Robert Schumann Piano Quartet in E flat Opus 47

In September of 1840, Robert Schumann married the love of his life, Clara Wieck. Clara was a gifted pianist and composer in her own right and Schumann obviously found her inspirational. The 12 months after their marriage, saw him complete his famous song cycles, his first 2 symphonies, several other orchestral works and the first movement of his great piano concerto. Despite her obvious positive influence, their relationship could be quite tempestuous. When she embarked on a concert tour of Denmark in 1841, Schumann felt sleighted and his creativity seemed to stall. He preferred to launch himself into the study of the string quartet scores of Beethoven, Mozart and Haydn, drowning his melancholy in "beer and Champagne". When Clara returned, he once again took up his pen. It was during this period of renewed productivity that Schumann completed, not only the piano quartet, but his three string quartets Op 41, and his piano quintet.

At the time of Schumann's "Chamber music Year", the heart of the romantic era, chamber music was making the transition from the forum of private entertainment to that of the concert performance. Perhaps this explains the experimentation of Schumann and his counterparts Mendelssohn and Brahms with the more complex, larger forms like the piano quartet and piano quintet, perhaps in an effort combine the intimacy provided by the string dialogue with the bravura and virtuosity of the new and popular generation of pianists at the time.

The piano quartet was written at a time when Schumann was studying the chamber music of Mozart, Beethoven and Haydn quite intensively. This influence is obvious in the way Schumann pays special attention to the form and unity of this work. The slow sostenuto material introduced at the beginning demarcates the different sections of the opening movement. It also serves as the basis for the allegro which follows.

The scherzo clearly shows the influence of Mendelssohn, in its light sparkling, undulating imitation, shaped by the bass line of the piano. The slower trios are more quintessentially Schumannesque, melding seemlessly with the quicker material. The curt ending of the movement in the style of the "Midsummer Night's Dream" is another "hats off" to his good friend.

The Andante is a poignant, tender melody exchanged between the different instruments. This material is varied only slightly. The delicate coda brings this warm, noble movement to a close. The final three chords anticipate the opening of the finale and provide material for the Vivace, in which this simple pattern is subject to a vigorous "working out" in fugato style. This material is contrasted with a smoother second theme. This movement, perhaps more than any of others demonstrates the unrestrained emotional drive that we associate with the composer.