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Anybody performed this one? If so, I'm still struggling with fingerings in the little section from measure 33-37 in the Scherzo (and in the 3 or 4 other places where that figure appears again). I can't help but think it's a fingering issue. It seems a little easier when a couple of the transitions are played legato but I don't want to resort to that, it really changes the texture of the piece and is inconsistent with what my strings are doing. The real problem is where the parallel thirds transition to the right hand - when they're divided it isn't an issue. Thanks!

I'm not exactly clear on the issue you're having. Is it the first ending transitioning to the passage with the repeated sixths in the LH?

I repeat, this is the parallel thirds that transition from two-hand to right-hand only, while the left hand takes up a sort of counterpoint. You can see the figure in measures 33-37. I am using a Peters edition so it also appears at measure 17-20...Letter A (not sure about letters in other editions). There are no endings for the piano in this edition - it is through-written - although my string players do have a repeat w/ 2 endings. The figure appears a few more times in the movement and is exactly the same each time, at least for the piano. If you actually have the score and have played the piece, you'll know exactly the spot I'm talking about. There are no sixths here. There are sixths in the left hand 13 measures later, in the phrase just before the Trio I, but a blind monkey could finger that without asking about it.

My fingering (starting with the F G Ab in the RH) is:

1 2 3 4 3 2 1 2 3 4 3 1 2 13 24 12 13 24 35 24 13 24 13 2

Also, it's important that the articulation not change. The sound should be consistent in going from single notes to the thirds. Be sure you're using the same technique for the single notes that you will for the thirds.

Yes, I do know the articulation needs to be consistent. It's a pity, this is a lot easier to play legato IMHO, but I realize I can't do that. Hmmm, this is a bit different from what I'm doing. I'll give it a try. We have a rehearsal Sunday afternoon - this should be enough time to make a change. Thanks!

Yes, I counted wrong of course. Sorry about that.

Kreisler's fingering looks fine to me.

Okay, then.....going in!

OK, then. It's working for me, more or less. Cellist sets the tempo in this one, which is usually somewhere between OMFG and WTF. We've brought in a coach from the Pro Musica orchestra and it has been polished up quite a bit. We are performing next Friday evening. Short little recital, the Clarke Duo concertante for Violin, Viola and Piano, then mvmts III (Adagio) and II (Scherzo) from the Schumann op. 47 piano quartet. Next on the agenda is to tackle Mvmts I and IV (in that order) on the Schumann. If nothing else, this piece has driven me to practice rather more than I do for my solo repertoire, LOL!

I am sorry that I do not have fingering suggestions, but I do want to contribute and just say that I really enjoy this quartet and hope your future performances with it go very well!! I want to play it one day

This may be slightly off topic, but since the OP's question has already been resolved, it might be a good time to ask this: what do people think of the Quintet? I've played the Quintet, but not the Quartet. They're in the same key and were composed in the same year; I've heard them referred to as sister works. I find I enjoy the Quintet slightly more, but of course they're both great pieces and staples of the chamber music repertoire.