Schumann, Clara
Three Romances for Violin and Piano op. 22
Edition no.
BA10947
ISMN
9790006569960
Volume / Series
BÄRENREITER URTEXT
Editor
Ross, Jacqueline
Instrumentation of the work
Violin, Piano
Language(s) of text
English, German
Product format
Performance score, Part (2), Urtext edition
Instrumentation
Violin, Piano
Binding
Stapled
Pages / Format
IX, 27/8/8 S. - 31,0 x 24,3 cm
The Romances op. 22 are today among Clara Schumann’s most popular chamber music works. For violinists and pianists, they’re also of particular importance due to the wealth of information by Schumann, Joseph Joachim, and Wilhelm Joseph von Wasielewski on fingering, bowing, and phrasing in these three pieces.
While working on the composition and publication of the Romances op. 22, Schumann was in close contact with these two great violinists of the nineteenth century. She consulted Wasielewski while completing an early version of Romance no. 1, while Joachim was involved in a later, complete version and the preparation of the first edition.
Jacqueline Ross’ scholarly-critical edition is the first to include, in addition to the first edition, the numerous manuscript sources that survive today, such as: Schumann’s draft manuscript, presentation autographs for Wasielewski and Joachim, as well as copyists’ parts once owned by the two violinists.
This edition has two separate parts for the violin, allowing its use in two ways: first, as a straightforward Urtext edition; and second, as an edition informed by historical performing practice, supported by the detailed Performing Practice Commentary on nineteenth-century violin and piano technique.
While working on the composition and publication of the Romances op. 22, Schumann was in close contact with these two great violinists of the nineteenth century. She consulted Wasielewski while completing an early version of Romance no. 1, while Joachim was involved in a later, complete version and the preparation of the first edition.
Jacqueline Ross’ scholarly-critical edition is the first to include, in addition to the first edition, the numerous manuscript sources that survive today, such as: Schumann’s draft manuscript, presentation autographs for Wasielewski and Joachim, as well as copyists’ parts once owned by the two violinists.
This edition has two separate parts for the violin, allowing its use in two ways: first, as a straightforward Urtext edition; and second, as an edition informed by historical performing practice, supported by the detailed Performing Practice Commentary on nineteenth-century violin and piano technique.
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Press reviews
“The value of Bärenreiter’s edition thus lies as much in its concrete offerings, its scrutiny of the autographs, as in its invitation to situate Schumann’s music in the nexus of ideas – critical and creative – that shaped her artistic outlook.”
(Joe Davies, Nineteenth-Century Music Review September 2022)
“An excellent edition. … In this fastidious edition, performers will find a wealth of information on these appealing works in the extensive Introduction and Performing Practice Commentary. It discusses 19th-century tempo, rubato, and rhythmic flexibility, with comments by Brahms and other contemporaries. Expressive fingering, portamento, accents, dynamics, slurs, and tone quality are also debated in detail.”
(Mary Nemet, Strings January/February 2022)
(Joe Davies, Nineteenth-Century Music Review September 2022)
“An excellent edition. … In this fastidious edition, performers will find a wealth of information on these appealing works in the extensive Introduction and Performing Practice Commentary. It discusses 19th-century tempo, rubato, and rhythmic flexibility, with comments by Brahms and other contemporaries. Expressive fingering, portamento, accents, dynamics, slurs, and tone quality are also debated in detail.”
(Mary Nemet, Strings January/February 2022)
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