Robert Schumann: Drei Romanzen Op. 94 (1849)

Trois romances pour violin/clarinet/oboe et piano Op. 94 (1849), de Robert Schumann (1810-1856) (score).
Joshua Bell, violín
Yuja Wang, piano
1. Nicht schnell: Moderato (00:00)
2. Einfach, innig: Semplice, affetuoso (3:08)
3. Nicht schnell: Moderato (7:17)
The Romances were written in December 1849, one of the most productive years of Schumann's entire career. Previously that year, Schumann had written two other works for wind instruments and piano: the Adagio and Allegro, op. 70, for French Horn and piano, and the Fantasy Pieces for Clarinet and Piano, op. 73. According to Schumann himself, the pieces were written on December 7, 11, and 12th in Dresden. Unlike many other oboe works at the time, the pieces were not the result of a commission by a prominent soloist of the day. Schumann gave the pieces to his wife Clara Schumann, whom he once described as his own "right hand", as a Christmas present, calling them his "hundredth opusculum." Schumann's mental health was quickly deteriorating during the time of the pieces' writing; shortly afterwards, he moved from Dresden to Düsseldorf, where he was admitted to and eventually died in an asylum.
The three romances as a whole have been described as simple, relatively easy to play, and not virtuosic. However, they also require a good amount of breath control. All three romances are in "song form", or A-B-A. The work's melodies have been described as similar to each other.
The first romance consists of a piano introductory phrase followed by the main theme played by the oboe. The piano has a layered accompaniment. After a faster-paced central section, the movement ends softly after returning to the main theme. The romance as a whole has been described as "tranquil." The second romance, which is in A Major, is mostly a traditional duet between the two instruments with a tense B section that changes tempo twice. Described as "the most rugged and colorful-sounding [romance]" and reminiscent of Brahms, the final romance is the liveliest of the set. There are many mood changes throughout the piece, with the A section being excited and the B section being reserved.
I don't own the audio nor the scores shown in the video.
audio: youtube
score: burrito.whatbox.ca:15263/imgln...

[@matiasnorenamuriel7069]

For me, Schumann's Op. 73, 94, 113 and 132 are some of the most perfect examples on how to write compelling and engaging melodies.

[@hugoibanez922]

Melodies of the heart, Matias Noreña. Melodies of the heart. 🤡🤡

[@Johanna650]

Com Schumann no ha nascut altre que se li assembli. Era genial, i genis només neix un cada segle

[@snowcarriagechengcheng-hun3454]

Thanks for uploading!

[@davidrehak3539]

Robert Schumann:Három románc Op.94
1.Moderato 00:00
2.Semplice, affetuoso 03:08
3.Moderato 07:17
Joshua Bell-hegedű
Yuja Wang-zongora

[@TimondeNood]

Fantastic! Thanks

[@thierrywarot5792]

J'adore ce très beau phrase et du violon.
Cette musique restera toujours aussi sublime.
Toutefois, je me demande si le violon alto ne se serait pas plus indiqué pour jouer ces romances d'une grande nostalgie et dans mon esprit d'une couleur plus sombre.
Le sommet toutefois restera les romances interprété par un hautbois qui pourrait s'appeler par exemple Céline Moinet...

[@mxrkxo]

Really beautiful one

[@cgb01]

Precioso

[@gugupalsib_il]

3:08
7:17

[@Kim-GGong]

감사합니다!

[@daboy7080]

thanks 4 your posting.

[@felixdevilliers1]

I have noticed in a few videos of chamber groups I have watched that the violin is somewhat muted. In th video of Clara Schumann's lovely Romances for violin and piano the violin comes out more but the piano is still too dominant. Is it about the placing of microphones?

[@bag3lmonst3r72]

Oops Bell messed it up at 4:10 playing a D that wasn't there. But he sort of made up for it with the stormy middle section so all's good I suppose...

[@gerardbegni2806]

Of course, the version with violin is very beautiful and both the violonist and the pianist play with an authentic "schumannian" feeling. Nevertheless, I think that the option of violin or clarinet was a matter of convenience for Schumann. I heard the authentic version with an oboe, and I think that t it is this version that sounds better.

[@violintegral]

Schumann actually only ever intended for these pieces to be played by oboe and piano but his publisher, N. Simrock, disobeyed his wishes and published alternate violin and oboe parts in the first edition.

[@chiarafornataro1214]

Anyone here from still 17?

[@anna-st6un]

Does anyone has the sheet?

[@tianarmas1665]

IMSLP

[@WAEVOICE]

6:40-6:56

[@gjsndnapsjqjb9528]

3:09

[@witmancristianaresteguigar125]

Hasta 3.0