Lettres d'amour

Schumann - Album pour la jeunesse - Scènes d'enfants - Piano - 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 : piano trio op. 80

Eulenburg Miniature Scores

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

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

'The piano is most subtly interwoven with the orchestra - one cannot think of one without the other. [... ] In this Piano Concerto the pianist is not only soloist but orchestral musician as well', Clara Schumann wrote after the world premiere. As she and even all following pianists had to learn, the unusually tight integration of the piano into the orchestra put increased demands on the pianist and the conductor - since the contrast principle of classical solo concertos here makes way for a fusion principle. Despite certain initial difficulties of understanding, the Piano Concerto became one of the most popular pieces of Romantic music. Instrumentation : piano and orchestra op. 54

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 : piano trio op. 110

The title of this symphony goes back to the conductor W. J. von Wasielewski, alluding to the Rhenish cheerfulness of Düsseldorf where Robert Schumann had found a new home, although this goes against Schumann's disapproval of programme music. The symphony was created in only a few months, a fact commented on by the composer as being in harmony with Romantic aesthetics in art : 'The faster, the better. The ? ow of ideas and train of thought are more real and more natural than with long re ? ection. ' This is the ? rst time that Schumann does not start a symphony with a slow introduction. The rhythmically distinctive ? rst movement, whose sonata form and optimism correspond with the ? fth movement, is followed by three rather slow middle movements, each of them arranged clearly in ABA form. Instrumentation : Orchestra op. 97

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