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
Schumann wrote his only piano concerto for his wife Clara. Originally it was conceived as a single movement fantasy. Unlike many virtuoso concertos of its day, which see the virtuoso pianist contrasting with the
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
By Robert Schumann / ed. Maurice Hinson
Eight contrasing pieces with descriptive titles comprise the "Fantasy Pieces", Op. 12. Although the eight pieces form a homogeneous whole, each can be played individually without loss of effect. They are challenging
By Robert Schumann / ed. Maurice Hinson
Eight contrasing pieces with descriptive titles comprise the "Fantasy Pieces", Op. 12. Although the eight pieces form a homogeneous whole, each can be played individually without loss of effect. They are challenging
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
By Robert Schumann / ed. Charles Timbrell
Robert Schumann's Kreisleriana for piano is a cycle of eight contrasting pieces composed in 1838. The work belongs to one of Schumann's most creative periods. It was influenced by the writings of author E. T. A. H
