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The complete work was first given in 1862 in Cologne, six years after Schumann's death. [135] Schumann's other works for voice and orchestra include a Requiem Mass, described by the critic Ivan March as "long-neglected and under-prized". [136] Like Mozart before him, Schumann was haunted by the conviction that the Mass was his own requiem. [136]
Schumann wrote it in Düsseldorf between 11 September and 3 October 1853 for the violinist Joseph Joachim. He had just previously completed another work for Joachim, the Fantasie in C major, Op. 131. On 1 October, the young Johannes Brahms entered Schumann's life. It appears that Schumann composed the finale of the Concerto in three days: 1–3 ...
Robert Schumann. This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. The list is based on ...
Robert Schumann's Introduction and Concert Allegro (German: Konzert-Allegro mit Introduktion) in D minor for piano and orchestra, Op. 134, was one of his last works. Composed in 1853, Schumann gave the autograph score to his wife, Clara Schumann, as a birthday gift; she would give the first performance on 26 November. [1]
At the end of the movement, there is an accompanied cadenza, something unprecedented in Schumann's day; this cadenza leads into the final coda in which Schumann returns to A-major. During the twentieth century and before, some cellists have chosen instead to include their own unaccompanied cadenza (e.g. Pau Casals , Emanuel Feuermann , etc ...
The melody begins with the notes C–H–A–A, which stand for the Italian spelling of the first name CHiArA of Schumann's wife Clara, who was the soloist at the world premiere of the piano concerto. After its introduction by the woodwinds, the theme is then given to the soloist. Schumann provides great variety with this theme.
In 1849, Robert Schumann explored the horn as a solo instrument, dedicating to it an "Adagio and Allegro," Op. 70, before embarking on the composition of an orchestral work featuring four solo horns (having also composed the "Five Songs based on Heinrich Laube's Hunting Compendium" for men's choir and four horns, Op. 137 that same year).
While in Dresden, Schumann encountered Richard Wagner, whose discouraging comments on Schumann's libretto for Genoveva strained relations between the two composers. For his part, however, Schumann came to admire the dramatic impact of Wagner's operas, and the influence of Wagner's music worked its way into the score for Genoveva .