In 1849 Schumann turned to a new genre: works for piano and accompanying instrument. He showered the different wind instruments systematically with Fantasies, Romances, etc. - and always also provided an alternative part for strings. Thus Schumann also wrote an alternative part for his Adagio and Allegro op. 70 for Horn and Piano, for the violin. Clara played the new work together with the horn player E. Julius Schlitterlau, writing afterwards in her diary: "The piece is splendid, fresh and passionate, just as I like it!" And even Schumann admitted enthusiastically that he "had had fun with it" - which is true of many musicians even today.
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In February 1849 Robert Schumann (1810–56) turned his attention to a genre that, amazingly, he had neglected until then: works for piano and solo instrument. As was typical for him, he straightaway wrote several pieces in this genre: first came the Fantasiestücke op. 73 for piano and clarinet, then, in immediate succession, the Adagio und Allegro op. 70 for piano and horn. … more
About the composer
Connected with his oeuvre is the term he coined, Poetic Music, with which he strove for a fusion of literature and music, a paradigm particularly seen in his lyric piano pieces prior to 1839. Thereafter he devoted himself to other genres (song, symphony, chamber music, among others).
|1810||Born in Zwickau on June 8, the son of a bookdealer.|
|from 1828||Studies law in Leipzig, piano with Friedrich Wieck. Decision to pursue a career in music.|
|1830–39||He exclusively composes piano works, mostly cycles, including “Papillons,” Op. 2 (1829–32); “Carnaval,” Op 9 (1834/35); “Davidsbündlertänze,” Op. 6 (1837); “Kinderszenen” (“Scenes from Childhood”), Op. 15 (1837/38); “Kreisleriana,” Op. 16 (1838); “Noveletten,” Op. 21 (1838).|
|1832||A paralysis of a finger in his right hand makes a career as a pianist impossible. Founding in 1833 of the fantasy brotherhood the “Davidsbund” (“League of David”).|
|1835–44||Editor of the Neue Zeitschrift für Musik (New Journal of Music).|
|1840||Marriage to Clara Wieck; 138 songs, including the Eichendorff Liederkreis, Op. 39; the song cycle “Dichterliebe,” Op. 48|
|1841||Symphony No. 1 in B-flat major (“Spring” Symphony), Op. 38, and Symphony No. 4 in D minor, Op. 120.|
|1842||Three string quartets, Op. 41; further chamber music.|
|1843||Teacher of composition at the Leipzig Conservatory. Oratorio “Paradise and the Peri,” Op. 50.|
|1845||He settles in Dresden. Journey to Russia.|
|1845||Piano Concerto in A minor, Op. 54, Symphony No. 2 in C major, Op. 61.|
|1850||City music director in Düsseldorf. Premiere in Leipzig of his opera “Genoveva,” Op. 81. Symphony in E-flat major (“Rhenish”), Op. 97; Cello Concerto in A minor, Op. 129.|
|1853||Beginning of his friendship with Brahms. Completion of the Scenes from Faust. Violin Concerto in D minor for Joseph Joachim.|
|1854||Suicide attempt and admission to the psychiatric institution in Endenich, near Bonn.|
|1856||Death in Endenich on July 29.|
About the authors
This scrupulously edited Henle text contains two foldout violin parts, one containing fingering and bowing suggestions.