Bøger af Robert Schumann

Online-Tutorial verfügbar bei Henle Masterclass Wie viele Klaviervirtuosen seiner Zeit träumte auch Robert Schumann davon, sich dem Publikum als Pianist und Komponist zugleich in einem eigenen Klavierkonzert zu präsentieren. Bereits in jungem Alter unternahm er erste Versuche. In den folgenden Jahren fühlte er sich jedoch zunehmend von der Idee einer formal freieren Konzeption angezogen. Aus dem Entwurf einer einsätzigen "Phantasie" entstand schließlich der Kopfsatz des berühmten Werkes, das hiermit erstmals in einer praktischen Urtextausgabe vorgelegt wird. Für den Fingersatz konnte die weltweit gefeierte Pianistin Mitsuko Uchida gewonnen werden. Partitur und Orchestermaterial sind bei Breitkopf & Härtel erschienen. Weitere Informationen zum Werk I Weitere Informationen zum Werk II

Experience the world of 19th century German art with this collection of illustrations and sheet music. Featuring works by two of the most prominent artists of the period, Max Vogrich and Robert Schumann, this book is a celebration of creativity.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Dies ist eine Sammlung von Briefen, die von Robert Schumann geschrieben wurden und Einblicke in sein Leben und seine Arbeit geben. Es ist ein wichtiger Beitrag zur Musikgeschichte und bietet eine seltene Gelegenheit, den persönlichen Schriftverkehr eines der berühmtesten deutschen Komponisten zu studieren.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

In May 1953 Wilhelm Furtwängler made his highly acclaimed recording of Robert Schumann’s 4th symphony with the Berlin Philharmonic Orchestra for DGG. The work was – of course – familiar to both orchestra and conductor; but what did the score, used by Furtwängler, look like? His good friend, the Swiss clarinettist Antoine de Bavier, who was studying conducting with Furtwängler, made an exact copy of Furtwängler’s score. This copy is now in the hands of the German violinist and conductor Michael Kuen, whom I have met several times during the annual music festival Møn Sommerkoncert in Denmark. Mr. Kuen is a great admirer of Wilhelm Furtwängler, and soon we found out that publishing this score would be of great interest to all admirers of Wilhelm Furtwängler’s art. Now, Laanshøj Publishers proudly present the score. Henning Smidth

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Poets Love Robert Schumann, Heinrich Heine Max Heinrich C. Fischer, 1912 Literary Criticism; European; German; Literary Criticism / European / German; Music / Instruction & Study / Voice; Music / Songbooks; Song cycles; Songs (Medium voice) with piano

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Carnaval Robert Schumann G. Schirmer, 1893 Piano music; Suites (Piano)

Lovers of the rich burnished tones of the cello will appreciate the keynote of this volume: complete scores of three great romantic cello concertos brought together in one convenient source. Spanning the last half of the nineteenth century, the compositions reveal extraordinary lyricism, imagination, and individual interpretation of the concerto form.The works in this volume are Robert Schumann: Cello Concerto in A Minor, Op. 129; Camille Saint-Saëns: Cello Concerto No. 1, Op. 33; and Antonín Dvořák: Cello Concerto in B Minor, Op. 104.Generations of cellists and music lovers have savored these works for their unique qualities: the Schumann concerto for its ravishing interweaving of cello and orchestra; that of Saint-Saëns for solid musical craftsmanship; the Dvořák work for enchanting melodies and exceptionally rich invention. Now musicians can enjoy the felicities of each work, complete and unabridged, in this sturdy, attractive Dover volume.Reprinted directly from authoritative editions, this volume offers not only great music but also the quality features that musicians have come to expect from Dover: clear reproduction of musical notation; ample space for analysis, notes, fingerings, etc.; glossaries of musical terms; and more. For playing or study, this inexpensive edition is a must for every serious cellist.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Fifty-five Songs With Pianoforte Accompaniment, Volume 2; Volume 121 Of Schirmer's Library Of Musical Classics; Fifty-five Songs With Pianoforte Accompaniment; Robert Schumann Robert Schumann Theodore Baker Theodore Baker G. Schirmer, 1903 Music; Instruction & Study; Voice; Music / Instruction & Study / Voice; Music / Songbooks; Songs (Low voice) with piano; Songs (Medium voice) with piano

Music and musicians, Essays and criticisms by Robert Schumann. This book is a reproduction of the original book published in 1891 and may have some imperfections such as marks or hand-written notes.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Robert Schumann (1810 - 1856) is one of the most distinguished artists of German Romanticism in music. He composed mainly in the first half of the nineteenth century. "The whole song is kept in a lively mood and unchanging texture. The direction and shape of the phrase are obvious; there are few rhythmic changes. However, dynamic should be very closely linked to the melodic line of the voice, according to the principle: the lower the tessitura, the quieter the piano and vice versa. The melodic line is rather a kind of euphoric and excitement declamation of the text - almost every note falls on a syllable. The piano and vocal line once again seem to be completely subordinated to the text. "

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The year 1840 proved a momentous one for Robert Schumann: after an interval of twelve years, he resumed writing songs, producing some 150 vocal compositions within the year; and in September, after a long and stormy courtship, he married his beloved Clara Wieck. During this period, Schumann's biographers represent him as being "caught in a tempest of song," transfiguring the emotions aroused by his love for Clara into a splendid outpouring of sublime music for voice and piano.Much of that music is reproduced in this collection -- comprising over 100 of Schumann's greatest lieder. Selections include: Liederkreis (Heine), Op. 24Liederkreis (Eichendorff), Op. 39Myrthen, Op. 25Zwölf Gedichte von Justinus Kerner, Op. 35Sechs Gedichte von Reinick, Op. 36Frauenliebe und Leben, Op. 42Dichterliebe, Op. 48Individual Songs (17)In his work, Schumann embodied a tradition of German musical romanticism, emphasizing self-expression, lyricism, and extra-musical (e.g., literary) association. Thus we find here songs set to the poetry of Heine, Goethe, Burns, Byron, Moore, J. von Eichendorff, Adelbert von Chamisso, Emanuel Geibel, and others. Those who would know Schumann's work most intimately will be especially interested in Myrthen, a 26-song cycle (liederkreis) dedicated "to his beloved bride." Of these songs Schumann remarked, "... the Myrthen certainly allow a deeper insight into my inner musical workings." Of the songs in general, Grove's Dictionary offers this comment: "... the songs are not only piano pieces with another dimension, an additional tone-color; they are explicit, whereas the piano pieces are reserved. The lyrical element is set free and its emotional content made precise."Complementing the music, this volume contains alphabetical listings of song titles, song openings and poets, and a glossary of German musical terms. New translations of the song texts have been specially prepared for this edition. The music has been reproduced directly from the authoritative Breitkopf and Härtel edition of 1882-87, edited by Clara Schumann.As a composer of art songs, Schumann ranks among the greatest masters; this inexpensive collection makes the songs widely available to students, singers, musicians -- any admirer of romanticism made manifest in exquisite matchings of words and music.

Jugendbriefe von Robert Schumann by Robert Schumann. This book is a reproduction of the original book published in 1886 and may have some imperfections such as marks or hand-written notes.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Dover Publications continues its series of playing editions of musical masterpieces with this selection of Robert Schumann's later compositions for solo piano, edited by Clara Schumann. This second volume contains the major compositions from the period 1838-53: Humoreske, Novelletten, Sonate No. 2, Nachtstücke, Faschingsschwank aus Wien, 42 Clavierstücke für die Jugend, 4 Fugen, Waldscenen, Bunte Blätter, and 3 Clavier-Sonaten für die Jugend.This book has been especially designed as a playing edition -- the noteheads 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 or as accompaniment to recordings.