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Humoreske in B-flat major, Op. 20, is a romantic piano piece by Robert Schumann, composed in 1839 and dedicated to Julie von Webenau. [1] Schumann cited Jean Paul's style of humour as source of inspiration, although there are no direct programmatic links to Jean Paul's oeuvre found in the piece.
The Humoreske consists of seven sections (not originally indicated as such by the composer except for the last one, "Zum Beschluss"), to be played attacca after each other. Although the piece is nominally written in B-flat major, most of the piece is set in B-flat major's relative minor key, G minor. The musical texture and emotional tone, though, varies widely and differs greatly between the sections:
, M. M. 
= 80) = 138) ) = 126) , M. M. = 100) = 100) , M. M. = 116) 
= 76) , M. M. = 92) , M. M. = 112 ) AllegroA typical performance is about 27 minutes long. It is less popular with audiences than with pianists, [2] and Robert Cummings wrote that some musicologists view it as an ill-judged attempt by Schumann to “take his formula in Kreisleriana a step further.” [3] However, it has been championed by critics such as Judith Chernaik and John C. Tibbetts (who consider Humoreske among Schumann's greatest pieces) [4] [5] as well as Anthony Tommasini, who referred to it as one of Schumann’s “most astonishing, and most overlooked, piano works”. [6]
The Piano Quintet in E-flat major, Op. 44, by Robert Schumann was composed in 1842 and received its first public performance the following year. Noted for its "extroverted, exuberant" character, Schumann's piano quintet is considered one of his finest compositions and a major work of nineteenth-century chamber music. Composed for piano and string quartet, the work revolutionized the instrumentation and musical character of the piano quintet and established it as a quintessentially Romantic genre.
Faschingsschwank aus Wien, Op. 26, is a solo piano work by Robert Schumann. He began composition of the work in 1839 in Vienna. He wrote the first four movements in Vienna, and the last on his return to Leipzig.
Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. Schumann claimed to have written it in only four days in April 1838 and a revised version appeared in 1850. The work was dedicated to Frédéric Chopin, but when a copy was sent to the Polish composer, "he commented favorably only on the design of the title page".
Countess Maria Theodora Paulina (Dora) Pejačević was a Croatian composer and a member of the Pejačević noble family of Bulgarian origin. She was one of the composers to introduce the orchestral song to Croatian music and her Symphony in F-sharp minor is considered by scholars to be the first modern symphony in Croatian music.
Ludwig van Beethoven's Piano Sonata No. 28 in A major, Op. 101, was written in 1816 and was dedicated to the pianist Baroness Dorothea Ertmann, née Graumen. This sonata marks the beginning of what is generally regarded as Beethoven's final period, where the forms are more complex, ideas more wide-ranging, textures more polyphonic, and the treatment of the themes and motifs even more sophisticated than before. Op. 101 well exemplified this new style, and Beethoven exploits the newly expanded keyboard compass of the day.
The Symphony No. 3 in E♭ major, Op. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann, although not the last published. It was composed from 2 November to 9 December 1850 and premiered on 6 February 1851 in Düsseldorf, conducted by Schumann himself, and was received with mixed reviews, "ranging from praise without qualification to bewilderment". However, according to A. Peter Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting "hurrah!".
Davidsbündlertänze, Op. 6, is a group of eighteen pieces for piano composed in 1837 by Robert Schumann, who named them after his music society Davidsbündler. The low opus number is misleading: the work was written after Carnaval, Op. 9, and the Symphonic Studies, Op. 13.
Great Pianists of the 20th Century – Martha Argerich II is the third volume of the Great Pianists of the 20th Century box set and is the second of two volumes dedicated to her. The album features music by the composers Frédéric Chopin, Franz Liszt, and Robert Schumann. The works were recorded between 1960 and 1975.
Kammermusik is the title for eight chamber music compositions by Paul Hindemith. He wrote them, each in several movements, during the 1920s. They are grouped in three opus numbers: Op. 24, Op. 36 and Op. 46. Six of these works, Kammermusik Nos. 2–7, are not what is normally considered chamber music – music for a few players with equally important parts such as a wind quintet – but rather concertos for a soloist and chamber orchestra. They are concertos for piano, cello, violin, viola, viola d'amore and organ. The works, for different ensembles, were premiered at different locations and times. The composer was the soloist in the premiere of the viola concertos, while his brother Rudolf Hindemith was the soloist in the premiere of the cello concerto. Kammermusik is reminiscent of Bach's Brandenburg Concertos, also concertos for different solo and orchestra instruments, and in a neo-Bachian spirit of structure, polyphony and stability of motion.
Blumenstück in D-flat, Op. 19, is a piano work by Robert Schumann, written in 1839. Blumenstück is a series of short, connected and thematically related episodes, of which the second forms a recurring refrain while undergoing changes in both key and mood. It is considered to reflect the amorous human activities with which flowers are associated, rather than as depictions of flowers themselves. The piece takes between six and seven minutes to play.
The Novelletten, Op. 21, is a set of eight pieces for solo piano, written by Robert Schumann in 1838. This composition is dedicated to Adolf von Henselt.
"Heimliche Aufforderung", Op. 27, No. 3, is one of a set of four songs composed for voice and piano by Richard Strauss in 1894. The German conductor Robert Heger orchestrated it in 1929. The text is from a poem in German by John Henry Mackay.
The first Sonata for viola and piano, also known as Sonata in F, Op. 11, No. 4, by Paul Hindemith was composed in 1919. It is the fourth of five instrumental sonatas comprising his opus 11. This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger cousin.
Paul Klengel was a German violinist, violist, pianist, conductor, composer, editor and arranger. He was the brother of cellist Julius Klengel.
The Deutsche Messe, D 872, is a hymn-cycle by Franz Schubert written in 1827. Neither a Mass nor strictly speaking German, it was published in Vienna as what it is: Gesänge zur Feier des heiligen Opfers der Messe. It sets a sequence of eight non-liturgical German poems by Johann Philipp Neumann, who commissioned Schubert's music, one or more of which could be used separately during Mass. A ninth hymn, given as an appendix, treats the Lord's Prayer, bringing the length to about 35 minutes when the music is performed, as it often now is, as one big concert work.
Written in 1846, the Piano Trio in G minor, opus 17 by Clara Schumann was her only piano trio and was composed during her stay in Dresden 1845-1846. During the development of the Trio, she was going through hardships in life. Her husband Robert Schumann was extremely ill. This trio was completed during the summer of 1846 when they traveled to Norderney in attempts to improve Robert's health conditions. While in Norderney, Clara suffered from miscarriage. A year after the composition of her piano trio, Robert composed his first piano trio, op.63. It is seen that Clara's trio has had great influences on Robert's trio as they both share many interesting similarities. Their works were frequently paired at concerts.
A concert piece is a musical composition, in most cases in one movement, intended for performance in a concert. Usually it is written for one or more virtuoso instrumental soloists and orchestral or piano accompaniment.
Märchenerzählungen, Op. 132, is a trio composition by Robert Schumann in four movements for clarinet, viola and piano. He composed the clarinet-viola-piano trio in B-flat major, between 9 and 11 October 1853. The movements are connected by a motif (Kernmotiv). The work is dedicated to Schumann's pupil Albert Dietrich, and was published in 1854 by Breitkopf & Härtel.
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