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Based on the new critical edition of Schumann's complete works. Over 50 songs in original keys, including opus 98a, 104, 106, 107, 117, 119, 122/1-...

Some pencil markings in margin and underlinings.

A transcription by cellist Friedrich Gr tzmacher (1832-1903) of Schumann's famous piano pieces, this newly-engraved edition makes these miniatures ...

History is full of countless tales of musicians' woes: unrequited love, broken hearts, unattainable relationships. Robert and Clara Schumann, while not escaping heartache by any means, were blessed souls, finding love and getting to keep it. After Robert died, Clara's heart remained with him and she dedicated herself primarily to the interpretation and performance of his works. Theirs is a story of devotion to each other and to their music. While DEVOTED is largely dedicated to two solo piano wo

European LP pressing. 2014.

Introduction by Renate Hofmann. Commentaries by Renate Hofmann (music history) & Harry Schmitt (botanical). Facsimile of the diary, full color illustrations. Third printing of this beautiful edition, on the occasion of the 200th anniversary of Clara Schum

Robert Schumann sketched his First Symphony in only four days--a remarkable feat for an artist poorly versed in the genre. In this study, Jon Finson examines these sketches to show how the composer's experience with symphonic composition and his autodidactic course in orchestration assisted in the rapid fashioning of this symphony--a work deliberately calculated to establish his reputation as a major artist. Finson also provides examples of the autograph score and subsequent editions of the Spring Symphony to reveal Schumann's empirical method of orchestration and his concern for the exigencies of performance.

Forced by a hand injury to abandon a career as a pianist, Robert Schumann went on to become one of the world's great composers. Among many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the Third, or Rhenish, Symphony (1850) exemplify his infusion of classical forms with intense, personal emotion. His musical influence continues today and has inspired many other famous composers in the century since his death. Indeed Brahms, in a letter of January 1873, wrote: "The remembrance of Schumann is sacred to me. I will always take this noble pure artist as my model."Now, in Robert Schumann: Herald of a "New Poetic Age," John Daverio presents the first comprehensive study of the composer's life and works to appear in nearly a century. Long regarded as a quintessentially romantic figure, Schumann also has been portrayed as a profoundly tragic one: a composer who began his career as a genius and ended it as a mere talent. Daverio takes issue with this Schumann myth, arguing instead that the composer's entire creative life was guided by the desire to imbue music with the intellectual substance of literature. A close analysis of the interdependence among Schumann's activities as reader, diarist, critic, and musician reveals the depth of his literary sensibility. Drawing on documents only recently brought to light, the author also provides a fresh outlook on the relationship between Schumann's mental illness--which brought on an extended sanitarium stay and eventual death in 1856--and his musical creativity. Schumann's character as man and artist thus emerges in all its complexity. The book concludes with an analysis of the late works and a postlude on Schumann's influence on successors from Brahms to Berg.This well-researched study of Schumann interprets the composer's creative legacy in the context of his life and times, combining nineteenth-century cultural and intellectual history with a fascinating analysis of the works themselves.

Harold Shonberg, America's most distinguished music critic wrote of Ms. Marino's first Schumann CD: 'It took a few measures to recognize that this kind of technical and musical confidence was something special' He then went on to choose it as one of the best piano releases of 1996 in the American Record Guide. This two CD set (including the one that Mr. Shonberg raved about) is a bargain for piano and classical music fans.

Masterpieces Of Piano Music Robert Schumann Sheet Music BookA varied selection of the works of the great composer which will be welcomed by student...

This book is in acceptable condition. The spine shows wear. Binding is good and pages intact. 1885, Vol. 5-7

Dieser Band bietet mit zweiundfünfzig (für hohe Stimme eingerichteten) Liedern und Balladen einen umfassenden Überblick über das Liedschaffen Heinrich Marschners (1795-1861). -- -- -- Der Sänger (Op. 7) / Sängers Genesung (Op. 30 Nr. 6) / Es ist vorbei! (Op. 35 Nr. 2) / Kennt ihr die Wunde (Op. 35 Nr. 3) / Ich seh' dich endlich wieder (Op. 35 Nr. 6) / Erinnerung (Op. 44 Nr. 1) / War eine Ratt' im Kellernest (Op. 47 Nr. 6) / Wanderschaft (Op. 61 Nr. 1) / Der Prager Musikant (Op. 73 Nr. 6) / Der betrogene Teufel (Op. 87 Nr. 1) / Der Morgentau (Op. 87 Nr. 2) / Der Fee Beschwörung (Op. 87 Nr. 4) / Die verwünschte Schließerin (Op. 89 Nr. 6) / Das Todeslos (Op. 90/1 Nr. 2) / Maisuna am Brunnen (Op. 90/1 Nr. 5) / Maisuna im Zelte (Op. 90/2 Nr. 1) / Hordenlager (Op. 90/2 Nr. 2) / Nach Reinmar der Alte (Op. 92 Nr. 4) / Nach Heinrich von der Vogelweide (Op. 92 Nr. 5) / Klage (Op. 100 Nr. 3) / Die Tochter Jephtas (Op. 100 Nr. 5) / Käferlied (Op. 101 Nr. 3) / Der Himmel im Tale (Op. 101 Nr. 5) / Die Monduhr (Op. 102 Nr. 2) / Die süße Dirn von Inverness (Op. 103 Nr. 1) / John Anderson (Op. 103 Nr. 5) / Mein Herz ist im Hochland (Op. 103 Nr. 6) / Mein Lieb ist eine rote Ros' (Op. 103 Nr. 7) / Im Westen (Op. 107 Nr. 1) / Der Himmel hat eine Träne geweint (Op. 113 Nr. 4) / Diebstahl (Op. 114 Nr. 2) / Über Nacht (Op. 115 Nr. 5) / Er liebt, und reitet fort (Op. 116 Nr. 2) / Verloren (Op. 123 Nr. 1) / Der Seemann (Op. 123 Nr. 3) / Er ist fort! (Op. 125 Nr. 3) / Kunde aus dem Feenland (Op. 125 Nr. 5) / Die sieben Freier (Op. 128 Nr. 1) / Um Mitternacht (Op. 128 Nr. 4) / Abendlied des Gondoliere (Op. 128 Nr. 5) / O kühler Wald (Op. 132 Nr. 2) / Mein Herz ist wie die stille Nacht (Op. 136 Nr. 1) / Der Bund (Op. 140 Nr. 1) / Der König von Thule (Op. 160 Nr. 1) / Des Harfners Klage (Op. 160 Nr. 4) / Frühlingstreiben (Op. 165 Nr. 1) / Abschied (Op. 168 Nr. 6) / Siehst du das Meer (Op. 177 Nr. 1) / Mondnacht (Op. 179 Nr. 2) / Der arme T

Walther von der Vogelweide: Leich, Lieder, Sangspr�che 2.94

The Schumann Marriage diaries provide a vivid portrait of the unique artistic and personal union between two renowned musicians. For the first four years of their marriage, Robert and Clara Schumann kept a joint diary, recording their entries, at least initially, on alternate weeks. Begun on September 13, 1840, the day after their marriage, the diary opens with guidance from Robert: "This little book . . . has a very intimate meaning; it shall be a diary about everything that touches us mutually in our household and marriage."The diaries reflect the harmony as well as the discord in their marriage. Robert and Clara describe in intimate detail their honeymoon period, the births of their children, their busy social lives, travels throughout Europe, financial problems, separations, and reunions. The book also evokes the artistic milieu of nineteenth-century Germany. The Schumanns came in contact with many musicians, including their close friends Felix Mendelssohn and Franz Liszt, and recorded their insightful reactions to the artists and their music.The marriage diaries cover a fertile period in Robert Schumann's life, during which he wrote the Spring Symphony, the Piano Concerto, most of his chamber music, his first oratorio, "Paradise and the Peri," and numerous songs. They reflect the frenetic pace at which he worked, as well as his growing bouts of depression, his ambivalent response to Clara's decision to return to the concert stage after a prolonged hiatus, and her anxiety in the face of Robert's changing moods.This edition includes the couple's travel book, written during their stressful concert tour of Russia in 1844, which marked the end of the marriage diaries; Robert Schumann's descriptions of Russian customs; and the poems he wrote in Moscow - all of which provide a fascinating and uniquely detailed glimpse at what it was like to travel in Russia at the time.

If everybody were to play first violin, we could not have an orchestra. Therefore respect each musician in his own place. There is no end to learning. Originally published in1850, Advice to Young Musicians: Musical Rules for Home and in Life offered composer Robert Schumann’s (1810–56) combination of practical advice and poetic words of wisdom for young people beginning their musical education. Presented in aphorisms and short paragraphs, the book’s insights remain as valuable today as when it was written. Recognizing the continued resonance of Schumann’s words, world-renowned cellist Steven Isserlis, himself a writer of children’s books and many articles for young musicians, set out to rescue the work from history. Here, in this beautiful gift edition, he revisits Schumann’s work and contributes his own contemporary counsel for musicians and music lovers. For this edition, Isserlis retranslated Schumann’s text and arranged it into four thematic sections: “On being a musician,” “Playing,” “Practicing,” and “Composing.” Each page is decoratively designed, and accompanying Schumann’s original quotation are Isserlis’s thoughtful and often humorous glosses. The book concludes with Isserlis’s own reflections on his life as a musician and performer: “My Own Bits of Advice (For What They’re Worth).”  The result is a unique and thought-provoking book that will be treasured by aspiring musicians of any age.

Introduction by Renate Hofmann. Commentaries by Renate Hofmann (music history) & Harry Schmitt (botanical). Facsimile of the diary, full color illustrations. Third printing of this beautiful edition, on the occasion of the 200th anniversary of Clara Schum

Unread book in perfect condition.

Walther von der Vogelweide: Leich, Lieder, Sangspr�che 1.59

This selection of Schumann's solo piano compositions contains all of his major work: "Variation über den Namen Abegg" (1830), "Papillons" (1832), "Studien nach Capricen von Paganini" (1832), "Davidsbundler" (1837), "Toccata" (1832), "Allegro" (1831), "Carnaval" (1834–5), "6 Concert-Etuden nach Capricen von Paganini" (1833), "Grosse Sonate No. 1" (1833–5), "Phanatasiestucke" (1937), "Grosse Sonate No. 3" (1835–6), "Kinderscenen" (1838), "Kreisleriana" (1838), "Arabeske" (1839), and "Blumenstück" (1839).This book has been especially designed as a playing edition — the notes are large and easily readable at the piano, and the margins and spaces between staves are adequate for written notes, fingerings, and turnovers. It is also most useful for analysis.

Eric Sams' study of Schumann's 246 songs (Faber 1961, revised 1993) - a companion volume to his The Songs of Hugo Wolf, also available in Faber Finds - remains a classic text. By providing a translation, commentary and notes for each of the songs, tracing original sources and relating recurring themes vividly to Schumann's life, Sams provides a unique documentary of Schumann's song-writing art. The book includes a foreword (to the First Edition) by the legendary accompanist, Gerald Moore, who writes: 'So felicitous is the writing that one is hardly conscious of the erudition and profound thought that have gone into the making of it . . . Eric Sams has produced a work that will be read and read again as long as Robert Schumann's songs are loved.'