After moving to Düsseldorf in early 1853, Clara and Robert Schumann finally lived in a house large enough for Clara to practice and compose without disturbing her nervous husband. During that summer, she produced several works, among them the Three Romances for violin and piano, Op. 22, which was published in 1855 or 1856 in Leipzig.

In nineteenth century Germany, the vague term "romance" often meant simply a short piece for piano, or for another instrument with piano accompaniment. Clara Schumann dedicated her Three Romances to violinist Joseph Joachim (1831-1907), who later performed the pieces for King George V of Hanover, much to the musical monarch's satisfaction.

The second of the Op. 22 set, in G minor, is representative of the three, and quite striking for its attractive lyricism. The plaintive main theme, syncopated and soaring, creates an atmosphere of melancholy that proves the perfect appetizer for the high-flying middle section. Now in the major mode, this second theme takes on an extroverted, almost majestic quality, best exemplified by its aggressive upward leaps and vigorous arpeggios. The B material alternates with sections of rapid imitation between piano and violin before giving way once again to the G minor opening tune; this time the piano plays a larger role in thematic presentation. A powerful, G minor version of the middle section's soaring theme appears just before the close, which consists of a surprising, pizzicato chord.

Nos. 1 and 3 are similarly constructed, with contrasting middle sections enclosed by reprised lyrical material. Developing variation is less important than clear delineation of form through organization of melodies; it is clear from the intricate piano writing that the composer possessed an exceptional performing technique. The violin writing is equally effective and idiomatic.



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