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464:, he never performed the Violin Concerto. After playing it through with the Hannover Court Orchestra (of which Joachim was the concertmaster) for Schumann in October 1853, Joachim retained the manuscript for the rest of his life. After Schumannâs attempted suicide in February 1854 and subsequent decline and death in a sanatorium in
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and on Brahms, and the work was not published in the
Complete Edition of Schumannâs works and was in effect kept secret throughout the 19th century. Brahms did however publish, in a supplementary volume of the Schumann Edition, âSchumannâs last musical thoughtâ, a theme on which Schumann had begun to
514:, a spirit-voice identifying himself as Robert Schumann requested Miss d'Aranyi to recover an unpublished work of his (of which she claimed to have no knowledge) and to perform it. In a second message, this time from the spirit of Joachim, they were directed to the Prussian State Library.
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reproduced a letter in which
Joachim discussed Schumannâs Concerto as showing âa certain exhaustion, which attempts to wring out the last resources of spiritual energyâ, though âcertain individual passages bear witness to the deep feelings of the creative artistâ.
360:, is conceived more on symphonic than concertante lines. Its powerful opening subject dominates the proceedings, and although the violinâs role is extremely taxing, its subordination to a "symphonic" scheme is emphasized by the fact that there is no
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The concerto is in the traditional three-movement quick-slow-quick form. It belongs less to the poetic and passionate style of
Schumann's early masterpieces than to the more objective, classical manner of his later music, as ushered in by the
723:'There was also heard, after some delay and much advance publicity, the newly discovered violin concerto of Schumann; of this dismal fiasco, the less said the better.' - R. Elkin, Queen's Hall 1893-1941 (Rider, London 1944), 51.
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entered
Schumann's life. It appears that Schumann composed the finale of the Concerto in three days: 1â3 October, after making Brahmsâs acquaintance. Later in October, he collaborated with his new friend Brahms and his pupil
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in Berlin, and stated in his will (he died in 1907) that the work should be neither played nor published until 100 years after the composer's death, i.e. until 1956. However in March 1933, during a spiritualist séance in
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However, all of this was to no avail, for the world copyright to the concerto was held in
Germany, and the German government insisted on the world premiere being given by a German.
489:, no longer recognizing that it was a melody he had used in the slow movement of the Violin Concerto. Brahms also wrote a set of piano-duet variations on this theme, his Opus 23.
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The concerto slowly made its way into the concert repertoire and is now recognized as an important work of the composer. For a recording made in 1988 the
Austrian violinist
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and one of his last significant compositions. It remained unknown to all but a very small circle for more than 80 years after it was written.
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WoO 24, and passes without pause into the third movement. Until its penultimate bar this movement uses no wind except bassoons and trumpet.
468:, Joachim evidently suspected the Concerto was a product of Schumannâs madness and thought of the music as morbid. Joachimâs biographer
570:. Kulenkampff recorded it soon after the first performance. Menuhin gave the second performance, in the piano version, accompanied by
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in July 1937 that it was the historically missing link of the violin literature. Menuhin planned to deliver the world premiere at
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735:"D-Minor Concertos and Symphonies of the BrahmsâSchumann Circle in the 1850s: Cross-Relationships and the Influence of Beethoven"
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The second movement, in B flat, has the character of an intensely lyrical intermezzo, the theme of which hints toward the
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The third movement is a vigorous and dance-like sonata-rondo finale in the parallel major, D major, and has a strong
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compose variations in early 1854. Schumann had thought the theme had been dictated to him by the spirits of
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went back to
Schumannâs original manuscript, correcting many errors in the published edition.
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Thomas
Zehetmair, Philharmonia Orchestra, under Christoph Eschenbach, Teldec, 1989
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The concerto is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets in B
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had worked on the score in some detail to render it playable, with
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under
Golschmann on 23 December. Jelly d'Aranyi gave the first
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attended by
Joachim's two great-nieces, the sister violinists
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Letter dated 5 August 1898. Translation from Hans GĂĄl, ed.,
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In krĂ€ftigem, nicht zu schnellem Tempo (D minor â D major)
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Andante and variations for two pianos, two cellos and horn
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Joachim deposited the manuscript of the concerto with the
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between 11 September and 3 October 1853 for the violinist
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Yehudi Menuhin: The Story of the Man and the Musician
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Yet no more was heard for four years, until in 1937
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Joachimâs opinion prevailed on the composerâs widow
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49:. Unsourced material may be challenged and removed.
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452:for violin and piano, also written for Joachim.
1566:Classical musical works published posthumously
1038:Five Pieces in Folk Style for cello and piano
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789:(Tabb House, Padstow 1989), pp. 87â89.
456:Subsequent history and conflicting opinions
268:, 2 bassoons, 2 horns in F, 2 trumpets in B
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971:KonzertstĂŒck for Four Horns and Orchestra
818:International Music Score Library Project
312:I. In krÀftigem, nicht zu schnellem Tempo
109:Learn how and when to remove this message
782:(London: BBC Music Guides, 1979), 59â62.
250:1, written in 1853, was his only violin
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714:R. Magidoff, Yehudi Menuhin, p.183-184.
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1020:Adagio and Allegro for horn and piano
977:Introduction and Allegro appassionato
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705:(London: Thames & Hudson, 1965).
460:Though Joachim performed Schumannâs
439:, Op. 131. On 1 October, the young
47:adding citations to reliable sources
796:(Robert Hale, London 1956), 182â87.
356:The opening movement, which is in
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1033:Three Romances for oboe and piano
733:Sholes, Jacquelyn (August 2021).
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989:Introduction and Concert Allegro
632:Philharmonia Orchestra of London
550:First performances and recording
538:, and reported to the conductor
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336:III. Lebhaft, doch nicht schnell
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739:Nineteenth-Century Music Review
58:"Violin Concerto" Schumann
34:needs additional citations for
1209:Variations on the name "Abegg"
530:, sent a copy of the score to
16:Composition by Robert Schumann
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1112:for viola, clarinet and piano
399:Lebhaft, doch nicht schnell (
1546:Concertos by Robert Schumann
929:Overture, Scherzo and Finale
646:Chamber Orchestra of Europe
584:St Louis Symphony Orchestra
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1467:Scenes from Goethe's Faust
1435:Sechs Gedichte und Requiem
674:Freiburger Barockorchester
214:26 November 1937
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1327:Faschingsschwank aus Wien
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780:Schumann Orchestral Music
751:10.1017/S1479409820000245
526:, the music-publisher in
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1138:Piano Quartet in C minor
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1561:Compositions in D minor
801:Horizons of Immortality
660:The Cleveland Orchestra
274:, timpani and strings.
1421:Frauen-Liebe und Leben
1028:for clarinet and piano
664:Christoph von DohnĂĄnyi
592:BBC Symphony Orchestra
590:performance, with the
499:Prussian State Library
300:Christoph von DohnĂĄnyi
1460:Paradise and the Peri
1128:Three String Quartets
594:at the Queen's Hall.
518:Menuhin's involvement
427:Schumann wrote it in
943:Hermann und Dorothea
863:List of compositions
703:The Musician's World
650:Nikolaus Harnoncourt
201:Violin and orchestra
43:improve this article
1355:Drei FantasiestĂŒcke
1334:Album for the Young
1061:for viola and piano
1053:Violin Sonata No. 3
1048:Violin Sonata No. 2
1043:Violin Sonata No. 1
877:Symphony in G minor
785:Clifton Helliwell,
616:Selected recordings
605:Dietrich's concerto
568:Berlin Philharmonic
540:Vladimir Golschmann
437:Fantasie in C major
296:Cleveland Orchestra
1271:DavidsbĂŒndlertĂ€nze
1244:Geistervariationen
1110:MÀrchenerzÀhlungen
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678:Pablo Heras-Casado
385:Geistervariationen
346:'Rhenish' Symphony
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536:Hephzibah Menuhin
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99:February 2016
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54:Find sources:
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32:This article
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1445:Choral works
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1362:AlbumblÀtter
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1192:Sonata No. 3
1187:Sonata No. 2
1182:Sonata No. 1
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1067:F-A-E Sonata
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378:B-flat major
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41:Please help
36:verification
33:
1406:Liederkreis
1391:Liederkreis
1383:Vocal works
1320:NachtstĂŒcke
1313:Novelletten
1256:collections
1230:BlumenstĂŒck
656:Joshua Bell
483:Mendelssohn
423:Composition
358:sonata form
324:II. Langsam
292:Joshua Bell
1540:Categories
1341:Waldszenen
1254:Suites and
1162:Solo piano
908:No. 3 in E
887:No. 1 in B
870:Orchestral
689:References
429:DĂŒsseldorf
218:1937-11-26
69:newspapers
1264:Papillons
1237:Humoreske
759:1479-4098
407:polonaise
376:Langsam (
348:of 1850.
294:with the
278:Structure
190:Movements
154:Catalogue
1493:Category
1453:Genoveva
1408:, Op. 39
1393:, Op. 24
1278:Carnaval
1223:Arabeske
946:Overture
938:Overture
911:♭
890:♭
776:Hans GĂĄl
676:, under
648:, under
634:, under
580:New York
487:Schubert
466:Endenich
462:Fantasie
271:♭
265:♭
252:concerto
226:Location
206:Premiere
175:Composed
169:Romantic
1474:Manfred
1399:Myrthen
1216:Toccata
950:Requiem
918:Rhenish
881:Zwickau
770:Sources
448:in the
409:rhythm.
401:D major
362:cadenza
244:D minor
216: (
198:Scoring
180: (
149:D minor
83:scholar
1516:Portal
897:Spring
757:
684:, 2015
666:, 2005
638:, 1983
588:London
504:London
298:under
229:Berlin
165:Period
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1503:Audio
1121:Other
1079:Trios
914:major
893:major
574:, at
528:Mainz
478:Clara
90:JSTOR
76:books
1012:Duos
755:ISSN
510:and
485:and
211:Date
182:1853
178:1853
62:news
747:doi
248:WoO
242:in
238:'s
158:WoO
146:Key
129:by
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