Robert Schumann in fact composed just one work for the clarinete, namely the “Drei Fantasiestücke” op. 73 for clarinet and piano of February 1849. But the “Drei Romanzen” op. 94 for oboe, written at the end of that same year, were marketed with solo parts for clarinet and for violin too.
Clarinettists are certainly delighted that G. Henle Verlag is following this principle of alternative scoring. The manuscript that Robert gave to his wife Clara in 1849 as a Christmas gift does not survive. Instead, autograph sketches have been consulted for our Urtext edition, and these have enabled correction of some irregularities in the 1851 first edition. The editor’s preface and commentary give extensive information on textual questions.
- Romance for Oboe (or Violin or Clarinet) and Piano op. 94
In 1849, one of the most productive years in the whole of his output, Robert Schumann also turned his attention to three wind instruments in chamber music settings: his Drei Fantasiestücke (= Three Fantasy Pieces), Op. 73, for clarinet and piano as well as the Adagio and Allegro, Op. 70, for horn and piano were both written within a single week in February. According to the … 続き
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.|