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Violin concerto in D minor WoO 1


By Robert Schumann

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Violin solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
Urtext. Composed by Robert Schumann. Edited by Christian Rudolf Riedel. Partitur-Bibliothek (Score Library). Romantic. Study score. Breitkopf and Haertel #PB-5317-07. Published by Breitkopf and Haertel (BR.PB-5317-07).

Item Number: BR.PB-5317-07

ISBN 979-0-004-21235-6. 16,5 x 22,5 cm inches.

Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!

Between Beethoven and Brahms, a long neglected work

Schumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.
This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.

Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)

Ralf Wehner's thematic catalogue closes this gap.

It organizes the body of works into 26 groups and assigns each work its own MWV number. Within the groups the individual pieces are arranged chronologically. Also included in the MWV are all known collective manuscripts and prints information on works of dubious authenticity and on Mendelssohn's arrangements as well as his editions of works by other composers. Wehner's work is based on the examination of material and information from more than 1 500 libraries c. 15 000 auction catalogues and about 12 000 letters. The succinct account of the history of the work its publication and reception gives the MWV its profile as a compact study edition.

An overview on the MWV numbering system you will find on the webiste of the
Sachsische Akademie der Wissenschaften zu Leipzig.
Das Werk ist eine Auftragskomposition der IGNM Basel.

Nachdem ich mich in den vergangenen Jahren mit dem Ort von Klangen im Raum beschaftigt habe konzentriert sich diese Musik auf den inneren Raum von Klangen. In drei skizzenhaften Kompositionen wird ausgelotet wie weit ein einzelner Klang gefachert werden kann was seine innere Beschaffenheit und seine aussere Begrenzung ist. Unwillkurlich verschranken sich hier Harmonik und Zeit verbunden mit der Frage wie weit eine klangliche Facherung noch als Einheit wahrgenommen oder ab wann sie zu einem losgelosten Gebilde wird. So sind hier weniger die Innenraume eines Gebaudes imaginiert klar umgrenzt von Mauern sondern vielmehr jene Phanomene die uberall entstehen konnen wenn man innehalt und eine Beobachtung fixiert die aus einer anderen Perspektive unbeachtet verrauschen wurde. (Isabel Mundry)

Commissioned by Biennale Munich in co-production with the theater Kiel.

Marton Illes named a series of compositions sceni polidimensionali in which different textural events in the music act like characters in a drama. Music ensues as imaginary theatre. This aesthetic must lead the composer to music theatre. Illes took the decisive step with the seventeenth piece in the series. For the text he has chosen a dramatic poem by Rainer Maria Rilke: The White Princess scenes of yearning - tales of misery and secret intrigues become mere marginal notes in comparison. Illes does justice to the floating feeling of the poem by not assigning the singers and actors rigid roles. They take on roles and form themselves in a musical expanse. From here the perspectives unfold to create the scenes.
(Munich Biennale 2010)

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