Robert Schumann
Carnaval op. 9
Schumann’s turbulent love-affair with the barely eighteen-year-old Ernestine von Fricken, though strong enough to lead to a secret engagement, lasted only a few months. Nevertheless, it managed to give rise to one of his most frequently played compositions: Carnaval. Some of these twenty-one character pieces are named after figures from the commedia dell’arte, others after such fictitious creations as Florestan and Eusebius, in which Schumann acknowledges his own split personality. The mysterious way that these figures relate to specific people in Schumann’s surroundings – and the deeper significance of the recurring motifs Ab-C-B and A-Eb-C-B – are explained in the editor’s detailed commentary in this revised new edition.
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Robert Schumann
Connected with his oeuvre is the term he coined, Poetic Music, with which he strove for a fusion of literature and music, a paradigm particularly seen in his lyric piano pieces prior to 1839. Thereafter he devoted himself to other genres (song, symphony, chamber music, among others).
mws-henle.cms-product-detail.author-headline
Ernst Herttrich (mws-henle.person.role.HERAUSGEBE)
From 1970 to 1990 he was an editor at G. Henle Publishers in Munich, after which he was Head of the Beethoven Complete Edition for over 15 years. In 1999 he took over as Head of the Beethoven-Haus Publishers, and from 2001 was made Head of the Beethoven-Archiv, the research centre at the Beethoven-Haus.
He has been a visiting professor at Meiji Gakuin University in Tokyo and has undertaken several lecture tours both there and to Kyoto. His research interests include source studies, editorial techniques and music history. Herttrich’s publicat
Hans-Martin Theopold (mws-henle.person.role.FINGERSATZ)
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本书目其他版本
本书目其他版本
