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