3 Romanzen Op.22 Klarinette[Fagott]-Klavier - Clara Schumann

transcr. Nikolaus Maler

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Schumann 3 Romanzen Op.22 Klarinette[Fagott]-Klavier Schumann 3 Romanzen Op.22 Klarinette[Fagott]-Klavier Schumann 3 Romanzen Op.22 Klarinette[Fagott]-Klavier
Schumann 3 Romanzen Op.22 Klarinette[Fagott]-Klavier
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Clara Josephine Wieck (1819-1896) was born as the second of five children in Leipzig. Her father was a well-known piano teacher whose aim it was to make a successful pianist out of his daughter Clara. Since playing one's own music pieces was helpful for a career as a child genius, she was already taught the art of composition in early years. Among the piano pupils visiting the House Wieck was Robert Schumann whom Clara met at the age of eight and later married against her father's will (1840). Ranked among the best-known works of Clara Schumann who throughout life was in her husband's shade are her piano trio op. 17 and the Drei Romanzen für Klavier und Violine op. 22 ("Three romances for piano and violin op. 22") on hand originating in the year 1853. Instrumental romances are very popular as a genre of composition. At least they have been since the romances for violin and orchestra (1803) by Ludwig van Beethoven. Robert Schumann, too, headed several of his compositions as romance. Amongst them are the Drei Romanzen für Oboe und Klavier op. 94 ("Three romances for oboe and piano op. 94") publicized in 1851 about whose influence on the composition in hand one can only speculate. The fact, however, that Robert Schumann added to his romances for the oboe the addition "ad libitum Violine" or in case of his Adagio und Allegro für Klavier und Horn ("Adagio and allegro for piano and horn") even admitted violin or cello authorises the current edition. Next to the Fantasiestücke op. 73 ("Fantasias op. 73) by Robert Schumann there are indeed numerous other works for the clarinet from the Romantic period. Nevertheless, these three romances) by Clara Schumann may well prove to be an interesting extension to the clarinet repertoire. As the literature for bassoon and piano from the first half of the 19th century meanwhile is only very scarce the edition on hand certainly represents a welcome enrichment. In the setting for bassoon the violin voice was transposed to the next lower octave. A few passages where the violin voice lacking a lower register cannot be played any deeper were transposed by two octaves.

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Uitgavenummer:

ACC1648

ISBN:

Volgnummer:

908674

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