Schumann loved to devote himself at certain times to one branch of composition only. After writing 23 works for piano, he made 1840 a year of Lieder, followed by a phase in chamber music. His yearning to compose chamber music begins in the year 1838 when he published his reviews of contemporary string quartets in the Neue Zeitschrift fur Musik. In the third of six articles he writes the following:
"If I think now of the highest kind of music, such as we find nd individual works of Bach and Beethoven, if I speak of the rare spiritual experiences composer should open up for me, if I demand that with each of his works he lead me stage farther into the spiritual domain of art, if I ask for poetic depth, and innovati in the details as in the whole, I should have to search for a long time, and none ofi works I have mentioned, none of the works being published now, would satisfy me."
These phrases afford an interesting view into his ideas of composition as as his and others' views of chamber music in the mid-to-late 19th century. The striking phrase on innovation finds an obvious application to the music of today.
In approaching the Trios of op. 63 and op. 80 of 1847 Schumann had already composed three string quartets, the piano quintet and the piano quartet. In the intervening years he had come to terms with the music of J. S. Bach and the art of contrapuntal writing. This is unmistakably reflected in the polyphonic world of the trios. These two trios mark a new direction in chamber music.
Apart from the individuality of musical invention and the thematic material, apart from the mastery of form and detail, one can recognize a new kind of expressiveness. The use of progressive contrapuntal techniques and expressive rhythms had appeared before in the works of Beethoven and Schubert, but not in such a unique and different way.
Such original ideas were applauded by Clara when she wrote to Robert on her birthday, September 13,1847, about the op. 63 Trio, "It sounds as if composed by one from whom there is still much to expect, it is so strong and full of youthful energy and at the same time worked out so masterfully. The first movement is to my mind one of the loveliest that I know."
The first movement is indeed lovely, whilst both contemplative and, at times, even brooding. The second movement, a lively Scherzo, is full and animated. The slow movement is full of poetic beauty and is some of his most elegant writing. The finale is jubilant and exultant; it fills the air with a triumphant conclusion.
-- Kendall Durelle Briggs
