Robert Schumann - Piano Sonata No. 2 in G Minor, Op. 22

Schumann composed his second piano sonata between 1830-1838 and it is his last full length sonata beside Op. 11. This sonata has many virtuosic qualities. The second movement was based on Schumann’s song “Im Herbste.” This sonata is a reflection of Schumann’s brilliant versatility and his imaginative compositional style. From the beginning of the piece, Schumann demands the attention of the listener before exploring the other realms of his inspiration. 

Sonata No. 2 in G minor is also a reflection of Robert’s passionate love of Clara Wieck and his desperation to be with her. Throughout the entire sonata, there are motives that represent Clara. This piece is relentless in virtuosic techniques with exception to the Andantino. The first movement has a forward-moving arpeggiated texture with driving syncopations in the melody. As a whole, the sonata is filled with passionate electricity which is brought to life by Schumann’s tempo indications. Because of Schumann’s somewhat humorous tempo markings, finger agility is a technical hurdle a performer must conquer. Although tension through the moving figures of this piece should be avoided in one’s arms, finding areas in the movements where one can completely relax should be identified. A performer’s technique is vital to this sonata. 

Martha Argerich and Joel Fan both present fantastic examples of this heartfelt sonata. Argerich’s tempo is somewhat unmatched in the first movement, but Fan shows that one can still gain the intensity expected with a slightly slower tempo. 

I. So Rasch wie moglich (As quickly as possible)
II. Andantino. Getragen (Worn)
III. Scherzo. Sehr rasch und markiert (Very quickly and marked)
IV. Rondo. Presto 

Marth Argerich

Joel Fan