LDV17

17 QUATUOR HERMÈS Could you say something now about the similarities in Schumann’s style in his quartets? For example, the tonal range is very restricted, with two key centres, A and F. This relationship of thirds, present throughout the tonal trajectory of the twelve movements, is also something typically Romantic. It’s true that the short period of composition and the very simple tonal scheme can only serve to reveal and reflect a unity. There’s a heroic side, but also gentle and folklike aspects, so thatwe getmultiple perspectives on Schumann’s Romanticism. What’s more, the works contain an enormous number of sforzandi (sudden expressive accents on certain chords), a characteristic feature of Schumann’s style. That produces a lot of dissonance, with some wonderful clashes! And finally, the unity also comes from the crucial place assigned to the viola, lyrical and sombre, very close to the human voice, with an almost ‘granitic’ aspect. It plays an immense role in the harmony.