Schumann String Quartet Op.41 No.2 41-2 F major 舒曼 弦樂 四重奏 シューマン 弦楽四重奏 作品41-2 Score Sheet 譜 乐谱 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Schumann String Quartet Op.41 No.2 41-2 in F major
舒曼 弦樂 四重奏 F大調 作品41-2
舒曼 弦乐 四重奏 F大调 作品41-2
Schumann Cuarteto de cuerdas Op.41-2 en fa mayor
シューマン 弦楽四重奏 作品41-2 ヘ長調
Classical music Música clásica クラッシック 古典音樂 古典音乐

#Schumann #String #Quartet

00:00 I Allegro vivace
06:00 II Andante quasi variazioni
13:57 III Scherzo. Presto
15:10 Trio. L'istesso tempo
17:04 IV Allegro molto vivace
Schumann 3 String Quartet Op.41
No.1 41-1 in A minor
No.2 41-2 in F major
No.3 41-3 in A major

In 1842, Robert Schumann turned his intense if not manic focus to the daunting genre of the string quartet. In what has been called his "year of chamber music", he voraciously studied the masters that preceded him and produced a set of three quartets, Op. 41 that he dedicated to Mendelssohn. Of the masters before him, Schumann had to contend with Haydn, Mozart, Beethoven, Schubert and Mendelssohn. Compared to his chamber works including the piano (a quintet, quartet and three trios), Schumann's string quartets are less frequently programmed and almost certainly less appreciated or celebrated. Nonetheless, the quartets bear testament to Schumann's diligent studies and his unique gifts as a composer; they stand as worthy offerings in the literature. They are particularly engaging as "missing links" between the quartets of Mendelssohn and Brahms some thirty years hence. In between, Schumann simultaneously evokes Mozart, Beethoven and Mendelssohn while, in moments, suggesting the future voices of Brahms and early Schoenberg, both of whom admired Schumann's music.

Although Schumann’s first attempts at composing for this supreme form of chamber music in 1838/39 were only fragments, the three String Quartets op. 41 in a minor, F major and A major were written in one go in June/July 1842. At the first private performances the audience was enthusiastic and it was Mendelssohn’s praise in particular that occasioned Schumann to dedicate the new works to him. The composer wrote to his publisher in an appropriately confident manner: “Be assured, I have spared no pains in creating something very decent, indeed I sometimes think it is my best”. As is generally known, today Schumann’s Opus 41 forms part of the core repertoire for quartet players.