No romantic poetry and no concrete fairytale figure occasioned Schumann to write this composition. Today, we can assume that the title of the pieces, originally entitled “Romances”, was merely supposed to conjure up a poetic and fairytale world. Presumably inspired by Mozart’s “Kegelstatt” Trio K. 498, Schumann occupied himself intensively with plans for a work for this distinctive combination of instruments, whose “unique effect” enthused him. Yet almost three years passed before he sent a publisher these works that he had “written with great pleasure”. The first edition contained a violin part as an alternative to the clarinet. As this part was authorized by Schumann, it is also included in our Urtext edition.
Content/Details
- Fairy Tales for Clarinet in B flat (Violin), Viola and Piano op. 132
Youtube
Preface
Robert Schumann (1810–56) probably found the inspiration for his Märchenerzählungen’s (Fairy tales) unusual combination of piano, clarinet and viola in Mozart’s “Kegelstatt Trio” K. 498. Perhaps it was even a performance of this work in Düsseldorf on 23 January 1851 (with Clara Schumann, the clarinettist Johann Kochner and Joseph von Wasielewski) that triggered … more
Critical Commentary
About the composer

Robert Schumann
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. |