43 Klavierstücke Op. 68-In 1848 after finishing an album of little Piano pieces for his daughter Marie Schumann devised the plan of compiling a ‘children’s album’. Since then the resultant collection of 43 pieces has enjoyed unparalleled success. Schumann’s Album For The Young is now presented in an Urtext edition which meets the needs of performers. In addition to the famous ‘Advice to Young Musicians’ (in German English and a French translation by Liszt) other pieces related to this work but left unpublished during Schumann’s lifetime can be found in the appendix. For the first time thisedition also includes Clara Schumann’s original pedal markings. Clara’s fingering served Ragna Schirmer as an important point of departure for her own thoughts on fingering. Urtext edition at the cutting edge of scholarship. Many additional pieces and ‘Advice to Young Musicians’ in the appendix. Original pedal markings by Clara Schumann and fingering by Ragna Schirmer. Detailed Foreword (Ger/Eng) and detailed Critical Commentary (Eng)

Par SCHUMANN ROBERT. Les Papillons furent écrits sur une période s'étalant de 1829 à 1831, en partie à Heidelberg et en partie à Leipzig. Cette oeuvre n'est pas une musique à programme et ne traite pas non plus des ébats de jolis insectes. C'est le thème romantique par excellence, qui exprime la dualité de la personne, l'incertitude dans la connaissance de soi, la hantise du double. Schumann ne cherche pas à illustrer un texte mais plutôt à créer un état d'âme. Les Papillons furent inspirés par l'avant-dernier chapitre du roman de Jean Paul (Richter) : Flegeljahre (L'âge ingrat). Schumann écrivait : 'Le fil qui entoure mes Papillons est difficile à saisir si l'interprète ne sait pas qu'ils sont nés de cette lecture.' Dans cette scène du bal masqué, trois personnages évoluent : Walt et Vult échangent leur masque pour séduire la fiancée Wina. Ces deux premiers pesonnages préfigurent ainsi Florestan et Eusébius qui seront présents dans toute l'oeuvre de Robert Schumann (voir Davidsbundlertänze opus 6, Carnaval opus 9, Phantasiesttlcke opus 12, etc.). Ainsi Valses et Polonaises se succèdent : Danses des larves, Walt, Vult, Masques, Wina, Danse de Vult, L'échange des masques, Aveux, Colère, Révélations, Départ précipité, Scène finale et départ du frère, Le tumulte de la nuit du carnaval s'éteint, L'horloge de la tour sonne six heures. Pour connaître le texte de Jean Paul, voir Au delà des notes Carnaval de Schumann par Jacques Chailley (texte original en allemand et traduction par Marcel Beaufils), Edition Leduc. / Niveau : Intermédiaire / classique / Répertoire / Piano

by Beethoven (Opus 37, Opus 58) and Mozart (K466). Par SCHUMANN CLARA. Clara Schumann?s cadenzas to piano concertos by Beethoven (Opp. 37 and 58) and Mozart (K466) not only give a unique insight into her performing and composing style; they also throw light on her relationship with Johannes Brahms, whose cadenzas have considerable similarities to those of Schumann. This Urtext edition of the cadenzas includes a preface in which the renowned Canadian pianist Ludwig Sémerjian explores the interaction between Schumann and Brahms. The edition also marks the first publication of Clara Schumann?s early cadenzas for Mozart?s D minor Piano Concerto, previously only available in the manuscript in the Library of Congress in Washington DC. / Date parution : 2023-06-01/ Recueil / Piano

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 appearing as oneeditorial project.Spanning almost ten years of painstaking work all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined eachedition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection comprising six volumes as well as study editions in a slipcase. Theyreplace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers it includes not only all of Schumann's Piano works revised to reflect the latest scholarly findings but also informative accompanyingtexts alternative versions and much more besides.Being a complete works collection a general difficulty level cannot be applied to these volumes. As a result we have assigned them a difficulty of 'advanced' as a guide tothe general proficiency required to play all the pieces.Contents:Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21Sonata g minor op. 22 Night Pieces op. 23

Although Robert Schumann absolutely loved to play a duet he wrote only few works for Piano duet. Created in 1848 Bilder aus dem Osten Op. 66 was one of the best-known and most frequently played works in the Piano duet literature until the 20th century. But the Polonaises Op. 3 by the 18-year-old composer following the example of Franz Schubert and even exceeding him in harmonic boldness and tonal ingenuity already show the self-taught Schumann on the way to his own style. After volume 1 which contains the easier works composed for music teaching purposes volume 2 now contains the charming yet hardly known Ballszenen Op. 109 inaddition to the two above-mentioned works. The new edition of the Wiener Urtext Edition based on the musical text of the New Schumann Complete Edition (edited by Joachim Draheim and Bernhard Appel) provides for the first time a reliable original text based on the sources especially for the 8 Polonaises which had been inadequately edited up to now. The appendix contains the popular Fantasiestücke Op. 73 (originally for Clarinet and Piano) edited by the composer and future Schumann researcher Friedrich Gustav Jansen. The arrangement published in 1851 had been revised and thus been authorized by Schumann himself.

Urtext. Par SCHUMANN CLARA. Schumann's horn sonatas were composed in 1936/37. Considering the slim repertoire offered horn players from this period, it is more than surprising that these two masterpieces could have slumbered for so long. Both sonatas are similar in structure, with op. 118 being one Schumann's few three-movement sonatas. The first movements of the pieces sparkle with melancholically lyrical melodies, whereas passages strongly marked rhythmically, variously shape the two outer movements. Virtuoso moments can be found, respectively, in the final movements, bringing the works to a brilliant close. The horn parts predominantly range within the full, sonorous middle register, where occasional 'outbursts” up to the notated a flat'' are also not lacking. The clever handling of the balance of sounds, the possibilities on the early valve horn as well as the inner interweaving of themes differentiating horn and piano make the sonatas an exceedingly vivid testimony to Schumann's mature compositional art. Schumann's horn sonatas are a crucial enhancement to each horn player's repertoire. / Date parution : 2019-08-22/ Répertoire / Cor et Piano

Easy Piano Pieces with Practising Tips-With the new Urtext Primo series the Wiener Urtext Edition wants to close the gap arising at the point of transition to additional lessons after having studied a Piano method. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume of the Urtext Primo series with the aim of offering Piano pupils (or even adults who want to resume Piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. Thepieces' range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for Piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles music history and Piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces. Volume 4 combines works of the German Romanticism by Schumann Brahms and Theodor Kirchner. Apart from well known pieces from Schumann's 'Album for the Youth' and the easiest waltzes from opus 39 (in the easier version) by Brahms the selection contains the attractive set of variations from Schumann's first Youth Sonata Op. 118/1 and Brahms’ Saraband in A minor WoO 5/1 as well as a number of pleasant pieces by Theodor Kirchner which continue the tonal air of Schumann and Brahms in easy playable pieces.

Par SCHUMANN ROBERT. Le nouveau Robert Schumann Edition (RSA) est conçu comme une édition historico-critique des oeuvres recueillies. Ils seront soigneusement étudiés et préparés selon des techniques musicologiques et rédactionnelles actuelles et présentés dans leur intégralité. Brouillons, des croquis et des fragments, bref, tout ce qui est parvenu à nous comme étant authentiquement par Schumann et qui, dans la plupart des cas, a été délibérément préservé par lui, seront rassemblées, évalué quant à son importance et documentés dans une forme ou une autre, dans l'édition des oeuvres complètes.C'est le but de l'édition de reproduire des textes authentiques qui - après avoir corrigé copistes, copies et d'impression des erreurs et éradiquées ajouts et autres corruptions textuelles - aborderont aussi étroitement que possible l'intention des originaux.L'édition critique formeront la base du matériel de rendement précis pour le travail de Robert Schumann./ Répertoire / Piano et Orchestre

Schumann était en plein milieu des préparatifs pour l'exécution de son oratorio Das Paradies und die Peri quand il a écrit des sketches de Neujahrslied. Quelle quantité de musique vocale signifiait pour lui est montré par la fondation de l'année précédente, soit en 1848, de la société Verein für Chorgesang initié par Schumann. Répétition de la chorale et de la composition chorale devaient avoir une influence stimulante sur l'autre ce qui se voit dans les commentaires de Neujahrslied: 'C'est vraiment expressive musique chorale, étant le produit d'un esprit aussi sensible qu'il est intelligent, à la fois mélodique et déclamatoire, les pensées sont pleins de courage et de toucher le coeur de l'auditeur.Schumann travail peu connu tardive est un complément enrichissant le répertoire pour choeurs accomplis.Le score est basé sur le volume IV/3/1, 2 (RSA 1032-1020) du Schumann Complete Edition. / Choeur Et Orchestre

Robert Schumann wrote his Fantasy Pieces for clarinet and piano in the course of two days in February 1849. Only a few days later they were premiered by Clara Schumann and the Dresden clarinetist Johann Gottlieb Kotte. Initially choosing the title Soirée Pieces for his works, Schumann finally decided to have them published as Fantasy Pieces, thereby emphasizing their poetical aspects. These connotations are also at the centre of clarinetist Elisabeth Eichenberg's notes on interpretation with special reference to the contemporary aesthetics of the clarinet sound. The edition is based on the first edition published in 1849 and also incorporates subsequent corrections in Schumann's personal copy. The compositional manuscript that has survived served as an important corrective. Besides the original clarinet part in A the edition also includes a transposed part for the B clarinet in order to make these standard works of the Romantic clarinet repertoire available to a wider circle of the clarinet community. / Clarinette Et Piano

Schumann was right in the middle of the preparations for the performance of his oratorio Das Paradies und die Peri when he wrote the sketches of Neujahrslied. How much vocal music meant to him is shown by the foundation the year before i.e. in 1848 of the society Verein für Chorgesang initiated by Schumann.Choir practice and choral composition were to have a stimulating influence on each other which shows in the reviews of Neujahrslied: 'This is truly expressive choral music being the product of a mind as sensitive as it is intelligent; both declamatory and melodic the thoughts are full of fortitude and touch the listener's heart.' Schumann's little known latework is a rewarding addition to the repertoire for accomplished choirs. The score is based on volume IV/3/1 2 (RSA 1032-20) of the Schumann Complete Edition.

Par SCHUMANN ROBERT. Le nouveau Robert Schumann Edition (RSA) est conçu comme une édition historico-critique des oeuvres recueillies. Ils seront soigneusement étudiés et préparés selon des techniques musicologiques et rédactionnelles actuelles et présentés dans leur intégralité. Brouillons, des croquis et des fragments, bref, tout ce qui est parvenu à nous comme étant authentiquement par Schumann et qui, dans la plupart des cas, a été délibérément préservé par lui, seront rassemblées, évalué quant à son importance et documentés dans une forme ou une autre, dans l'édition des oeuvres complètes.C'est le but de l'édition de reproduire des textes authentiques qui - après avoir corrigé copistes, copies et d'impression des erreurs et éradiquées ajouts et autres corruptions textuelles - aborderont aussi étroitement que possible l'intention des originaux.L'édition critique formeront la base du matériel de rendement précis pour le travail de Robert Schumann./ Répertoire / Divers

After a long time spent writing only for piano Schumann produced a true outburst of lieder inspired by the poetry of Heinrich Heine: ?What a blessing it is to write for the voice!? Schumann wrote to his beloved Clara. It is as though a knot was untied while he was writing the Heine-Liederkreis Op.24. Retrospectively Schumann wrote that this new poetic spirit had inspired the composition of lieder to such an extent that it had become the only genre to make significant progress since the time of Beethoven.Indeed these nine songs which represent the only complete setting of the underlying Heine cycle came so close to the spirit of the poet that a new epoch of liedcomposition was founded. This new edition of Schumann?s first collection of lieder is based primarily on the first publication under consideration of the autograph manuscript.All songs in their original keyComprehensive foreword (Eng/Ger) and critical commentary (Ger)Includes an English translation of the lied texts by Richard Stokes (The Book of Lieder) printed separately

Schumann’s Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as 'Second only to Beethoven's Sonata in A'. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann’s working manuscripts and – in the case of the 2nd Sonata – the score used by the engravers and extensive correspondence between the composer and the originalpublishers. Meticulous comparison of these original documents has made it possible to determine numerous details regarding dynamics and articulation. Schumann’s autograph manuscript has been of significant help in this respect. The edition is part of the ABRSM syllabus (grade 8).