Schumann "Quasi Variazioni" : Andantino by Clara

Upload new recordings for evaluation and discussions. Acoustic instruments preferred, although digital is allowed. MIDI or other digitally rendered/manipulated recordings will not be admitted.

Moderators: pianolady, techneut, robert

Sandro Bisotti

Schumann "Quasi Variazioni" : Andantino by Clara

Postby Sandro Bisotti » Wed Apr 25, 2007 4:23 pm

The last bass (Ab) before the nine final chords: there is a crescendo marked on that note (it begins and ends with this note).
Try to play it as is's an example of the idea, of the poetic intent that transcends the reality (of the instrument's possibility).
The poetry (of music also) is a re-invention of the reality, and some details (as this, which forget the physical reality) exist to remember us this.
But one can sing this wonderful and not real crescendo, one can (must) think it when plays that Ab.

These "Quasi Variazioni" were born before the other movements of the "Concert sans orchestre" , and have an autonomous life.
IMHO (but I've read other similar opinions) this is the only case of a Schumann (or Wieck/Brahms) late edition which is better than early edition.

As Schumann, also Vladimir Horowitz began from these "Quasi Variazioni". Subsequently he played and recorded the entire Sonata, but he declared that these variations were the key to comprehend the beauty of the Sonata.
I do not know a better recording of this wonderful piece than Horowitz's. Also the other (in reality my first and favourite Vladimir, and my favourite pianist among all) Vladimir, Sofronitzki, played these Varations (not the Sonata), and, obviously, it's also here a good trip. But here the most fascinating, coloured, fantastic and schumannian Vladimir is Horowitz.

All best,

Schumann - Op.14, Piano Sonata in F minor, III. Quasi variazioni. Andantino de Clara Wieck

Site Admin
Posts: 1842
Joined: Wed Jun 07, 2006 6:27 pm
Location: Sweden

Postby robert » Thu Apr 26, 2007 7:20 am

Very well played of this third movement of the 3:rd Sonata of Schumann Op.14. It is the least famous out of the three major Piano Sonatas Schumann composed and probably because it is difficult to keep the attention and focus during the entire extensive sonata. You succeeded very well with the third movement and I have put up the recording on the site.

John Robson
Posts: 829
Joined: Wed Jan 17, 2007 11:26 pm
Location: Miami, Florida, USA


Postby John Robson » Thu Apr 26, 2007 1:18 pm

Very beautiful, Sandro. Your phrasing was appropriately sensitive. I've never played this, but it must be quite difficult to learn.

Sandro Bisotti

Re: Schumann

Postby Sandro Bisotti » Fri Apr 27, 2007 3:52 pm

> Very beautiful, Sandro. Your phrasing was appropriately sensitive.

Thank you. But if one has the Horowitz version in the ears. Believe me, this Volodya's version
is one of his masterworks.

> I've never played this, but it must be quite difficult to learn.

Not much difficult. But the (my) problem is the same of yours in the Romance.
The control of the weight of each note, in a relatively easy contest, where
also an "amateur" must try to be precise and expressive....

All best,


Let's see: Schumann for non-virtuoso pianist.....
Papillons, a pair of Novelletten, op26 (not so easy), Arabeske, Kinderszenen, Nachtsuckeand some late works (Album for die jugend, Gesange der fruhe, Waldszenen...) not much other....

Posts: 124
Joined: Fri Jan 26, 2007 12:56 pm
Location: Basel

Postby Tobias » Sat Apr 28, 2007 2:45 am

Very sensitive playing, Sandro. I admit that I listened to this movement for the first time and it is indeed wonderful music. Thanks for sharing. Are the early and late versions very different? If I understood you correctly, you chose the late one, right?

Sandro Bisotti

Postby Sandro Bisotti » Sat Apr 28, 2007 12:34 pm

> Very sensitive playing, Sandro.

Thank you Tobias, very kind.

> Are the early and late versions very different?

Yes, the last version is cutted of 2 about minutes of music, and the variations are in another order.
In my modest opinion (but I've read the same opinion of Gregorio Nardi, a pianist who played and recorded these Schumann's first versions) the only case of later version better than early.

If I understood you correctly, you chose the late one, right?


All best,

Return to “Audition Room”

Who is online

Users browsing this forum: No registered users and 2 guests