Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works.It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals.The critical edition will form the basis of accurate performance material for Robert Schumann's work. / Orchestre

in Full Score. Par SCHUMANN ROBERT. All four Symphonies. Breitkopf & Hortel edition edited by Clara Schumann./ Répertoire / Orchestre

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Vl2. Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Vl2. Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Vc1. Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Vl2. Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Vc1. Par SCHUMANN ROBERT. Editeur(s) d'origine: Draheim, Joachim/ Répertoire / Orchestre

Schumann travailla la forme ' symphonie 'très intensément comme le prouvent nonseulement les quatre symphonies connues,mais aussi les compositions qui se situent entredeux genres, comme ' Ouverture, scherzoet final '. Par rapport à la forme traditionnellede la symphonie, il leur manque le mouvementlent. Schumann lui-même parle de' Suite ', ce qui laisse supposer un rapportplus souple, ou de ' Sinfonietta ' - et choisitfinalement en guise de titre le nom des troismouvements, lesquels présentent malgré toutentre eux des liens indéniables. ' Ouverture,scherzo et final ' paraît pour la première foisavec conducteur et parties dans une éditionUrtext. La genèse de l'oeuvre fut marquéepar des corrections et des modifications.Schumann la retravailla fondamentalementaprès la première et la modifia une nouvellefois sept ans plus tard, pour l'édition princepsdes parties d'orchestre en 1846. / Orchestre