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
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
Schumann's Papillons op. 2 has been a best-selling item in Henle's catalogue for decades. What is special about our revised new edition? First, the musical text has been painstakingly compared once again
As did many piano virtuosi at the time, Robert Schumann also dreamt of presenting himself to the public simultaneously as a pianist and composer with his own piano concerto. He had made several first attempts
By Robert Schumann
Expertly arranged Piano Duet by Robert Schumann from the Kalmus Edition series. This Piano Duet (2 Pianos, 4 Hands) is from the Romantic era and requires 2 copies for performance. All three movements are Federation Festivals 2016-2020 s
As is the case with quite a few of his works, there are two versions of Schumann's opus 14 – a three-movement “Concert sans Orchestre” from 1836 and a “Grande Sonate” in five movements from 1853. We do no
