Sonata for Piano No. 1 (Schumann)

The 4-part sonata cycle is the romantics' favorite sonata design . As part of this cycle, Schumann achieves tremendous tension, intensity of development, freedom and contrast in combination with the norms of the classical form. The composer combines romantic and classical norms of development, brilliantly combined in one work.

The initiation (“Clara Florestan and Eusebius”) defines the two elements of the sonata.

The first part is written in sonata form. It starts with a big introduction . Already here a contrasting contrast of these elements arises. The introduction is based on two themes - fis-moll and A-dur . The first - passionate, excited, elemental, begins with a fifth motive (which will play an important role further), which determines its nature. The second is very tender, touching. The introduction is written in three-part form, the first theme returns. The introduction is large-scale and complete, it could be an independent play.

The main party of the first part is a toccata character, very active. In the bass register, with all its conducts, it is accompanied by a fifth motive (derived from the first theme of introduction). The theme of the main party develops polyphonicly, with imitations, which gives the development greater intensity. Development leads to the culmination of the main party (on a new topic) - in es-moll . After the climax, as a reaction to it, the first theme of the main part sounds again, now in a new look - more melodious, lyrical (episode Più lento). Thus, the main party has a three-part structure.

A side batch on display is held at A-dur . She has a bright, idyllic character.

The development is written brilliantly. Schumann uses and develops literally all the motives that sounded in the exhibition. It begins with the motives of the main party, immediately there is a motive that previously sounded as if in passing in conjunction between the two themes of the main party, and the fifth motive that accompanies the first theme of the main party, all of which are combined into one block. The next stage of development is based on a motif from a side part, it sounds excitedly, in character approaching the spontaneous second theme of the main part.

The first wave of development subsides, the second wave rises (on the material of the first theme of the main party), which leads to a stormy climax. Suddenly she interrupts. In the low register ominously sounds the first theme of introduction, which here takes on the character of the theme of fate, fate.

After holding this topic, the third wave of development begins, which generally repeats the first (in a different tonality), but with a different result - it leads to a bright culmination in Fis-dur .

The reprise retains the same sequence as in the exposition. A side part now sounds in fis-moll . This “ominization” of the theme of a side part is not a very frequent occurrence even in romantic music.

The second part begins with the topic of the middle section of the introduction (also in A-dur ). The melody was borrowed by Schumann from his early song “To Anna”. The name of the part ( Aria ) corresponds to the undoubted vocal structure of the theme. The theme of the middle section is also vocal, and if the timbre of the first theme is soprano, then the second is baritone.

The second part is written in three-part form and has a small volume. The sphere of idyllic lyrics dominates in it.

The third part (Scherzo). Here Schumann is immersed in his favorite element - the carnival. In addition to the usual for the scherzo trio, the composer introduces another episode (Intermezzo). The first episode in the genre is a waltz, the second is a polonaise. The design approaches the suite structure. Images that appear traditional for Schumann's suite of cycles appear - grotesque, ironic, fabulous, they quickly change, slip away.

An interesting transition from polonaise to the final presentation of the main topic. This is a recitative, “commented out” by chords. Receptions characteristic of tragic music (an episode in the same texture is in Chromatic fantasy and Bach's fugue) Schumann uses in a farcical, grotesque appearance.

The finale continues the carnival element. There are a lot of topics here, they change much more often than in Scherzo, follow one after another continuously. The form of this part can be interpreted in different ways, it does not have a classical structure, but gravitates to a rondo or a sonata form without development. In close-up, it consists of two large sections, with the second practically repeating the first (except that the themes are held in different keys). The unifying moment of form is the first theme. She, like a refrain, appears repeatedly, changing tonality. With its onslaught, it resembles the "Davidsbyundlerov March" from Carnival.

The themes following it are very diverse, they form, as it were, a suite inside the form. The culmination of this section is very festive, bright. But suddenly it subsides, and a new theme sounds (conditionally - a side part). She introduces a new character that has not yet been in the Final - lyrical and sad. She descends into ever lower registers and goes into the Beethoven tragic episode on the dominant organ bass. This image echoes the images of the first part.

After this prediction, the first topic returns, and the second large section of the finale follows, which (as already mentioned), in general, repeats the first.

The finale has a large code that balances the introduction to the first part.

The thematic links of the finale with other parts are strong. So, the main theme of the finale (refrain) on the one hand includes the motive of the main part of the first part (in the right hand) and the fifth motive (in the left). The next topic is a version of the first Scherzo theme. A conditional side batch comes from the second topic of introduction. The finale accumulates all the figurative material of the preceding parts.

The final code is very interesting in this regard. Koda affirms a festive image, a victory over the dark forces, several minor themes sound in major (the opposite is the case than in the side part of the first part!). The link leading to the code is built on the theme of scherzo, and the actual code on the second topic of the main game of the first part. Now she is in Fis-dur, solemn and festive.

Thus, in the sonata, the suite principle beloved by Schumann is brilliantly connected, but at the same time the parts are united by the strongest thematic and figurative connections that permeate all parts, originating in the introduction and leading to the winning code of the finale.

• List of Robert Schumann