Robert Schumann : Fantasy Pieces, Opus 73, for Clarinet and Piano, Bb Clarinet part (to replace A Clarinet part)

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

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.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänzeop. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo Gigue Romance and Fughetta op. 32 Album for the Youngop. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ['Ghost' Variations] E flat major Drei Fantasiestücke op. 111

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

Compositeur : Schumann, RobertInstrumentation : Piano soloEditeur Musicologique : Boetticher, WolfgangCouverture ReliéeContenu : 3 Fantasy Pieces op. 111

Urtext Edition-Edited and engraved by Ephraim Hammett Jones Volume I of this two-book set presents an original compilation of Robert Schumann's best-known character pieces and piano cycles in a pristine urtext edition. Printed to precisely reproduce the artist's original intentions it features thirteen of the Romantic composer's finest works.Suitable for intermediate to advanced pianists the contents include Fantasy Pieces Op. 12; Symphonic Études Op. 13; Toccata Op. 7; Variations on the Name 'Abegg' Op. 1; Scenes from Childhood Op. 15; Kreisleriana Op. 16; Arabeske Op. 18; Blumenstück Op. 19; Humoreske Op. 20; and Forest Scenes Op. 82.Dover Original.

Stücke im Volkston op. 102-A selction of pieces by Schumann for Cello. Fantasy Pieces Op.73 / Adagio & Allegro Op.70 / Pieces in Folk Style Op.102. Edited by Gr?tzmacher. For Cello with Piano accompaniment.

Included are selected works from a number of Schumann's collections such as Albumblätter (Opus 124) Album for the Young (Opus 68) Forest Scenes (Opus 82) Fantasy Pieces (Opus 12) and the complete Scenes from Childhood (Opus 15). Also included is a complete biography of Schumann a useful preface including performance notes on each piece and a full performance CD by the editor Joseph Banowetz. Joseph Banowetz graduated with a First Prize from the Vienna Akademie für Musik und darstellende Kunst. Banowetz has been a piano recitalist and orchestral soloist on five continents. He was awarded the Liszt Medal by the Hungarian Liszt Society in recognition of hisoutstanding performances of Liszt and the Romantic literature.

Clarinet and Piano-The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forcedSchumann to flee with Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the clarinet theywere accompanied by alternative parts for violin and cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

The circumstances in which these poetic ?Soirée Pieces? (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.

Fantasy Pieces. Par SCHUMANN ROBERT. Fantasy Pieces / Date parution : 2019-08-28/ Répertoire / Piano

Par SCHUMANN ROBERT. Légendaire violoniste et compositeur des airs célèbres tels que Liebesleid/Liebesfreud ou Schön Rosmarin, Fritz Kreisler, a rendu hommage à Robert Schumann avec deux arrangements. En plus d'un arrangement de la Fantasy fin en c majeur opus 131 pour violon et o / Kreisler masterpieces for violin Nr. 16 / Date parution : 1983-12-12/ Répertoire / Violon et Piano

Arabeske op. 18 / Blumenstück op. 19. Schumann?s ?Arabeske? and ?Blumenstück? were both composed while he was living in Vienna from October 1838 to April 1839, and are thus companions to such major piano pieces as the ?Fantasy in C major? (op. 17), the ?Humoresque? (op. 20) and the cycles ?Nachtstücke? (op. 23) and ?Faschingsschwank aus Wien? (op. 26). Unlike these masterpieces, they are more ingratiating, possibly as a concession to the Viennese public: but whether the ?Arabeske? is a ?delicate piece for the ladies?, as Schumann once maintained, is open to debate. For our new edition of these popular pieces the editor has re-evaluated the surviving sources, devoting special attention to the placement of slurs and incorporating the latest findings in Schumann scholarship. Rounding off the volume are a clear and uncluttered engraving, practical page turns and informative notes on historical performance practice by Sezi Seskir, a fortepiano specialist from Bucknell University (Lewisburg, PA) with a special interest in Schumann?s pianism as well as 18th- and 19th-century performance practice.