Hexamusic - 001-100117
Schumann Kinderscenen - Scenes of Childhod Op.15
Composer: Robert Schumann
Publisher: Editions Henry Lemoine
Instrumentation: Piano
Pickup currently unavailable at Juilliard Store
Schumann Kinderscenen - Scenes of Childhod Op.15
Juilliard Store
Pickup currently unavailable
144 West 66th Street
New York NY 10023
United States
Choose options
Pickup currently unavailable at Juilliard Store
Schumann Kinderscenen - Scenes of Childhod Op.15
Juilliard Store
Pickup currently unavailable
144 West 66th Street
New York NY 10023
United States
Pickup currently unavailable at Juilliard Store
Schumann Kinderscenen - Scenes of Childhod Op.15
Juilliard Store
Pickup currently unavailable
144 West 66th Street
New York NY 10023
United States
The present edition is based on the readings of the autograph manuscripts for pieces no. 1, 6 and 7, and on the first edition for the remainder - reference is made to the second edition in the case of doubt. The Scenes from Childhood, composed in 1838, date from that period of Schumann's life when he was writing exclusively for solo piano. They are preceded by a number of large-scale piano works, including Carnaval (Op.9), Davidsbünder-tänze (Op.6) and the Phantasie (Op.17). These Scenes from childhood "are a glance backwards in time, an adult catching glimpses of his own childhood, souvenirs for those who have already grown up," wrote Schumann to Clara. The work is open and yet exquisitely intimate, full of poetry and gentleness, combining youthful grace with virile tenderness, so that although the music is simple in appearance it is overflowing with all those dreams of which an adult must unburden himself in his quest for his lost childhood.
As the composer wrote to his wife, "the qualities that lend themselves to this music are based only on simplicity - they are natural and unaffected ".
On 17 March 1838, Schumann wrote again to Clara: "You once wrote to me, sometimes you seem like a child to me if this is so, then you will fend the child has grown wings, for I have written some thirty little pieces, of which I have chosen a dozen to make up a collection called "Kinderszenen". You will no doubt enjoy playing them, but you'll have to forget you are a virtuoso".
In fact thirteen of the thirty were finally chosen to make up Op.15, the remainder finding their way to the Bunte Blatter Op.99, or the Albumblatter, Op.124.
Most of the tempo indications in Schumann's works are in German. In Op.15 they are in the form of metronome markings, with the exception of no. 11. In the present edition the tempo indications at the start of each piece are those given by Robert Schumann, but at the end we have added those written by Clara, taken from the second edition. The performer should choose the tempo which he or she feels to be best suited to the character of the piece
As the composer wrote to his wife, "the qualities that lend themselves to this music are based only on simplicity - they are natural and unaffected ".
On 17 March 1838, Schumann wrote again to Clara: "You once wrote to me, sometimes you seem like a child to me if this is so, then you will fend the child has grown wings, for I have written some thirty little pieces, of which I have chosen a dozen to make up a collection called "Kinderszenen". You will no doubt enjoy playing them, but you'll have to forget you are a virtuoso".
In fact thirteen of the thirty were finally chosen to make up Op.15, the remainder finding their way to the Bunte Blatter Op.99, or the Albumblatter, Op.124.
Most of the tempo indications in Schumann's works are in German. In Op.15 they are in the form of metronome markings, with the exception of no. 11. In the present edition the tempo indications at the start of each piece are those given by Robert Schumann, but at the end we have added those written by Clara, taken from the second edition. The performer should choose the tempo which he or she feels to be best suited to the character of the piece