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Johannes Brahms: Serenade No. 1 in D Major (for orchestra, Op. 11) Mvt 4 Menuetto I/II (arr. C. Schumann) pf 1858 or later 2012 Johannes Brahms: Serenade No. 2 in A Major (for orchestra, Op. 16) (arr. C. Schumann) pf 1859 or later 2012 30 mélodies de Robert Schumann (30 Lieder und Gesänge von Robert Schumann, für Clavier übertragen)
Clara Josephine Wieck [ˈklaːʀa ˈjoːzɛfiːn ˈviːk] was born in Leipzig on 13 September 1819 to Friedrich Wieck and his wife Mariane (née Tromlitz). [1] Her mother was a famous singer in Leipzig who performed weekly piano and soprano solos at the Gewandhaus. [2]
Piano Trio (Clara Schumann) T. Three Romances for Violin and Piano This page was last edited on 18 April 2020, at 02:40 (UTC). Text ...
In the final section, Schumann references the main theme from her husband Robert Schumann's first violin sonata. [6] The second romance is more syncopated, with many embellishments. It is sometimes considered as representative of all three, with energetic leaps and arpeggios, followed by a second theme and then a return to the first theme. [7]
Composed in 1846, the Piano Trio in G minor, opus 17 by Clara Schumann is considered her greatest, most mature four-movement work. It is her only piano trio, [1] composed while she lived in Dresden, following extensive studies in fugue writing and the publication of her Three Preludes and Fugues For Piano, opus 16 in 1845.
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 ...
Schumann continually inserted into his piano works veiled allusions to himself and others – particularly Clara – in the form of ciphers and musical quotations. [94] His self-references include both the impetuous "Florestan" and the poetic "Eusebius" elements he identified in himself.
The pieces also reflect Schumann's longstanding interest in folk music, especially music from Germany and Bohemia. The dedicatee of the work, Andreas Grabau, was a cellist in the Leipzig Gewandhaus Orchestra and a celebrated chamber musician. He had met Clara Schumann in 1828, when she was nine years old, and was introduced soon after to Robert.
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