Variés, vivants et profonds, les textes ici rassemblés constituent une parfaite introduction à la pensée et à la sensibilité du grand musicien.

Ecrits divers de la musique

The New Robert Schumann Edition (RSA) is intended as a historico-critical edition of the collected works. They will be carefully studied and prepared according to present-day musicological and editorial techniques and presented in their entirety. Drafts, sketches and fragments, in short, everything that has come down to us as being authentically by Schumann and which, in most cases, has been deliberately preserved by him, will be brought together, evaluated as to its importance and documented in some form or other in the edition of the complete works. It is the aim of the edition to reproduce authentic texts which - having corrected scribal, copying and printing errors and eradicated later additions and other textual corruptions - will approach as closely as is possible the intention of the originals. The critical edition will form the basis of accurate performance material for Robert Schumann's work.

Dresdner Skizzenheft / Taschennotizbuch - Notes critiques.

The 19th century was not only the era of great forms, monumental symphonies and melodious sonatas, no, the Romantic composers proved to be versatile and highly imaginative on the field of little music pieces as well. Robert Schumann was a master of the character piece for "his" instrument, the piano. From thirty of such poetic miniatures, he selected thirteen in 1838 for his "Scenes of Childhood", opus 15, the seventh, i. e. the one right in the middle, being "Dreaming", the most famous among Schumann's compositions. It is a romantic gem the catchy melody of which will not get out of one's head. The beautiful setting contained in the present edition can be played even by non-pianists. Instrumentation : viola and piano op. 15/7

Rêverie - extrait de "Scènes d'enfants". op. 15/7. viola and piano.

Ouverture zu goethes hermann und dorothea op. 136 poche

Two things in particular link Aribert Reimann with Robert Schumann, whom he much admires : their interest in the dark side of human existence and their great commitment to literature. The both took an interest in the poems by the Scottish queen Mary Stuart written at the end of her life during her imprisonment. For a long time, Reimann had cherished the wish to orchestrate the lieder by Schumann based on these poems, 'but I always lacked in courage [... ] to break up the rather barren piano part which is formally self-contained and complete in itself'. But while working on Sieben Fragmente für Orchester in 1988, he decided to take the risk. And although Schumann's music is never really touched, Reimann succeeds in bringing the deeply moving expression of the lieder even closer to the listener. Instrumentation : soprano and piano op. 135

Edition Schott

Robert Schumann's Album für die Jugend ('Album for the Young') was written in 1848 as a Christmas present for his children and was originally entitled Weihnachtsalbum für Kinder, die gern Clavier spielen ('Christmas Album, for children who like to play the piano'). The 43 pieces combine pedagogic aims with artistic quality, a rare combination in the musical repertoire. Our new edition contains nine pieces which were missing in the first edition : For the Very Small - Doll's Lullaby - In a Gondola - Guckoo in Hiding - Catch Me if You Can - Venetian Lagoon - Bear-Dance - Rebus - [Little Waltz] Instrumentation : piano op. 68

Schott Piano Classics

The Early Iron Age Hallstatt C period in Northwest and Central Europe is marked by the emergence of monumental tumuli with lavish burials, some of which are known as chieftain's or princely graves. This new burial rite reflects one of the most noteworthy developments in Early Iron Age Europe : the rise of a new and elaborate way of elite representation north of the Alps. These sumptuous burials contain beautiful weaponry, bronze vessels and extravagantly decorated wagons and horse-gear. They reflect long-distance connections in material culture and elite (burial) practices across the breadth of Northwest and Central Europe. Research into this period, however, tends to be regionally focused and poorly accessible to scholars from other areas - language barriers in particular are a hindering factor. In an attempt to overcome this, Connecting Elites and Regions brings together scholars from several research traditions and nations who present regional overviews and discussions of elite burials and material culture from all over Northwest and Central Europe. In many cases these are the first overviews available in English and together they make regional research accessible to a wider audience. As such this volume contributes to and hopes to stimulate research on the Early Iron Age Hallstatt C period on a European scale.

Connecting Elites and Regions - Perspectives on contacts, relations and differentiation during the Early Iron Age Hallstatt C period in Northwest and Central Europe

Robert Schumann wrote his Fantasy pieces Op. 73 originally for clarinet and piano. The first edition of Schumann's Fantasy Pieces Op. 73 published in July 1849 contained not only a clarinet part but also a violin and a cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the first edition, Schumann's personal copy and his composition manuscript. The notes on interpretation provide information on metronome indications, bowings, fingerings and more. - Musical text critically reviewed and compared with the sources - Cello part edited for practical performance - Notes on interpretation with comments on metronome indications, bowings, fingerings and more Instrumentation : cello and piano op. 73

Pièces de fantaisie pour violoncelle et piano - Edités d'après les sources par Michael Kube. op. 73. cello and piano.

New performance material of this 19th-century key work is now published as part of the complete critical edition of the works by Robert Schumann, in an excellent notation and with a high editorial standard. For reasons that we still cannot comprehend today, Clara Schumann, supported by Joseph Joachim and Johannes Brahms, suppressed the late works of Robert Schumann and even destroyed some of them. It was not until 1937 that the Violin Concerto in D minor, Schumann's last major work, was brought to the public's attention. With its very own mixture of neo-Baroque style and ambiguous virtuosity, it stands for the unfathomable sides of German Romanticism and already portends the concert aesthetics of the 20th century. Christian Tetzlaff's note on his bowings and fingerings are included in both, the piano redution and the solo part. Instrumentation : violin and orchestra WoO 1

Ecrits divers de la musique

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