Many new fans of the VRS may not know of the long, rich history of VRS Schumann performances dating back to the earliest days of the society. Robert Schumann might have followed a similar path had he not abandoned piano performance even before his intended career trajectory was launched (due, so the legend goes, to a hand injury). When he withdrew from active concertizing, his compositional desire to explore, innovate, and experiment had free rein. He released small-scale works regularly the more accessible of his pieces fueled demand for his more adventurous works. By the 1830s the piano had become a bourgeois status symbol there was a reliable market for published piano compositions and an appetite for recitals by piano virtuosi.Ĭhopin’s career played out in two decades that were a charmed moment for the piano and piano composers. They started out as fellow poets of the piano. How intriguing, then, to compare music by both in the revised first half of Evgeny Kissin’s long-awaited return to the Vancouver Recital Society.Ĭhopin was born in March 1810, Schumann in June of the same year. Schumann and Chopin knew each other and each other’s work. That’s the perceptive way Robert Schumann – composer, critic, and journalist – referred to Frédéric Chopin’s Second Piano Sonata in 1841. “…calling it a sonata is a caprice if not a jest for Chopin seems to have taken four of his most unruly children and put them together possibly thinking to smuggle them, as a sonata, into company where them might not be considered individually presentable.”
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