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Donald Macleod journeys through Schumann’s first years of marriage, when he composed his Piano Quintet.

Robert Schumann’s early training was focused towards his ambition to become a celebrated concert pianist, but a hand injury quickly put that career option out of reach. Schumann turned instead to composition and put all that piano study to good use, writing many important works for his own instrument. This week, Composer of the Week unpacks the moments in Schumann life when he was creating some of his most famous and notable piano works, including one of the most iconic romantic pianos concertos of all time.

Once Robert Schumann and Clara Wieck were married, they established a routine of keeping a ‘marital diary’ where they would record the details of their shared life, meditating on both the joys and the sorrows. One concern that was soon raised was Robert’s need for quiet in order to compose, set against Clara’s need to practice to maintain her skills as a concert pianist. Despite the challenges of their combined home-working, much creativity did take place. Schumann composed a number of chamber works, including his unusual Piano Quintet which combined elements of both symphonic and chamber writing.

Myrthen, Op 25 No 1 (Widmung)
Thomas Quasthoff, baritone
Justus Zeyen, piano

Symphony No 1 in B flat, Op 38 (Spring) (excerpt)
Chamber Orchestra of Europe
Nikolaus Harnoncourt, conductor

Faschingsschwank aus Wien, Op 26 No 5 (Finale)
Jean-Efflam Bavouzet, piano

Piano Quintet in E flat, Op 44
Artemis Quartet
Leif Ove Andsnes, piano

Produced by Luke Whitlock, for Ö÷²¥´óÐã Wales