Schumann: Piano Quintet
Piano and strings · about 30–33 minutes

Schumann: Piano Quintet in E-flat, Op. 44

Energetic and warm-hearted, with a leading role for the piano and good lines for every string player: a satisfying Romantic piece for a confident group.
Advanced
For 2 violins, viola, cello and piano
Players
2 violins, viola, cello and piano
Difficulty
Advanced, judged by the hardest part
Length
About 30–33 minutes
Written
1842
Also known as
Op. 44 · Piano Quintet in E-flat major

Part by part

The piece is rated by its hardest part. Here is how each part compares, so a group can see who will need to practise most.
Violin 1
Leads the strings, with the scales of the scherzo and fast passages in the outer movements. The most exposed string part.
Advanced
Violin 2
Mostly inner parts and rhythm, joining in the scale runs. Steady rather than exposed.
Intermediate
Viola
Gets a gentle theme with the cello in the first movement and shares a canon with a violin in the scherzo’s first trio.
Intermediate
Cello
Shares the tender second theme of the first movement with the viola, and a lyrical duet with the violin in the march.
Intermediate
Piano
The engine of the piece: big chords, quick figuration and rapid triplets in the march’s return. Stamina matters by the finale.
Advanced

The movements

I. Allegro brillante. Bold leaping opening, then a tender theme for cello and viola. Keep the piano bright but not heavy.
II. In modo d’una marcia. Un poco largamente. A slow funeral march alternating with a lyrical duet and a fast, agitated section. Agree on the tempo changes.
III. Scherzo. Molto vivace. Up and down scales for everyone, with two contrasting trios. Exciting, and the place where ensemble wobbles show first.
IV. Allegro ma non troppo. Starts in G minor, not the home key, and builds to fugal passages that bring back the first movement’s theme. Long and demanding.

Reading it together for the first time

Start with the first movement: it’s the most straightforward, and it shows the balance problem right away. Strings will need to play out.
Take the scherzo under tempo first. Its scales are easy to read but hard to place together at full speed.
In the march, mark where the fast Agitato section starts and agree how much faster it is before you play it.
The finale’s fugal ending needs everyone counting; leave time in the session to go back to it.

About the piece

Schumann wrote it in September and October 1842, during a year in which he concentrated on chamber music, and dedicated it to his wife Clara. At a private performance that December, Clara was ill and Mendelssohn sight-read the piano part; afterwards Schumann revised the work on his advice, including the scherzo’s second trio. Clara played the first public performance at the Leipzig Gewandhaus in January 1843.
Schumann’s choice of piano with string quartet shaped the piano quintets that Brahms, Dvořák and others wrote later. The second movement is a dark march in C minor with contrasting episodes, the scherzo is made almost wholly of scales running up and down, and the finale ends by combining its own theme with the main theme of the first movement.

What to play next

Dvořák · Piano Quintet No. 2 in A, Op. 81
Same players and level, with more tunes and Czech dance rhythms.
Advanced
Shostakovich · Piano Quintet in G minor, Op. 57
Same players and level, a striking change of style.
Advanced
Schumann · Piano Quartet in E-flat, Op. 47
Schumann again in the same key, without the second violin: a step up.
Very demanding
Brahms · Piano Quintet in F minor, Op. 34
The step up for the same five players, written after Schumann’s example.
Very demanding
More in the full list by difficulty, or browse:

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