Kapellmeister Kreisler, the ingenious and eccentric conductor created by E. T. A. Hoffmann, served as the inspiration for this composition of 1838. Schumann set out to recreate this fictitious character in music. The result was “Kreisleriana”, a set of fantastical, at times scurrilous and always seemingly improvised pieces that directly reflect the romantic sensibility that Kreisler personifies. If ever music was demonic, it would have to be these eight superb piano fantasies that Schumann tossed off in a few days! Ernst Herttrich’s thoroughly revised new edition provides a thoughtful preface by this Schumann connoisseur and discusses the major editorial problems while giving them exemplary solutions.
- Level of difficulty (Explanation)
- Other titles with this level of difficulty
- Kreisleriana op. 16
- Piano 8 difficult
ABRSM: Piano FRSM (recommended)
On 15 March 1839, Schumann sent a letter from Vienna to his Belgo-Luxemburgian admirer Simonin de Sire in Dinant. In it, he spoke of his most recent compositions – the Kinderszenen, the Fantasy op. 17, Arabesque, Blumenstück, Humoresque, and Kreisleriana: “Of these I love Kreisleriana the most. Only Germans will be able to understand the title. Kreisler is a figure created … 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 new edition scrupulously documents these changes and also includes editorial commentary on changes to the score, notably the articulation changes made by Clara Schumann. It is also wonderful to have fingerings direct from the sources.
Gráficamente, esta edición es un buen compromiso entre la necesidad de no pasar la página proto y la densa escritura de Schumann que, con frecuencia, satura la página de signos.