The same reason so many people dislike the Bruch Violin Concerto, despite it getting played constantly. It's trashy; popular with common audiences, not so much with serious music listeners.
I just don't get it. I don't particularly like or dislike his concerto, but why is it so popular if it sucks so bad?
What I don't get is why that magnificent Introduction & Allegro Op. 134 is so unaccountably neglected! I cannot recall the last time I saw it on a program, and it doesn't pop up on the radio very often.
Even those who like Schumann still think his concerto is lousy. Why? I just don't get it. I don't particularly like or dislike his concerto, but why is it so popular if it sucks so bad?
Argerich sure loves it.
Setting aside the issue of whether or not popularity and quality are related...I believe it to be largely a matter of ignorance and superficiality. Anyone who would use the word "suck(s)" with regard to a piece such as this is not worth being taken seriously. We may find things repetitive, uninspired, awkwardly constructed, unimaginative, monochromatic, and so forth, but to speak about a staple of the repertoire in such blunt and crude terms is idiotic.JBM
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!Oh my goodness! That just made my day.HAHAAHAHAHAAA!!"Crude!" "Idiotic!"HAHAHAHAHAHAHAHAHA!!!Wow.
Do opinions like that one reflect reality, or do they shape it? A piece is underplayed because it's assumed to be bad, while simultaneously assumed to be bad because it's underplayed—and people who wish to hear it and decide for themselves really have to make an effort to do so. Sometimes it's well worth it.
Why do so many think the Schumann concerto sucks?
I believe it to be largely a matter of ignorance and superficiality. Anyone who would use the word "suck(s)" with regard to a piece such as this is not worth being taken seriously. We may find things repetitive, uninspired, awkwardly constructed, unimaginative, monochromatic, and so forth, but to speak about a staple of the repertoire in such blunt and crude terms is idiotic.
Chords: bang bang bang bang bang bang bang bang bang bang bang.The opening is the only part of minor interest. The rest is pure trash.But what would one expect from Schumann?. Rubbish pianist, even worse critic and average composer at best.
That is a nonsense assessment of Schumann the composer
It was an assessment of the concerto.Thought that was evident considering the thread title.
Then you thought wrong. If that was all that your "assessment" was intended to be, one might well ask why you included in it the observation "but what would one expect from Schumann?...rubbish pianist, even worse critic and average composer at best", which was surely intended to convey the view that the concerto is in fact typical of those things of which Schumann was capable, whereas its shortcomings demonstrate that it is well less than that.
Very well, have it your own way.
Don't you have anything to say in response to that?
At this exact moment in time, I don't.
Just listened to Krystian Zimerman's recording of this & it made me wonder what there is not to like!Tempos are similar to Kissin's live recording, with a more "chiselled" feel. And the Grieg on the same disc is similarly finely played & recorded. Karajan conducts Berlin Phil. on both.
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Chords: bang bang bang bang bang bang bang bang bang bang bang.The opening is the only part of minor interest. The rest is pure trash.Thal
But the quote of the opening is short one "bang," isnt it? It should be: bang/bang, bang/bang, bang/bang, bang/bang, bang/bang . . Bang! Bang!!
but I cannot help wondering if the two rather deserve one another's company
I stand corrected Sir. I am indeed one bang short.
I listened to this concerto again last night and almost died of tedium.
Then I listened to the Winding concerto and all was well again.
I think they do deserve each other.For some strange reason, I can tolerate the Grieg much more when I am driving through the Scottish Highlands, but then it is only really the slow movement.The only time I can appreciate the Schumann is when I am trying to force a turd.
It should be: bang/Banngg! bang/bang, bang/bang, bang/bang, bang/bang, bang/bang, bang/bang . . Bang! Bang!!
Why? - I mean, why did you subject yourself to it yet again?
Because there are that many recordings and that many people who like it, that I have to convince myself every now and again that it is refuse of the worst kind.
Why, why, why, oh bloody why are there so many recordings?. Is it because it is a safe choice and is not difficult for pianist and orchestra?
Status Quo had more imagination than Schumann did in the last movement of this bilge.
If it's good enough for Argerich then it's good enough for me.