“As far as the Scenes from Childhood are concerned, I owe them one of the liveliest pleasures of my life.” These words were uttered by none other than Franz Liszt. In the evenings he often enjoyed playing part of them, not only for his little daughter Blandine-Rachel but also for his own pleasure. Even today, the “Scenes from Childhood” still raise the question as to whether they were written for children or adults. Schumann himself described them as being the reminiscences of an older person for older people, but did not deny that “several children’s heads were in his mind when composing them”. Ernst Herttrich has revised our well-loved edition, incorporating the latest scholarly findings. In the appendix he also takes a stand on the metronome markings which were taken over from an early print.
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- Scenes from Childhood op. 15
“Whiled away the time until Friday in dreams, work, happiness and composition,” noted Robert Schumann in his diary for 9/10 February 1838. The first weeks of that year were a positive and very creative period for him. Even the escalating controversy over his engagement to Clara Wieck could not dampen his creative spirits. On the contrary, the situation actually seemed to … 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
Maar verder biedt deze uitgave alles wat je maar kunt wensen en zijn voorwoord en kritisch commentaar een ware schatkamer. HN 44 is daardoor niet alleen een liefdevol verzorgde partituur, maar misschien wel een definitieve uitgave volgens de laatste stand van het bonnenonderzoek.
Das Endergebnis präsentiert eine sehr sorgfältig und stimmig gemachte Ausgabe der Kinderszenen, sinnvoll und informativ kommentiert und mit ausführlichen Betrachtungen zu Entstehungs- und Druckgeschichte versehen.