Schuncke, of whom Schumann thought the world and whose 1832 sonata (dedicated to Schumann) shows that master's characteristic freely imaginative, almost eccentric writing with touches of Mendelssohian frolicsomeness in its scherzo and an obsessive, demoniacally Schubertian anxiety in its finale. Reubke's Mazurka and Scherzo (the latter with technical hurdles equal to the sonata) receive their world-premiere recordings. Mario Patuzzi
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