjoying the Leipzig Quartet's late Mozart, be sure to get the quintets that were recorded from concerts in Amsterdam about six years ago, again on symphonyshare. That's probably my personal favourite recording of the Mozart quintets.


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## TurnaboutVox

Mandryka said:


> There was an Italiano record in the 1960s with op 41 /2 and the Verdi Quartet. I'm happy to upload it for you if you're interested. I'm not a great fan of the Italiano myself, so I rarely play it. I seem to remember the sound isn't so good. The Juilliard set is fabulous, by the way.
> 
> I recommend the Leipzig set. There used to be a wonderful Op 41/3 recording from the Leipzig, a concert in 2005 at the Mendelssohn Haus in Leipzig. It was on symphonyshare, if it has disappeared and you're a member I can do a reup.
> 
> If you are enjoying the Leipzig Quartet's late Mozart, be sure to get the quintets that were recorded from concerts in Amsterdam about six years ago, again on symphonyshare. That's probably my personal favourite recording of the Mozart quintets.


Thanks for your recommendations. I was unaware of the symphonyshare site. It looks interesting & I might join.

I am a fan of the Italian Quartet so would be interested in Op. 41/2 (+ Verdi which I don't know)

Do you know the Talich Quartet (+ Rehak) versions of the Mozart Quintets? K. 515 & 516 are particularly good.


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## ccravens

Klavierspieler said:


> I think _Carnaval_ and _Papillons_ are kinda meant to be somewhat light. Same with _Kinderszenen_, _Faschingsschwank aus Wien_, and the _Humoreske_. Try _Nachtstücke_, _Waldszenen_, _Gesänge der Frühe_, as well as the _Geistervariationen_.


Also for serious Schumann piano I would recommend his _Fanatsie in C_.

I've been listening to that lately.

Wow.


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## ccravens

BTW, just finished John Worthen's excellent Schumann biography.

Pretty excellent read on his life, but doen't go into his compositions much.


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## Quartetfore

Any lover of the Schumann quartets owes it himself to hear the Zehetmair Quartets recording of the 1st and 3rd quartets. In my mind it is one the best String Quartet recordings of the past ten or so years. I have several recordings of the works, and as good as they are this one tops them all.


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