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Unfinished. The opening was reused in No. 1 from Carnaval, Op. 9 RSW:Anh:F25 (H/K WoO 31) 15 Studies in the Form of Free Variations on a Theme by Beethoven: 1833–1835: Modern publication: Henle, Munich 1976: The theme is the opening of the Allegretto from Beethoven's seventh symphony: RSW:Anh:F26: Variations on a nocturne by Chopin in G minor ...
Piano Sonata No. 1 (Schumann) Piano Sonata No. 2 (Schumann) Piano Sonata No. 3 (Schumann) This page was last edited on 11 March 2024, at 01:42 (UTC). Text is ...
Piano sonatas by Robert Schumann (3 P) Pages in category "Piano music by Robert Schumann" The following 24 pages are in this category, out of 24 total.
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 ...
Adagio and Allegro, Op. 70, is a chamber music piece in A-flat major for piano and horn (optionally cello, double bass, viola or violin) by Robert Schumann. It was written in February 1849. Schumann planned alternative editions before it was printed in which the horn or cello or violin could be replaced.
The Piano Sonata No. 3 in F minor, Op. 14, called "Concerto for piano without orchestra" by Tobias Haslinger, was composed by Robert Schumann in 1836 and dedicated to Ignaz Moscheles, to whom in a letter he comments "what crazy inspirations one can have". Liszt believed that the work was rich and powerful.
The Piano Sonata No. 1 in F ♯ minor, Op. 11, was composed by Robert Schumann from 1833 to 1835. He published it anonymously as "Pianoforte Sonata, dedicated to Clara by Florestan and Eusebius". Eric Frederick Jensen describes the sonata as 'the most unconventional and the most intriguing' of Schumann's piano sonatas due to its unusual structure.
Phantasiestücke, Op. 88 (1842), for piano, violin and cello in four movements [1] The title was inspired by the collection of letters and writings about music published in 1814–1815, Fantasiestücke in Callots Manier by E. T. A. Hoffmann, one of Schumann's favourite authors. The composer greatly appreciated the 17th-century engraver's sense ...
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