Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others, Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit, based very closely on Paganini’s original and following their educational intention. Opus 10, on the other hand, deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution, which he placed at the beginning of his Opus 3.
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Like many other 19th-century composers, among them Franz Liszt and Johannes Brahms, Robert Schumann was fascinated by the figure of Nicolò Paganini – the “magician of the violin” – and by what he felt to be his “demonic spirit.” Reviewing the year 1829 in his “Musikalischer Lebensgang” long after his Caprices op. 3 and his Etudes op. 10 had been written, he … 続き
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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. |
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Vorbildliche Edition in quellenkritischer Hinsicht wie auch im Druck.
Eine schöne Urtext-Ausgabe der Paganini-Etüden von Robert Schumann! Wie gewohnt bietet der Verlag nebem einem exzellenten Druckbild auch einen reichhaltigen Anmerkungsapparat, der neben dem Kritischen Bericht auch Schumanns originales Vorwort zu Opus 3 und dessen eigene (!) Rezension von Opus 10 in der April-Ausgabe der Neuen Zeitschrift für Musik von 1836 enthält.
The Schumann Paganini Studies op 3 and 10 may be just the compilation you’re looking for: the all-trilingual backup includes Schumann’s own written prefaces to each opus, while the variant readings fill four more pages alone.