As did many piano virtuosi at the time, Robert Schumann also dreamt of presenting himself to the public simultaneously as a pianist and composer with his own piano concerto. He had made several first attempts at an early age. In the years that followed he felt himself increasingly drawn towards the idea of a freer formal conception. The sketch of a single-movement “Phantasie” finally became the opening movement of the famous work, that is now being published for the first time in a practical Urtext edition. The fingerings were provided by the world-famous pianist Mitsuko Uchida. Score and orchestral material are available from Breitkopf & Härtel.
Further information
Further information II
収録作品/詳細
- 難易度 (解説)
- 同じ難易度の作品をもっと見る
Youtube
序文
For piano virtuosi in the first half of the 19th century it made sense to present oneself to the public both as a pianist and composer by playing one’s own piano concerto. The young Robert Schumann was also inspired by the example of such virtuoso concertos, as composed by Johann Nepomuk Hummel, Friedrich Kalkbrenner, Henri Herz or John Field. Between 1827 and 1831 there is … 続き
批判校訂報告
作曲家について
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. |