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| Author | : Robert Schumann |
| Publisher | : |
| Total Pages | : 48 |
| Release | : 2014-09-30 |
| Genre | : Music |
| ISBN | : 9781502524683 |
Robert Schumann's Piano Sonata No. 3 in F Minor Opus 14 This edition is a reprint of the "Edition Peters" version.
| Author | : Muzio Clementi |
| Publisher | : |
| Total Pages | : 24 |
| Release | : 1968 |
| Genre | : |
| ISBN | : |
| Author | : Muzio Clementi |
| Publisher | : |
| Total Pages | : 44 |
| Release | : 1968 |
| Genre | : Piano music |
| ISBN | : |
| Author | : |
| Publisher | : |
| Total Pages | : 73 |
| Release | : 2006 |
| Genre | : |
| ISBN | : |
Robert Schumann's 3rd Piano Sonata Op.14, known also as "Concerto without Orchestra", belongs to a relatively small group of the composer's unpopular and least performed piano works. It rarely appears in recital programs, and when it happens to be performed, it is usually and erroneously listed under both titles. The adverse publication history of this composition, along with the sporadic revisions and substitutions made by the composer and editors, might well be among the key reasons for existing confusions about Op. 14 and its reputation of a bizarre by-product of Schumann's young years. This document presents a detailed study of the history of the piece, the circumstances around its publication, and editorial notes based on the analysis of the changes (corrections, deletions) made by the composer himself as well as the changes made by editors later. Specifically, the study intends to analyze the options of the original compositional plan of the piece; to determine whether the changes in its structure and details were intentional or accidental; and consider whether these changes improve the music or disfigure and impair an otherwise successful composition.
| Author | : Xiao Wang (Pianist) |
| Publisher | : |
| Total Pages | : 42 |
| Release | : 2018 |
| Genre | : Musical analysis |
| ISBN | : |
The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.
| Author | : Jeannie Yu |
| Publisher | : |
| Total Pages | : 90 |
| Release | : 2005 |
| Genre | : |
| ISBN | : |
| Author | : Boris Berman |
| Publisher | : Yale University Press |
| Total Pages | : 256 |
| Release | : 2008-10-01 |
| Genre | : Music |
| ISBN | : 0300145004 |
Boris Berman draws on his intimate knowledge of Prokofiev's work to guide music lovers and pianists through the composer's nine piano sonatas.
| Author | : Johannes Brahms |
| Publisher | : |
| Total Pages | : |
| Release | : 1983 |
| Genre | : |
| ISBN | : |
| Author | : Michael Talbot |
| Publisher | : Oxford Monographs on Music |
| Total Pages | : 272 |
| Release | : 2001 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9780198166955 |
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
| Author | : Harald Krebs |
| Publisher | : Oxford University Press |
| Total Pages | : 305 |
| Release | : 1999-02-25 |
| Genre | : Music |
| ISBN | : 0195353811 |
Fantasy Pieces examines from several vantage points a vital life-force of Robert Schumann's music, namely metrical conflict. Harald Krebs's imaginative yet rigorous study makes use of Schumann's fascinating projections of his own personality--the characters Florestan and Eusebius--as one means of addressing the biographical and aesthetic context of the music. In counterpoint with the remarks of these personae, Krebs develops an original theory of metrical conflict by adapting the concepts of consonance and dissonance to metrical analysis. He investigates how states of metrical dissonance arise, and shows how they are manipulated and resolved in the course of compositions. He offers new methods for understanding the metrical progressions of entire works or movements, and studies the interaction of metrical conflict with form, with pitch structure, and with the texts of Schumann's vocal works. Krebs includes a wealth of illustrations from the whole range of Schumann's work and offers numerous insights important for performance. In the final chapter, he provides richly detailed studies of pieces by Schumann in various genres, interspersing them with shorter discussions of music by Berlioz, Chopin, Clara Schumann, Ives, and Schoenberg. This is a book that will appeal not only to students and scholars of music theory, but to all musicians interested in the life, work, and unique personality of Robert Schumann.
