Hong-Kong born pianist Tiffany Poon plays Robert Schumann’s Piano Sonata No. 2 in G minor, Op. 22. This performance was recorded during the 2023 Dresden Music Festival on June 17, 2023, at the Palais im Großen Garten (The Grand Garden Palace), Dresden, Germany.
Robert Schumann’s Piano Sonata No. 2
Robert Schumann worked on Piano Sonata No. 2 in G minor, Op. 22 intermittently for a total of six years. It’s one of just three piano sonatas composed by Schumann, one of the most famous composers of the Romantic era. The theme of the second movement of the sonata is based on the song “Im Herbste,” which Schumann composed in 1828 as an accompaniment to the verses of the poet Justinus Kerner.
After the song was reworked into a piano piece called “Papillote,” in which the 2/4 rhythm was changed to a 6/8 rhythm and the key was changed from E-flat major to C major, it was also included in 1830 in the second movement of the Sonata in G minor.
Three years later, in June 1833, Schumann composed the opening movement, in which, inspired by Beethoven, the secondary theme evolved out of the main theme. The burlesque and elegant Scherzo was also composed during this time.
In October 1835, Schumann began composing the dizzying Rondo in 6/16 time, which constantly switches between duplets and triplets. Soon after, Schumann announced that the sonata had been “completed.”
Two years later, Schumann started work on the sonata again and showed it to Clara Wieck, who would later become his wife. She replied, “Your entire essence is expressed so clearly in this, and it’s not too difficult to follow. But I have just one remark: Do you want to keep the last movement as it previously was? Why don’t you make it more light-hearted, as it’s quite difficult at the moment? I understand it and I would also play it if necessary, but the people, the audience, and even the experts – the ones you actually compose music for, won’t understand. You won’t take this wrongly, right? As you asked me for my opinion as if you were my husband.”
In a letter written in March 1838, Schumann agreed with her: “You’re very right about the last movement of the sonata, I really much dislike it (apart from a few passionate moments), and I’ve decided to drop it completely”.
Contrary to this statement, Schumann changed the first movement considerably in December 1838. He composed an entirely new rondo finale, which he himself classified as “very simple,” but which he also felt “fits well within” the other movements of the sonata.
The sonata appeared in print in September 1839. An erroneous version of the finale, which Schumann had decided to discard, was published by Johannes Brahms in 1866. Schumann’s own version of the original finale was first published in 1981. This is the version Tiffany Poon played in her concert in Dresden.
Movements
With start times in the video:
- (00:22) So rasch wie möglich
- (05:58) Andantino. Getragen
- (11:20) Scherzo. Sehr rasch und markiert
- (12:56) Rondo. Presto
1. So rasch wie möglich
The first movement of Schumann’s Piano Sonata No. 2, marked as “So rasch wie möglich” (As fast as possible), is a whirlwind of fervent expression, showcasing Schumann’s distinctive blend of lyrical romanticism and fiery virtuosity.
This movement is characterized by its relentless energy and forward momentum, propelled by rapid passages and a wide range of dynamics. The technical demands on the pianist are high, requiring precision, agility, and emotional depth to navigate the complex textures and sudden mood shifts. Schumann’s use of syncopation and off-beat accents adds to the sense of urgency and unrest that pervades the movement.
The thematic material is rich and varied, with the main theme introduced immediately at the outset, setting the tone for the movement’s dramatic and impulsive nature. This theme undergoes various transformations throughout the movement, interwoven with contrasting lyrical sections that offer brief moments of repose amid the tumult.
Schumann’s innovative approach to form and harmony is evident in this movement, where the traditional sonata form is expanded and modified to accommodate his expressive goals. The development section, in particular, showcases Schumann’s skill in thematic development and harmonic exploration, leading to a climactic recapitulation that revisits the main themes with renewed intensity.
2. Andantino. Getragen
The second movement of Schumann’s Piano Sonata No. 2, “Andantino. Getragen,” which translates to “Andantino. Carried along,” offers a stark contrast to the rest of the sonata with its lyrical simplicity and expressive depth.
This movement is often described as a song without words, embodying a serene and introspective character that provides a moment of calm amid the tumultuous outer movements. It opens with a gentle, singing melody that showcases the piano’s lyrical capabilities. The melody is both tender and melancholic, reflecting Schumann’s romantic sensibility and his ability to convey deep emotions through music.
The structure of the movement is relatively straightforward, allowing the focus to remain on the expressive melody and its subtle harmonic shifts. Schumann employs a simple yet effective accompaniment, which supports the melody without overshadowing it. The use of dynamics and phrasing in this movement is particularly noteworthy, as it enhances the emotional impact of the music, drawing the listener into a reflective and intimate space.
Throughout the Andantino, Schumann demonstrates his mastery of the Romantic idiom, blending technical skill with emotional expression. The movement serves as a poignant interlude within the sonata, offering a moment of introspection and tranquility that contrasts with the passionate and virtuosic nature of the surrounding movements.
3. Scherzo. Sehr rasch und markiert
The third movement of Robert Schumann’s Piano Sonata No. 2 in G minor, Op. 22, titled “Scherzo: Sehr rasch und markiert” (Very fast and marked), is a vivid and energetic piece that contrasts sharply with the introspective second movement. This movement is characteristic of Schumann’s fascination with the scherzo form, which he often infused with novel and dynamic elements, diverging from the traditional scherzo structure found in the works of earlier composers like Beethoven.
The “Scherzo” is marked by its rapid tempo and rhythmic intensity, showcasing Schumann’s innovative approach to rhythm and meter. The movement is filled with sudden accents, syncopations, and cross-rhythms that create a sense of urgency and excitement. This rhythmic complexity, combined with the marked dynamics, gives the scherzo a fiery and impulsive character, reflecting Schumann’s own passionate and sometimes tumultuous emotional life.
Structurally, the scherzo adheres to the traditional A-B-A form, with a central trio section that provides a contrast in texture and mood. The main section is characterized by its driving rhythm and vigorous melody, while the trio typically offers a moment of lyrical respite. However, Schumann’s trio section maintains the movement’s overall energy, while introducing new thematic material and harmonic colors, further enriching the scherzo’s texture.
The return to the A section brings back the initial thematic material, often with variations in dynamics and articulation that enhance the sense of development and forward momentum. Schumann’s skillful use of the piano’s range and timbre in this movement creates a rich tapestry of sound that is both exhilarating and technically challenging for the performer.
4. Rondo. Presto
The fourth movement of Robert Schumann’s Piano Sonata No. 2 in G minor, Op. 22, is marked “Rondo: Presto,” and it serves as a thrilling conclusion to the sonata. This movement is characterized by its vibrant energy, technical demands, and the return of the passionate intensity found in the first movement.
The Rondo form, traditionally featuring a recurring theme (the rondo theme) interspersed with contrasting sections (episodes), is employed by Schumann to create a dynamic and engaging finale. The main theme of this movement is lively and rhythmically vigorous, presenting a challenge to the performer in terms of both dexterity and expressiveness. This theme captures the listener’s attention with its spirited character and becomes a unifying thread throughout the movement.
Contrasting episodes introduce new material and moods, ranging from lyrical to dramatic, but the rondo theme always returns, serving as an anchor amidst the musical exploration. Schumann’s genius in this movement lies in his ability to weave these contrasting elements together seamlessly, creating a sense of cohesion and unity within the diversity.
The movement’s Presto marking indicates a very fast tempo, pushing the boundaries of the performer’s technical abilities. The virtuosic demands include rapid scales, arpeggios, and intricate finger work, making it a showcase for the pianist’s skill and musicality. Despite the technical challenges, the movement is imbued with a sense of joy and exuberance, culminating in a compelling and exhilarating finale.
Tiffany Poon
Tiffany Poon was born in Hong Kong in 1996. She started taking piano lessons at the age of four. She moved to New York when she was nine, where she attended the Juilliard School Pre-College program. Poon made her concert debut at the age of 10. She graduated from high school in 2014 and continued her piano studies in an exchange program between Columbia University and The Juilliard School.
Poon also studied philosophy. In 2018, she graduated from Columbia with a Bachelor of Arts. Today, she performs worldwide both with an orchestra and as a soloist. In 2017, she started a YouTube project to share a more personal side of herself.
She has an impressive social media presence, with more than 320,000 followers on YouTube alone. Poon also works with the community through her charity, Together with Classical, which supports musicians during their education and brings together classical music lovers from around the world. Her new album with works by Robert Schumann, “Diaries: Schumann,” has been available since February 9, 2024.
Sources
- Piano Sonata No. 2 (Schumann) on Wikipedia
- Piano Sonata No.2, Op.22 (Schumann, Robert) on the International Music Score Library Project website
- Tiffany Poon’s official website
- Brahms: Violin Sonata No. 1 [Yuja Wang, Leonidas Kavakos] - May 3, 2024
- Chopin: Prelude No. 15 “Raindrop” [YUNDI] - May 1, 2024
- Beethoven: Piano Concerto No. 3 [Olga Scheps] - April 30, 2024
