The Novelletten, Op. 21, is a set of eight pieces for solo piano, written by Robert Schumann in 1838. [1] This composition is dedicated to Adolf von Henselt.
The Novelletten, Op. 21, is a set of eight pieces for solo piano, written by Robert Schumann in 1838. [1] This composition is dedicated to Adolf von Henselt.
The Novelletten were composed during February 1838, a period of great struggle for the composer. [2] Schumann originally intended the eight pieces to be performed together as a group, though they are often performed separately.
This set of pieces is an excellent example of Schumann's keyboard style. [1]
This piece contains seven sections, alternating between a staccato march and flowing legato passages. The piece is a modified Rondo form.
This virtuosic piece is graceful and effective. An Intermezzo section in the middle contrasts and varies the piece.
This piece displays the composer's sense of humour through the use of rapid staccato chords. An Intermezzo section in the middle of the piece is used to contrast.
This piece is quite loosely organized in terms of structure; it is an interesting waltz that uses cross-rhythms and syncopation effectively.
This piece is in the form of a polonaise; its principal section contains three main ideas which are then overcome by the persistent rhythms of the Trio section.
This piece uses an increasing tempo to characterize the progression of sections. Starting from the staccato opening, each of the following passages are marked a few metronome beats faster until the coda, which returns to the original tempo.
This piece features a beautiful and lyrical middle section; it also features many virtuosic passages containing fast, brilliant octaves.
The concluding piece of the set is actually two pieces in one. The first part is a passionate étude in 2/4, the second has the nature of a march. [1] It ends in D major, the principal key of the cycle.
Robert Schumann's Fantasiestücke, Op. 12, is a set of eight pieces for piano, written in 1837. The title was inspired by the 1814–15 collection of novellas, essays, treatises, letters, and writings about music, Fantasiestücke in Callots Manier by one of his favourite authors, E. T. A. Hoffmann. Schumann dedicated the pieces to Fräulein Anna Robena Laidlaw, an accomplished 18-year-old Scottish pianist with whom Schumann had become good friends.
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".
The Nachtstücke or Night Pieces are a set of four character pieces for piano by the German composer and pianist Robert Schumann.
The Four Pieces for Piano Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms. Together with the six pieces from Op. 118, Op. 119 was premiered in London in January 1894.
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.
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.
Märchenbilder or Fairy Tale Pictures, for Piano and Viola, Op. 113, was written by Robert Schumann in March 1851. The work is dedicated to the German violinist and conductor Wilhelm Joseph von Wasielewski. It consists of four character pieces and is an original composition featuring the viola from the Romantic period.
Fantasiestücke for clarinet and piano, Op. 73, were written in 1849 by Robert Schumann. Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on violin or cello.
The Piano Sonata No. 2 in G minor, Op. 22 was composed by Robert Schumann from 1830 to 1838.
Humoreske in B-flat major, Op. 20, is a romantic piano piece by Robert Schumann, composed in 1839 and dedicated to Julie von Webenau. 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.
Gesänge der Frühe, Op. 133, is a composition in five movements by Robert Schumann for solo piano. A performance takes about 13 minutes.
The Konzertmusik for String Orchestra and Brass, Op. 50, is a work by Paul Hindemith, composed in 1930. It was one of a large group of pieces commissioned for the 50th anniversary of the Boston Symphony Orchestra by its music director, Serge Koussevitzky. Koussevitzky conducted the premiere of Hindemith's work with the Boston Symphony Orchestra on 3 April 1931.
The Piano Trio No. 1 in D minor, Op. 63, by Robert Schumann was written in 1847. It has four movements:
The Piano Trio No. 2 in F major, Op. 80, by Robert Schumann was written in 1847. It has four movements:
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.
Three Fantasiestücke for piano, Op. 111, were written in 1851 by Robert Schumann.
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