L'amour et la vie d'une femme ; Le Tombeau d'Anacréon : Etui de 2 vol - Choix de lieder sur des poèmes de Goethe [etc.

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

'You were often on my mind when I was writing', wrote Robert Schumann to Joseph Joachim who had encouraged him to write this concerto. In view of Schumann's illness, however, Joachim began to have his doubts about the value of the work. In his will, Joachim prohibited the ? rst performance until the 100th anniversary of Schumann's death in 1956. After detailed editorial work, the premiere was brought forward to 1937. The theme of the middle movement probably formed the basis of Schumann's Geistervariationen ('Ghost Variations'), the character of the third movement is that of a grand polonaise. Yehudi Menuhin who performed the world premiere of the unedited version of Schumann's solo part saw in this piece 'the bridge between Beethoven's and Brahms' concertos'. Instrumentation : violin and orchestra

In the 19th century, this cycle of variations counted among the most famous piano works of Schumann and was part of the standard repertoire for two pianos. Created in 1843, this work was played by Clara Schumann together with Ferdinand Hiller, Anton Rubinstein, Carl Reinecke, Adolph Henselt, Adolf Jensen, Ignaz Moscheles and Johannes Brahms, among others. A masterpiece of the literature for two pianos now available in a carefully revised new edition. Instrumentation : 2 pianos op. 46

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : piano, violin, viola and cello op. 47

Eulenburg Miniature Scores

The fact that Ouverture, Scherzo und Finale is hardly known may be due to the dif ? culty of categorizing it. In letters and notes, one can occasionally ? nd the designation 'suite', 'symphoniette' and even 'symphony' although the work was not included by Schumann in the canon of his four symphonies. It does not even appear in the 'Cycle of Overtures' which he created in the 1850s. Originally, Schumann had composed the Ouverture as an independent orchestral work, adding the other two parts later. The ? nal completion took twelve years altogether, and during that time, many passages were rejected or revised. Instrumentation : orchestra op. 52

Overture, Scherzo and Finale - op. 52. orchestra. Partition.

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : string quartet op. 41/2

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : piano trio op. 110

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

L'amour et la vie d'une femme ; Le Tombeau d'Anacréon : Etui de 2 vol - Choix de lieder sur des poèmes de Goethe [etc.

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