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The finale of Schumann’s F-sharp minor sonata: Getting into the composer’s head

October 4, 2020October 4, 2020 Ariel  Schumann  1 Comment

The first three movements of Schumann’s F-sharp minor sonata, Op. 11, set the scene of a composer at odds with the genre he is writing in. The fascinating results that arise therefrom—an almost Wagnerian obsession with a held single note—carries immense significance for the narrative of the work as a whole. Thus, the three movements […]

Schumann’s F-sharp minor sonata and the boundaries of genre

September 27, 2020September 27, 2020 Ariel  Schumann  Leave a comment

Schumann’s musical output in general, and his early works in particular, contain a fascinating mix of the traditional and the innovative. On one hand, he was staunchly true to the traditions of harmony and counterpoint he inherited from the great composers who came before him, but on the other hand, he seemed to be just […]

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