On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are appeari
On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879–93, all of the works for piano solo are a
The “Davidsbund” – a group of artists who had joined forces in a revolutionary struggle against the backward structures in the artistic world, amongst whose members he counted both real and imaginary peop
Schumann's great C-major Fantasy, Op. 17, was originally intended to be published as a “Sonata for Beethoven” entitled “Ruins, Trophies, Palms. Grand Sonata.” Although he eventually abandoned this plan, h
“With humor, slow and tender, extremely brisk”: the very expression marks of the Op. 12 “Fantasy Pieces” illuminate their musical universe, a kaleidoscope of ideas and moods. Our revised new edition prese
Our series of revised Schumann editions continues with this delicately wrought set of variations. “Opus 18 and 19 are frail things for ladies”: thus, with a wink of the eye, Schumann alluded to his wish t
“Even for me it is a strange and wonderful fact that almost every motif which forms within me bears the characteristics for multiple contrapuntal combinations,” Schumann wrote to Mendelssohn. 1845 was the
Composer: Robert SchumannEditor: Wolfgang Boetticher
“To Diotima” – this addendum to the title was preserved until shortly before publication of the piano “songs” and mystified Schumann's contemporaries. “The Goddess to whom they are addressed has cause
“Do you not know Jean Paul, our great writer? I have learnt more couterpoint from him that from my music teacher.” His Vorschule der Ästhetik with its extensive treatment of humour probably occasioned to
Originally composed in 1833, Schumann later made a great many changes to his opus 5. This is the first Henle edition which contains both the original and revised versions in a single volume.
Encouraged by the success of his “Papillons,” Schumann composed his “Intermezzi” Op. 4, also known as “Longer Papillons,” in 1832. Despite the at times improvisatory style, Schumann worked very carefully
Kapellmeister Kreisler, the ingenious and eccentric conductor created by E.T.A. Hoffmann, served as the inspiration for this composition of 1838. Schumann set out to recreate this fictitious character i
Gloomy premonitions plagued Schumann whilst he was working on his latest composition in 1839. The news that his brother Eduard was dying had deeply shaken him. “Writing a 'Corpse Fantasy' since Monday,” h
The Novelettes arose at roughly the same time as the Kinderszenen and share the same largely untroubled mood. Writing to Clara Wieck, Schumann could exclaim “I've written such a frightful amount of music
Composer: Robert SchumannEditor: Wolfgang Boetticher
Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as th
