| Appel Br Neue Bahnen/schumanns Zeitgen. Schott
(LN) SKU: HL.49032987 Robert Schumann und seine musikalischen Zeitgeno...(+)
(LN) SKU: HL.49032987 Robert Schumann und seine musikalischen Zeitgenossen. Composed by Bernhard R. Appel. Edited by Bernhard R. Appel. This edition: Full-cloth binding. Book. Edition Schott. Eine Sammlung grundlegender Beitrage zum Verstandnis des personlichen Umfelds und der kunstlerischen Entwicklung Robert Schumanns. 372 pages. Schott Music #ED 9277. Published by Schott Music (HL.49032987). ISBN 9783795704292. German. Robert und Clara Schumann pflegten zeitlebens intensive Kontakte zu anderen Musikerpersonlichkeiten, seien es Komponistenkollegen, Musikerfreunde, Schuler oder Ratsuchende. Die in diesem Band versammelten Symposionsbeitrage konzentrieren sich nicht nur auf die namhaften unter ihnen, wie Brahms, Mendelssohn Bartholdy oder Liszt, sondern weiten die Untersuchungen auf jenen grossen Personenkreis aus, der sich aus der Befragung aller zeitgenossischen Quellen ergibt, angefangen von Schumanns Schwager Woldemar Bargiel bis hin zu der weithin unbekannten Komponistin Elise Muller. $94.00 - See more - Buy online | | |
| Schumann Researches Vol9 Schott
(GEB) SKU: HL.49033309 Bericht uber das 7. Internationale Schumann-Sym...(+)
(GEB) SKU: HL.49033309 Bericht uber das 7. Internationale Schumann-Symposium am 20. und 21. Juni 2000 im Rahmen des 7. Schumann-Festes, Dusseldorf. Composed by Wendt. Edited by Matthias Wendt. This edition: Hardback/Hard Cover. Book. Edition Schott. 280 pages. Schott Music #ED 9816. Published by Schott Music (HL.49033309). ISBN 9783795705152. German. Dieser Band bringt Neues uber Schumanns internationale Kontakte und Rezeption seiner Musik in den europaischen Landern. $75.00 - See more - Buy online | | |
| Schumann Researches 11 Schott
(GEB) SKU: HL.49033359 Krankenakten, Briefzeugnisse und zeitgenossisch...(+)
(GEB) SKU: HL.49033359 Krankenakten, Briefzeugnisse und zeitgenossische Berichte. Composed by Bernhard R. Appel. Edited by Bernhard R. Appel. This edition: Full-cloth binding. Book. Edition Schott. 250 pages. Schott Music #ED 9870. Published by Schott Music (HL.49033359). ISBN 9783795705275. German. Um Schumanns letzte Lebensjahre, die er in der Nervenheilanstalt in Endenich bei Bonn verbrachte, ranken sich Geruchte, Legenden und Mutmassungen. Opfer dieser Spekulationen ist nicht zuletzt Clara Schumann. Ihr Verhalten wahrend dieser Zeit wird in popularen Lebensbeschreibungen haufig negativ bewertet. Die vom Komponisten Aribert Reimann im Archiv der Akademie der Kunste, Berlin, deponierten Krankenakten werden in diesem Buch erstmals ungekurzt veroffentlicht, durch weitere bisher unbekannte Quellendokumente erganzt und in einem medizinhistorischen Beitrag kommentiert. Diese Publikation liefert der biographischen, medizinischen, psychologischen und kulturgeschichtlichen Forschung erstmals ein serioses Quellenfundament. Eine der wichtigen Buchveroffentlichungen zum 150. Todestag von Robert Schumann am 29. Juli 2006. $44.00 - See more - Buy online | | |
| Symphonie Nr. 2 C-dur op. 61 Orchestra [Score and Parts] Breitkopf & Härtel
(study score). By Robert Schumann. Edited by Joachim Draheim. Breitkopf Full Sco...(+)
(study score). By Robert Schumann. Edited by Joachim Draheim. Breitkopf Full Scores. Parts, Urtext. 240 pages
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| CLARA SCHUMANN'S PIANO NOTEBOOK Piano solo - Intermediate Mel Bay
Saddle-stitched. Tunes. Book. Mel Bay Publications, Inc #30830. Published by...(+)
Saddle-stitched. Tunes.
Book. Mel Bay Publications,
Inc #30830. Published by Mel
Bay Publications, Inc
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| Schumann In Duesseldorf Schott
SKU: HL.49015400 Werke - Texte - Interpretationen. Composed by Ber...(+)
SKU: HL.49015400 Werke - Texte - Interpretationen. Composed by Bernhard R. Appel. Edited by Bernhard R. Appel. This edition: Full-cloth binding. Book. Edition Schott. Classical. 448 pages. Schott Music #ED 7944. Published by Schott Music (HL.49015400). ISBN 9783795702250. German. Das 3. Schumann-Symposion 1988 wurde aus doppeltem Anlass unter das Thema 'Robert Schumann in Dusseldorf' gestellt. Die 700-Jahr-Feier der Stadtwerdung Dusseldorfs gab Anlass, Leben und Wirken des bedeutendsten Komponisten, der in der Mitte des 19. Jahrhunderts hier wohnte und wirkte, zu gedenken. Das Vorhaben der Schumann-Forschungsstelle, den Beginn der Gesamtausgabe mit den vernachlassigten spaten Werken zu beginnen, war zugleich auch Richtschnur fur das 3. Robert-Schumann-Fest in seiner Programmgestaltung. Das Symposion, die Arbeit an der Gesamtausgabe und das Fest waren so eng aufeinander bezogen. Die Ausstellung 'Schumann und die Dusseldorfer Malerschule' im Foyer des Tagungsortes dokumentierte bildhaft erganzend die soziale und kunstlerische Einbettung von Clara und Robert Schumann in die Dusseldorfer Gesellschaft. Zunachst erwies sich, dass durchaus trotz eines so geringen Zeitabstandes von nur drei Jahren zum vorhergehenden Schumann-Symposion wirklich neue Ergebnisse in der Schumann-Forschung vorgelegt werden konnten. Dazu bei trugen die wichtigen Quellen der Tagebucher und Haushaltsbucher, die Gerd Nauhaus 1982 und 1987 veroffentlicht hatte. Seine Anwesenheit gab Gelegenheit, die besondere Rolle des Schumann-Hauses in Zwickau fur alle Forschungsbemuhungen hervorzuheben. In den drei Vortragen und zwolf Referaten kamen zwar die beiden Schwerpunkte: Schumanns Lebens- und Wirkungsverhaltnisse in Dusseldorf, seine Begegnung mit einer besonderen rheinischen Kunstszene sowie das Spatwerk in seinem grossen Umfang voll zur Sprache, jedoch stellte sich bald heraus, dass das Verstandnis der Zeit und der Werke nur auf dem Hintergrund seiner fruheren Jahrzehnte zu begreifen und zu interpretieren ist. Mannigfache Faden verbinden Schumann mit seinen fruheren Wirkungsstatten und seinen jeweils spezifischen Schaffensprinzipien der einzelnen Gattungen.Obwohl die Generalthematik so auf eine bestimmte Zeitphase zugespitzt war, ergaben die Beitrage und Diskussionen bald, dass uber sich vernetzende Bezuge letztlich ganz allgemeine Dimensionen von Schumanns schopferischer Personlichkeit auch sein Spatwerk durchdringen und die forschenden Fragestellungen bestimmten. Naturlich behielten die Musik und ihre quellenmassige Uberlieferung ebenso wie Fragen der Auffuhrungsweise und der Rezeption ihren Stellenwert, jedoch weitete sich manche Analyse des Details aus zu den Grundfragen von Genie und Krankheit, neben dem Verhaltnis von Musik und Literatur trat jetzt verstarkt das Verhaltnis von Musik und Malerei in den Vordergrund, aber mit der nachrevolutionaren Zeit und dem Ortswechsel auch das Verhaltnis von Musik und Offentlichkeit, ja Musik und Politik. Wieder einmal zeigte sich gerade bei Schumann die romantische Einheit von Kunstler und Werk mit den geistigen und geschichtlichen Stromungen und Ereignissen seiner Welt. $125.00 - See more - Buy online | | |
| At The Piano With Robert And Clara Schumann Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
Album Leaf No. Iii [op. 99, No. 6] Composed by Robert Schumann Arabeske [op. 1...(+)
Album Leaf No. Iii [op. 99, No. 6] Composed by Robert Schumann
Arabeske [op. 18] Composed by Robert Schumann
Chopin [op. 9, No. 13] Composed by Robert Schumann
Drei Stücklein Iii [op. 99, No. 3] Composed by Robert Schumann
Grillen [op. 12, No. 4] Additional credits Robert Schubert
Impromptu [op. 124, No. 1] Composed by Robert Schumann
Ländler [op. 124, No. 7] Composed by Robert Schumann
Larghetto [op. 15] Additional credits Clara Wieck-schumann
Mazurka [op. 6, No. 3] Additional credits Clara Wieck
Perfect Happiness [op. 15, No. 5] Composed by Robert Schumann
Präludium Und Fuga [op. 16, No. 2] Additional credits Clara Wieck-schumann
Romance [op. 5, No. 3] Additional credits Clara Wieck
Scherzino [op. 124, No. 3] Composed by Robert Schumann
Toccatina [op. 6, No. 1] Additional credits Clara Wieck
Träumerei [op. 15, No. 7] Composed by Robert Schumann
Variations On A Theme Of Robert Schumann [op. 20] Additional credits Clara Wieck-schumann
Warum? [op. 12, No. 3] Composed by Robert Schumann
At the Piano with Robert and Clara Schumann by Robert Schumann. Edited by Maurice Hinson. For Piano. Masterworks; Piano Collection. At the Piano. Masterwork; Romantic. Advanced; Early Advanced; Intermediate; Late Intermediate. Book. 64 pages. Published by Alfred Music Publishing
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| Symphonie Nr. 4 d-moll op.120 Orchestra [Score and Parts] Breitkopf & Härtel
(study score). By Robert Schumann. Edited by Joachim Draheim. Breitkopf Full Sco...(+)
(study score). By Robert Schumann. Edited by Joachim Draheim. Breitkopf Full Scores. Parts, Urtext. 172 pages
$22.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Symphony No. 4 in D minor Op. 120 Orchestra [Study Score / Miniature] Breitkopf & Härtel
Version of 1851 - Urtext. Composed by Robert Schumann. Edited by Joachim ...(+)
Version of 1851 - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4 th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Double bass part. Breitkopf and Haertel #OB 5264-27. Published by Breitkopf and Haertel (BR.OB-5264-27).
0.48
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| Symphony No. 3 in Eb major Op. 97 Orchestra [Study Score / Miniature] Breitkopf & Härtel
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim...(+)
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violoncello part. Breitkopf and Haertel #OB 5263-23. Published by Breitkopf and Haertel (BR.OB-5263-23).
0.48
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| Symphony No. 3 in Eb major Op. 97 Orchestra [Study Score / Miniature] Breitkopf & Härtel
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim...(+)
Rhenish Symphony - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Violin 2 part. Breitkopf and Haertel #OB 5263-16. Published by Breitkopf and Haertel (BR.OB-5263-16).
0.48
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| Symphonie Nr. 4 d-moll op.120 Percussion Ensemble [Score and Parts] Breitkopf & Härtel
(study score (Fruhfassung 1841)). By Robert Schumann. Edited by Jon Finson. Brei...(+)
(study score (Fruhfassung 1841)). By Robert Schumann. Edited by Jon Finson. Breitkopf Full Scores. Parts, Urtext. 192 pages
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| Six Lieder of Clara Schumann Violin and Piano Carl Fischer
Composed by Clara Wieck- Schumann. Arranged by Lauren Taylor. Collection - Sc...(+)
Composed by Clara Wieck-
Schumann. Arranged by Lauren
Taylor. Collection - Score and
Parts. 24+4 pages. Carl
Fischer Music #BF149.
Published by Carl Fischer
Music
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two Clara Schumann Lieder Choral 3-part SSA, Piano Hal Leonard
Composed by Clara Wieck- Schumann (1819-1896). Arranged by Nathan Payant. Henr...(+)
Composed by Clara Wieck-
Schumann (1819-1896).
Arranged by Nathan Payant.
Henry Leck Creating Artistry.
Concert. Octavo. 16 pages.
Published by Hal Leonard
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| Clara Schumann: Piano Music Piano solo [Sheet music] Dover Publications
Composed by Clara Schumann (1819-1896), compiled by Nancy B. Reich. For piano. F...(+)
Composed by Clara Schumann (1819-1896), compiled by Nancy B. Reich. For piano. Format: piano solo book. With introductory text. Romantic period. Series: Keyboard. 64 pages. 9x12 inches. Published by Dover Publications.
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| Pianistin Clara Wieck-schumann Schott
SKU: HL.49015501 Interpretation im Spannungsfeld von Tradition und Ind...(+)
SKU: HL.49015501 Interpretation im Spannungsfeld von Tradition und Individualitat. Composed by Claudia de Vries. This edition: Full-cloth binding. Book. Edition Schott. Umfassende Materialsammlung uber eine der bedeutendsten Kunstlerpersonlichkeiten des 19. Jahrhunderts. Classical. 482 pages. Schott Music #ED 8573. Published by Schott Music (HL.49015501). ISBN 9783795703196. German. Was kann uns heute an Clara Wieck-Schumanns kunstlerischem Weg inmitten der Entwicklungen des Musiklebens im 19. Jahrhundert interessieren? In diesem Buch werden die verschiedenen Tatigkeitsfelder der Pianistin, Komponistin, Padagogin und Herausgeberin einer umfassenden Betrachtung und Bewertung unterzogen. Hundert Jahre nach ihrem Tod wird die Personlichkeit dieser aussergewohnlichen Kunstlerin noch immer kontrovers beurteilt, nachdem sie von ihren Zeitgenossen mystifiziert, von der Nachwelt jedoch lange vergessen worden war.Die Autorin kann sich bei ihrer Darstellung auf die Fulle der uberlieferten Quellen und Dokumente stutzen - von den fur Clara Wiecks Ausbildung massgeblichen Methoden des Klavierunterrichts bis zu Tonaufnahmen vom Spiel ihrer Schulerinnen und Schuler. So ergeben sich nicht nur Blicke auf ein Leben von einzigartiger Konsequenz und Verantwortlichkeit, sondern es lassen sich ebenso innerhalb vermeintlich vertrauter historischer Zusammenhange neue Perspektiven entdecken und Schlussfolgerungen fur die heutige Praxis ziehen.Dieses Buch bietet mit seinem Materialreichtum eine willkommene Erganzung zur biographischen Literatur uber das Phanomen Clara Wieck-Schumann. $62.00 - See more - Buy online | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Schumann Briefedition Series 2 Band 15 Series II, Band 15 Music Distribution Services
SKU: M7.DOHR-8460261 Korrespondenten in Leipzig. Composed by Clara...(+)
SKU: M7.DOHR-8460261 Korrespondenten in Leipzig. Composed by Clara Wieck-Schumann and Robert Schumann. Edited by Annegret Rosenmuller and Ekaterina Smyka. Book. 1004 pages. MDS (Music Distribution Services) #DOHR 8460261. Published by MDS (Music Distribution Services) (M7.DOHR-8460261). ISBN 9783868460261. German. Briefwechsel Robert und Clara Schumanns mit den Familien Voigt, Preußer, Herzogenberg und anderen Korrespondenten in Leipzig. $161.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schumann Briefedition: Briefwechsel Clara Schumanns mit dem Verlag Breitkopf & Härtel 1856 bis 1895 Verlag Dohr
SKU: VD.978-3-86846-047-6 Composed by Clara Wieck-Schumann. Edited by Mic...(+)
SKU: VD.978-3-86846-047-6 Composed by Clara Wieck-Schumann. Edited by Michael Heinemann. Schumann Briefedition Bd. III.9. Classical. Book. With Text Language: German. 726 S. pages. Verlag Dohr #978-3-86846-047-6. Published by Verlag Dohr (VD.978-3-86846-047-6). ISBN 9783868460476. 8.27 x 5.12 inches. $120.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schumann - Davidsbundlertanze Op 6 Urtext Piano solo G. Henle
Piano SKU: HU.HN244 Composed by Robert Schumann. Edited by Ernst Herttrich. Pia...(+)
Piano
SKU: HU.HN244
Composed by Robert Schumann. Edited by Ernst Herttrich. Piano Solo, Piano and Keyboard, Repertoire, Solos. Davidsbundlertanze Op. 6. Classical, Romantic. Softcover Book. 60 pages. G. Henle #HN244. Published by G. Henle (HU.HN244).
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| Robert Schumann : Complete Piano Works - Volume 1 Piano solo [Sheet music] G. Henle
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music ...(+)
(Softcover Edition). By Robert Schumann. Edited by Ernst Herttrich. Henle Music Folios. Softcover. 292 pages
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| Briefwechsel Clara Schumanns Music Distribution Services
SKU: M7.DOHR-868460476 Mit dem Verlag Breitkopf & Härtel 1856 bis 1...(+)
SKU: M7.DOHR-868460476 Mit dem Verlag Breitkopf & Härtel 1856 bis 1895 (Schumann Briefedition). Composed by Robert Schumann. Book. MDS (Music Distribution Services) #DOHR 868460476. Published by MDS (Music Distribution Services) (M7.DOHR-868460476). ISBN 9783868460476. $122.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Variations on a Theme of Robert Schumann, Op. 20 Piano solo [Score] LudwigMasters Publications
Solo Piano SKU: AP.36-M306491 Composed by Clara Wieck-Schumann. Performan...(+)
Solo Piano SKU: AP.36-M306491 Composed by Clara Wieck-Schumann. Performance Music Ensemble; Solo; Solo Piano. Master Piano Series. Score. LudwigMasters Publications #36-M306491. Published by LudwigMasters Publications (AP.36-M306491). UPC: 660355123672. English. Clara Schumann (1819-1896) wrote this work in 1853, creating seven variations on her husband's theme from his Bunte Blätter, Op. 99, No. 4 (Albumblätter) for piano. She presented the piece to Robert Schumann on his 43rd birthday in 1853, the year before his crippling mental breakdown, making this the final birthday that he would spend with his family. It is also among the last works that Clara Schumann composed for the piano. Johannes Brahms was inspired by Clara to compose his own Variations on a Theme by Robert Schumann, Op. 9, which he then dedicated to her. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $4.50 - See more - Buy online | | |
| Impromptus (Fassungen 1833 und 1850) op. 5 -über ein Thema von Clara Wieck- (Reprint der "Instruktiven Ausgabe" von Clara Schumann) Piano solo [Score] Verlag Dohr
Piano SKU: VD.ED13705 Composed by Robert Schumann. Edited by Clara Wieck-...(+)
Piano SKU: VD.ED13705 Composed by Robert Schumann. Edited by Clara Wieck-Schumann and Thomas Synofzik. Klavier-Werke von Robert Schumann - Instruktive Ausgabe von Clara Schumann, Vol. 5. Classical. Score. 27 + VIII S. pages. Verlag Dohr #ED13705. Published by Verlag Dohr (VD.ED13705). ISBN 9790202027059. 12 x 9 inches. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Berlin Flower Diary of Clara Schumann Breitkopf & Härtel
SKU: BR.BV-285 Composed by Clara Wieck-Schumann. Edited by Harry Schmidt ...(+)
SKU: BR.BV-285 Composed by Clara Wieck-Schumann. Edited by Harry Schmidt and Renate Hofmann. This edition: paperback. Hardback. Buchverlag Breitkopf & Hartel (Music Books). Romantic period. Book. 136 pages. Breitkopf and Haertel #BV 285. Published by Breitkopf and Haertel (BR.BV-285). ISBN 9783765102851. 7.5 x 9.5 inches. German. Blooming JoyFlowers played an important role in the lives of people of the 19th century - picking them, binding them to wreaths, giving them as messages of friendship and love, using them to ornament a room or clothing, belonged to the forms of general sociability. It is within this context that Clara Schumann's flower diaries can be viewed: The first of the series was created in 1854, the year of Robert Schumann's admission to the Endenich mental institution, and was intended to share her inner and outer life with the initially personally unavailable invalid. In 1857, the meanwhile nearly 40-year-old Clara Schumann began her last flower diary, barely a year and a half after her husband's death. It reflects the travel stops of the pianist who was by now increasingly concertizing throughout central Europe and England, as well as her relationships with close friends, including especially the young Johannes Brahms who had presented her with the little volume expressly for her collections and annotations. The facsimiled diary pages of the exemplar preserved in the Staatsbibliothek Berlin are supplemented by biographical and botanical comments. $32.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Music for Little Mozarts Plush Toy: Clara Schumann-Cat
Piano solo Alfred Publishing
By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano M...(+)
By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano Method. Music for Little Mozarts. Level: Level 2-4. Plush Toy. Published by Alfred Publishing.
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| Dass Gott Mir Ein Talent Geschenkt Schott
SKU: HL.49013188 Clara Schumanns Briefe an Hermann Hartel und Richard ...(+)
SKU: HL.49013188 Clara Schumanns Briefe an Hermann Hartel und Richard und Helene Schone. Composed by Steegmann. Edited by Monica Steegmann. This edition: Hardback/Hard Cover. Book. Edition Schott. Erstpublikation einer Briefsammlung von erstrangigem Quellenwert. Classical. 280 pages. Schott Music #ATL 6207. Published by Schott Music (HL.49013188). ISBN 9783254002075. German. Uber mehr als 50 Jahre erstreckt sich die Korrespondenz Clara Schumanns mit dem Leipziger Verleger Hermann Hartel und mit seiner Tochter Helene und deren Ehemann, dem Berliner Archaologen Richard Schone. Ihre Briefe sind Dokumente, die das Bild ihrer Kunstlerpersonlichkeit scharfen, erganzen und zum Teil neu entwerfen: Es ist neben dem Menschen vor allem die Komponistin, die Pianistin, die Herausgeberin, die Hermann Hartel, bei aller Vertraulichkeit und Freundschaftlichkeit, als Verleger, als Konzertarrangeur, als Klavierfabrikanten anspricht. Und sie sind zeitgeschichtliche Dokumente, die Konzertpraktiken des 19. Jahrhunderts nicht nur veranschaulichen, sondern auch zeigen, wie ungemein virtuos Clara Schumann mit ihnen umzugehen wusste. Die in diesem Band erstmals aus Privatbesitz vorgelegten Briefe vermitteln in ihrem lebendigen, direkten und unumwundenen Sprachstil, in ihrer emotionalen Offenheit nicht nur ein lebensnahes Bild der Briefschreiberin, sie geben daruber hinaus Aufschluss uber viele bislang unbekannte Details der Auffuhrungs- und Veroffentlichungsgeschichte von Werken Clara und Robert Schumanns und ihres Kreises. $41.00 - See more - Buy online | | |
| Intermezzi op. 4 (Reprint der "Instruktiven Ausgabe" von Clara Schumann) Piano solo [Score] Verlag Dohr
Piano SKU: VD.ED13704 Composed by Robert Schumann. Edited by Clara Wieck-...(+)
Piano SKU: VD.ED13704 Composed by Robert Schumann. Edited by Clara Wieck-Schumann and Thomas Synofzik. Klavier-Werke von Robert Schumann - Instruktive Ausgabe von Clara Schumann, Vol. 4. Classical. Score. 23 + VIII S. pages. Verlag Dohr #ED13704. Published by Verlag Dohr (VD.ED13704). ISBN 9790202027042. 12 x 9 inches. $19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Papillons op. 2 (Reprint der "Instruktiven Ausgabe" von Clara Schumann) Piano solo [Score] Verlag Dohr
Piano SKU: VD.ED13702 Composed by Robert Schumann. Edited by Clara Wieck-...(+)
Piano SKU: VD.ED13702 Composed by Robert Schumann. Edited by Clara Wieck-Schumann and Thomas Synofzik. Klavier-Werke von Robert Schumann - Instruktive Ausgabe von Clara Schumann, Vol. 2. Classical. Score. 13 + VI S. pages. Verlag Dohr #ED13702. Published by Verlag Dohr (VD.ED13702). ISBN 9790202027028. 12 x 9 inches. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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