Order Number 0S0T795

Robert Schumann’s in Minor, op. 54: A stemmatic analysis of the sources

Kang, Mahn-Hee, Ph..

The Ohio State University, 1992

U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 S IN , OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By

Mahn-Hee Kang, B.M., M.M., M.M.

The Ohio State University 1992

Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991)

11 ACKNOWLEDGMENTS

I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and 's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. Her immense help made the difficult process possible and bearable. I am also indebted to my committee, Dr. Charles Atkinson and Dr. Burdette Green for their criticism and suggestions. My appreciation also goes to other music histoiy faculty members at The Ohio State University for training that they have provided me. I should like to express my gratitude to my parents who inspired me overcome illness and finish my study, and prayed every moment for my well-being. I would like to express thanks to my dear aunt Dr. Jane Jung-Ae Hur who brought me to the U.S. and gave moral and financial

iii supports. I also thank to my exceptional brother, sisters, and brother-in- laws who encouraged me throughout. I offer sincere thanks to my wife, Young-Hee, for her faith, love, and sacrifice. A final word of thanks to my daughters, Shin-Ae and Shin- Young, for puttingup with me and offering love and joy.

iv VITA

Ju ly 16. 1958 ...... Bom - Seoul, Korea 1981 B.M. in Piano Performance, Kyunghee University, Seoul, Korea 1983 ...... M.M. in Piano Performance, Southern Illinois University at Carbondale, Illinois 1985 ...... M.M. in Music History and Literature, Southern Illinois University at Carbondale, Illinois

FIELDS OF STUDY

Major Field: Music Studies in History and literature with Dr. Lois Rosow, Dr. Charles Atkinson, Dr. Peter Gano, Dr. Martha Maas, Dr. Alexander Main, and Dr. Keith Mixter. Studies in Ethnomusicology with Dr. Margarita Mazo. Studies in Music Theory with Dr. Burdette Green. Studies in Piano with Dr. Donald Gren. Studies in (Early Music) with Dr. Martha Maas.

v TABLE OF CONTENTS

DEDICATION...... ii ACKNOWLEDGMENTS...... ill VITA...... v LIST OF EXAMPLE...... viii INTRODUCTION...... 1 Chapter I. HISTORICAL BACKGROUND, COMPOSITION HISTORY, AND PUBLICATION HISTORY...... 6 II. THE SOURCES...... 22 Autograph Score (the MS)...... 22 The First printed edition (B&H 7415)...... 33 Solo part and reduction of for a second piano, edited by (B&H 10121) ...... 34 The first edition in full score (B&H 10317) ...... 37 Clara Schumann’s edition In Robert Schumann's Werke (RSW)...... 38 Clara Schumann’s "Instructive Edition," (B&H VA 643).... 40 III. INTERPRETING THE NOTATION...... 42 O rnam ents...... 42 Tempo and Expression...... 48 Pedaling...... 52 VI. STEMMAHCS...... 55 CONCLUSION...... 82 APPENDICES A. The list of contents of the Wiede Collection, in Georg Eismann. "Nachweis der lntematlonalen Standorte von Notenautographen Robert Schumanns" ...... 92

v i B. Malcolm Frager’s unpublished list of items formerly in the Wiede Collection...... 96 . List of textual variants between B&H 7415 and B&H 10121 (Piano part only)...... 99 D. List of textual variants among the MS, B&H 7415, B&H 10317, B&H VA 643 and RSW) ...... 104

BIBLIOGRAPHY...... 183

vii LIST OF EXAMPLES

EXAMPLE PAGE 1. The MS, first movement, original shorter version of passage In mm. 130-39 ...... 27 2. The MS, first movement, original version of mm. 449-62, piano part only...... 29 3. The MS, first movement, mm. 11-13 ...... 43 4. The MS, first movement, mm. 58-60 ...... 43 5. The MS, first movement, mm. 105-106 ...... 45 6. The MS, first movement, mm. 7-11 ...... 45 7. The MS, first movement, mm. 14-16 ...... 47 8. The MS. third movement, mm. 961-63 piano part omitted...... 57 9. The MS. first movement, mm. 205-14, low string parts omitted...... 59 10. First movement, mm. 504-509, piano and horns (in A) only...... 60 11. Second movement, mm. 3-6 and 71-74, piano only ...... 62 12. The MS and B&H 7415, first movement, mm. 385-88, only ...... 63 13. The MS, first movement, mm. 4-7, I only ...... 63 14. Second movement, mm. 16 and 84, piano o n ly...... 65 15. Phrasing of main theme of first movement...... 68 16. Third movement, mm. 489-503, parts only...... 69

viii 17. The MS. B&H 7415 and B&H 10317, first movement. mm. 67-71, and piano only ...... 71 18. The MS, first movement, mm. 109-115 ...... 73 19. Third movement, mm. 450-53...... 74 20. Second movement, mm. 1-2 ...... 76 21. B&H 7415, second movement, mm. 35-36 and 59-60 ...... 78 22. Third movement, mm. 275-78 ...... 80

ix INTRODUCTION

Robert Schumann's Plano Concerto in A Minor. Op. 54, like many other Romantic era , holds an Important place in the standard repertory of the twentieth century. Many musicians know it best in the version published by Schumann's widow Clara as part of her collected edition of Robert's works, Robert Schumann's Werke (hereafter RSW). Unfortunately, RSW has a rather negative reputation among scholars: The only "complete" edition of Schumann's music is the incomplete, somewhat unreliable set of fourteen series in thirty-one volumes prepared by Clara Schumann and Brahms, and published in 1881-93.1 Apart from the "Supplement" edited by (series 14), the edition includes no critical apparatus or commentary of any kind. Furthermore, we cannot be certain who is responsible for the editorial work in any given piece: in July 1877 Clara declared herself "quite Ignorant about the requirements of such an edition" and offered Brahms half of her fee if he would edit all the orchestral and ensemble works; in the following October she proposed employing young assistants for this work, and Brahms agreed that she should "just try giving the to both of them—say the B-flat major and the to W. [i.., ] and the B-flat, the E-flat and the D

1 William Newman, The Sonata since Beethoven. 3rd ed. (New York: Norton, 1983), pp. 261-64.

1 2 to [Ernst] Franck."2 In the late 1960s the pianist Malcolm Frager became sufficiently curious about a couple of problematic metronome markings In the concerto that he sought access to the autograph manuscript, then In private hands and virtually unexamined by scholars.3 He was successful, and In 1973 he published a brief article on his findings. In addition to some surprising early readings that Schumann had rejected in the course of composing the work,4 Frager listed some conflicting readings between the completed work, as shown in the manuscript, and the well-known edition in RSW.5 Frager’s article stimulated my interest in the concerto and led to the question that gives focus to this study: what is the relationship between Robert Schumann's piano concerto and Clara Schumann's edition of it? Clara did claim to have consulted autograph manuscripts, proofs, and editions from Robert's lifetime whenever possible, at least for the solo piano works.6 The claim makes one

2Letters of Clara Schumann and Johannes Brahms: 1853-1896, ed. Berthold Litzmann, trans. Grace Hadow (London: Edward Arnold, 1927, and New York: Longmans, 1927; reprint. New York: Hyperion, 1979), vol. 2, p. 21 and 52-53. See also Chapter 2, fn. 37 below. 3Wolfgang Boetticher had examined the manuscript in 1937 and would examine it again in 1973. 4See in particular my remarks on changes in orchestration in Chapter 2 below, p. 30. 5Malcolm Frager. "The Manuscript of the Schumann Piano Concerto," Current Musicology 15 (1973): 84-85. 6Nancy Reich, Clara Schumann: The Artist and the Woman (Ithaca: Cornell University Press, 1985), p. 254. wonder if her edition of the concerto might offer some of the insights of a critical edition, despite the absence of commentary or apparatus. On the other hand, Clara had been the solo pianist at the premiere of the concerto. We might thus hope for some of the insights on interpretation that one finds in a performing edition, in this case from a particularly authoritative source. The dissertation begins with a chapter on the composition history of the concerto, beginning with the one-movement a n ta ste that later became the first movement of the concerto. Also included here is the early publication history of the concerto; it will be clear that the made revisions for the first edition after the completion of the autograph manuscript. Although the genesis of the concerto has been briefly outlined elsewhere, I have made an effort to gather all the relevant details together in one place. The main sources for this historical survey sure the diaries kept by Robert and Clara (available in modem edition); other primary sources include letters, programs, Schumann's prose publications, and his musical manuscripts. Chapter 2 discusses the nineteenth-century sources for the concerto: the autograph manuscript, the first printed edition, a pedagogical edition by Carl Reinecke. the first edition in full score (published posthumously), RSW, and a pedagogical edition published by Clara Schumann. Clearly the significance of RSW cannot be established without study of these other sources: which one (or ones) was RSW copied from? is Robert Schumann's own text for the concerto better reflected in one of the printed editions than the autograph manuscript? Particular attention will be paid to the autograph, a complex and fascinating source that has recently been studied in great detail by Wolfgang Boetticher. It is well known that Schumann's composing score of the concerto consists of the manuscript of the F a n ta sie with second and third movements added.7 An attempt will be made here to relate the genesis of the manuscript more closely to the genesis of the two compositions, the latter having been established In Chapter 1. In addition, a survey of the background and contents of the Wiede collection, the private collection that originally Included this manuscript, will be offered. This collection (recently dispersed by auction) is well known to specialists, but no information about it is currently available in American libraries. Chapter 3 briefly considers the significance of certain notational details for nineteenth-century musicians in general and for Schumann in particular, so that we may better evaluate variant readings involving these details. The remarks concern ornaments, tempo and expression, and pedaling. Chapter 4, entitled "Stemmatics," examines the central issue of the dissertation. By comparing variant readings among the sources— Involving pitch, rhythm, pedaling, ornamentation, dynamics, tempo, and articulation—I have been able to establish clearly the line of transmission from source to source. This analysis shows, not

7Frager, "The manuscript," pp. 83-87. Gerd Nauhaus. personal com munication dated April 17, 1989: "Bei dem M anuscript von Schumanns Fantasie a-Moll (1841) und dem 1. Satz des Klavlerkonzerts (1845) handelt es sich um ein und dieselbe Handschrift—Schumann hat die sp&tere Fassung als Korrektur in das ursprungliche Autograph eingetragen." 5 surprisingly, that the first edition stems (by way of a lost manuscript score) from the autograph, and that It reflects a final stage of compositional refinement. It shows further, and more surprisingly, that the posthumous full score edition stems directly from the first edition but with heavy editing by an extremely careful copy editor, whose work informs us about internal relationships within the piece, but whose work is flawed by his lack of access to the autograph manuscript. As for RSW, it relies so heavily on the full score edition and displays sufficient ignorance of the contents of the autograph manuscript that we must ask whether Clara Schumann was personally involved, and we must question the reasoning behind the few interesting new readings. It is suggested that readers of this dissertation have at hand a copy of RSW.8 (Facsimile editions are cited in Chapter 2 and in the Bibliography.) I have numbered the measures in two series, 1-544 for the first movement, and 1-979 for the second and third movements. All musical examples are transcriptions, except Exx. 3-8, which are facsimiles of the autograph manuscript; there are no facsimiles of the printed editions.

8 Overviews of formal organization in the concerto may be found in Donald Francis Tovey, Essays in Musical Analysis: Concertos a n d Choral Works, new ed. (London: Oxford University Press. 1981 [orig. ed. 1935-39)), pp. 198-200; Alfred Nieman, 'The Concerto," inR o b ert Schumann: The Man and His Music, ed. Alan Walker (London: Barrie & Jenkins, 1972), pp. 245-55; and Maurice Lindsay, "The Works for Solo Instrument and Orchestra," in Schumann: A Symposium, ed. Gerald Abraham (London: Oxford University Press, 1952; reprint, Westport: Greenwood Press, 1977), pp. 247-49. CHAPTER I HISTORICAL BACKGROUND, COMPOSITION HISTORY, AND EARLY PUBLICATION HISTORY

Schumann, as a young composer and critic, displayed a strong interest in the piano concerto as a genre. This is evident in his various attempts to compose piano concertos, his composition of the orchestral parts for a concerto movement by Clara Wieck, and his ruminations on the genre in a published essay. Between 1827 and 1831, Schumann made three attempts to compose concertos for piano and orchestra; the results are found in his sketchbooks. They include an E-minor concerto begun in 1827,1 an E-flat-major concerto begun in 1828,2 and an F-major concerto begun in 1829. The last of these, which Schumann originally wished to dedicate to , was abandoned in 1831.3 He also worked on a piece in another genre that might have involved 1 Georg Eismann, Robert Schumann; Ein QueUenwerk uber sein Leben und Schaffen, vol. 1 (: Breitkopf & HSrtel, 1956), p. 17. 2Robert Schumann, Tagebucher, vol. 1: 1827-1838, ed. Georg Eism ann (Leipzig: Deutscher Verlag fur Musik, 1971), p. 157. 3Bonn. Universltfitsbibliothek, Mus. ms. autogr. R. Schumann 13 (Sketchbooks, vol. 1): Wolfgang Boetticher, Robert Schumanns KLavierwerke: Neue biographische und textkritische Untersuchungen, vol. 1; Opus 1-6 (Wilhelmshaven: Heinrichshofen's Verlag, 1976), pp. 36, 90 (figure 7). In 1986, Claudia MacDonald reconstructed the F major concerto: Claudia MacDonald. "Robert Schumann's F-Major Piano Concerto of 1831 as Reconstructed from His First Sketchbook: A History of Its Composition and Study of Its Musical Background" (Ph.D. dlss.. University of Chicago. 1986).

6 piano and orchestra. One of his sketchbooks includes a forty-measure orchestral introduction to the Theme sur la nom Abbeg varie pour le p ia n o fo rte , Op. 1, probably written around 1831-32.4 Perhaps Schumann Intended to make a version of Op. 1 involving both orchestra and piano. He might have had in mind a for piano and orchestra similar to Ignaz Moschele's Alexandre Variation , Op. 32 (1815) or Fryderyk Chopin’s Variations sur "Ld ci darem la m o n o " Op. 2 (1830-31). a piece that he analyzed in print around the same time.5 Schumann also wrote the orchestral parts for at least one movement of Clara Wieck's Premier concerto pour le pianoforte avec d'orchestre. Op. 7.6 In January 1833. Clara wrote a

4Bonn, Universit&tsbibliothek, Mus. ms. autogr. R. Schumann 13, p. 35 (fol. 38); Boetticher. Robert Schumanns Klavierwerke, vol. 1, pp. 37-39. 5Robert Schumann, "An Opus 2." AUgemeine Musikalische Z eitu n (December 7. 1831), in Schumann on Music: A Selection from the Writings, trans. and ed. Henry Pleasants (New York; Dover. 1988), pp. 15-18. 6Berlin, Deutsche Staatsbibliothek, Bds Mus. Aut. 20427. The last movement was orchestrated by Robert Schumann and is In his hand. The second and first movements were added in that order after the third movement. The first movement was finished in November 1835, and on November 9, 1835, Clara wrote in her diary (cited in fn. 7) about "my concerto, of which the first movement was Just completed." On the first page of the manuscript score is written, in Robert Schumann's hand. "Concertsatz by Clara, my instrumentation." Max Alberti mistakenly identified Clara's A-minor concerto with Robert's A-minor concerto: "In 1833 he wrote for the first time about this concerto to his future father-in-law, , and for the first time he names the key of A minor, so that it can be assumed that at that time already he must have sketched the themes which were to form the first movement." Max Alberti, foreword to Robert Schumann, Concerto for Piano and Orchestra in A minor. Op. 54 (London: Eulenburg, 1948), p. ill. 8 Concertsatz, which later became the third movement of the concerto. Clara described the situation in her diary on November 22, 1833: "I have finished my concerto [Concertsatz], and Schumann will orchestrate it now so that I can play it at my concert."7 In January 1839, Schumann published an article on the concerto as a genre.8 He discussed the decline in the number of concertos composed during the second half of the 1830s. He reviewed concertos from 1834 to 1839—for example, Moscheles' C oncert path&tique, in C Minor, Op. 93, and Mendelssohn's Concerto No. 2 in , Op. 40. He also discussed the changing roles of the piano and orchestra in a piano concerto and demanded a new way to combine them: This periodical has, from its beginning, reported on just about every new piano concerto that has come along. There can hardly have been more than sixteen or seventeen, a small number in comparison with former days. Thus do times change. What once was regarded as an enrichment of instrumental forms, as an important discovery, is now voluntarily abandoned. Surely it would have to be counted a loss if the piano concerto with orchestra were to pass from the scene. We cannot, on the other hand, contradict the pianists when they say: We do not need any help from other instruments, ours is most effective alone.' And so we must await the genius who will show us in a newer and more brilliant way, how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art.

7Zwickau, Robert-Schumann-Haus, 4877 A3, vol. 4, pt. 7, trans. Nancy Reich, Clara Schumann: The Artist and the Woman (Ithaca: Cornell University Press, 1985), pp. 239-40. 8Robert Schumann, "Das Clavier Conzert," Neue Zeitschrtft fur M usik 10, no. 2 (January 4, 1839): 5. 9 while the orchestra, no longer a mere spectator, may Interweave its manifold facets Into the scene.9 Early that same month, while Schumann was In , he received a letter from Clara Wieck encouraging him to write a piano concerto.10 A new D-minor concerto is first mentioned in his letter to her dated January 19. 1839: My dearest Clara, my tardiness in answering your letter from Nuremberg, which I received on Wednesday, is to be blamed solely on the beautiful concerto in D minor (with accompaniment) which my sweetheart is drawing from me. and from which I could not tear myself away yesterday or the day before. . . . The concerto is still bustling around in my head; and I also have a stiff neck from a cold. The first movement is finished, and the instrumentation is coming along very well; it is neither difficult to play nor to understand. 11 On January 26, 1839, he wrote another letter to Clara: . . . I spent all of last week composing, but I am dissatisfied with my ideas, and feel devoid of sweet melancholy. I already told you about the concerto; it is a cross between a , a concerto, and a grand sonata. It is clear that I cannot write a concerto for the virtuoso; I must think of something else.12 The idea of combining a symphony, a concerto, and a sonata was

9Ibid„ trans. Pleasants, in Schumann on Music: A Selection from the Writings, pp. 112-13. 10Clara and Robert Schumann, Briefrvechseb Kritische Gesamtausgabe, ed. Eva Weissweiler and Susanna Ludwig (Basel: Stroemfeld, 1987), vol. 2, p. 345. ^Clara and Robert Schumann, Briefrvechseb vol. 2, p. 359. All translations in this dissertation are mine unless otherwise indicated. 12Jungendbriefe von Robert Schumann, ed. Clara Schumann (Leipzig: Breitkopf & H&rtel, 1885), p. 297. presumably the "something else" that would replace empty planistlc virtuosity. The D-minor concerto thus grew out of the ideas Schumann had Just expressed in the Neue Zeitschrift Jur Musik. Unfortunately he never finished it.13 Finally Schumann's new views about concertos led to a one- movement concert piece for piano and orchestra, F antasie in A minor. An entry recorded in the Schumanns' marriage diary ( Ehetagebuch) between November 8 and 15, 1840, shows Schumann's desire: "I would like very much to write a piano concerto and a symphony."14 A later entry, recorded between May 2 and 9, 1841, shows that the desire had become a specific idea: Clara wrote that Robert "already has new ideas for a piano fantasy with orchestra as well, which he definitely wants to hold on to."15 Further progress is evident on May 3, 1841, when Robert wrote in the household diary (Haushaltbuch). "Began F antasie (with orchestra)"; and on May 4, Clara wrote "Better and better. A F antasie with orchestra has been begun."16 13Robert Schumann, Konzertsatz Jur Klauier und Orchester d- molL reconstructed and completed by . ed. (Leipzig: Breltkopf & H&rtel, 1988). Based on draft in Bonn, Universit&tsbibliothek, Mus. ms. autogr. R. Schumann 17 (Sketchbooks, vol. 5). This concerto may be seen as an important precursor to the A minor concerto, Op. 54, even though they have no direct connection with each other. 14". . . Vorher mochte ich so gem noch ein Clavierconcert und eine Symphonie schreiben." Robert Schumann, Tagebucher, vol. 2: 1836-1854, ed. Gerd Nauhaus (Leipzig: Deutscher Verlag fur Musik, 1987), p. 122; Eugenie Schumann. Robert Schumann: Ein Lebensbild meines Voters (Leipzig: Kdhler & Amelang, 1931), p. 282. 15". . . und hat auch schon wieder neue Ideen zu einer Clavierphantasie mit Orchester, die er doch ja festhalten mflge!" Schum ann, Tagebucher, vol. 2, p. 162. 11 During the second and third weeks of May 1841 much progress was made: the movement was completely notated and orchestrated. Its progress is recorded in the marriage diary-in an entry dated May

10 - 2 2 : The Symphonette is fully orchestrated, as is a F a n ta sie for piano and orchestra. Now I feel driven to work on new things, and at the same time there is still much to do on the completed works.17 Day by day progress is recorded as follows: May 13, 1841: "Worked on the Fantasie'' May 14. 1841: "Completed the Fantasie" May 15, 1841: "Began the orchestration" May 19, 1841: "Orchestrated the FantasieV May 20, 1841: "Finished the orchestration of my Fantasie"18 Because the F a n ta sie is not mentioned in the diaries during the next two months, it is not clear when Schumann worked on it. On August 3, 1841, he recorded in the household diary, "The F a n ta sie is

16Schumann, Tagebucher, vol. 3. pt. 1: 1837-1847. ed. Gerd Nauhaus (Leipzig: Deutscher Verlag fur Musik, 1982), p. 181: May 4, 1841—"Immer wohler. Eine Phantasie angefangen (m.[it| Orch.[esterH"; Eugenie Schumann, Robert Schumann p. 282; Wolfgang Boetticher, Robert Schumann in seinen Schriften und B riefen (: Hahnefeld, 1942), p. 356; Wolfgang Boetticher. "Die Fruhfassung des ersten Satzes von Robert Schumanns Klavierkonzert op. 54 und das Problem seiner Durchfuhrung," Festschrift Amo Forchert zum 60, Geburtstag am 29, Dezember 1985 (Kassel: B&renreiter, 1986). p. 216. 17Schumann, Tagebucher, vol. 2, p. 164: "Die Symphonette 1st fertig instrumentirt u. dazu eine Phantasie f. Clavier u. Orchester. Nun drdngt es mich wieder zu Neuem, und doch gibt es am Fertigen noch genug zu arbeiten": Eugenie Schumann, Robert Schumann p. 295; Boetticher, "Die Fruhfassung," p. 216. 18Schumann, Tagebucher, vol. 3, pt. 1, pp. 182-83; Wolfgang Boetticher, Robert Schumann Einjuhrung in Personlichkeit und Werk (Berlin: Bernhard Hahnefeld, 1941), p. 626. 12 in order."19 In the first week of August 1841, according to an entry in the marriage diaiy, Schumann had completed the work: "I have not composed anything new, and I am still working on the old works; the symphony in D minor is nearly completed, theF a n ta sie in A minor is finished and ready to play."20 On August 11. 1841. he made another reference to final work on the Fantasie.21 On the next day, August 12, the F a n ta sie was handed over to Schumann’s copyist, who was paid 1.20 Thaler 22 On August 13, 1841, an orchestra tried out the F a n ta sie for th e first time: the household diary records an "early rehearsal of the- symphony and Fantasie."23 The occasion was a morning rehearsal of Schumann's new Symphony in B-flat Major and F a n ta sie, w ith the Gewandhaus orchestra directed by Ferdinand David.24 Clara played

19Schumann, Tagebucher, vol. 3, pt. 1, p. 189: Boetticher, Robert Schumann: Einjuhrung in Persdrdichkeit und Werk, p. 356; Boetticher, "Die Fruhfassung," p. 216. 20Schumann, Tagebucher. vol. 2, p. 179. 21"Viel gearbeitet a. d. Stimmen d. Symphonie, die fertig u. an. d. Phantasie in A molL” Schumann, Tagebucher, vol. 3, pt. 1, p. 190. 22Schumann, Tagebucher, vol. 3, pt. 1, p. 190. Speculation regarding lost manuscripts will be found in Chapter 2 below. 23"Fruh Probe d. Symphonie u. Phantasie." Schumann, Tagebucher, vol. 3, pt. 1, p. 190. 24S chum ann, Tagebucher, vol. 3, pt. 1, pp. 712-13: Bertold Litzm ann, Clara Schumann: An Artists Life, trans. and abrldg. Grace Hadow (Leipzig: Breitkopf & HSrtel, 1913), vol. 1. p. 326; Schumann's letter to Raimund HSrtel on August 3, 1841, in Robert Schumanns Briefe: Neue Folge, ed. F. Gustav Jansen (Leipzig: Breitkopf & HSrtel, 1904), p. 432. 13 the piano part on that day. barely two weeks before she went Into labor. She recorded her experience in her diary: . .. I also played the Fantasie in A minor. Only unfortunately no-one could enjoy playing in that hall (in any empty hall that is), where one can hear neither oneself nor the orchestra. But I played it twice, and thought it magnificent! Carefully studied. It must give the greatest pleasure to those who hear It. The piano is most skilfully interwoven with the orchestra—it is impossible to think of one without the other.25 After hearing the F antasie, Schumann evidently worked on it further. The household diary states that on August 20. 1841, "the F antasie was put in order."26 In the marriage diaiy. the entry of August 21, 1841 (referring to August 8-22) states, "[Robert] put his F antasie entirely in order; here and there a or a was taken away. .. "27 Efforts to publish the Fantasie occupied Schumann as early as June 1841. Several letters to the influential French composer Andre Hippolyte Chelard (1789-1861), who worked in , imply that Schumann wanted the work published.28 They are dated June 6,29

25Utzmann, Clara Schumann: An Artist's Life, trans. Hadow, vol. 1, p. 326; Schumann, Tagebucher, vol. 2, p. 180; Peter Ostwald, Schumann: The Inner Voices of a Musical Genius (Boston: Northeastern University Press, 1985), p. 304; Reich. Clara Schum ann: The Artist and the Woman, p. 110. 26Schumann, Tagebucher, vol. 3, pt. 1, p. 191: "Die Phantasie in Ordnung gebracht"; Boetticher, Robert Schumann: Einjuhrung in Persordichkeit und Werk, p. 356. 27Schumann, Tagebucher, vol. 2. p. 183: "Er hat seine Fantasie nun ganz in Ordnung gebracht, hie und da noch ein Horn oder ein Fagott wegenommen. . ." 28Briefe und Gedichte aus Robert und Clara Schumanns, ed. Wolfgang Boetticher (Leipzig: Deutscher Verlag fur Musik, 1979), pp. 14 October 19, November 15,30 and December 8, 1841.31 The first publisher Schumann is known to have contacted was Friedrich KIstner.32 Schumann might have sent letters to other publishers as well, but no publisher showed interest in the F antasie. As Nancy Reich speculates, this disappointment may have caused him to lay it aside.33 In any case, his next known letter to a publisher—Schuberth of Hamburg34—is dated November 5, 1842, nearly a year later. He then further revised the Fantasie, though it is not clear how. This activity is briefly recorded in the household diary

42-43, 239-40; Wolfgang Boetticher, "Chelard, Hippolyte Andre Jean- Baptiste,” Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume, vol. 2 (Kassel: Bdrenreiter, 1952). col. 1158-61; Wolfram Schwlnger, "Schumann und Chelard: Ein blographischer Beitrag fur die Jahre 1839-1841," Robert Schumann: aus Anlass seines 100. Todestages, ed. Hans Joachim Moser and Eberhard Rebling (Leipzig: Breitkopf & Hartel, 1956). pp. 73-76. 29Hermann Erler, ed.. Robert Schumanns Leben aus seinen Briefen geschildert (Berlin: Ries & Erler, 1887), vol. 1. p. 261. 30Robert Schumanns Briefe: Neue Folge, ed. Jansen, pp. 210-11 (letters of Oct. 19 and Nov. 15). 31Zwickau, Robert Schumann Haus (hereafter "RSchH"), Corr. Nr. 1992. 32Erler, Robert Schumanns Leben, vol. 1, p. 328; Robert S chum ann, Concerto in A Minor, Op. 54, ed. Wolfgang Boetticher (London: Ernst Eulenburg, 1988), preface, p. v. Neither Erler nor Boetticher gives a date for Schumann's letter. 33Reich, Clara Schumann: The Artist and the Woman, pp. 110- 11 . 34Zwickau, RSchH. Sign. 4871 (Briefverzeichnis Robert Schumanns). BV Nr. 900, cited in Schumann. Tagebucher vol. 3, pt. 2: 1847-1854, ed. Gerd Nauhaus (Leipzig: Deutscher Verlag fur Musik, 1982), p. 725, n. 350. 15 (January 11. 1843): "Much work on the F antasie.”35 G ustav Jansen claims, without citing a primary source, that Schumann changed the title from F a n ta sie to Allegro qffettuoso fur PJte mit Begl. des O rchester, Op. 48.36 (Schumann's opus 48 is actually .) Letters then went out to more publishers: on January 23. 1843. to Whistling;37 on May 31, 1843, to Joh. Karl Hoffmann in Prague;38 on October 6, 1843, to C. F. Peter in Bohemia.39 He received no positive answer. Finally, on December 14, 1843, Schumann wrote a letter to Breitkopf & Hartel: Unfortunately I did not find you at home yesterday. I was going to see you and talk some more about the with you. If you agree also—in addition to the remaining conditions—to publish the score [of the ] by December of next year, I will be happy to add a smaller composition, and I suggest a concerto-allegro for piano with orchestral accompaniment. I hope that you can see my good will in this offer.40 35Schum ann, Tagebucher, vol. 3, pt. 1, p. 235. 36Robert Schumanns Briefe: Neue Folge. ed. Ja n se n (Leipzig: Breitkopf & Hdrtel, 1904), p. 540; Gustav Jansen, Die Davidsbundler: Aus Robert Schumanns Sturm- und Drangperiode (Leipzig: Breitkopf & Hartel, 1883), p. 221, cited in Robert Schumann, Konzert fur Klavier und Orchester a-moU, op. 54. ed. Egon Voss (: B. Schott's Sfihne, 1979), p. 164; Schumann, Tagebucher. vol. 3. pt. 2. p. 725, n. 350. 37Zwickau, RSchH, Sign. 4871. BV Nr. 916, cited in Schumann, Tagebucher. vol. 3, pt. 2, p. 725, n. 350. 38Zwickau, RSchH, Sign. 4871, BV Nr. 944, cited in Schumann, Tagebucher, vol. 3, pt. 2, p. 725, n. 350; Boetticher, R obert Schumann: Einfuhrung in Persdnlichkeit und Werk. p. 651. 39Zwickau, RSchH, Sign. 4871, BV Nr. 984, cited in Schumann, Tagebucher. vol. 3, pt. 2, p. 725, n. 350. 40Robert Schumanns Briefe: Neue Folge, ed. Jansen, p. 438. Nauhaus, in Schumann, Tagebucher. vol. 3, pt. 2, p. 725, n. 350, 16 Breitkopf & Hartel agreed to publish the work, but advised Schumann to compose second and third movements to go with the F antasie. 41 In spring 1845. a year and a half later. Schumann began to work on the second and last movements. It Is not clear why he had waited so long. Perhaps he had continued to look for a publisher who would publish the F antasie as a one-movement work, as originally intended. On an unknown date, probably around early June, he began to work on the last movement, marked "." (It is not known why he worked on the last movement earlier than the second.) According to the household dlaiy, he continued working on the last movement. Rondo, on June 14,42 and began to write it out on June 21.43 On June 27, 1845, Clara wrote about the concerto in her diary: Robert has added a beautiful last movement to his F antasie In A minor for piano and orchestra, so that it has now become a concerto, which I mean to play next winter. I am very glad about it, for I always wanted a great bravura piece by him.44 Schumann began to orchestrate the last movement on July 1, 1845, and finished the orchestration on July 12: on that date he wrote in the household diary, "Instrumentation of the rondo in is points out that Schumann sometimes referred to the F antasie as Konzertstucke or Konzert-Altegro. 41 Schumann, Concerto in A Minor, Op. 54, ed. Boetticher, p. vi. 42"Rondo in A fortgesetzt." Schumann, Tagebucher, vol. 3, pt. 1, p. 391. ^"Angeflangen] am Rondo aufeuschreiben." Schumann, Tagebucher, vol. 3, pt. 1, p. 391. ^U tzm an n , Clara Schumann, vol. 1, p. 404. 17 finished."45 Although Schumann does not mention the starting date of composition of the second movement, he finished that movement on July 16. 1845: "The second movement of the concerto completed."46 The chronology shown in the diaries is supported and clarified by dates that Schumann recorded in his autograph score, a manuscript that will be discussed in Chapter 2: at the revised beginning of the third movement (p. 97), June 21, 1845; at the end of the third movement (p. 193), July 12, 1845; at the beginning of the second movement (p. 81). July 14, 1845; at the end of second movement (p. 96), July 16. 1845; at the end of the first movement (p. 79), July 29, 1845. This last date suggests that Schumann probably made revisions in the first movement associated with the second and last movements. Clara wrote in her diary on July 31, 1845, "Robert has finished his concerto, and has handed it over to the copyist. I am as happy as a king at the thought of playing it with orchestra."47 On September 3, 1845, when she was able to begin studying the concerto, she recorded In her diary: What a contrast between this and Henselt’s. How rich in invention, how interesting from beginning to

45On July 1. 1845, "Das Rondo in A zu lnstrumentiren an gefangen;" and on July 12, 1845, "Instr[umentation] des Rondo in A beendigt." Schumann, Tagebucher, vol. 3, pt. 1, p. 394. 46"d. 2ten Satz des Concertes beendigt." Schumann, Tagebucher, vol. 3, pt. 1, p. 394. Voss claimed that Schumann wrote the Intermezzo in May and the Rondo in June. He believed incorrectly that these diary entries might not refer to the concerto: "Ob sich diese Eintragen auf das Klavierkonzert bezlehen, 1st ungewi#.” Schumann, Konzert Jur Klauier und Orchester a-moll. op, 54, ed. Voss, p. 166. 47Litzmann, Clara Schumann, vol. 1, p. 404. 18 end it is; how fresh, and what a beautifully connected whole! I find real pleasure in studying it!48 On December 4, 1845. a month before the official premiere, the Concerto was performed as a part of the "Abends Concert" at the Saale des Hdtel de Saxe in .49 Clara was the pianist, and Ferdinand Hiller, the dedicatee, conducted.50 Finally, on January 1, 1846. the official premiere occurred at a concert at the Gewandhaus in Leipzig. Clara was pianist, and conducted.51 As mentioned above, in 1843 Breitkopf & Hfirtel had considered the concerto for publication and advised Schumann to add the second and third movements. However, a letter from Schumann to the publisher Friedrich Kistner, written on December 31, 1845, suggests that Schumann had nonetheless discussed possible publication of the concerto with Kistner: D ear Sir: I would be glad if you could give me a definite answer regarding acceptance for publication of my , and finale [Op. 52] as well as my concerto for piano—if possible by tomorrow morning.

48Jo a n Chissell, Clara Schumann: A Dedicated Spirit (London: Hamish Hamilton, 1983), p. 95. 49Schumann, Tagebucher, vol. 3, pt. 1, p. 407; Tagebucher, vol. 3, pt. 2, p. 754. 50Program of the concert is in Schumann, Tagebucher, vol. 3, pt. 1. pi. 8 (pp. 240-41). 51The program of the concert is given in Chissell. C lara S c h u m a n n , p. 95. In a letter to Mendelssohn dated November 18, 1845, Schumann had written, "My concerto is divided into Allegro affetuoso, Andantlno, and Rondo—last two connected together. If you would maybe note it on the program." Robert Schumanns Briefe: Neue Folge, ed. Jansen, p. 255. 19 I would not press you If Hfirtel had not made me an offer yesterday. I would like to settle this matter while I am still here. For this reason, please excuse the hurry. The fee for the first work (Including the already finished piano that I believe will sell well) is 20 Louisd'or, and for the concerto. 25. Wednesday. Leipzig. [December 31, 1845]52 Presumably Kistner showed no Interest; in any case, on the day after the premiere Schumann wrote a letter to Ferdinand Hiller: "Breitkopf & Hfirtel have accepted the concerto for publication."53 After returning to Dresden from Leipzig on January 6, 1846,54 Schumann was chiefly occupied by the preparation of the publication. Schumann so "tortured himself making changes in the score of the concerto that he had to see Dr. Carus."55 On January 20, 1846, Schumann had the score bound, and on the following day mailed the score to the publisher;56 he received 138 Talers from Breitkopf & Hfirtel on January 24, 1846.57 The first edition, a set of parts, was distributed starting in August 1846.58

52Robert Schumanns Briefe: Neue Folge, pp. 444-45. 53Erler, Robert Schumanns Leben, vol. 2, p. 1. 54Schum ann, Tagebucher, vol. 3, pt. 1, p. 410. 55Ostwald. Schumann: The Inner Voices, p. 205. Ostwald based this remark on the following diary entry; "Concertverfinderungsqual— Hofr.[at] Carus fruh." Schumann, Tagebucher, vol. 3, pt. 1, p. 411. The reference is to Dr. Carl Gustav Carus (1789-1869). 56Schum ann, Tagebucher. vol. 3, pt. 1, p. 411;R obert Schumanns Briefe: Neue Folge, p. 445. 57Boetticher, Robert Schumann: Einfuhrung in Persdnlichkeit un d W erk, p. 619; "Major Income List." 58Preface to Schumann, Concerto, ed. Boetticher, p. xiv. 2 0 In 1853 Schumann made piano of several pieces.59 Perhaps he had received an offer from Kistner to publish a piano arrangement of the A-minor concerto, for on April 8, 1853, Schumann wrote a letter to Kistner: "At the moment and in the near future I will not be able to take on the arrangement of Op. 54 due to pressure from much work."60 Three days later he complained of his physical condition to Ludwig Bischoff in : "I do not feel myself strong enough to touch a great, extensive work. I must avoid strenous work that never lets me rest. . . ."61 On June 13, 1853, Schumann received 17 Talers from Kistner for a four-hand arrangement of the Concerto,62 and an entry in the household diary dated October 4, 1853, mentions (without explanation) a "Clavlerauszug d. Phantasie."63 No such arrangement was ever published.64 Schumann died on July

39Schumann, Tagebucher, vol. 3, pt. 2. pp. 619-639: E denhall (March 15-18), Overture, Scherzo, and Finale, Op. 52 (April 21), Overture (April 26), F a u st (May 24), Overture (2-hand; August 18), Overture (4-hand: August 21), F antasie (September 8), Paganini's Caprice, no. 1 (October 21). 6CBoetticher, Robert Schumann: Einfuhrung in Persdrdichkeit un d W erk, p. 165. eifbid. MfoicL. p. 620. 63Schumann, Tagebucher, vol. 3, pt. 2, p. 638. 64Neither Verzeichnis des Musikalienverlages von Fr. Kistner (Leipzig: F. Kistner, 1894) nor Adolph and Friedrich Hofmeister, Handbuch der musikalischen Liberator oder allgemetnes systematisch- geordnetes Verzeichniss der in Deutschland und in den angrenzenden Ldndem Gedruckten MusikaUen ouch musikalischen Schriften und Abbildungen mit Anzeige der Verlager und Preise: Erster Ergdnzungsband (Leipzig: Hofmeister, 1852-1888) m entions a four- 2 1 29, 1856. The posthumous publication history of the concerto will be discussed in Chapter 2.

hand version of the concerto. CHAPTER II THE SOURCES

This study is based on Schumann's autograph score and live different printed editions, listed here with the slgla that will be adopted: The MS Autograph score, completed 1845 B&H 7415 The first printed edition (a set of parts). 1846 B&H 10121 Solo part and reduction of orchestra for a second piano, edited by Carl Relnecke, 1861 B&H 10317 The first edition in full score. 1862 RSW Clara Schumann's edition in R obert Schumann's Werke, 1883 B&H VA 643 Clara Schumann's "Instructive Edition," 1887 Autograph score, completed 1845 (hereafter the MS) Ownership: Dusseldorf, Musicological Society, Robert-Schumann- Forschungstelle, shelf number unknown, formerly Aigenstadl, Wiede Collection, Sign. 11/38. See below for history of ownership. Title page: "Concert / (Allegro quasi Fantasia. Intermezzo / und Rondo) / fur das Pianoforte / mit Begleitung des Orchesters. / Robert Schumann." In lower left hand comer: "Allegro Leipzig 1841 / Intermezzo u. Rondo / Dresden 1845." On p. 1 of music, "Concert fur das Pianoforte." Physical description: Oblong format, 14 staves per page. Score order (top to bottom): "Pianoforte, Viol. 1, Viol. 2, Viola, Basso, Flauti, Oboi, Clarinetti in A, Fagotti, Comi in C, Trombe in C, in A E." Collation and dimensions unclear from photocopies. Staff-lining differs slightly from movement to movement, suggesting that movements were originally separate physical entities. In several inks, pencil, and crayon. Contents: blank leaf, title page with blank verso, pp. 1- 193 containing music ( in pencil in Schumann's

2 2 23 hand), and blank leaf. Blank pages (pp. 80 and 98) occur between movements. Original pagination of first movement. In Ink, and piano part in first movement are the work of a copyist: see below. A portion of the piano part in the third movement (from anacrusis to m. 529 to m. 739. containing music heard earlier, transposed to different key) is in Clara's hand1 except for tutti cues added by Robert. There are minor additions in Clara's hand elsewhere. A final layer of pagination was added by a twentieth-century hand (see fri. 16 below). Otherwise entirely autograph. Dates in Schumann's hand:2 pp. 79 (July 29, 1845, at the end of the first movement), 81 (July 14, 1845, at the beginning of the second movement), 96 (July 16, 1845, at the end of second movement). 97 (June 21, 1845, at the revised beginning of the third movement), and 193 (Dresden, July 12, 1845, at the end).

Stephen Roe discussed the composition history of the concerto and major revisions in the MS briefly but precisely in his article, "The Autograph Manuscript of Schumann's Piano Concerto." The Musical Tim es 131 (1990): 77-79. He pointed out the presence of Clara's handwriting, without citing specific locations. As Roe indicates, Clara —unlike Robert—put the stem on the right-hand side of the notehead regardless of vertical position on the staff. Clara's handwriting is available in autograph manuscripts of many of her own solo piano works. 2Dates are partially cut off in the photocopy of the autograph score examined for this study. I have therefore relied on descriptions of the dates given by Wolfgang Boetticher in "Das Entstehen von R. Schumanns Klavierkonzert, op. 54: textkrltlsche Studien," Festschrift Martin Ruhnke zum 65. Geburtstag (Stuttgart: H&nssler, 1986), p. 47; and in the preface to Robert Schumann, Concerto for Piano and Orchestra in A Minor, Op. 54 (London: Ernst Eulenburg, 1988), p. vii. Boetticher, in two articles—"Das Entstehen" and "Die Fruhfassung des ersten Satzes von Robert Schumanns Klavierkonzert op. 54," Festschrift Amo Forchert zum 60. Geburtstag (Kassel: B&renreiter, 1986)—briefly described the physical condition of the manuscript and suggested a chronology of compositional revision. He listed hundreds of details, such as changes in orchestration, in ties and phrasing marks, and in pagination. I am able to confirm all but a few of these from my examination of the manuscript. Boetticher does not give evidence for his speculations regarding chronology of revision. In any case, his speculations are largely supported by my findings in this dissertation. Schumann's revision of the transition to the Ab major section in the first movement resulted in the insertion of two new leaves (pp. 23-26, presumably a bifolio) and repaglnatlon of a large portion of the first movement. Revision of the beginning of the final movement led to the insertion of a leaf (pp. 97-98); Schumann had already paginated the entire concerto and repaginated the third movement at this time. As explained in Chapter 1. the first movement is based on an earlier "Fantasie" for piano and orchestra by Schumann. In this MS the piano part for that movement is a fair copy in a copyist's hand.3 The copyist also drew extended bar-lines and wrote page numbers, but left blank staves for the orchestral parts. The manuscript then served as a composing score: Schumann added the orchestral parts and made numerous revisions. No sketches of the F antasie are known to have survived, nor is there an earlier extant source. Under the circumstances, and in view of the unavailability of watermark information that might help date the first portion of the MS, it is a matter of conjecture that this MS was the composing score for the F antasie as well as that for the concerto.4

3The handwriting is that of Linda Roesner's "Copyist 1" (one of three Schumann copyists), active 1840 to 1844. Linda Roesner, "Studies in Schumann Manuscripts: With Particular Reference to Sources Transmitting Instrumental Works in the Large Forms" (Ph.D. diss.. New York University, 1973), p. 135. 4The other, highly unlikely, possibility is that this MS represents the concerto version only. In this case, Schumann would presumably have had the piano part from theFantasie recopled—to use as the basis for a new work—after December 1843, when Breitkopf & Hfirtel advised him to turn the piece into a concerto by adding additional movements. At all events, the first-movement portion of the MS surely antedates Schumann's move to Dresden in December 1844: he had a new copyist, Roesner's "Copyist 2," during his Dresden years (ibid). 25 Schumann's diaries3 indicate that he "completed" the F a ntasie on May 14, 1841, and orchestrated it from May 15 to May 20; presumably the "completed" version of May 14 included a sketch in short score (without instrumentation) of the orchestral music. One might hypothesize that Schumann's copyist produced the first movement of the extant MS around May 14, copying only the piano part and leaving room for Schumann to fill in the rest. Unfortunately, there is no record of payment to support this hypothesis. Not until August 12 did Schumann mention giving the finished F antasie to a scribe and paying him. Since there was a preliminary rehearsal with orchestra the next day. August 13, it was surely a fully orchestrated version that the copyist received (presumably the first-movement portion of the extant MS, with orchestral parts filled in), from which he produced a set of parts, now lost. Of course, it is easier to establish the purpose and chronology of the rest of the MS, thanks to its appearance and the dates Schumann entered in it. This was the composing score for the remainder of the concerto—with final revisions in the first movement entered after the second and third movements were composed—and this was surely the score given to a copyist on July 31, 1845. Whatever that copyist produced is now lost—perhaps separate orchestral parts for the premiere, probably a fair copy of the score. Quite likely the score Schumann bound and sent to the publisher on January 20, 1846, reflecting revisions made on January 6, was a copyist's manuscript

5See Chapter 1. 26 rather than a messy autograph.6 Whatever the case, discrepancies between the autograph MS and the first printed edition are minor: any major revisions reflected in the edition occurred early enough to be included in the MS Itself. As might be expected in a composing score, the MS is sometimes difficult to decipher. Schumann rarely bothered to repeat clefs, key signatures, or Instrument names on successive pages, despite changes in the number of staves per system. He sometimes indicated reprises of earlier passages with reference numbers rather than by writing out the music again; this practice is unfortunate for us since it eliminates a potential source of information about ambiguous readings. Moreover, the MS contains numerous revisions throughout, such as added measures, deleted measures, simplification of texture, and changes in phrasing and dynamic levels. These are difficult to date, for reasons Just described, but most of them clearly antedate the first printed edition. A few important revisions are described here: In the first movement Schumann revised the transition to the A- flat-major section (pp. 23-28 of the MS), replacing a short linking passage for piano alone (Ex. 1) by an extended orchestral ritomello (mm. 134-155) based on an important motive from the exposition (see dialogue beginning in m. 103, as well as germ motive in m. 26). This

6Before 1840, Schumann sent his autograph scores to be used as engraver's copy (with one exception. Op. 13); after that time he sent fair copies made by his copyists. Roesner. "Studies in Schumann Manuscripts," p. 136. Throughout the concerto MS one finds x's above and below the systems--!.e., place marks inserted by a scribe or engraver; these were probably made by Schumann's "copyist 2" as he made a fair copy (now lost) of the MS. 2 7 Example 1. The MS. first movement, original shorter version of passage in mm. 130-39

= r ^ r r - - j r - - ” " C C \ j

p» m p= — ? ------4^ » \ • #p— " ------—* ——

I rltomello. In the relative major key, provides closure after the exposition's secondary key area, as in eighteenth-century concerto movements. As Stephen Roe has written, "The addition of this ritomello. a central pillar of the classical concerto, serves to alter the 29 The most complex change in the MS occurs at the transition from the second to the third movement (pp. 96-97). Originally m. 103 had been the final measure of the second movement, followed by

Example 2. The MS, first movement, original version of mm. 449-62, piano part only J J. i 8ua------pf= —p—r—_-.-r ,-w-f-f-Jr-E LLLl L r r r ' r r r F W r ' c

■N \$ r------“I

. a »J?3= V = j ^ [If* • JfJ 0 '

r w m % j^I■j| ■ffljn & - • ■ ■ + V -V 0 w i 0 :. 0 • — — ’

"Attaca Rondo," and the third movement had started with m. 118. In the course of composing the final (published) version—with the familiar transition (mm. 104-108) based on the theme of the first movement, and the suspenseful introductory portion of the Allegro vivace (mm. 109-117)—Schumann changed his mind more than once, canceling and replacing the end-of-movement transition and moving 28 architectural balance of the movement from a free fantasia to a more formal concerto."7 While the revision cannot presently be dated. Schumann might well have Introduced it while transforming the F a n ta sie into a concerto movement. Schumann used paste-overs to revise the original ending of the (first movement), which Is in the copyist's hand (pp. 68-70 of the MS: see Ex. 2). He lengthened the passage beginning in m. 446 from five to ten measures (mm. 446-55); thanks to the folded configuration of the paste-over, the original is partially legible. Moreover, he adjusted the arrival of the final tutti. In the familiar revised version, the soloist plays a double trill in octaves that serves both as preparatory dominant (end of cadenza, mm. 456-57) and as accompaniment figure after the resolution (beginning of tutti, mm. 458-61). Originally there was no such trill. The orchestra played the preparatory dominant (a held chord, mm. 456-57), during which the pianist—whose original part there is not visible in the MS—presumably continued the preceding triplet figuration; and the piano began its sixteenth-note figuration at the beginning of the Allegro molto8 rather than four measures later (m. 458 instead of 461).

7Roe, 'The Autograph Manuscript," p. 77. Roe does not say whether the added paper has a legible watermark. Such a mark would perhaps make it possible to date the added ritomello. 8The original tempo mark for the final tutti was "Quasi Presto." but Schumann changed it to "Allegro molto." "Sempre stringendo" was originally written at measures 482 (p. 71) and 496 (p. 74), but he deleted it in both places. 30 the phrase "Attaca Rondo." The exact chain of events is difficult to reconstruct. Among the more surprising rejected readings in the MS are the opening gestures of the first two movements, both of which were re- scored. In the familiar version of the first movement, the orchestra plays a chord on the downbeat of m. 1 then is silent while the piano plays the three-measure opening flourish. As the flourish was originally composed, the full orchestra echoed the rhythm of the piano's first two chords one beat later (J>J on D#-E, in unison) then held the dominant pitch through the middle of m. 2. At the beginning of the second movement (mm. 1-2). Schumann canceled the doubling of the first line by and bassoon (col Violin) and the second violin line by the clarinet. The result in sound is much lighter and thinner. It must be emphasized that the foregoing is not a complete account of the composition history evident in the MS (such as that attempted by Boetticher) but merely a selection of some especially interesting compositional revisions, presented here as a component of source description. For purposes of this study, which concentrates on source-copy relationships and is therefore largely a publication history, compositional revisions will prove useful only when they postdate completion of the MS and are initially reflected in the first printed edition (see Chapter 4). On the other hand, the analysis of the MS presented above is the first to out the Impossibility of dating the revisions contained in this source. While we might assume that 31 revisions in the MS antedate the premiere, we can be certain only that they antedate the first edition. Revisions in the first movement cannot even be assigned to the composition history of the concerto rather th an th a t of the F antasie, let alone dated more precisely. The autograph score of the Concerto in A Minor was for many years a part of the Wiede Collection. The former owner of the collection, a Mr. Wiede. started buying manuscripts and sketches from the eldest daughter of the Schumanns. Marie, after Clara's death. He bought the piano concerto autograph in May 1912.9 After Wiede’s death, his daughter Christlane Menzel, who later married Dr. Alfred Ancot, inherited the collection. After Dr. and Mrs. Ancot died, her sister and brother inherited It. It was divided between them, but both sold their shares to Hans Schneider, who offered the individual items for sale in 1974.10 The collection has thus been scattered.11 Although the collection no longer exists as such, it is generally acknowledged by the phrase "formerly in the Wiede Collection." The concerto autograph was not included in Hans Schneider's 1974 catalogue. The owners of the manuscript, the reversionary heirs, kept the manuscript in safety deposit in a Swiss bank and

9Boetticher, "Die Friihfassung," p. 216. 10Robert Schumann, Manuscripte-Briefe Schumanniana, Catalogue No. 188 (Tutzing: Hans Schneider, 1974), p. 6. 11The four volumes of sketches are now in the University Library in Bonn. See Jon Finson, "Robert Schumann: The Creation of the Symphonic Works" (Ph.D. diss.. University of Chicago, 1980), pp. 343- 345. 32 allowed neither access nor the production of photocopies.12 In November 1989, the manuscript was auctioned at Sotheby in London for 800,000 pounds, and it is now at the Dusseldorf Muslcologlcal Society.13 Information on the contents of the Wiede Collection was first made public by Georg Eismann in 1966.14 In 1968. pianist Malcolm Frager made a visit to the home of Dr. Ancot, then the owner of the Wiede collection, and he compiled his own list of contents of the collection.15 Appendix A of this dissertation is a transcription of Eismann's list; Appendix B is Frager's list, with formal titles, some opus numbers, and dates supplied editorially. Mr. Frager also received a complete photographic copy of the piano concerto autograph from Dr. Ancot soon after his visit;16 the present study is based on a copy supplied by Mr. Frager.

12Letter to me from assistant director of the Schumann-Haus in Zwickau. Dr. Gerd Nauhaus. dated March 2. 1989. 13Roe, "The Autograph Manuscript," pp. 77-79; personal communication from Malcolm Frager, dated December 18. 1989. 14Georg Eismann, "Nachweis der intematlonalen Standorte von Notenautographen Robert Schumanns." Sammelb&nde der Robert- Schumann-GesellschafL vol. 2 (Leipzig: Deutscher Verlag fur Musik. 1966), pp. 7-37. According to the Online Computer Libraiy Center database, this book is not found in any format in any major libraiy in the U.SA. Yet Eismann's list is mentioned In several American dissertations and articles. lsUnpublished three-page handwritten list. I am grateful to Mr. Frager for typing a copy and giving it to me. 16Malcolm Frager, "The Manuscript of the Schumann Piano Concerto," Current Musicology 15 (1973): 84. A final layer of pagination was added to the MS in pencil by Ancot's secretary when the photographic copies were produced for Mr. Frager. 33

The first. Printed edition, a set of parts. 1846 (hereafter B&H 7415) Exemplars used In this study: Solo piano part (with detailed orchestral cues), Washington, Library of Congress, M3.3. S5 Op. 54 (G) Case:17 string parts, Zurich. Zentralbtbllothek. AMG XIII 3089;18 wind and percussion parts, personal copies of Malcolm Frager (donated after his death to the Eastman School of Music). Title page (in piano part only): "Concert / fur das pianoforte / mit begleitung des Orchesters / componirt / und / Ferdinand Hiller / fireundschaftlich zugeelgnet / von Robert Schumann / Op, 54 / Eigenthum der Verleger / Leipzig, bei Breitkopf & H&rtel. / Pr. / mit Begltng. d. Orch. ... 5 Thalr. / fur Pianoforte allein. ... 2 Thalr. / 7415. / Eingetragen in das Vereinsarchiv."19 Physical description: Quarto format. 33.5 cm x 26 cm. The piano part is bound in thick yellow paper; orchestral parts are unbound. Parts: solo piano (43 pages), Violin I (12 pages). Violin II (11 pages), Viola (11 pages). and Bass (12 pages). Flute I (5 pages). Flute II (4 pages). Oboe I (4 pages). Oboe II (3 pages). Clarinet I (5 pages). Clarinet II (4 pages). Bassoon I (5 pages). Bassoon II (4 pages), Horn I (4 pages). Horn II (3 pages). I (1 page). Trumpet II (2 pages). Timpani (1 page). The publication of the first printed edition was recorded twice by Adolph Hofmeister.20 The printed copies were distributed starting

17This edition is not listed in Oscar G. Sonneck. Library o f Congress Orchestral Music Catalogue (Washington: Government Printing Office, 1912). The edition may have been acquired after the catalogue was published. In the card catalogue in the Library of Congress, it is mistakenly dated 1845 Instead of 1846. The piano part contains 43 pages, but the cataloguer recorded 13 pages. 18The set also includes manuscript duplicates of the printed parts: Violin I, Violin II, Viola, and Cello and Bass. 19According to O. E. Deutsch's Musik Verlags Nummem: Eine Auswahl von 40 datierten Listen 1710-1900 (Berlin: Merseburger, 1961), p. 10, this edition (plate number 7415) was published in 1846. 20Adolph Hofmeister, Handbuch der musikalischen Literaiur oder allgemeines systematisch-geordnetes Verzeichniss der in Deutschland und in den angrenzenden Landem Gedruckten 34 In August 1846.21 The first mention of the Concerto In the N eu e Zeitschrift Jur Musik Is found In the review by Alfred D drffel in the Issue of January 15, 1847.22 As we have seen (Chapter 1), Schumann himself prepared the score for this publication. Schumann's personal copy, preserved In Zwickau, Schumann-Haus (Sign. Sch. 4501-BD. 9), is a pre-publication proof copy, bearing neither price nor plate number, and It contains some handwritten corrections.23

Solo part and reduction of orchestra for a second piano, edited bv Carl Reinecke. 1861 (hereafter B&H 10121) Exemplar used In this study: Copy owned by Mahn-Hee Kang.24 Title page of each part: "Concert / fur das Pianoforte / mit Begleitung des Orchesters / componirt / und / Ferdinand Hiller / freundschaftlich zugeeignet / von / Robert Schumann. / Op. 54 / Elgenthum des Verleger / Leipzig, Breitkopf & Hfirtel. / Pr. / mit Begltng. des Orch. ... 15 Mark / mit Begltng. elnes 2 Pianof. ... 10 Mark / fur Pianoforte allein. ... 6 Mark / 7415 10121 / Eingetragen In das Vereinsarchiv.”

Musikalien auch musikalischen Schrifterx und Abbildungen mit Anzeige der Verlager und Preise: Erster Erganzungsband: Die von Januar 1844 bis Ertde des Jahres 1851 neu erscheinen und neu aufgelegten musikalischen Werke enthaltend (Leipzig: Hofmeister, 1852), p. 33 (under the heading Concerte und andere Stucke Jur das Pianoforte mit Begleitung des Orchesters) and p. 155 (under the heading S o n a ten , Variationen, etc. ftir das Pianoforte allein). 21Preface to Schumann, Concerto, ed. Boetticher, p. xiv. 22Initial "1" [Alfred Ddrffel], "Fur Pianoforte," Neue Zeitschrift Ju r M u sik (facs. ed., Scarsdale. NY: Annemarie Schnase-Reprint Dept. 1963) 26 (1847): 17-19. The reviewer wrote, "The composer has entered the 'second period,' marked by sculptural form [plastlsche Ausprfigungj." 23Boetticher in Schum ann, Concerto, p. xiv. I have been unable to examine this copy. 24The copy was a gift from Malcolm Frager. 35 Physical description: Quarto format, 33.5 cm x 26 cm. Each part is bound in thick paper. The solo part is printed from the plates of the 1846 edition (B&H 7415), with new pedaling and fingering added. The new second piano part, 31 pages, has the same format and dimensions as the solo piano part.25 The edition was advertised under the heading "Neue Muslkalien im Verlage von Breitkopf & Hfirtel in Leipzig," in the January 18, 1861. issue of Neue Zeitschrift Jur Musik: "Schumann, R, Op. 54. Concert (A moll) fur Pianoforte mit Begleitung elnes zweiten Pianoforte. 3 Thlr. 10 Ngr."26 It is also mentioned in Hofmeister's Handbuch der musikalischen Ltteratur. "Schumann, Rob., Op. 54. Concert f. Pfte, m. Begl. eines 2ten Pfte. Leipzig, Br. u. Hfirtel 3 Th. 10 Ngr."27 Around 1880 Carl Relnecke (1824-1910) published an edition printed from these same plates—7415 for the solo part and 10121 for the piano reduction of the orchestral part. Reinecke's c. 1880 edition is a reissue of the 1861 edition, except for its title page: the pedaling and fingering in the solo part are exactly the same. Thus, the 1861 edition may probably be attributed to Relnecke, who was the conductor of the Gewandhaus Orchestra from 1860 to 1895.

257415-10121 Is recorded only once, on the title page. The individual pages of the solo part bear the old plate number. 7415: those of the orchestral reduction are numbered 10121. The added portion of the plate number. 10121, establishes 1861 as the date of publication. Deutsch, Musik Verlags Nummem, p. 10. 26"Intelligenz-Blatt," Neue Zeitschrift fur Musik 54 (1861): 40. 27Adolph Hofmeister, Handbuch der musikalischen Ltteratur, vol. 6: Die von Anfang 1860 bis Erute 1867 neu erscheinen und neu aufgelegten musikalischen Werke enthaltend (Leipzig: Hofmeister. 1868), p. 93. 36 Relnecke joined the faculty at the Leipzig Conservatory in 1860 and became Its director In 1897.28 He composed many works, including exercises and sonatinas for young pianists, and arranged and edited many piano works. The c. 1880 edition is the 18th concerto In the series Clavier- Konzerte alter und neuer Zeit: "Clavier-Concerte / alter und neuer Zeit. / Bach. Beethoven. Chopin, Dussek. / Field, Henselt. Hummel. Mendelssohn, Mozart, Relnecke, / RIes, Schumann, Weber. / Zum Gebrauch beim Conservatorlum der Musik In Leipzig / genau bezeichnet und herausgegeben / von / Carl Relnecke. / 18. Schumann. Rob. Op. 54. Concert A moll ... Pr. 6 Mk. / Eigenthum der Verleger. / Leipzig, Breitkopf & H&rtel." This title page indicates that Relnecke edited many concertos for the students of the Leipzig Conservatory. The concertos were sold individually and also grouped together in volumes, as part of the Volksausgabe series. Since volume 4, published in 1884, contains concertos 21-28,29 Schumann's concerto (number 18) most likely belongs to the third volume, presumably published a bit earlier. There was still another reissue, under a different series name: Breitkopf & Hdrtel’s Klavier BibUothek: Fur 2 KLaviere zu 4 H dnden: Konzerte und Konzertstucke.30 Except for its series cover page and

28Reinhold Sietz, "Relnecke, Carl (Heinrich Carsten)," The N ew Grove Dictionary of Music and Musicians, ed. Stanley Sadie (New York: Macmillian, 1980), vol. 15, pp. 718-19. 29The copy examined is in Oakland (CA), Mills College, Margaret Carnegie Library, M 186.4 R366c v. 4. It bears the plate number, VA 523. I have not seen volume 3. 37 inner title page, it is identical to the 1861 and c. 1880 editions. In the caption-title (page 2) of the solo part, the editor's name. Carl Relnecke, has been added beneath that of Robert Schumann. The music bears the expected plate numbers, 7415 in the solo part and 10121 in the second piano part; there is no plate number on either title page. The recto of the back cover of the second piano part contains a reference to Volksausgabe 830 ("Sieh auch VA 830"),31 which was published in 1888. This reissue was thus published after 1888.

The first edition in full score. 1862 (hereafter B&H 10317) Exemplar used in this study: Washington, Library of Congress, M3.3. S5 Op. 54.32 Title Page: "Concert / fur das / Pianoforte / mit Begleitung des Orchesters / componirt und / Ferdinand Hiller / freundschaftlich zugeeignet / von / Robert Schumann. / Op. 54. / Partitur. / Eigenthum des Verleger. / Leipzig, bei Breitkopf & HSrtel. / Pr. 4 Thalr. / Elngetragen in das Vereinsarchiv. / 10317." Physical Description: Octavo format. 25 cm x 16.5 cm. 153 pages, bound in a cardboard cover which is badly worn and damaged. The score order is conventional, and thus different from that of the autograph score (see above): "Flauti, Oboi, Clarinetti in A, Fagotti, Comi in C, Trombe in C, Timpani in A. E, Pianoforte, Violino I, Violino II, Viola, Violoncello, Basso."

30The Luther Conradl Collection in Bowdoin College Library in Brunswick (ME) contains two exemplars: M1010 S42 Op. 54 1880 and M1011 S44 Op. 54 R4 1880. 31Presumably VA 830 is another individual issue of the concerto, as opposed to a reissue of Reinecke's "Clavier-Concerte alter und neuer Zeit," vol. 3. 32In the upper right-hand comer of the title page, a former owner’s name is inscribed: "G. Hockhauser / Hanover. 1863." 38 The first full score edition was published in 1862. six years after the composer's death.33 The work was presumably done by house editors at Breitkopf 8c Hfirtel; it is not known if Clara was involved. The internal evidence to be examined in this dissertation clarifies the source on which the edition was based (B&H 7415) but not the identity of the editor.

Clara Schumann s edition in Robert Schumann's Werke. 1883 (hereafter RSW) In May 1877 Breitkopf & Hfirtel asked Clara Schumann to make a critical edition of Robert's complete works.34 She worked on this 33Dated by plate number 10317. Deutsch. Musik Verlags N u m m , p. 10. The edition was advertised in the Neue Zeitschrift Ju r M usik, 57 (1862): 84. and listed under "Musik fdr Pianoforte: Concerte und andere Stucke fur Pianoforte mit Begleitung des Orchesters" in Adolph Hofineister's Handbuch der musikalischen Ltteratur, vol. 6: 1860-1867, p. 54. Egon Voss' modem edition— Robert Schumann, Konzert filr Klavier und Orchester a-moU, op. 54 (Mainz: B. Schott's Sfihne. 1979)—is based on B&H 10317. 34Letters of Clara Schumann and Johannes Brahms: 1853-1896, ed. Berthold Utzmann, trans. Grace Hadow (London: Edward Arnold. 1927, and New York: Longmans, 1927; reprint, New York: Hyperion, 1979), vol. 1, p. 135. In the same month, the British publisher Novello approached Clara about making an edition of Robert's piano music. The circumstances are explained in Clara's letter to Brahms dated May 19, 1877 [ibid.): . . . I have received a letter from Novello begging me to prepare a revision of the pianoforte pieces at once, and offering me 1,000 Thalers for the job. Thinking this would not clash with Hfirtels’ interests, particularly as they only intended publishing the complete edition in about nine to twelve years from now, I entertained the proposal, in the first place because I was anxious to substitute a correct edition for the very bad English editions which are now in circulation, and secondly because the fee is naturally not one I could afford to refuse. .. No such edition was published by Novello. Gesamtausgabe for fourteen years, from 1879 to 1893. The completed edition consists of fourteen series in thirty-one volumes.35 The Concerto in A Minor is found in series 3, number 4 (1883), pages 146- 238 in volume 3. The copies used for this study are the facsimile editions by Gregg (Famborough, 1966-68) and Dover (New York. 1982). and a microfiche (New York: University Music, 1969) of the original Breitkopf & HSLrtel edition. Clara claimed that whenever possible she based the editions on autograph manuscripts, proofs, and the first and second editions published during Schumann's lifetime.36 However, she made personal editorial changes without explaining them. The edition includes no textual commentary, identification of sources, or other scholarly apparatus. Although she is known to have hired young musicians to help her,37 only her name appears in the edition.38

35Robert Schum ann, Robert Schumann's Werke, ed. Clara Schumann. The edition is mentioned in Hofmeister, H andbuch, vol. 9: 1880-1885 (Leipzig: Hofmeister, 1887). p. 597. InNeue Zeitschrift Ju r M usik, 79 (1883): 413, the price is listed as 15 Marks, whereas Hofmeister listed it as 12 Marks. 36Nancy Reich. Clara Schumann: The Artist and the Woman (Ithaca: Cornell University Press, 1985), p. 254. The remark might refer to the solo piano works only. Some manuscripts had been sold already. The concerto MS was presumably still in Clara's hands since her daughter Marie had it until 1912 (see above). 37A proposal to employ Ernst Franck and Woldemar Barglel is found in a letter written by Clara to Brahms on October 12, 1879. Letters of Clara Schum ann and Johannes Brahms, 1853-1896, vol. 2, p. 53. They worked on editing Schumann's orchestral works. Alfred Volckland was employed as an editor as well. Clara eventually consulted with well-known musicians, as Brahms had urged from the beginning: , Heinrich von Herzogenberg. Phillip Spitta. Hermann Levi, Jullius Otto Grimm, , and Franz 40

Clara Schumann’s 'Instructive Edition.” 1887 thereafter B&H VA 643) Exemplar used in this study: Copy owned by Malcolm Fragerfdonated after his death to the Eastman School of Music) .39 Title page: "Robert Schumann's Klavlerwerke. / Koncerte / Op. 54. 92, 134 / Erste mit Fingersatz / und Vortragsbezeichnung / versehene / Instructive Ausgabe. / Nach den Handschrlfen / und persdnlicher Uberlieferung/ herausgegeben von / Clara Schumann. / Verlag von / Breltkopf & H&rtel in Leipzig. / Volksausgabe/ 643. / Volksausgabe Breltkopf & H&rtel." Physical description: Quarto format,40 30.5 cm x 23.5 cm. 92 pages; op. 54 is found on pp. 2-47. Bound in thick paper. In this edition, Clara added tempo markings, expression markings, fingerings, dynamic indications, and pedal indications. In May 1882. Breltkopf & Hartel proposed that Clara publish an "Instructive Edition" while she worked on the complete edition. Clara accepted the proposition because of the threat of competition from Hans von Bulow, who had published editions of J. S. Bach, Beethoven, Scarlatti. Mendelssohn, Schubert, Chopin, and Cramer, with annotated fingering, phrasing, tempos, accents, pedaling, embellishments, dynamics, voicing, , and so on. Clara disliked Bulow's editions, and feared that he or someone else might try something

Wullner. Reich. Clara Schumann, p. 253. See also my Introduction above. 380ne exception exists. The supplementary volume (ser. 14, vol. 31) is signed by Brahms, who also wrote a preface. See L etters o f Clara Schumann and Johannes Brahms, 1853-1896, vol. 2, p. 484.

39a former owner's name is in the upper right-hand comer of the title page: "Edmon Monie / London [18J93." 4°Two formats were available: "Quart-format” and "Grossoktav- form at." Neue Zeitschrift Jur Musik 83 (1887): 23. 41 similar with Schumann's piano works.41 According to Nancy Reich, the Schumanns' daughter Marie assisted Clara in preparing the Instructive editions.42 As the title page shows, B&H VA 643 includes three pieces. According to an advertisement on the back of the binding, op. 54 was published separately as well, as B&H VA 704. The instructive edition of the concerto was published around 188743 and was still in print in 1893.44

41Letters of Clara Schumann and Johannes Brahms, 1853-1896, vol. 1. p. 135. 42Reich, Clara Schumann, p. 256. 43According to an advertisement in Neue Zettschrift Jur Musik 83 (1887): 23. VA 577 was published in 1885, and VA 770 was published in 1888. This might offer evidence for dating VA 643 and VA 704. 44Hofmelster, H andbuch, vol. 10: 1886-1891 (Leipzig: Hofmeister, 1893). p. 711. CHAPTER III INTERPRETING THE NOTATION

While comparing the contents of the various sources, we should be aware of the significance of certain notational details for nineteenth-century musicians in general and for Schumann in particular. These remarks concern ornaments, tempo and expression, and pedaling.

Ornaments The concerto contains a few trills and upper mordants indicated by symbol (e.g., third movement, mm. 727 and 795 respectively), but ornaments are more often indicated by grace notes—that is, by small notes that stand outside the notated rhythm of the measure and borrow their time-values from adjacent notes. Grace notes are used to represent appogglaturas, mordents, turns, and arpeggiations. Most are single notes; some are beamed groups. Grace notes making arpeggiations with the principal notes apparently begin either on or before the beat. Schumann and his copyist sometimes placed such ornaments after the bar line, as in Ex. 3 (see ornament preceding first beat in m. 12, left hand), and sometimes placed them before the bar line, as in Ex. 4—the latter "an admirably clear indication that they are to be taken before the beat."1

1 Robert Donlngton, "Ornaments," The New Grove Dictionary o f Music and Musicians, ed. Stanley Sadie (New York: Macmillan, 1980), vol. 13, p. 834. Donlngton's remark, which refers specifically to Schumann. 42 43 Example 3. The MS, first movement, mm. 11-13

/'►'s'*-*;

Example 4. The MS, first movement, mm, 58-60

€U m

£.r .

W ... JQf

(Exx. 3 and 4 are both In Copyist l's hand, apart from "Espressivo" and "a Tempo" added by Schumann.) The appoggiatura (Vorschlag). on the other hand, is always played on the beat. Hummel. Czemy, and Spohr2 (the last of these a

Schumann, occurs in a discussion of appoggiaturas; ornaments anticipating the beat and consonant with it do not strictly speaking belong in this categoiy. 2Johann Nepomuk Hummel. Ausfuhrliche, theoretische- practische Anweisung zum Piano-forte Sphele (Vienna. 1828), trans. (anon.) as A Complete Theoretical and Practiced Course of Instructions on the Art o f Playing the Pianoforte (Vienna: Haslinger. 1828), and Carl Czemy. Complete Theoretical and Practical Pianoforte School (London: R. Cocks. 1839), both cited in Peter le Huray, Authenticity in Performance (Cambridge: Cambridge University Press, 1990), p. 177; Louis Spohr, Violinschule (Vienna: Haslinger. 1832), pp. 170-71. See also Donington, "Ornaments,’’ pp. 833-34. 44 close friend of Schumann's, especially in the 1840s) all emphasize that it falls in an accented position relative to the note of resolution. Like eighteenth-century theorists they distinguish between long appoggiaturas, which take approximately half or two-thirds of the following note's value, and short appoggiaturas, which are to be played as quickly as possible. Unlike eighteenth-century theorists, however, they recommend distinguishing long from short appoggiaturas by writing out the long ones as ordinary notes in the melody rather than as grace notes, and by placing a stroke through the stems of the short ones. These recommendations do indeed reflect nineteenth-century trends in notatlonal practice; nevertheless, as Spohr cautions, they were not observed consistently: In new compositions one usually finds [the long appoggiatura] written out in full-size notes that have regular note values in the measure. However, since it is found in old compositions written only in small notes, and it is even written that way here and there In new compositions, the student must understand it and know how to perform it.3 In the piano concerto Schumann often used written-out long appoggiaturas; see, for instance, the first movement, m. 14. As for appoggiaturas indicated by grace notes, they are notated two ways in the MS: as a small eighth note with a stroke through the stem, and as 3"Erstem findet man zwar in neuem Kompositionen in der Regal In grossen Noten und mit regelmfissiger Takteithellung ausgeschriben; da er aber in alten Kompositionen nur in kleinen Noten, und auch in neuem noch hier und da auf solche Weise geschriben, vorkommt, so muss ihn der Schuler zu verstehen und auszufuhren wissen." Spohr, Violinschule, pp. 170-71. Spohr goes on to say that the appoggiatura and its resolution should be played in one bowing. Donington ("Ornaments," p. 834) remarks that the stroked and unstroked forms of the short appoggiatura were, and still are, used Inconsistently. 45 Example 5. The MS. first movement, mm. 105-106, piano part only

Example 6. The MS, first movement, mm. 8-11, wind parts only

—z t------id I 1 ^ . 4 .j j ""--- . -----

■*-1 Jt-i— i— ^------—i———l-

g i r f e s A i - a d -I —S - y--- tfa-*----- h* [Jr j J S l i y ------i . ------* **— -r— p -Ms>------1------^ —= - 4 - T"“ ]~ r'— r _ 1 a small eighth note without stroke: compare Ex. 5, in Copyist l's hand, and Ex. 6, In Schumann's hand. The appoggiatura with stroke in Ex. 5 is clearly a short one; however, additional evidence is needed to determine whether the one without stroke in Ex. 6 (oboe, m. 10) is long or short. That evidence is found both In the restatement of the oboe melody by the piano, where Copyist 1 wrote an eighth note with stroke (m. 17), and in other sources: both B&H 10317 and RSW—the latter, it will be recalled, attributed to Clara, who played the solo part at the premiere- 46 -give a small eighth note with stroke in m. 10. In fact the editors of B&H 10317 and RSW regularized the notation throughout the concerto by using small eighth notes with stroke for all single grace notes, without exception. It appears from these later editions that Schumann Intended grace-note appoggiaturas, with or without the stroke, to be interpreted as short appoggiaturas; he apparently always wrote out long appoggiaturas in regular notation, as Spohr and Czemy recommended. In fact, a high degree of inconsistency, not only In the MS but also in B&H 7415 (the first printed edition, prepared under Schumann's direction in the year of the premiere), creates the impression that copyists and engravers close to Schumann used the small eighth note with stroke, small eighth note without stroke, and small sixteenth note interchangeably. For instance, the grace note arpegglation shown in Ex. 7 (m. 16, left hand) Is presented as an eighth note without stroke in the MS, a sixteenth note in B&H 7415, and an eighth note with stroke at the equivalent spot in the recapitulation (m. 271) in B&H 7415. (The MS has only reference numbers, not written out music, in this portion of the recapitulation.) The ornaments involving multiple grace notes create a similar impression. In the second movement, for instance. Schumann used small beamed eighth notes in the MS to represent a turn in m. 15. B&H 7415 gives small beamed sixteenth notes in m. 15 and small beamed eighth notes at the equivalent spot in the reprise, m. 83. (Schumann did not write out this portion of the reprise in the MS.) In the first movement Copyist 1 used small beamed sixteenth notes 47 Example 7. The MS. first movement, mm. 14-16

to represents the mordants in mm. 8 and 16 (the former in an oboe cue on the piano staves); when Schumann later filled in the oboe part, he used small beamed eighth notes in m. 8. (See Ex. 7 for m. 16, and Ex. 6 for the oboe part in m. 8.) It seems that the beamed eighths and beamed sixteenths are equivalent in meaning—and once again the editors of B&H 10317 and RSW confirm this impression by presenting all beamed grace notes in the concerto as sixteenths. Of course, variants of this sort raise questions about stemmatics, a topic to be taken up in Chapter 4; what, for instance, was the engraver of B&H 7415 copying from in mm. 15 and 83? Nevertheless, the main impression one receives from the grace note ornamentation in these sources is that the particular note types are a matter of scribal or editorial preference. In the MS Schumann himself always chose Indivldal eighth notes (nearly always without stroke)4 or beamed eighth notes to represent appoggiaturas, mordants, and turns; the two

4The only two exceptions, which I am unable to explain, are the eighth notes with stroke in the third movement, mm. 256 and 260. It is conceivable that Clara added the strokes when she copied the transposed reprise of this passage later in the movement. 48 instances of sixteenth-note grace notes in his hand represent arpegglation.5 Clara's portion of the MS. a passage in the third movement, contains a handful of single grace notes; unlike Robert she used eighth notes with stroke exclusively. Copyist 1, as we have seen, was inconsistent; he used individual eighth notes with and without stroke, and beamed eighths and sixteenths, in no obvious pattern. The engraver of B&H 7415 was similarly inconsistent, and there is substantial disagreement between his choice of grace note types and Copyist l's. As for the editor of B&H 10317 and Clara as editor of RSW, they have normalized the notation completely: all individual grace notes, no matter what ornaments they represent, are presented as eighth notes with stroke, and all beamed grace notes are presented as sixteenth notes. Under the circumstances, it would probably be unwise to give much attention to variants in grace note types in our study of source-copy relationships.

Tempo and Expression Like other of his day, Schumann placed metronome markings in his scores. However, the accuracy of Schumann's metronome is often questioned for three reasons.6 First, a rather

6See the second movement, mm. 3, 4, and 12, for all instances of arpegglation in Schumann's hand in the MS. In m. 3 he used eighth notes, and in mm. 4 and 12 he used small sixteenth notes. The ornament in m. 4 is a beamed group; the one in m. 12, an octave beneath the principal note, is an individual grace note; and the one in m. 3 is a pair of simultaneous individual notes. 6See Brian Schlotel, "Schumann and the Metronome," in R obert Schumann: The Man and His Music, ed. Alan Walker (London: Barrie & Jenkins. 1972), pp. 110-11. 49 vague allegation made in 1869 by Hans von Bulow is sometimes uncritically accepted as fact: "... Schumann is said to have used a defective metronome for an entire creative period."7 Second, the metronome markings in Clara Schumann's "instructive editions" are sometimes quite different from those in Robert's own editions, some observers to conclude that Clara intended to bring the markings into line with Robert's actual wishes. Third, individual markings by Schumann, such as the one for tempo primo in the first movement of the concerto (to be discussed presently), strike musicians as too fast or slow. Although no metronome of Schumann's survives, a letter he wrote In 1853 to Ferdinand Bohme, the Capellmeister in Dordrecht, confirms the accuracy of the metronome he had at that time: . . . Have you a correct metronome? All the tempi appear to me far too quick. Mine is correct. It always gives as many beats to the minute as the number on which the weight is placed. For Instance, if the number is 50, it gives 50 beats to the minute; if 60, then 60. And, as far as I know, this is the test of correctness. Would you try your metronome in this respect?® To evaluate Clara's metronome markings In the instructive

7Johann Baptist Cramer, 60 ausgewahlte Klavier-Etuden, ed. Hans von Bulow (Hamburg: Schuberth, 1869). editor's preface, cited in Dietrich Hamper, "Zur Frage der Metronombezeichungen Robert Schumanns." Archiv fur Mustkwissenschaft 21 (1964):141: "[Schumann] soli w&hrend einer ganzen Produktionsperiode nach elnem defekten 'M&lzel' Metronomlsiert haben." 8Robert Schumanns Briefe: Neue Folge. ed. F. Gustav Jansen (Leipzig: Breltkopf & Hartel, 1904), p. 365. Schlotel [ibid.) also cites this letter. 50 editions, we must also consider her markings in RSW. keeping in mind that she worked on the Gesamtausgabe and the instructive editions concurrently. In preparing RSW, Clara played the pieces over and over, recording her own tempo each time, then took an average.9 Despite this cumbersome method, her tempo markings in RSW agree with those in Robert's own editions and manuscripts; Schlotel has found only five pieces with slightly different ones.10 In contrast with RSW, the instructive editions often have dramatically different tempos from those in other sources, sometimes faster and sometimes slower. In the concerto In particular, the tempo of the first movement is half note = 84 in RSW and all earlier sources, but half note = 69 in Clara's instructive edition (B&H VA 643). A reasonable hypothesis is that she meant to present Robert's ideas in RSW but her own personal interpretations in the instructive editions. At all events, this remarkable new tempo for the first movement is the most important difference between Clara's two editions of the concerto. The tempo primo of the first movement does indeed strike many musicians as too fast. Malcolm Frager questioned it and was thus particularly interested to see "Allegro affettuoso (J = 84)" in the MS, in the handwriting of Schumann's Copyist l.11 Apparently this tempo-­

9The Letters of Clara Schumann and Johannes Brahms, 1853- 1896, ed. Berthold Litzmann, trans. Grace Hadow (New York: Longmans Green, 1927), cited in Schlotel, "Schumann and the Metronome," p. 111. 10Ibid. The five are all piano pieces. Perhaps she checked the metronome markings of the solo piano pieces only. 11 Malcolm Frager, "The Manuscript of the Schumann Piano 51 found in the MS. B&H 7415. B&H 10121. B&H 10317. and RSW-is indeed the one Schumann wanted. Stewart Young has pointed out that a German-Italian dictionary from the time of the concerto defines "affettuoso" not as "affectionate" or "with warmth," as it might be defined today, but as "leldenschaftllch," derived from Leiden (suffering). As Young suggests, half note = 84 might be the right tempo for the restless and disturbing opening flourish, which comes back in tempo primo in the development (m. 185).12 It is unfortunate that Adelina de Lara (1872-1961). who studied piano with Clara from 1886 to 1891. offered comments on the tempo of the second key area, but not the mood of the opening of this movement.13 With few exceptions the expression and tempo Indications Concerto," Current Musicology 15 (1973): 83. He also questioned the seemingly fast tempo of the A-flat-major section, marked "Andante espressivo (J. = 72)" in all sources.

12Stewart Young, "A Reappraisal of Tempo. Character and Their Relationship with Particular Respect to the Music of Beethoven and Schumann" (Doctor of Music diss., University of Cape Town, 1979), chap. 6, sect. 3, par. 100. 13" [Clara] insisted . . . that the liquid second subject should never be hurried, but played strictly in time with careful attention to the dim inuendt in the left hand." De Lara also discusses the mood of other parts of the concerto. The cadenza "should be played very calmly, pensively and peacefully, with humility and love helping one in a task that is far from easy, for to express beauty through simplicity is harder than any conceivable technical task." "In the second movement, if we tried to be at all sentimental, Frau Doktor would have none of it. She said it was an impassioned conversation between the orchestra and the soloist, though at times very gentle and kindly." As for the third movement Clara insisted that it be a fast "waltz through the whole movement." Adelina de Lara, "Clara Schumann's Teaching," Music and Letters 26 (1945): 147. See also Sie-Wan Chair Fang, "Clara Schumann as Teacher" (DMA diss.. University of Illinois at Urbana- Champalgn, 1978), pp. 22-24. 52 (including metronome markings) found throughout the concerto in the MS are reproduced without change in all the other sources.14 The only variant that significantly affects interpretation is the first metronome mark in B&H VA 643, discussed above. A less important one occurs at m. 205 in the development section of the first movement: the MS is marked only "piu animato"; in B&H 7415 this marking is retained in the orchestral parts but the piano part is marked "passionato" (an emendation made by Schumann himself in the course of revising the texture of the piano part); and the later prints follow B&H 7415. It will be noticed that all but two markings in the concerto are in Italian,15 despite the fact that Robert and Clara generally seem to have preferred German titles and expression markings after their marriage in 1840.

Pedaling Schumann had remarked on his pedaling procedures in the first edition of his Sonata in F-sharp Minor, Op. 11:

14See mm. 67, 156. 185, 205, 320, 402, 434, and 458 in first movement, as well as beginnings of all movements. Schumann had originally marked m. 859 of the third movement "sempre piu animato1' but crossed It out (MS, p. 181); this compositional change apparently antedates the first printed edition. A simple error in some sources— half note = 72 instead of dotted half note = 72 at the beginning of the third movement—will be considered in Chapter 4. Finally, there are a few slight differences in location of "ritardando" markings; see Appendix D, mm. 55 and 64 in the first movement. 15The exceptions are at m. 402 in the first movement, where the cadenza is marked "Die J wie vorher die J ," and m. 106 in the transition to the third movement, where "mit Verschiebung" indicates use of the una corda pedal. 53

The composers [Florestan and Eusebius] use the pedal in almost every bar. according to circumstance required by the harmonic units. Exceptions, where they wish the pedal not to be used, are marked with then, when the indication "pedal" reappears, the continual use of the pedal resumes.16 In the concerto the pedal markings are straightforward: they are occasionally general (e.g., "sempre Pedale" at m. 256 of the third movement, in Schumann's hand on p. 115 of the MS) but more often given explicitly measure by measure. Clara's explanation in B&H VA 643 is indicative of the explicit pedal markings in the earlier sources as well: "The pedal is shown by P and lasts until the release sign, or where the latter is absent until the next P."17 The MS uses the signs "Ped." and $ ;18 most of the pedal indications in the first movement are in Copyist l's hand, Schumann wrote all pedaling in the second movement and most of the third, and Clara wrote the pedal marks in

16Robert Schumann. Pianoforte-Sonate (Leipzig: Kistner, [1836]), p. 1: "Die Verfasser bedienen sich des Pedals fast in jedem Tacte. je nachdem es die Harmonieenabschnltte erheischen. Ausnachmen, wo sle wunschen, dass es gSnzlich ruhen mdchte, sind durch ♦ bezeichnet; mit der alsdann folgenden Bezeichung "Pedale" tritt wiederum dessen unausgesetzter Gebrauch ein." 17B&H VA 643, p. 2: "Das Pedal ist durch P bezeichnet und dauert stets bis zum Aufhebungszeichen, oder wo dieses fehlt bis zum n&chstfolgenden P." 18The earlier published editions of Schumann's compositions for the piano had the fully written out word "Pedale" rather than its abbreviation "Ped." Schumann's instruction to his engraver, "Das Wort 'Pedale' immer ganz auszuschreiben," often appears in the engraver's manuscript copies for his early piano music. Linda Roesner, "Studies in Schumann Manuscripts: With Particular Reference to Sources Transmitting Instrumental Works in the Large Forms" (Ph.D. diss.. New York University, 1973), p. 8. the portion of the third movement that she copied. The point to be made here Is not so much about notation as about the importance of pedaling to Romantic era pianists In general and to Schumann in particular. For the nineteenth-century piano repertoire, pedaling is one of the most important elements of interpretation. Partly because of major changes in the construction of the instrument itself, pedaling was a constant preoccupation of pianists and pedagogues. Remarks published in 1853 by Friedrich Wieck, Schumann's father-in-law and former teacher, cautioned that over-use of the pedal had become a problem and that subtlety was required: . . . Try playing without pedal, for example, after playing with pedal, a few measures of rapidly changing harmonies, even passages in the higher treble, especially when they are to be repeated, possibly louder and softer. What repose, what untroubled pleasure, what relief it brings, and to what fine shadings it leads. Try first to hear it and feel it in the playing of others, for your habits are too deeply rooted, and you are no longer aware of when and how often you use the pedal.19 Schumann's pedaling was surely Influenced by Wieck's teaching. Joseph Banowetz refers to Schumann as one of the two most brilliant pedaling innovators of the nineteenth century (the other being Chopin), especially in the use of the sustaining pedal to highlight a musical, as well as a poetic or pictorial, idea.20

19Friedrich Wieck, Piano and Song (Didactic and Polemical), trans. Henry Pleasants (Stuyvesant: Pedragon Press, 1988), p. 55. The original title is KLavier und Gesang. 20Jo sep h Banowetz, The Pianist Guide for Pedaling (Bloomington: Indiana University Press, 1985). p. 205 (in chapter entitled "Using the Pedals When Playing Schumann"). CHAPTER IV STEMMATICS

Comparison of the sources for the concerto reveals variants in pitch, rhythm, tempo, dynamics, pedaling, articulation, and ornamentation. These variants make it possible to establish source- copy relationships and to Identify some of the concerns of various editors.1 We have already established that Schumann gave the completed MS to a copyist on July 31, 1845, and that the score Schumann sent to his publisher on January 20, 1846 (reflecting revisions made on January 6) was probably a copyist's score rather than the MS.2 There is thus at least one lost manuscript score from that six-month period, and B&H 7415 (the first printed edition, a set of parts) presumably stems from the MS by way of that lost manuscript. There is plenty of evidence in B&H 7415 to support the hypothesis that it stems from the MS; most of this evidence takes the form of errors or other problematic readings in the MS that are preserved in the edition. A number of examples will be given In the course of this chapter; one should suffice here. In the third

XA complete list of textual variants among the MS, B&H 7415, B&H 10317, RSW, and B&H VA 643 may be found in Appendix D. While I have attempted to consider all variants in my analysis of source-copy relationships, the discussion in this chapter includes only a selection of representative examples. 2See Chapter 2.

55 5 6 movement, mm. 961-62, Schumann's MS shows that he originally wrote a chord for strings and horns, and then changed it by canceling all parts except the first violin. See Ex. 8. (The symbols replacing the crossed-out noteheads in m. 962 are pairs of quarter rests. It will be recalled that the score order, from top to bottom of the system, is strings, then woodwinds, then brass.) On the hom staff Schumann neglected to cross out the now obsolete p and crescendo signs. The second hom part in B&H 7415 omits the obsolete dynamic marks, but the first hom part preserves a shortened version of the crescendo sign on the third beat of m. 962—a pointless instruction for these two quarter notes (the second marked J) at an allegro vivace tempo. In proofreading the printed parts, Schumann evidently missed this error (and others). Along with the evidence that B&H 7415 stems from the MS. there is also abundant evidence that the first full-score edition, the posthumous B&H 10317, stems from B&H 7415.3 Here the editor of

3It is impossible to know whether or not the editor of B&H 10317 also consulted the piano part of B&H 10121, Carl Reinecke's edition that was published only one year earlier than the score and printed from the same plates as B&H 7415. In addition to adding fingerings throughout, Reinecke introduced approximately three dozen textual emendations: adjustments of dynamics, articulation, and pedaling, and corrections of notatlonal imperfections (e.g., wrong stem direction). The variants between B&H 7415 and B&H 10121 are all listed in Appendix C, along with the readings of B&H 10317 in those passages. In the few cases in which B&H 10121 and B&H 10317 share a reading not found in B&H 7415, the two editors could easily have come up with that reading independently of each other. As for the later publication history of the concerto—i.e., Clara Schumann's two editions—there Is no evidence connecting their readings with those of B&H 10121. Reinecke's edition will thus be ignored in the rest of this chapter and in Appendix D. 57 Example 8. The MS, third movement, mm. 961-63. piano part omitted

a

m

B&H 10317 chose to copy the wrong hom part: the two-note figure on the hom staff bears a crescendo to f , though the same two-note figure heard simultaneously in the lower strings bears only the / on the downbeat. The problematic reading is unchanged In the Gesamtausgabe, RSW.4

4The same set of readings in all sources occurs at the repetition 5 8 Since Schumann himself was responsible for the text of the first edition, he should presumably be credited with any compositional refinements evident in B&H 7415. For example, in the third movement the MS shows no ornaments in mm. 208 and 219, or in the corresponding measures in the recapitulation, mm. 588 and 599, but each of these measures contains an appoggiatura in the edition. These added ornaments are found in all later editions as well. Similar small changes were made in dynamics; for Instance. In the third movement, m. 585, a p was added in the piano part. (On the other hand, it is difficult to know if the dozen or so dynamic marks that are present in the MS but absent from B&H 7415 represent change of mind or copying error.) It is conceivable that some of these small changes were made on Schumann's proof copy of the edition, but just as likely that they were among the revisions he made on January 6, 1846, on the lost manuscript that would be used as engraver's copy. A couple of the compositional revisions evident in B&H 7415 are more substantial. Ex. 9 shows a passage from the development section of the first movement in an early version. (Even earlier the first violin had doubled all of the flute melody, but Schumann crossed out some of the violin doubling at mm. 206 and 210-11 in the MS.) In the revised version, first apparent in B&H 7415 and retained in later editions, the flute melody is doubled by the piano, the piano's accompaniment figuration is more active, and the general marking "Piu animato" is

of the phrase in mm. 966-67; indeed, there the engraver of B&H 10317 shortened the crescendo sign in the first violin to make it match the brief one in the horns; RSW retains this odd notation. 59 Example 9. The MS, first movement, mm. 205-14. lower string parts om itted

p i u a n im a to

210

supplemented by "Passionato" for the piano part. Ex. 10 Is more complicated since this passage, found In the post-cadenza tuttl of the first movement, was revised In the MS and then revised again for the edition.5 It is interesting that neither Schumann nor the copyist and

SThe repetition in mm. 510-14, one octave lower, went through the same series of textural and harmonic revisions, though it contains no pedaling in any source. 60 Example 10. First movement, mm. 504-509, piano and horns (in A] only a. Diplomatic transcription of the MS

dim.

PkL

b. Version of B&H 7415

engraver who followed him noticed that Copyist 1 had neglected to Include a pedal release sign in the MS. In 1862 the editor of B&H 10317 added a release sign after the first beat of m. 507, and it remains there in Clara's two editions. The canceled pedal point for horns in the MS, a source the editor of B&H 10317 presumably never saw. indicates a different location for the pedal release. In some cases inconsistencies between B&H 7415 and the MS Involve the sketchy nature of the MS—that is, the presence of passages not fully written out but keyed to earlier passages by reference numbers. Near the beginning of the second movement (Ex. 11) the 61 MS shows identical pedaling for two sequential three-note phrases. It seems improbable that Schumann would have intentionally introduced a pedaling in m. 3 that disagrees with that in m. 4; in all likelihood the variant in B&H 7415 represents a copyist's error. The situation is further complicated by the reprise of this passage (mm. 71-72). In the MS Schumann had not bothered to rewrite these measures at the reprise. The copyist of the lost manuscript had to copy the later passage from the earlier one--and he evidently copied it from his own fresh handwriting rather than from the MS: seeing the discrepancy between m. 3 and 4, he attempted to correct it, but by changing the wrong measure. (Another possibility: He copied his error exactly; then, for the edition. Schumann or an editor accepted the error in the first statement but tried to fix it at the reprise.) Much later the editor of B&H 10317, using B&H 7415 as his source, fixed the irregularity between statement and reprise by choosing the reprise version; he was surely unaware that this version disagreed with Schumann's autograph MS.6 Occasionally the evidence that B&H 10317 stems from B&H 7415 concerns an error in the parts that is preserved in the score (as in Ex. 8), but far more often it concerns a problematic reading in the parts that the editor of the score tried to correct, sometimes successfully and sometimes not (as in pedaling in Exx. 10 and 11). Most of the time the editor of B&H 10317. presumably a house editor

6RSW copies the pedaling of B&H 10317 but accidentally omits the release sign in m. 72; B&H VA 643 has that same pedaling but omits the release sign in m. 71. 62 Example 11. Second movement, mm. 3-6 and 71-74, piano only

MS Ted B&H 7415 Ted * Ted. B&H 10317 Ted * Ted

MS (not written out) B&H 7415 Ted * Ted $

B&H 10317 * Ted * at Breltkopf & HjUrtel, seems to have had regularizing as his goal: again and again, parallel passages that do not match exactly In B&H 7415 are made to agree with each other In B&H 10317. For instance, the pre-cadenza tutti of the first movement begins with a pair of nearly identical two-note phrases, mm. 385-388. flhere are minor textural differences between them in the French horns.) Schumann's MS shows a small variant between the two adjacent phrases; see Ex. 12. B&H 7415 reproduces the reading of the MS exactly. The editor of B&H 10317, presumably comparing this passage with the earlier statement of this ritomello (mm. 134-37), changed the g# to e in m. 388, so that the second bassoon part in m. 388 would correspond with that in mm. 135, 137, and 386. Clara 63 retained the regularized version in RSW.

Example 12. MS and B&H 7415, first movement, mm. 385-88, bassoons only

0 1r j m •H * 5 F f i # — f f | F i t f = \ i t t y — !— 1 L . ■ - * ft -L tm PQ

As might be expected, most Instances of this kind of regularizing involve dynamics, articulation, and pedaling rather than pitch. For instance, on the oboe staff near the beginning of the first movement, Schumann was careless in his placement of the diminuendo sign in the MS: see Ex. 13. The oboe part in B&H 7415 shows the diminuendo placed almost squarely under m. 7—a location that evidently represents somebody's effort to make sense of the unlikely mark in the MS. But the texture here is chordal, and all the other wind parts show the diminuendo in m. 6. The editor of B&H 10317 therefore moved it back to m. 6 in the oboe part as well. The corrected reading was adopted in RSW.

Example 13. The MS, first movement, mm. 4-7, oboe I only

In the passage shown in the preceding illustration (and in many other Instances as well), the editor's regularizing surely led to a 64 realization of Schumann's intentions for the phrase.7 Elsewhere the editor dealt with the irregularities of B&H 7415 in a way that seems to modify Schumann's version. Ex. 14 shows the various versions of m. 16 In the second movement and the corresponding measure in the reprise (m. 84). The scribe of the lost manuscript seems to have been careless here, omitting the quarter-note stem in the left hand and moving the pedal release sign slightly from its location in the MS. Since m. 84 is not written out in the MS, that scribe had to copy the reprise from the earlier statement—and, as we have already seen in Ex. 11, he evidently preferred to copy his own fresh handwriting rather than Schumann's: he dealt with the missing stem not by replacing it. as he surely would have done if he had returned to m. 3 in the MS. but by substituting a quarter rest. Somehow the pedal release sign became further displaced in the process. The results survive In B&H 7415. The editor of B&H 10317, faced with the discrepancy between statement and reprise, chose the version of the reprise for both instances: if he had had access to the MS, he might have made a different decision.8

7There are of course situations In which merely by regularizing an Inconsistency that had been introduced in B&H 7415. the editor of B&H 10317 arrived at the reading found In the MS. In the first movement, for example, ties connecting mm. 191 and 192 In the second clarinet and bassoon parts, present in the MS. are missing from B&H 7415. The editor of B&H 10317 restored them, presumably by comparing these measures with nearby sequential statements of the motive. 8We shall return below to the readings of Clara's two editions shown in Ex. 14. 65 Example 14. Second movement, mm. 16 and 84, piano only a. The MS h c i. 1 F y.*( ...... ftj )*«» ftj

r 3 ! ^

Ted *

b. B&H 7415 m. 16 m. 84 &;—it-- f>~ ti —ft-- •----t= r ■ p- r... h M—5--p-----*4M h^TI :2 - a

Ted * Ted

c. B&H 10317 and RSW M Mi F ^ ^ L— 3 i.m ^ ^ p—- r — r 1 ——11 P 7 Ttt ' Ted * Ted

d. B&H VA 643 m. 84 m. 16 mm

Ted * Ted 66 In addition to normalizing phrasing, pedaling, and dynamics locally, the editor of the score sometimes tried to make agreement between widely separated parallel passages. For example, in the MS, as Clara transposed Robert's earlier passage in the third movement, she inadvertently left out the pedal and release signs In mm. 566-67. B&H 7415 reproduced the error. The editor of B&H 10317 added pedal and release signs, presumably after comparing these measures with the corresponding ones, mm. 186-87. The corrected reading was adopted in RSW and B&H VA 643. Yet this editor did not always make parallel passages agree. There remain a small number of differences between exposition and recapitulation or statement and reprise.9 Surely a few of these resulted from simple oversight on his part; in other cases, he must have been sufficiently musically intelligent to assume that Schumann intended the apparent inconsistencies. (In the first movement, for instance, m. 41 in the exposition is marked J, whereas m. 296 in the recapitulation is marked Jf. Yet that is the exact moment when the two sections begin to diverge tonally; Schumann might well have

9The following list includes all disagreements of detail in B&H 10317 between large-scale parallel passages. Interested readers can study them by consulting RSW, which reproduces all of these readings except three (those in mm. 76 and 294 in the first movement, and 69 in the second movement): first movement, mm. 17-18 vs. 272-73, 30 vs. 285, 31 vs. 286, 39 vs. 294, 41 vs. 296, 48 vs. 303, 55 vs. 308, 61- 66 vs. 314-19, 70 vs. 323, 74 vs. 327, 76 vs. 329, 85-86 vs. 338-39, 102 vs. 355, 111 vs. 364, 118 vs. 371, 124-27 vs. 377-80; second movement, mm. 1 vs. 69; third movement, mm. 143-46 vs. 523-26, 148 vs. 528, 149-52 vs. 529-32, 174 vs. 554, 181-84 vs. 561-64, 191 vs. 571, 245 vs. 625. 67 wanted to make a dramatic gesture on those F#'s In the recapitulation.) One set of inconsistencies is particularly intriguing since it involves the main theme of the first movement, a theme so prominent that this excellent copy editor could hardly have overlooked its details: see Ex. 15. Some of the variants here are easily explained as copying errors, but others are more intriguing. Did Schumann really intend the A-major statement to have different articulations and accentuations from the one in C major? In copying B&H 7415, did the editor of B&H 10317 consciously retain the differences between the two major mode statements or simply overlook them? Did Clara (whose two editions only rarely deviate from the text of B&H 10317, as we shall see below) Intend the new articulation of mm. 315-16 shown here, or did it result merely from copying error? Such questions are difficult to answer. While the editor of the score primarily concerned himself with correcting apparent errors and normalizing inconsistencies, there are a few passages in which he evidently introduced his own interpretations. These revisions are minor, but they do make modest changes in the character of the music.10 Ex. 16 shows a passage in which the MS indicates the distinction between double stops and divided at first by stem direction (compare mm. 489-495 with mm. 497-499) and later by "divis." (m. 500). The viola part in B&H lOother instances, besides those shown in Exx. 16 and 17, occur in the following measures (see Appendix D for full information): movement 1. mm. 14, 23-24, 32-33, 55, 64, 229-41, 245-51, 345-48, 404-405, 504; movement 2, mm. 6, 13. 15. 35-36; movement 3. mm. 131-32. 245-46, 294-96, 401-403, 405-413, 473-75, 478-79, 585- 86. 633-34. 636-38, 891-98. 68 Example 15. Phrasing of main theme of first movement a. mm. 12-19 (exposition, A minor) ^

10317

B&H VA 0 4 3 mm. 59-66 (exposition. C major) T he MS

B&H 74 IB B&H 10317

RSW B&H VA 6 4 3 mm. 267-74 (recapitulation, A minor)

H ie MS B&H 74 15

B&H 10317

RSW B&H VA 6 4 3 d. mm. 312-19 (recapitulation. A major) 69 Example 16. Third movement, mm. 489-503, viola parts only 40 0 4 8 5 The MS

B&H 10317, RSW

The MS Ei a m .pi B&H 7415

B&H 10317, RSW rirr r r r

The MS

B&H 7415 'i' gjrcrir t j ii

B&H 10317, RSW

7415 presents the first and second violas on a grand staff; apart from the downbeat of m. 499, the notation is consistent with the stem directions In the MS. The editor of B&H 10317 rejected the double stops at the beginning of the passage—a small change but one that 70 would nevertheless affect the sound of these marks, which occur in the dominant preparation for a statement of the rondo theme. The revised version of the score appears unchanged in RSW. The most interesting example of an interpretive revision introduced by the editor of B&H 10317 is shown in Ex. 17, in the piano part. Although the editor copied the accents and the s f almost exactly as he found them in B&H 7415, his added phrase marks (mm. 67-69) and altered placement of the beginning of the long phrase (m. 69) imply a rather different interpretation from the one suggested by the markings in the earlier edition. Moreover, the MS, a source unknown to the editor of B&H 10317, contains additional accents. If the MS represents Schumann's wishes here, then B&H 10317 utterly overturns those wishes—and since this motivic material with its variant articulations continues until m. 86, the distortion occupies a substantial period of time. On the other hand, it is difficult to be certain about Schumann's wishes: in the equivalent portion of the recapitulation (starting in m. 320), the MS contains none of the additional accents found in the exposition; instead, the articulation in the MS agrees with that of B&H 7415. In view of the consistent readings of B&H 7415, it is possible that Schumann deleted the extra accents from the exposition before sending the lost manuscript to the publisher. Whatever the case, the phrasing in B&H 10317 does not come from Schumann and certainly affects the interpretation of the passage. Several of the illustrations shown above demonstrate the close relationship between the Gesamtausgabe (RSW) and B&H 10317. 71 Example 17. First movement, mm. 67-71. clarinet and piano only a. The MS A nim ate

Cla. I transposed to C

b. B&H 7415

c. B&H 10317, RSW, B&H VA 64311 A nim ate

dim.

11The Instructive edition adds pedaling on the strong beats. 72 (See especially Exx. 8, 10. and 16.) Despite Clara Schum ann's claim that she consulted autograph manuscripts, proofs, and early editions for the complete works, the overwhelming evidence of the concerto sources is that she based RSW simply on the 1862 score, reproducing nearly all of its readings unquestioningly. As Ex. 14 suggests, she seems not to have consulted the MS at all, despite the fact that it was apparently in her possession.12 She might not have consulted B&H 7415 either.13 Not only is it unlikely that Clara consulted the MS in preparing RSW, but some passages make one wonder if she consulted her own musical memory. Ex. 18 shows an expressive moment (m. Ill) where a melodic idea lingers sensuously, accompanied by a gentle inflection horn minor to major mode, before giving way to something new. Surely the grace note arpeggiation that precedes the bar line makes an Important contribution to this expressive moment. Unfortunately, the equivalent spot in the recapitulation (m. 364) occurs at a page turn in the MS, the grace note appearing on the recto and the principal note on the verso. It was presumably the copyist of the lost manuscript score rather than the engraver of B&H 7415 who overlooked the grace note preceding m. 364; in any case, at the recapitulation the ornament

12We have seen (Chapter 2) that her daughter Marie had the MS until 1912. i3only two readings might possibly link RSW to B&H 7415: the erroneous metronome indication in the third movement (a typographical error of omitting a dot from a half note in B&H 7415, corrected in B&H 10317); and the restoration of a crescendo sign in the third movement, m. 914, omitted from B&H 10317 but present in the earlier sources. 73 Example 18. The MS, first movement, mm. 109-115

110

w

vu.

J r ... — f ! = = & = &=*-■■■ —

p

~ - * * 5 3 - " * *

appears in none of the printed editions. In all likelihood. Clara the pianist automatically played that arpeggiation in the recapitulation, even without explicit notation; unfortunately, Clara the editor neglected to add it to either RSW or B&H VA 643 (her "instructive edition"). Yet this is not to suggest that RSW never emends its source. 74 While the editor of B&H 10317 made a large number of editorial changes in the given material, the editor of RSW made only a a tiny number;14 still, the few new readings introduced in RSW are generally thoughtful ones. In mm. 32-35 of the first movement, the slurs on the two-note figures in the left hand make their first appearance in RSW; Clara retained them in B&H VA 643. In the third movement, the motive shown in Ex. 19 appears a half dozen times at different pitch levels. In the MS the pedaling is inconsistent, calling for the pedal to be depressed either at the beginning of the held chord (as in the example), or on the downbeat at the end of the held chord, or at the beginning of the arpeggiation that follows the held chord. The

Example 19. Third movement, mm. 450-53

B&H 10317 Ted * RSW. VA 643 Ted *

14In addition to the readings discussed in the following two and in fti. 12 above, RSW differs from B&H 10317 only in the following measures (see Appendix D). Erorrs (mainly the omission of symbols and typographical errors) are introduced in the first movement, mm. 72, 76, 85-86, 112, 179, 185, 187, 196, 202, 214. 224, 320, 406, 533-36; second movement, mm. 8, 24, 76; and third movement, mm. 173, 184, 423-25, 474. An obvious error is corrected in the first movement, m. 177. Additional regularizing of parallel passages—beyond that introduced in B&H 10317—appears in the first movement, mm. 124, 483, 485 (see also mm. 19-20 and 186); and the third movement, mm. 314-27 and 694-707. 7 5 inconsistent pedaling was retained in B&H 7415, but B&H 10317 always places the pedal mark on the downbeat at the end of the held chord. In RSW and B&H VA 643, on the other hand, the pedal is always depressed at the beginning of the arpeggiation—a small but significant adjustment of phrasing. Ultimately, though, it is difficult to know how much authority to attribute to the few interesting new readings in RSW: on the one hand, the edition is attributed to the pianist who played the work at its premiere (not to mention the wife of the composer): on the other hand, she—or an assistant who actually did the work—made no apparent reference to the autograph manuscript and relied heavily on a modem edition that postdates the death of the composer. Ex. 20 illustrates the beginning of the second movement. In the MS Schumann specified an alternation of dominant and tonic in the anacrusis to m. 2.15 He did not write out the reprise; clearly he intended mm. 69-70 to agree with mm. 1-2. As the example shows, B&H 7415 introduces a small variant at the beginning of the movement, though it retains the version of the MS at the reprise. Whether the variant represents copyist's error or a change of mind by the composer, surely the two statements should agree: one of them must be erroneous in the edition. B&H 10317 uncharacteristically reproduces the inconsistent readings of B&H 7415. Clara's two

15In the truncated version of the phrase in mm. 17-18, the anacrusis to m. 18 confirms the passing harmony of the anacrusis to m. 2. The anacrusis to m. 18 and its counterpart in the reprise, the anacrusis to m. 86. are the same in all sources. 76 Example 20. Second movement, mm. 1-2 a. The MS b. B&H 7415

m i i m editions correct the inconsistency, but do so by choosing the new version introduced in B&H 7415 for both statements rather than the version of the MS. The evidence seems to suggest that we should trust the version in the MS; still, we cannot entirely discount the possibility that Clara remembered Robert's changing his mind about this passing harmony and that the change of mind survives imperfectly in the first edition. In short, RSW is on the whole too faithful a reproduction of B&H 10317 for us to place much confidence in it as a product of thoughtful editing by Clara or anyone else; moreover, as the discussion of Ex. 20 illustrates, we cannot easily establish the origins of the few isolated readings that do seem thoughtful. B&H VA 643, Clara's "instructive edition" (prepared possibly with help from her daughter Marie),16 Is in some ways more satisfying and in others disappointing. Unlike RSW, B&H VA 643 offers original and unique evidence of

16The edition contains a piano reduction of the orchestral music, so we are concerned here only with the solo part. It adds fingerings, pedalings. and Instructions for Inexperienced players. The comment regarding pedal marks, quoted in Chapter 3, is followed by this one on the ritenuto: "Die Ritenuto's beziehen sich in den meisten Fallen nur auf den Takt, in welchem sie stehen, wenn sie nicht durch [i.e., continuation marks] fortgefuhrt sind." (B&H VA 643, p. 2.) 77 Clara Schumann's Ideas on her husband's concerto. The remarkable metronome marking of the first movement was discussed in Chapter 3. The careful fingering provided throughout, though intended for beginning pianists, actually helps any pianist or scholar to understand Clara s playing style and her interpretation of the phrasing. The large amount of new pedaling that has been added throughout, supplementing the pedaling provided in earlier sources, presumably reflects Clara's own performances.17 Finally, there are a few original interpretations of phrasing and articulation, as illustrated by the following example:18 The middle section of the second movement makes a small , with the music of mm. 31-44 almost exactly duplicated In mm. 55-68. Within these two passages are four statements of the motive shown in Ex. 21: mm. 31-32 and 35-36 at different pitch levels, then (after intervening material) mm. 55-56 and 59-60 at the same pitch levels as their earlier counterparts. In the MS Schumann drew the phrase marks carelessly: they are inconsistent and sometimes ambiguous. In one case (mm. 55-56) the two slur marks seem to be divided by the bar line; in another (mm. 59-60) the first phrase apparently ends on the downbeat, and the second phrase

17Clara also slightly adjusted the pedaling found in earlier sources in mm. 186 and 190 of the first movement; see Appendix D. 18For additional instances of unique phrasing and articulation, see in Appendix D, first movement, mm. 23-24 (but refer to contradictoiy reading in 21-22), 230-232; second movement, mm. 43, 83-85; third movement, mm. 523-24. In two locations Clara chose readings that agree with the MS and no other source, possibly by coincidence: d im inuendo in first movement, m. 98; slur in second movement, mm. 11-12. 78 Example 21. B&H 7415, second movement a. mm. 35-36

(i:

i Te£

b. mm. 59-60 (same phrasing in mm. 31-32, 55-56) i fjHT 9 i Ted. * begins immediately thereafter; but in two cases (mm. 31-32 and 35- 36) the downbeat seems not to be Included in the slur marks. B&H 7415 (presumably reflecting the lost manuscript) offers the solution shown in Ex. 21a for mm. 35-36 but the one in Ex. 21b for the other three instances.19 The editor of B&H 10317, copying from B&H 7415, changed mm. 59-60 to agree with mm. 35-36, but left the pair of statements at the other pitch level unchanged. RSW simply adopted the readings of B&H 10317. In preparing B&H VA 643, however.

19The different locations of the pedal release sign stem from the MS. In B&H 10317, the pedal release has been altered in m. 35-36 to agree with m. 60. RSW and B&H VA 643 retain the altered reading. 79 Clara (or Marie) noticed the inconsistency and adopted for all four statements the reading that had appeared only once In B&H 7415. She could not have made her decision on the basis of any of the extant earlier sources (no matter which ones she might have examined). It must have been an independent musical decision, one that might offer a glimpse into Clara’s perception of the passage that is useful for modem pianists and editions. Clara not only attempted to provide a performing edition but also made at least a modest effort to create something of a critical edition: B&H VA 643 contains occasional suggestions that the editor consulted B&H 7415. One illustration of this possible stemmatic relationship may be seen in m. 16 of Ex. 14 above. Another bit of evidence concerns the position of the pedal release in mm. 277-78 of the third movement, shown in Ex. 22.20 In the MS Robert had placed the release differently in mm. 277-78 from 275-76, despite the virtual identity of the motive. When Clara transposed the passage later in the MS, she chose the more musically logical reading—Robert's from mm. 275-76—for both statements (mm. 655-56, 657-58). The readings of the MS are reproduced exactly in B&H 7415. B&H 10317, as one would expect, creates agreement between sonata-rondo exposition and recapitulation by changing the pedal release in mm. 277-78 to agree with the other three Instances. RSW follows this reading. The

20Additional instances of readings shared between B&H 7415 and B&H VA 643 (but not the Intervening printed scores) occur in movement 1, mm. 27-28, 91, 365; and movement 3, mm. 144, 359. 437, 665, 863. See Appendix D. version in B&H VA 643 is perplexing: it restores the reading of B&H 7415 in mm. 277-78, despite its inconsistency with the other three statements of the motive. If Clara was responsible for this reading in B&H VA 643, it is ironic that she herself had corrected the recapitulation in the MS, but now restored the reading in the exposition that had bothered her in the first place. The fact that exposition and recapitulation now disagree again Is strong evidence that this particular passage in B&H VA 643 is a product of careless editing rather than reinterpretation.

Example 22. Third movement, mm. 275-78

a. MS. B&H 7415. Ted * Ted * B&H VA 643 b. B&H 10317, RSW Ted * Ted *

Yet apart from the fingering and new pedaling, which are thoroughgoing, the instances of independent editorial thinking in the instructive edition are rare. For the most part this source reproduces the readings of RSW, itself an untrustworthy source.21 Under the

21 B&H VA 643 corrects some obvious errors in RSW (a few of them derived from B&H 10317), but it also introduces some new obvious errors, usually by inadvertently omitting symbols. Corrections (see Appendix D): first movement, mm. 21, 72. 76, 112, 179, 185, 196, 202, 214, 224, 363, 533; second movement, mm. 8, 24, 76; third movement, mm. 173, 184, 429, 449, 474, 538, 684-85. New 81 circumstances, we may take Interest In those few passages that were altered but merely wonder whether others that were not altered were ever carefully considered. In sum, B&H BA 643 is more interesting than RSW as a personal statement but still cannot be regarded with confidence as a definitive presentation of Clara Schumann's ideas on her husband's piano concerto.

errors (again, see Appendix D): first movement, mm. 16, 87, 116, 325, 370, 505; second movement, mm. 24, 33; third movement, mm. 174, 240, 344, 350, 496, 948, 949. CONCLUSION

This study began as an inquiry into the relationship between Robert Schumann's piano concerto and Clara Schumann's edition of it. the latter found in Clara's Gesamtausgabe of her late husband's works (RSW). RSW has proved not to be a good critical edition; the editor evidently consulted neither the autograph MS nor the first edition, B&H 7415. Indeed, RSW is for the most part not even an original edition: it virtually reproduces the contents of the first full-score edition, B&H 10317. Under the circumstances, RSW cannot be regarded as a good performing edition either, at least not one reflecting its editor's ideas; its many interpretive markings (most of them stemming from the composer, to be sure) are nearly all copied straight from B&H 10317. The mechanical nature of the work raises the possibility that Clara left the concerto to one of the assistant editors whom she is known to have employed. On the other hand, there are a few original readings in RSW that offer new interpretations of articulation or pedaling or even harmony (e.g.. Exx. 19-20 above); one cannot discount the possibility that these stem from Clara and reflect her memory of her own performances or of Robert's wishes. Still, RSW is on the whole too faithful a reproduction of B&H 10317 for us to place much confidence in it as a product of thoughtful editing by Clara or anyone else; and while it does contain a small number of isolated readings that do seem thoughtful, these are ambiguous in

82 83 origin. It is perhaps not surprising that RSW fails as a critical edition. As Clara herself admitted (see Introduction above), she had no training in this kind of work; even if she had consulted the MS and first edition, she would not necessarily have known how to make a musicologist's decisions. (Study of her editions of Robert's solo piano music might reveal how competently she dealt with the manuscripts, engravers' copies, and early editions that she claimed to have consulted for purposes of editing those pieces.) On the other hand, it does seem surprising that Clara took no apparent special interest in the edition of the concerto, a piece that she was especially attached to while Robert was working on it (see Chapter 1) and that she performed dozens of times. In any case, her correspondence with Brahms shows that she did concern herself with details while editing the solo piano works,1 yet similar evidence regarding the symphonic works and concertos Is conspicuously lacking. Clara's busy schedule around 1880 should be taken into account here. Starting in 1879, she was the principal piano teacher at the conservatory in Frankfurt (the "Hoch'sche Conservatorium," now part

1 Hints of such concerns are evident in the published correspondence—e.g., references to the edition of C a m a va l in letters of March and May 1878: Letters of Clara Schumann and Johannes Brahms: 1853-1896, vol. 2, pp. 29 and 33. Nancy Reich Clara( S ch u m a n n , p. 253) points out that the editor of the L etters, Berthold Litzmann, "omitted many details, partly because of considerations of length and partly because of pressures from the Schumann family." To determine Brahms' Involvement and the nature of the editorial concerns discussed in the letters, one would thus have to study the original manuscript correspondence, as Reich did. of the Staatliche Hochschule fur Musik);2 she gave many recitals, as well as concert tours in Switzerland (1880). England (1881-82), and Holland (1883);3 and she was occupied by preparing the "instructive editions" (starting in 1882) as well as RSW. She might well have found it expedient to give the concerto edition to one of her assistants. In any case, the uncritical nature of the edition is ironic, not only because of Clara's special attachment to the piano concerto as a piece but also because of her stated motives for embarking on RSW in the first place: The money was no doubt alluring to this woman with a large family to support, but the greater attraction was what she perceived as her duty to her husband. Annoyed by the proliferation of new Schumann editions—particularly in England—which she felt had no validity, convinced that no one knew Schumann and his music as she did. determined to protect him (as she had done in his lifetime) and put the stamp of authenticity on what she perceived as a project for at least a century, she set to work.4 In addition to clarifying the nature of RSW, this study has provided new insights into the other sources. While confirming the general belief that Schumann’s autograph MS was the composing score for the F antasie as well as the concerto, this study calls into question the belief by some musicians and scholars that it is possible to isolate the readings of the F antasie from those of the first movement of the

2Reich, Clara Schumann, p. 292. 3Ibid., p. 276. 4Ibid„ p. 253. As mentioned above, much of Reich’s information is based on unpublished letters that I have not seen. 85 concerto.5 Even if someone found the orchestral parts used for the rehearsal on August 13, 1841, and reconstructed that version of the F a n ta sie, we would still not have the completed work: a year-and-a-half later, on January 11. 1843, Schumann wrote in his diary, "much work on the F antasie." Establishing stages of composition of the F a n ta sie and the first movement of the concerto requires an ability to date revisions in the MS; at least for the moment we do not have this ability.6 B&H 7415, the first edition, stems from the MS by way of at least one lost manuscript score. Six months passed between the time Schumann gave the MS to a copyist (July 31, 1845) and the time he sent an unidentified score to Breitkopf & Hfirtel (January 20, 1846). During that time the work received its earliest performances—an unofficial reading on December 4 and the official premiere on January 1—which might well have led to compositional adjustments; furthermore, Schumann is known to have made revisions on January 6 in preparation for publication. Still, comparison of the MS with the 5For instance, a recording by Malcolm Frager, with Marc Andreae and the Phllharmonische Staatsorchester of Hamburg (BASF, LP 20 21717-5, published in 1973), claims to present the "original version" of the concerto; it Includes all movements, with some of the autograph revisions of the first movement included and others eliminated. Wolfgang Boettlcher, in Schumann, Concerto, p. vl, promises "a first edition of the original version of the one-movement F antasie," forthcoming in the Eulenburg study score series. 6It is possible that direct study of the MS would reveal differences in pen type and ink color not evident in the photocopies; this might permit the establishment of different chronological layers of revision. In addition, a legible watermark might help date the added rltomello in the first movement—or at least allow us to assign it to the concerto rather than the F a n ta sie—especially if the same paper is used for the revised beginning of the third movement. Frager, Boettlcher, and Roe. all of whom have seen the MS in person, do not mention any such clues for dating in their articles. 8 6 edition shows that the revisions of that six-month period included many minor adjustments but only a couple of more substantial changes (those shown in Exx. 9 and 10); the other major compositional decisions had already been made by the time the MS went to the copyist. B&H 7415 introduces a few new errors and many new notatlonal inconsistencies (in addition to preserving ones stemming from the MS). These problems mights be expected, given the nature of the sources: the copyist of the lost manuscript not only had to deal with the messy handwriting and multiple revisions of Schumann's autograph but also had to write out recurring passages that had been indicated only by reference numbers in the autograph; since he apparently dealt with the latter situation by copying his own fresh handwriting from the earlier passage rather than by returning to Schumann's original, he occasionally compounded his own copying errors (as in Ex. 14). Schumann evidently did not proofread carefully, or perhaps he proofread mechanically against the lost copyist's score, unaware that it distorted the text of his autograph; whatever the case, he allowed the new imperfections to stand.7 That last fact, coupled with the errors and inconsistencies of the MS itself, leads one to wonder how careful Schumann was about details of notation. In view of his reputation as a pedaling innovator and the importance of pedaling to Romantic era composers in general

7As mentioned earlier. Boettlcher has seen Schumann's proof copy of B&H 7415 but I have not. 87 (see Chapter 3), the negative evidence seems especially acute regarding pedaling: Schumann occasionally provided inconsistent pedaling in the MS (see especially the discussion of Ex. 19). and in several passages he permitted the printed edition to distort his pedaling. Still, despite the evidence that Schumann was the sort of writer who needs a good copy editor to call his attention to inconsistencies, along with the evidence that B&H 7415 was never properly proofread, it is probably unfair to conclude that details of notation were unimportant to Schumann. Chapter 4, like any study of stemmatics, necessarily gives more attention to errors than to carefully notated passages. It must therefore be emphasized here that the few errors in the MS are greatly overshadowed by the countless instances of careful and detailed notation, including pedal and release signs, tempo marks of various sorts, and carefully placed dynamics and phrasing. Perhaps the best illustration of Schumann's interest in notatlonal detail is found in the dominant pedal (mm. 251-58) preceding the recapitulation in the first movement: in the MS Copyist 1 had begun the ritardando on the third beat of m. 254, but Schumann crossed out that "rit" and moved the marking to the first beat of m. 255—surely among the most subtle sorts of adjustment.8 B&H 10317, the posthumous first full-score edition, may presumably be attributed to a house editor at Breitkopf & H&rtel: Clara Schumann, who was preoccupied by concert tours during the months preceding publication, was probably not involved. B&H 10317 clearly

8The piano part in B&H 7415 (but not the orchestral parts) erroneously places the beginning of the rttardando on the third beat of m. 255; the error is retained in the later sources. stems from B&H 7415, but the editor made a substantial—and for the most part successful—effort to correct the inconsistencies of the earlier edition. This activity usually led to readings that reflected Schumann's intentions. However, in a number of passages the editor unintentionally modified the composer's readings. This occurred not because of carelessness but because the editor of B&H 10317 clearly had no access to the MS; his edition, though extremely careful, is thus flawed. Furthermore, in addition to normalizing the notation, this editor made a small number of changes based on personal interpretation. The phrasing shown in Ex. 17, for example, leads to quite a different effect in performance from the one Schumann intended. Like so many other questionable readings in B&H 10317, this one is retained in RSW. Finally, there is Clara's "instructive edition," B&H VA 643, perhaps made with assistance from her daughter Marie. In its own way, this is an intriguing source.9 For the most part it retains the readings of RSW and therefore stems from B&H 10317; yet several passages suggest that Clara examined B&H 7415 while making this edition, and there are a few Isolated interesting new interpretations. The scarcity of readings that intentionally differ from those in RSW make one suspect that the former resulted from a spot check rather than systematic editing; thus, while we might take Interest in the new readings in isolation, it is difficult to accept the whole edition as a

9TTie piano reduction of the orchestral music is, of course, of little interest here. The discussion refers to the solo part. 89 reflection of Clara's ideas on her husband's piano concerto. On the other hand, in two areas—fingering and pedaling—the "instructive" edition systematically offers the special insights for performers that we might have expected Clara to provide in RSW. Surely a modem critical edition of this concerto should somehow include Clara's fingering and pedaling in the score itself, carefully distinguishing them from markings that can be traced to the composer.10 With that last comment the implied direction of these concluding remarks becomes explicit: a new critical edition of this piece is needed. The three most popular performing editions (published by G. Schirraer, Kalmus. and C. F. Peters) make no pretense of establishing Schumann's text. As for the two most recent scholarly editions, the one by Egon Voss is based almost entirely on B&H 10317,11 and the one by Wolfgang Boettlcher is similarly problematic. Boettlcher, who obviously had access to all the sources and has studied the MS in detail, nevertheless uncritically adopted questionable readings stemming from B&H 10317 for his edition—for instance, those shown in Exx. 8. 11. 14, and 16 in Chapter 4. In Exx. 8, 11, and 14, the readings in B&H 10317 resulted from efforts to

10Some of Carl Reinecke's fingerings in B&H 10121 might belong in the critical report, but surely Clara's should take precedence. 11 There are very few exceptions: in the first movement, a dim inuendo sign starting on the first beat in m. 9 as in RSW, slurs as in RSW in the left hand in mm. 32-33 (but not in mm. 287-88 in the recapitulation), a missing s/in m. 185, different phrasing in mm. 216- 17, and no dim inuendo in the oboe in mm. 264-65; and in the third movement a missing pedal release sign in m. 278. correct inconsistencies found in B&H 7415 without benefit of access to the MS. These "corrections" are thus errors; a good critical edition should give the readings of the MS.12 In Ex. 16 the editor of B&H 10317 rejected the reading shown in B&H 7415 and the MS. and substituted one of his own {dtvtsi texture in place of double stops); a critical edition should either give the reading shown unambiguously in the two sources that stem directly from the composer, or clearly indicate that an unauthentic reading has been substituted. Boetticher also introduced some questionable new readings of his own; for instance, in dealing with the passage shown in Ex. IS. he did add the missing grace note in the recapitulation, but in both the exposition and the recapitulation he placed the grace note after the bar line. Both Schumann's notation in the MS and the change of harmony clearly indicate that the ornament is to precede the downbeat. (In other passages Boetticher followed Schumann's notation, placing grace note arpeggiations before the bar line.) A new critical edition of this concerto should represent the last stage of compositional revision—that is, it should include the corrections made by Schumann after the premiere and in preparation for the first edition. B&H 7415 should thus be the principal source for the edition. However, the editor will have to correct the errors and inconsistencies found in B&H 7415. B&H 10317 will be very helpful for this task, but one must keep in mind the errors it contains

l2In m. 966 of the third movement, Boetticher even retained the odd shortened crescendo sign in the first violin part (see discussion of Ex. 8, especially fri. 4). He must have simply copied this meaningless notational quirk from either B&H 10317 or RSW. 91 as a result of Its editor's lack of access to the MS. In analyzing the problems of B&H 7415, the modem editor will have to rely primarily on the autograph MS, keeping in mind the lost manuscript score that served as engraver's copy. The few interesting interpretive changes made by the editors of B&H 10317, RSW, and B&H VA 643 will have to be considered case by case. Finally, Clara Schumann's fingering and pedaling found in B&H VA 643 should surely be included, but clearly distinguished from markings that stem from the composer. In sum, the proposed new edition of Robert Schumann's piano concerto should take full advantage of the findings of this dissertation, which are based on a rigorous comparison of readings and analysis of stemmatics. Appendix A: Contents of the Wlede Collection, as listed by Georg Eismann1

A. Works with opus number Op. 1 Thema uber den Namen Abegg variert: eine 40taktlge Orchesterskizze von op. 1 in Skizzenbuch I Op. 2 Papillons: Skizzen Op. 5 Impromptus uber eln Thema von Clara Wieck: Skizzen Op. 11 GroJSe Sonate fls-Moll: Skizzen zum Fandango Op. 12* Fantasiestucke: Skizze zu Nr. 1 Op. 14* GroJSe Sonate f-Moll (Concert sans orchestre): Skizzen zum Variationssatz Op. 24 Uderkreis von H. Heine fur eine Singstimme und Pianoforte: Skizzen Op. 25 Liederkreis "Myrthen" fur Gesang und Pianoforte: Nr. 1 Widmung (Fertiger Entwurf) Op. 29* Drei Gedichte von Emanuel Geibel fur mehrstimmigen Gesang mit Pianoforte: Nr. 2 In meinem Garten die Nelken (Skizze) Op. 33* Sechs Lieder Mr vierstimmigen Mdnnergesang: Fertiger Entwurf zu op. 33 und Skizzen zu Nr. 1 Der tr&umende See und Nr. 3 Die Lotosblume Op. 35* ZwQlf Gedichte von Justinus Kemer. Eine Uederreihe fur eine Singstimme mit Begleitung des Pianoforte: Nr. 8 Stille Liebe (Skizzen) Op. 36* Sechs Gedichte aus dem Liederbuch eines Malers von Reinlck fur eine Sopranstimme oder Tenorstimme mit Begleitung des Pianoforte: Nr. 6 Liebesbotschaft (Skizze) Op. 39 Liederkreis Zwdlf Gesange von J. v. Eichendorff fur eine Singstimme mit Begleitung des Pianoforte: Nr. 2 Intermezzo Op. 40* Funf Lieder fur eine Singstimme mit Pianoforte: Nr. 4 Der Spielmann (Melodieskizze)

1Georg Eismann, "Nachweis der intematlonalen Standorte von Notenautographen Robert Schumanns," Sammelbande der Robert- Schiunartn-GeseUschaJt, vol. 2 (Leipzig: Deutscher Verlag fur Musik, 1966), pp. 7-37.

‘Asterisk indicates item that appeared in the 1974 sale catalogue (see Chapter 2, fri. 10 shove). 92 93 Op. 41* Drei Quartette fur zwef Violinen, Bratsche und Vioncello: Stichvorlage Op. 44* Quintett fur Pianoforte, zwei Violinen. Viola und Violoncello: Partitur (Fertiger Entwurf) Op. 50* Das Paradeis und die Peri. Dichtung aus Lalla Rookh von Th. Moore fur Solostlmmen, Chor und Orchester Klavlerauszug (von Clara Schumann mit handschrift. Bemerkungen von Robert Schumann) und Skizzen Op. 51* Lieder und Gesange (Heft II) fCtr eine Singstimme mit Begleitung des Pianoforte: Nr. 1 Sehnsucht (Melodieskizze) Op. 54 Konzert fur das Pianoforte mit Begleitung des Orchesters: Partitur (Fertiger Entwurf) Op. 57 Belsatzar. Ballade von H. Heine fur eine Singstimme mit Begleitung des Pianoforte: Melodieskizzen Op. 61 Zweite Symphonie (C-Dur) fur groJ3es Orchester: Skizzen zu alien Satzen Op. 63 Erstes Trio (d-Moll) fur Pianoforte, Violine und Violoncello: Skizzen (ohne Satz III) Op. 67* Romanzen und Balladen fur Chor (Heft I): 14 fertige Entwurfe aus Heft I-IVbzw. Op. 67, 75, 145, 146 Op. 68 fur die Jungend: Skizzenbuch zu dem Album fur die Jungend Op. 70* Adagio und Allegro fur Pianoforte und Horn: Skizzen Op. 71* Adventlied von Friedrich Ruckert fur Sopran-Solo und Chor mit Begleitung des Orchesters: Skizzen Op. 74* Spanisches Liederspiel. Eln Zyklus von Gesdngen aus dem Spanischen fur eine und mehrere Singstlmmen mit Begleitung des Pianoforte: Fertiger Entwurf and Stichvorlage Op. 75* Romanzen und Balladen fur Chor (Heft II) Op. 77* Lieder und Gesdnge (Heft III) fur eine Singstimme mit Begleitung des Pianoforte: Nr. 4 Stiller Vorwurf (Skizze) Op. 79* Lieder-Album fur die Jungend: Nr. 14 Marienwurmchen (Skizze) Op. 80* Zweite Trio (F-Dur) fur Pianoforte, Violine und Violoncello: Skizzen Op. 84* Beim Abschied zu singen: Partitur Op. 85* Zwdlfe vierhdndige Klavierstucke fur kleine und grojSe Kinder: Nr. 1 Geburtstagsmarsch Op. 89* Sechs Gesange von Wilfried von der Neun fur eine Singstimme mit Begleitung des Pianoforte: Nr. 5 Ins Freie Op. 93 Motette 'Verzweifle nicht im Schmerzenstal" von F. Ruckert fur doppelten Mdnnerchor mit Begleitung der Orgel: Vollstdndige Orgelstlmme Op. 94* Drei Romanzen fQr Oboe mit Begleitung des 94 Pianoforte: Fertiger Entwurf zu einer Romanze Op. 96* Lieder und Gesdnge (Heft IV) fur eine Singstimme mit Begleitung des Pianoforte: Nr. 3 Ihre Stimme (Skizze) Op. 98* Lieder. Gesdnge und fur Mignon aus Goethes Wilhelm Meister: Klavlerauszug. in dem 3 Mignon - lieder Nr. 1, 3, 5 fehlen; die ubrigen 6 vollstdndig; Partitur und Skizzen Op. 100 Overture zur Braut von Messina von Fr. v. Schiller fur grojtes Orchester: Skizzen Op. 101 Minnespiel aus F. Ruckerts Liebesfruhling fur eine und mehrere Singsttmmen mit Begleitung des Pianoforte: Fertiger Entwurf Op. 104* Sieben Lieder fur eine Singstimme mit Begleitung des Pianoforte: Skizzen, besonders zu Nr. 4 Der Zelsig und Nr. 6 Die letzten Blumen starben Op. 109 Ballszenen. Neun charakteristische Tonstucke fur das Pianoforte zu vier Hdnden: Nr. 5 Frangaise und Nr. 6 Mazurka (Fertige Entwurfe) Op. 110* Drittes Trio (g-Moll) fur Pianoforte, Violine und Violoncello: Skizzen Op. 112* Der Rose Pilgerfahrt: Fertiger Entwurf und Stichvorlage Op. 113 Mdrchenbilder. Vier Stucke fur Pianoforte und Viola: Fertiger Entwurf Op. 115 : Vollstdndige Orchesterskizzen Op. 116* Der K5nigssohn: Skizzen (Partitur und Bruchstucke) Op. 117* Vier Husarenlieder von Nicolaus Lenau: Stichvorlage Op. 121* Zweite groJJe Sonate fur Violine und Pianoforte (d- Moll): Fertiger Entwurf Op. 123 Fest-Ouverture mit Gesang uber das Rheinweinlied fur Orchester und Chor: Fertiger Entwurf Op. 124 Albumbldtter: Nr. 8 ohne Ende (Fertiger Entwurf) Op. 133 Gesdnge der Fruhe: Fertiger Entwurf Op. 136* Ouverture zu Goethes Hermann und Dorothea fur Orchester: Fertiger Entwurf Op. 139 Des Sdngers Fluch: Skizzen Op. 143* D els Gluck von Edenhall: Klavlerauszug Op. 144* Neujahrslied von Friedrich Ruckert fur Chor mit Begleiting des Orchesters: Fertiger Entwurf und Skizzen Op. 145* Romanzen und Balladen fur Chorgesang (Heft III)- (vgl. Op. 67) Op. 146* [5] Romanzen und Balladen fur Chorgesang (Heft IV)- (vgl. Op. 67) Op. 147* Messe fur vierstimmigen Chor mit Begleitung des Orchesters: Skizzen Op. 148* Requiem fur Chor mit Begleitung des Orchesters: 95 Skizzen B. Works without opus number Variationen (sog. "Geistervariatlonen") uber ein Originalthema (letztes Thema Es-Dur) *Klavierbegleitung zu den 6 Solovtolinsonaten von J. S. Bach Soldatenlled von Hoffmann von Fallersleben: Skizze Drei FreiheltschQre 1848 fur Mdnnerchor: Fertiger Entwurf Szenen aus Geothes "Faust": Skizzen C. Unpublished works Je 1 Klaviersatz in G-Dur und g-Moll (Etiiden?): Skizzen Fugen "Fugengeschichten": Skizzen Sonate f-Moll (nicht Op. 14): Skizzen Albumblatt fur "Bezeth": Skizzen Gedanken zu Klavlerwerken (Sklzzenbuch II und III) Variationen uber das Allegretto der 7. Symphonle von Beethoven Variationen uber eine Etude a-Moll Skizzen zu einem Klavler-Konzert in d-Moll (I. Satz) und F-Dur: Sklzzenbuch I •Quartett fur Pianoforte, Violine, Alto und Violoncello c-Moll Orchesterskizze zu den Abegg-Variationen Op. 1 (40 Takte: in Sklzzenbuch I) Lied: "FruhlingsgruJ3e" (Lenau) Lied: "Wenn der Winter sonst entschwand" (E. Schulze) Lied: "Leicht wie gaukelnde Sylphiden" (Robert Schumann) Lied: "Das Schwert" (Uhland) Lied: "Deutscher Blumengarten” (Ruckert), Duett Lied: "Ammenuhr" (aus dem ’Wunderhom") Lied: "Der WeijSe Hirsch" (Uhland) Glockenturmers TOchterlein (Ruckert) fur gemischten Chor 150. Psalm fur Sopran und Alt, Pianoforte und Orchester D. MisceUaneous *Skizzenbucher I-V Musikalische Haus- und Lebensregeln Lehrbuch uber den Kontrapunkt und die Fuge Appendix B. Malcolm Frager's unpublished list of items formerly in the Wiede Collection

Op. 3* Studies after Capricci by Paganini (1832): Sketch Op. 12* Fantaslestucke, No. 1 "Des Abends": Sketch Op. 14* Sonata in f minor (1836): Sketch Op. 14 Part of Variations from the Sonata in f minor (1832): Manuscript Op. 24 Liederkreis (incomplete): Manuscript Op. 25* Liederkreis "Myrthen" fur Gesang und Pianoforte: No. 1 Widmung Op. 33 (1840): Manuscript Op. 44* Piano in E-flat Major (1842): Manuscript Op. 50* Das Paradies und die Peri (for soli, chorus and orchestra) (1843): Sketch Op. 54 Piano Concerto in a minor: Manuscript Op. 61 Symphony No. 2 in C Major (1846): Sketch Op. 63 Sketches for Piano Trio No. 1 in d minor (1847): Sketch Op. 631 Studies [sic]: Manuscript Op. 67* 4 Romanzen und Balladen (1849-51): Manuscript Op. 68 Album fur die Jungend (1848): Sketch Op. 70* Adagio and Allegro for horn and piano (1849): Manuscript Op. 71* Adventlied (for soprano, chorus and orchestra) (1848): Sketch Op. 72 Four (1845): Manuscript Op. 74* Spanisches Uedersplel (1849): Sketch Op. 75* 4 Romanzen und Balladen: Manuscript Op. 79* Liederalbum fur Jungend: No. 12 "Der Sandmann": Manuscript Op. 80* Piano Trto No. 2 in F Major (1847): Sketch Op. 85* Zwolf vierhandige Clavierstucke (1849): "Geburtstagsmarsch”: Manuscript Op. 89* Sechs Gesange, (1850), No. 5 "In's Freie": Manuscript Op. 93 Organ accompaniment part for Motet for double chorus (for male voices), Verzweifle nicht (1849): Manuscript Op. 94* Three Romances for Oboe and Piano (1849): Manuscript Op. 98a Lieder und Gesange aus Wilhelm Meister' (1849): Manuscript

^Asterisk indicates item that appeared in the 1974 sale catalogue (see Chapter 2. hi. 10 above).

JOpus number provided by Mr. Frager. 96 97 Op. 98b* Requiem fur Mignon (for soli, chorus and orchestra) (1849): Sketch Op. 100* Overture to Schiller's Braur von Messina (1851): Sketch Op. 101 Minnespiel (1849): Manuscript Op. 109 Two pieces from Ball-Scenen (1851): Manuscript Op. 110* Piano Trio No. 3 in g minor (1851): Sketch Op. 112* Der Rose Pilgerfahrt (for soil, chorus and piano: afterwards orchestrated) (1851): Manuscript Op. 113 MSrchenbilder (for Viola and piano) (1851): Manuscript Op. 115 Overture and incidental music to Manfred (1848): Sketch Op. 116* Der Kdnigssohn (for soli, chorus and orchestra) (score): Manuscript Op. 116 Der Kdnigssohn (for soli, chorus and orchestra) (1851): Sketch Op. 121* Violin Sonata No. 2 in d minor (1851): Manuscript Op. 124 Etuden in Form freier Variationen uber ein Beethovensches Thema (one published as Op. 124, No. 2) (1833) (Allegretto of the Seventh Symphony): Manuscript Op. 133 Gesange der Fruhe (1853): Manuscript Op. 136* Overture to Goethe's Hermann und Dorothea (1851): Manuscript Op. 137 Jagdlieder (with four horns ad lib.) (1849): M anuscript Op. 138* Spanische Liebeslieder (1849): Manuscript Op. 139 Des Sangers Fluch (for soli, chorus and orchestra) (1852): Sketch Op. 144* Neujahrslied (for chorus and orchestra) (1850): Manuscript Op. 145* 4 Romanzen und Balladen: Manuscript Op. 146* 4 Romanzen und Balladen: Manuscript Op. 147* Mass, for chorus and orchestra (1852): Sketch Op. 148* Requiem, for chorus and orchestra (1852): Manuscript *Die Orange und Myrte (S.A.T.B. and piano) (1853): Manuscript Jungendsinfonie (1832): Manuscript (unpublished) (1836): Manuscript Unpublished Variations in a minor: Manuscript Thema mit Variationen (in E-flat Major) (1853): Manuscript Overture and Chor von Landleuten (1822): Manuscript Le psaume cent cinquantieme. Oratorium composee pour Soprano e Alto, Pianoforte, Deux Violons, Deux . Deux Hautbois, Deux Trompetes. Viola. Cor, Fagott et Tympani. (1822): M anuscript 3 Freiheitsgesdnge (unpublished): Manuscript Unpublished songs: Manuscript *Piano to Six Solo by Bach (1853): Manuscript Fandango (Bearbeitung): Manuscript ♦Piano Concerto in d minor (unfinished) (1839): Sketch ♦Symphony in c minor (unpublished) (1840/41): Sketch Scenes and Overture from Faust (1844-53): Sketch Appendix C. List of textual variants between B&H 7415 and B&H 101211

First movement

Measure .....Sources ...... Variants...... 14 B&H 7415 no slurs B&H 10121 slurs : e ^ d 111 and e^-d^2 B&H 10317 slurs : eJ^-d^ and e^-d^ 20 B&H 7415 half note: stem down B&H 10121 half note: stem up3 B&H 10317 half note: stem up 50 B&H 7415 staccatos: em and dm B&H 10121 staccatos removed4 B&H 10317 staccatos: em and dm 58 B&H 7415 grace notes: 8th notes B&H 10121 grace notes: 8th notes with cross-stroke B&H 10317 grace notes: 8th notes with cross-stroke5 67-68, B&H 7415 no pedal 70-71 B&H 10121 pedal on strong beats B&H 10317 no pedal

1 Since B&H 10121 presents the orchestral music in piano reduction, this comparison is limited to the piano part. Reading from B&H 10317 are included here to permit comparison of that source with B&H 10121: it is clear that B&H 10317 stems from B&H 7415, but it is uncertain if the editor of B&H 10317 also consulted B&H 10121 (see Chapter 4). See also Appendix D. 2Creates agreement with m. 296 in recapitulation. 3Corrects notational error in polyphonic passage. 4Makes room for fingering. SThe normal type of grace note throughout this source.

99 100 103-4, B&H 7415 no slurs 107-8 B&H 10121 slurs connecting pair of triplets6 B&H 10317 slurs connecting pair of triplets I l l B&H 7415 no slurs in left hand B&H 10121 slurs on each four-note motive7 B&H 10317 slurs on each four-note motive 119 B&H 7415 no pedal and release B&H 10121 pedal and release B&H 10317 no pedal and release 159 B&H 7415 no cue B&H 10121 cue for violin part B&H 10317 no cue 159-63 B&H 7415 whole rest: horizontal stroke above staff B&H 10121 conventional whole rest B&H 10317 whole rest: horizontal stroke above staff 275 B&H 7415 half note: stem down B&H 10121 half note: stem up8 B&H 10317 half note: stem up 281, B&H 7415 no crescendo 285 B&H 10121 crescendo B&H 10317 no crescendo 286 B&H 7415 no p B&H 10121 P B&H 10317 no p 287-88 B&H 7415 dim. on the first and third beats in m. 287 B&H 10121 dim. on the third beat of m. 287 and on the first beat of m. 2889 B&H 10317 dim. on the third beat of m. 287 and on the first beat of m. 288

6Creates agreement with mm. 95-96 and 99-100. 7As in mm. 109-10. 8See above re m. 20. This same notational error was left uncorrected in m. 277 in B&H 10121 and B&H 10317. 9Creates agreement with mm. 32-33. 101 322-23 B&H 7415 no pedal B&H 10121 pedal on the third beat of m. 322 and release on the third beat of m. 323 B&H 10317 no pedal 324-29 B&H 7415 no pedal B&H 10121 pedal on strong beats B&H 10317 no pedal 330, B&H 7415 accents 336 B&H 10121 accent on the third beat removed B&H 10317 accents 358 B&H 7415 grace note: 8th note B&H 10121 grace note: 8th note with cross-stroke B&H 10317 grace note: 8th note with cross-stroke (See fii. 5.) 364 B&H 7415 no grace note B&H 10121 grace note b1: 8th note with cross-stroke10 B&H 10317 no grace note 374, B&H 7415 no dim. 376 B&H 10121 dim .11 B&H 10317 no dim. 404-5 B&H 7415 no slurs B&H 10121 slu rs:12 bb-a, gf-f1 B&H 10317 slurs: bb-a, g1-? 440 B&H 7415 no turn B&H 10121 turn: beamed 16th-notes, f*1, g1, a113 B&H 10317 no turn 491 B&H 7415 no slur B&H 10121 slu r14 B&H 10317 slur

10As In m. 110. 11Creates agreement with mm. 121 and 123. 12Creates agreement with m. 403. 13As in mm. 434, 436, and 437. 14As in mm. 490, 496, and 497. 102 Second movement Measure B.&H.7.4;i.5 ...... JB&M.1QJ21...... 3 B&H 7415 grace notes: 8th notes B&H 10121 grace notes: 16th note for arpeggiation, 8th note with cross-stroke for appoggiatura15 B&H 10317 grace notes: 8th notes with cross-stroke (See fn. 5.)

Third movement

Measure ...B.&H.7415 ...... 179-80 B&H 7415 H’s on d's B&H 10121 unnecessary it's deleted16 B&H 10317 it's on d's

206 B&H 7415 # on first d1 (first beat) but not second17 B&H 10121 # on second d1 but not first B&H 10317 # on second d1 but not first 235 B&H 7415 accent on g#u B&H 10121 accent deleted, but a slur added. g#u-g#1 B&H 10317 no accent, no slur 248 B&H 7415 faulty metric alignment B&H 10121 improvement in metric alignment B&H 10317 improvement in metric alignment 270 B&H 7415 grace note: 8th note B&H 10121 grace note: 8th note with cross-stroke B&H 10317 grace note: 8th note with cross-stroke (See fh. 5.) 614-15 B&H 7415 pedal release on the first beat in m. 615 B&H 10121 pedal release after the third beat in m. 61418

15Creates agreement with m. 71. 16Notatlonal improvement. 17Notational error. 18Creates agreement with m. 622. 103 B&H 10317 pedal release after the third beat in m. 614 637 B&H 7415 no pedal release B&H 10121 pedal release in m. 637 (after the third beat) B&H 10317 pedal release in m. 638 (after the first beat) 843 B&H 7415 e1 in bass clef B&H 10121 e1 in treble clef19 B&H 10317 e1 in bass clef 971-74 B&H 7415 no slurs B&H 10121 slurs: c#-c#1t c#1-c#11t c#u-c#ul, c#lu-c#1111 B&H 10317 no slurs

19Notational improvement. Note error in RSW; see Appendix D. Appendix D. List of textual variants among the MS, B&H 7415, B&H 10317, RSW. and B&H VA 6431

First movement Measure Fart Source Variants 1, Metronome MS half note = 84 B&H 7415 half note = 84 B&H 10317 half note = 84 RSW half note = 84 B&H VA 643 half note = 69 6-7 Oboe I MS dim.: mm. 6-7 B&H 7415 dim.: m. 7 only B&H 10317 dim.: m. 6 only RSW dim.: m. 6 only 8 Oboe I MS mordent: beamed 8th-notes2 B&H 7415 mordent: beamed 16th-notes B&H 10317 mordent: beamed 16th-notes RSW mordent: beamed 16th-notes

10 Oboe I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke

12 Piano MS pedal: first two beats B&H 7415 pedal: whole measure B&H 10317 pedal: first two beats RSW pedal: first two beats B&H VA 643 pedal: first two beats 14 Piano MS no slur B&H 7415 no slur

^ o lo part only in B&H VA 643. 2Beamed 16th-notes in piano {oboe cue).

104 B&H 10317 slurs: eui-diu and eu-du RSW slurs: e^-d111 and e^-d11 B&H VA 643 no slur 16 Piano MS arpeg.: 8th-note; pedal on the second beat B&H 7415 arpeg.: 16th-note; pedal on the second beat B&H 10317 arpeg.: 8th-note with cross­ stroke; pedal on the second beat RSW arpeg.: 8th-note with cross­ stroke; pedal on the second beat B&H VA 643 arpeg.: 8th-note with cross­ stroke; pedal on the first beat3

20 Piano MS half note: stem down B&H 7415 half note: stem down B&H 10317 half note: stem up RSW half note: stem up B&H VA 643 half note: stem up 21-22 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: e-f B&H VA 643 no slur 23 Violin I MS slur: c1-e1 B&H 7415 slur: d-e1 B&H 10317 slur: c*-a RSW slur: c'-a 23-24 Violin I MS slur: f-e1 (m. 24) B&H 7415 slur: f-e1 (m. 24) B&H 10317 slur: e^e1 RSW slur: e^e1 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW no slur

3Cf. m. 271 (pedal on the 2nd beat). 106 B&H VA 643 slur: e-f4 25-26 Plano MS no slur in right-hand B&H 7415 slur B&H 10317 slur RSW slur B&H VA 643 slur 26-27 Plano MS no slur in right hand B&H 7415 slur B&H 10317 slur RSW slur B&H VA 643 slur 27-28 Piano MS slur: g-a B&H 7415 slur: g-a B&H 10317 no slur RSW no slur B&H VA 643 slur: g-a5 30 Viola MS cresc. from the second beat B&H 7415 cresc. from the second beat B&H 10317 cresc. from the first beat RSW cresc. from the first beat 32-33 Piano MS no slurs; dim. from strong beats (3rd and 1st) B&H 7415 no slurs; dim. from strong beats B&H 10317 no slurs; dim. from the second half of the weak beats RSW slurs: c#-dl. b-c1. f-g; dim. from the second half of the weak beats B&H VA 643 slurs: c^d1, b-c1, f-g; dim. from second half of weak beats 33 Piano MS two slurs: du-g1, cu-b1

4Cf. m. 24-25. 5Cf. m. 28-29: slurs in the MS and B&H 7415; no slur in B&H VA 643. 107 B&H 7415 one slur: du-cu B&H 10317 two slurs: d^-g1, cu-b* RSW two slurs: d^-g1, c11-b1 B&H VA 643 two slurs: d^-g1, c^-b1 34-35 Plano MS no slurs B&H 7415 no slurs B&H 10317 no slurs RSW slurs: c#-d4, B-c, F-G B&H VA 643 slurs: c#-d*. B-c, F-G 39 Plano MS f f and "Solo marcato"6 B&H 7415 /and "marcato" B&H 10317 / and "marcato" RSW / and "marc." B&H VA 643 f and "marc." 41 Horn I MS staccatos: f11 and gu B&H 7415 staccatos: f11 and g11 B&H 10317 no staccatos RSW no staccatos 48 Plano MS no "espressivo" B&H 7415 "espressivo" B&H 10317 "espressivo" RSW "espressivo” B&H VA 643 "espressivo" 55 Plano MS un poco ritar. from the first beat B&H 7415 un poco rltar. from the first beat B&H 10317 un poco rltar. from the third beat7 RSW un poco rltar. from the third beat B&H VA 643 un poco rltar. from the third beat 57 Piano MS no slur In right hand B&H 7415 slur: bbl-a1 B&H 10317 slur: bt>1-a1 RSW slur: b^-a1 B&H VA 643 no slur in right hand 59-60 Plano MS arpeggiation: 8th-notes with cross­ strokes (before the bar line); no slurs

6In Schum ann's hand. 7Cf. m. 308 in the recapitulation. 108 B&H 7415 arpeggiation: 8th-notes (before the bar line); no slurs B&H 10317 arpeggiation; 8th-notes with cross- strokes (before the bar line); slurs: eu-cu, e^c1 RSW arpeggiation: 8th-notes with cross- strokes (before the bar line): slurs: eH-c11. e^c1 B&H VA 643 arpeggiation: 8th-notes with cross­ strokes (before the bar line); slurs: eu-cu, e^c1 64 Plano MS rltard. from the first beat B&H 7415 rltard, from the second beat8 B&H 10317 rltard. from the fourth beat RSW rltard. from the fourth beat B&H VA 643 rltard. from the first beat In m. 65 67 Piano MS no dynamic markings9 B&H 7415 no dynamic markings B&H 10317 pp andespress. RSW pp and espress. B&H VA 643 p and espress. 67 Strings MS pio B&H 7415 No p B&H 10317 P RSW P 67-69 Piano MS accents on the first and third notes of triplets on strong beats; no slurs; no pedal B&H 7415 accents on the first notes of triplets on strong beats; no slurs; no pedal

®Cf. m. 317. 91116 flute has pp and espressivo. 10The string parts were originally marked pp, but marking was changed to p. 109 B&H 10317 accents on only the first note of triplets on strong beats; slurs on beats 1-2 and beats 3-4 of each measure; no pedal RSW accents on only the first notes of triplets on strong beats; slurs on beats 1-2 and beats 3-4 of each measure; no pedal B&H VA 643 accent: on only the first note of triplets on strong beats; slurs on beats 1-2 and beats 3-4 of each measure; pedal on strong beats 69-70 Clar. I MS cresc. (first-second beats of m. 69) and dim. (third beat of m. 69- second beat of m. 70)11 7415 cresc. (first-second beats) and dim. (third-first beats) 10317 cresc. (second beat) and dim. (third-first beats) RSW cresc. (second beat) and dim. (third and fourth beats of m. 69) 69-71 Piano MS slur: abl-Cl B&H 7415 slur: abl-Cl B&H 10317 slur: du-Cl RSW slur: du-C l B&H VA 643 slur: abl-Cl 72 Piano MS crescendo12 B&H 7415 no crescendo B&H 10317 crescendo RSW diminuendo13 B&H VA 643 crescendo 73-75 Piano MS no slur B&H 7415 slur: bbl-Dl

iiSee mm. 73-74. 75-76. 12Crescendo symbol above the staff. 13See m. 325. 110 B&H 10317 slur: eu-Dl RSW slur: e^-Dl B&H VA 643 slur: eu-Dl 75-77 Piano MS slur: c^El B&H 7415 slur: c^El B&H 10317 slur: f#u-E l RSW slur: f*u-E l B&H VA 643 slur: f#U-El 7 6 Piano MS dim. B&H 7415 dim. B&H 10317 dim. RSW no dim. B&H VA 643 dim. 77-86 Piano MS accents on the first and third notes of triplets on strong beats: no slurs B&H 7415 accents on the first notes of triplets on strong beats; no slurs B&H 10317 accents on the first notes of triplets In strong beats slurs on beats 1-2 and beats 3-4 of each measure RSW accents on the first notes of triplets on strong beats; slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 accents on the first notes of triplets on strong beats; slurs on beats 1-2 and beats 3-4 of each measure 85-86 Clar. II MS slur: g*-f#i B&H 7415 slur: g‘-f#» B&H 10317 slur: gi-f#‘ RSW no slur 8 7 Piano MS accent on abl (3rd beat) B&H 7415 accent on abI (3rd beat) B&H 10317 accent on abi (3rd beat) RSW accent on abl (3rd beat) B&H VA 643 no accent 9 0 Piano MS no accents I l l B&H 7415 accents on d1 and c1 B&H 10317 accents on d1 and c1 RSW accents on d1 and c1 B&H VA 643 accents on d1 and c1 91 Piano MS no accent on b B&H 7415 accent on b B&H 10317 no accent on b RSW no accent on b B&H VA 643 accent on b 92 Piano MS cresc. from the second beat14 B&H 7415 cresc. from the first beat B&H 10317 cresc. from the first beat RSW cresc. from the first beat B&H VA 643 cresc. from the first beat 94 Oboe I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 95-97 Piano MS accents on the first and third notes of triplets in strong beats B&H 7415 accents on strong beats B&H 10317 accents on strong beats RSW accents on strong beats B&H VA 643 accents on strong beats 98 Piano MS dim. B&H 7415 no dim. B&H 10317 no dim. RSW no dim. B&H VA 643 dim. 103 Oboe I15 MS short app.: 8th-note

14Diminuendo is crossed out in the MS. 15Oboe cue in piano part, m. 102: M.S. no staccatos B&H 7415 no staccatos B&H 10317 staccatos: du and eu RSW staccatos: d11 and e11 112 B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 103 Plano, MS piano B&H 7415 no piano B&H 10317 no piano RSW no piano B&H VA 643 no piano Cello, MS no piano Bass B&H 7415 no piano B&H 10317 piano RSW piano 103-4 Piano MS slurs on beats 1-2 and beats 3-4 of each measure16 B&H 7415 no slurs B&H 10317 slurs on beats 1-2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1-2 and beats 3-4 of each measure 106 Plano MS no s f B&H 7415 s f on a11 B&H 10317 s f on a11 RSW s/on au B&H VA 643 s/on a11 107-8 Plano MS no slurs B&H 7415 no slurs B&H 10317 slurs on beats 1-2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1-2 and beats 3-4 of each measure

B&H VA 643 staccatos: d11 and eu 16Cf. mm. 107-108. 113 108 Oboe I MS slur: gu-dH B&H 7415 slur: gu-ebu B&H 10317 slur: gU-ebiI RSW slur: gu-ebu 109 Piano MS cresc. from the first beat B&H 7415 cresc. from the second beat B&H 10317 cresc. from the first beat RSW cresc. from the first beat B&H VA 643 cresc. from the first beat 111 Piano MS ritar. from the second beat: slurs on beats 1-2 and beats 3-4 of each measure B&H 7415 rltar, from the second half of the second beat; no slurs B&H 10317 ritar. from the first beat; slurs on beats 1-2 and beats 3-4 of each measure RSW ritardando from the first beat; slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 ritardando from the first beat; slurs on beats 1-2 and beats 3-4 of each measure 112 Piano MS cresc. B&H 7415 cresc. B&H 10317 cresc. RSW no cresc. B&H VA 643 cresc. 116 Piano MS cresc. from the second beat; accents on the 1st and 3rd beats B&H 7415 cresc. from the third beat; accents on the 1st and 3rd beats B&H 10317 cresc.: whole measure; accents on the 1st and 3rd beats RSW cresc.: whole measure; accents on the 1st and 3rd beats B&H VA 643 cresc.: whole measure: no accents 117 Piano MS no slur B&H 7415 no slur B&H 10317 slur: g*-f 114 RSW slur: g‘-f B&H VA 643 slur: g*-f

120 Piano MS no dynamic mark B&H 7415 sempre crescendo B&H 10317 sempre cresc. RSW sempre cresc. B&H VA 643 sempre cresc. 124 Bass MS no piano B&H 7415 no piano B&H 10317 no piano RSW piano (f#) 126 Viola MS no divisi. B&H 7415 no divisi. B&H 10317 divisi. RSW divisi. 131 Piano MS accent on g1 B&H 7415 no accent B&H 10317 accent on g1 RSW accent on g1 B&H VA 643 accent on g1 134 Flute I MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos: em and g 111 RSW staccatos: em and g 111 Flute II MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos: c 111 and em RSW staccatos: cUi and em Oboe I. MS no staccatos C larinet I B&H 7415 no staccatos B&H 10317 staccatos: e11 and g11 RSW staccatos: eu and g11 Oboe II. MS no staccatos Clarinet II B&H 7415 no staccatos B&H 10317 staccatos: c11 and e11 RSW staccatos: cu and e11 Bassoon I MS no staccatos B&H 7415 no staccatos 115 B&H 10317 staccatos: e1 and g1 RSW staccatos: e1 and g1 Bassoon II MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos: c1 and e1 RSW staccatos: c1 and e1 136 OboeOboe I, I, MS no staccatos Clarinet I B&H 7415 no staccatos B&H 10317 staccatos: em and gm RSW staccatos: eIU and gm Oboe II, MS no staccatos Clarinet II B&H 7415 no staccatos B&H 10317 staccatos: cm and em RSW staccatos: c 111 a n d e 111 Bassoon I. MS no staccatos Bassoon II B&H 7415 no staccatos B&H 10317 staccatos: cu and eu RSW staccatos: cu and e11 Horn I MS no slur: no staccatos B&H 7415 no slur; no staccatos B&H 10317 slur: eu-du; staccatos on eu's RSW slur: eu-du; staccatos on eu's Horn II MS no slur; no staccatos B&H 7415 no slur; no staccatos B&H 10317 slur; cil-g1 staccatos on cu's RSW slur: cu-g* staccatos on cu’s 149-50 Bassoon I, MS dim. from the first beat of m. 150 Bassoon II B&H 7415 dim. from the third beat of m. 149 B&H 10317 dim. from the first beat of m. 150 RSW dim. from the first beat of m. 150 156-70 Plano MS no sempre con pedal 116 B&H 7415 sempre con pedal B&H 10317 sempre con pedal RSW sempre con pedal B&H VA 643 pedal on the first beats17 156 Cello MS sem pre p B&H 7415 sempre p B&H 10317 sempre pp RSW sem pre pp 159 Viola MS sempre p B&H 7415 sempre p B&H 10317 sempre pp RSW sempre pp 164 Piano MS half note dbiil B&H 7415 dotted half note dbul B&H 10317 dotted half note dbul RSW dotted half note dbui B&H VA 643 dotted half note dbm 167 Plano MS no number 7 (septuplet) B&H 7415 no number 7 (septuplet) B&H 10317 7 for septuplet RSW 7 for septuplet B&H VA 643 7 for septuplet 172 Piano MS turn: beamed 8th-note B&H 7415 turn: beamed 8th-note B&H 10317 turn: beamed 16th-note RSW turn: beamed 16th-note B&H VA 643 turn: beamed 16th-note 176 Plano MS first beat: first note of triplet Is g18; B&H 7415 first beat: first note of triplet Is eb B&H 10317 first beat: first note of triplet is eb RSW first beat: first note of triplet Is eb B&H VA 643 first beat: first note of triplet is eb 176 Clarinet I MS turn: beamed 8th-note B&H 7415 turn: beamed 8th-note

17Pedal on the first and fourth beats in mm. 158, 165, 167, 168, and 169. 18Half-note on eb is present, as in other sources. 117 B&H 10317 turn: beamed 16th-note RSW turn: beamed 16th-note 177 Plano MS f11: quarter note stem (clarinet cue) B&H 7415 f11: quarter note stem (clarinet cue) B&H 10317 f11: quarter note stem (clarinet cue) RSW f11: no clarinet cue B&H VA 643 f11: no clarinet cue Clarinet I MS first note: gbiI B&H 7415 first note: gu B&H 10317 first note: gbu RSW first note: gbil 178 Plano MS d and c: half notes B&H 7415 d and c: half notes B&H 10317 d and c: dotted half notes RSW d and c: dotted half notes B&H VA 643 d and c: dotted half notes 178-9 Viola MS cresc. and dim. in m. 178 only B&H 7415 dim. extended to m. 179 B&H 10317 cresc. and dim. in m. 178 only RSW cresc. and dim. in m. 178 only 179 Piano MS f1: 8th-note B&H 7415 5: 8th-note B&H 10317 f1: 8th-note RSW f1: quarter-note B&H VA 643 fl: 8th-note 182 Cello MS no cresc. and dim. B&H 7415 no cresc. and dim. B&H 10317 cresc. and dim. RSW cresc. and dim. 183 Cello MS ritar. from the first beat B&H 7415 rltar. from the first beat B&H 10317 ritar. from the third beat RSW ritar. from the third beat 185 Piano MS Ab chord: s f B&H 7415 Ab chord: s f B&H 10317 Ab chord: s f RSW Ab chord: no s f B&H VA 643 Ab chord: s f 118 186 Piano MS pedal release after the second beat B&H 7415 pedal release after the second beat B&H 10317 pedal release after the second beat RSW pedal release on the 16th-rest after the second beat B&H VA 643 pedal release on the third beat 187 Clarinet I, MS first beat: quarter rest Clarinet II B&H 7415 first beat: quarter rest Bassoon I, B&H 10317 first beat: quarter rest Bassoon II RSW rest missing 190 Piano MS no pedal release B&H 7415 pedal release on the 16th-rest B&H 10317 pedal release on the 16th-rest RSW pedal release on the first beat19 B&H VA 643 pedal release after the second beat 191-2 Clarinet II MS tie: fii's B&H 7415 no tie: f^'s B&H 10317 tie: fU's RSW tie: fH’s Bassoon I MS tie: abl's B&H 7415 no tie: abl's B&H 10317 tie: abl’s RSW tie: abl's

196 Piano MS s f B&H 7415 s f B&H 10317 s f RSW no s f B&H VA 643 s f 202 Piano MS slur: f-c B&H 7415 slur: f-c B&H 10317 slur: f-c RSW no slur B&H VA 643 slur: f-c

19See m. 186 (pedal release after the second beat). 119 205-58 Piano MS so heavily revised that comparisons with other sources are not possible 2 0 8 Viola MS no p B&H 7415 no p B&H 10317 P RSW P 2 14 Piano B&H 7415 s f on b11 B&H 10317 s f on b11 RSW no s f on b 1120 B&H VA 643 s f on bu 2 24 Piano B&H 7415 first note in right hand: c #111 B&H 10317 first note in right hand: c #111 RSW first note in right hand: cm B&H VA 643 first note in right hand: c#lu 229-32 Piano B&H 7415 one long slur: e^-e11 B&H 10317 two slurs: ell-cu, cu-eu RSW two slurs: eu-cu, c^-e11 B&H VA 643 three slurs: eu-cu, cu-au, du-e1121 233-36 Piano B&H 7415 one long slur: B&H 10317 two slurs: f^-d11, d 11- ^ 11 RSW two slurs: f^-d11, d 11- ^ 11 B&H VA 643 two slurs: f^-d11, dU-f#11 236 Bassoon I MS slur: d#l -f** B&H 7415 no slur B&H 10317 slur: d#i -f#1 RSW slur: d#I -f#1 238-41 Piano B&H 7415 a long slur: e^-a1 B&H 10317 two slurs: eu-b1. cil-a1 RSW two slurs: e^-b1, cli-a1 B&H VA 643 two slurs: e^-b1, cu-ai 245-50 Piano B&H 7415 bbii-g#1I-a11 motive: no slurs:

20See e 111 in m. 218. 21See mm. 233-36. 120 first note of overlapping motive (half note, c 11, except in m. 250): no accent B&H 10317 5bii-g#u_aii motive: slurs; first note of overlapping motive: accent RSW t>bu_g#ii_au motive: slurs first note of overlapping motive: accent B&H VA 643 bbii-g#u_au motive: slurs: first note of overlapping motive: accent 2 4 9 Viola MS accent on c#1 B&H 7415 no accent on c#1 B&H 10317 accent on c#1 RSW accent on c#1 2 5 5 Piano MS rit. from the first beat22 B&H 7415 rit. from the third beat B&H 10317 rit. from the third beat RSW rit. from the third beat B&H VA 643 rit. from the third beat Flute I, II, MS rit. from the first beat Cla. I, II. B&H 7415 rit. from the first beat Bn. I, II. B&H 10317 rit. from the third beat Via, Cello, RSW rit. from the third beat Bass

260-61 Oboe I MS cresc. and dim. B&H 7415 no cresc. and dim. B&H 10317 cresc. and dim. RSW cresc. and dim. 261 Bassoon I MS s f B&H 7415 no s f on e1 B&H 10317 s f RSW s f 262-63 Horn I MS accent: a11 in m. 263 B&H 7415 accent: a11 In m. 262 B&H 10317 accent: a11 in m. 263 RSW accent: a11 in m. 263

22Schumann moved "rit." from the third beat of m. 254 to the first beat of m. 255. 121

26523 Oboe I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 6th-note with cross- stroke RSW short app.: 16th-note with cross- stroke 267 Piano MS p espressivo ;24 no pedal and release B&H 7415 no p espressivo; pedal release after the third beat B&H 10317 no p espressivo; pedal release on the third beat RSW no p espressivo; pedal release on the third beat B&H VA 643 no p espressivo; pedal release after the second beat 268 Piano MS cresc. from the third beat B&H 7415 no cresc. B&H 10317 no cresc. RSW no cresc. B&H VA 643 no cresc. 273 Piano MS short app.: 8th-note25 B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross­ stroke 274-75 Piano MS no slur, e-f B&H 7415 no slur, e-f B&H 10317 no slur, e-f RSW slur, e-f

23See m. 10. 8th-note with cross-stroke. 24In Schumann's hand. 25Cf. m. 18, when short app. is an 8th-note without cross-stroke. 122 B&H VA 643 slur, e-f 276-67 Plano MS no slur, e-f B&H 7415 no slur, e-f B&H 10317 no slur, e-f RSW slur, e-f B&H VA 643 slur, e-f 278 Violin I MS slur: fi-e126 B&H 7415 slur: c^e* B&H 10317 slur: d-a RSW slur: c*-a 281 Piano MS cresc. B&H 7415 no cresc. B&H 10317 no cresc. RSW no cresc. B&H VA 643 no cresc. 287-88 Piano MS no slurs; dim. on the first and third beats B&H 7415 no slurs: dim. on the first and third beats B&H 10317 no slurs: dim. on the second half of the second and fourth beats RSW slurs: c#i-d!, W-cN*, f#-g; dim. on the second half of the second and fourth beats B&H VA 643 slurs: c#1-d4, bH-c^1, f#-g; dim. on the second half of the second and fourth beats 287-89 Piano MS no slurs in left hand B&H 7415 no slurs in left hand B&H 10317 no slurs in left hand RSW slurs: c#1-d1, bN-c1, f#-g B&H VA 643 slurs: c#I-d‘, bn-c1, f#-g 289-90 Piano MS no slurs in left hand B&H 7415 no slurs in left hand B&H 10317 no slurs in left hand RSW slurs: c#-d, Bn-c, F#-G

26Slur starts in m. 277. B&H VA 643 slurs: c#-d, BN-c, F#-G 296 Viola MS no div. B&H 7415 no div. B&H 10317 div. RSW div. 299-300 Bassoon I MS slur, c^-d1 B&H 7415 no slur, c#1-d127 B&H 10317 slur, c#1-d1 RSW slur, c#1-dA 300-1 Clarinet I MS tie B&H 7415 no tie B&H 10317 tie RSW tie 301 Piano MS no cresc.; no s f no mordent B&H 7415 cresc.; sf, m ordent B&H 10317 cresc.; s f m ordent RSW cresc.; s f m ordent B&H VA 643 cresc.; s f m ordent 312 Plano MS arpeg.:28 8th-note with cross stroke B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross stroke RSW arpeg.: 8th-note with cross stroke B&H VA 643 arpeg.: 8th-note with cross stroke

27Cf. mm. 297-98. See also the second bassoon part. 28Before the bar line in all sources. 124 315 ■ 16 Piano MS slur: b^e1 B&H 7415 slur: W-e1 B&H 10317 slur: b^e1 RSW slur: a#1-ai1 B&H VA 643 slur: a^-a*1 316 Piano MS slurs: du-cu, g-a B&H 7415 no slur: du -c“: slur: g-a B&H 10317 slur: d11 -cu; no slur: g-a RSW slur: du -cu: no slur: g-a B&H VA 643 slur: du - c 11; no slur: g-a 3 18 Piano MS turn: beamed 8th-notes29 B&H 7415 turn: beamed 16th-notes B&H 10317 turn: beamed 16th-notes RSW turn: beamed 16th-notes B&H VA 643 turn: beamed 16th-notes 320 Clarinet I MS pp espresc. B&H 7415 p espresc. B&H 10317 pp espresc. RSW no m arking 320 •22 Piano MS no slurs B&H 7415 no slurs B&H 10317 slurs on beats 1-2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1 -2 and beats 3-4 of each measure

322 ■34 Piano MS slur: ftu-Al B&H 7415 slur: du-Al B&H 10317 slur: flU-Al30 RSW slur: bu-Al B&H VA 643 slur: bu-Al 323 Piano MS dim. B&H 7415 no dim. B&H 10317 no dim. RSW no dim. B&H VA 643 no dim.

29Cf. m. 65, when turns are notated as four beamed 8th notes. 39Cf. mm. 326-27. 125

324-26 Plano MS no slurs B&H 7415 no slurs B&H 10317 slurs on beats 1-2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1-2 and beats 3-4 of each measure 325 Piano MS cresc. B&H 7415 cresc. B&H 10317 cresc. RSW cresc. VA 643 no cresc.

326-28 Piano MS slur: g^-Bi B&H 7415 slur: eu-Bi B&H 10317 slur: c#ul-Bi RSW slur: c#lu-Bi B&H VA 643 slur: c#u,-Bi 328-30 Piano MS slur: au-C B&H 7415 slur: f^-C B&H 10317 slur: d#m-C RSW slur: d#lu-C B&H VA 643 slur: d#lu-C 330-40 Piano MS no slurs B&H 7415 no slurs B&H 10317 slurs on beats 1 -2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1-2 and beats 3-4 of each measure 332 Viola MS slur: g#-b B&H 7415 no slur: g#-b B&H 10317 slur: g#-b RSW slur: g#-b 345-48 Oboe I MS slur: d4-c#11 B&H 7415 slur: d^e1 B&H 10317 slurs: d^-e*. e^e1 RSW slurs: d^e1, e^e1 126 347 Oboe I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 350 Viola MS no div. B&H 7415 no div. B&H 10317 div. RSW div.

350-52 P i a n o MS slur: fW-Ai B&H 7415 slur: flU-Ai B&H 10317 slur: bu-Ai RSW slur: bu-Ai B&H VA 643 slur: t^-Ai

354-56 Piano MS slur: gNU-Bi B&H 7415 slur: g*u-Bi B&H 10317 slur: c#ul-Bi RSW slur: c#m-Bi B&H VA 643 slur: c#IIi-Bi

356 O b o e I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke 356-57 Piano MS slurs: slurs on beats 1-2 and beats 3-4 of each measure B&H 7415 no slurs B&H 10317 slurs on beats 1-2 and beats 3-4 of each measure RSW slurs on beats 1-2 and beats 3-4 of each measure B&H VA 643 slurs on beats 1-2 and beats 3-4 of each measure

358 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke 127 RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 362 Plano MS short app.: 8th-note; cresc. from the second beat B&H 7415 short app.: 8th-note with cross­ stroke; cresc. from the third beat B&H 10317 short app.: 8th-note with cross­ stroke; cresc. from the first beat RSW short app.: 8th-note with cross- stroke cresc. from the first beat B&H VA 643 short app.: 8th-note with cross- stroke; cresc. from the second beat 364 Piano MS arpeg. b1 B&H 7415 no arpeg. b1 B&H 10317 no arpeg. b* RSW no arpeg. b1 B&H VA 643 arpeg. $ 365 Plano MS cresc. from the second beat B&H 7415 cresc. from the third beat B&H 10317 cresc. from the first beat RSW cresc. from the first beat B&H VA 643 cresc. from the third beat 370 Piano MS no slur, e^d1; s f B&H 7415 no slur . e^d1; s f B&H 10317 slur, e* -d1: s f RSW slur, e1 -d1; s f B&H VA 643 slur, e1 -d1; no s f 372 Piano MS no sf; no slur B&H 7415 no s f no slur 128 B&H 10317 s f slur, e*-a RSW s f slur, e^a B&H VA 643 no sf: slur, e*-a 374 Piano MS no dim. B&H 7415 no dim. B&H 10317 dim. RSW dim. B&H VA 643 dim. 376 Piano MS no dim. B&H 7415 no dim. B&H 10317 dim. RSW dim. B&H VA 643 dim. 381 Viola MS no divi.; cresc. B&H 7415 no div.; no cresc. B&H 10317 div.; cresc. RSW div.; cresc. 384 Piano MS no accent B&H 7415 no accent B&H 10317 accent on e RSW accent on e B&H VA 643 accent on e 385 Flute I MS staccatos, c#m and eul B&H 7415 no staccatos B&H 10317 staccatos, c#m and e 111 RSW staccatos, c#m and em Oboe II MS staccatos, a^'s B&H 7415 no staccatos B&H 10317 staccatos, aa’s RSW staccatos, au's Bassoon I MS staccatos, c#1 and e1 129 B&H 7415 no staccatos31 B&H 10317 staccatos. c#1 and e1 RSW staccatos, c#l and e1 387 Violin I MS no staccatos. c#lu and e1U32 B&H 7415 no staccatos B&H 10317 staccatos, c#lu and e 111 RSW staccatos. c#lu and em Flute II33 MS slur, au-eu; staccatos, a11 and c#m B&H 7415 no slur no staccatos B&H 10317 slur, au-eu; staccatos, au and c#lu RSW slur, au-eu; staccatos. au and c #111 Horn I MS no staccatos, a^s (written c 11) B&H 7415 no staccatos B&H 10317 staccatos, a^s RSW staccatos, a^s Horn II MS no staccatos, a’s (written c1) B&H 7415 no staccatos B&H 10317 staccatos, a's RSW staccatos, a's 388 Bassoon II M.S. third note: g# B&H 7415 third note: g# B&H 10317 third note: e RSW third note: e

390 Cello. MS s f Bass B&H 7415 I B&H 10317 s f RSW s f Horn I. MS sf, dim. notated then canceled Horn II B&H 7415 sf, no dim.

31See. m. 134. 32Cf. m. 385. 33Flute I has staccatos and slur. 130 B&H 10317 s f and dim. RSW s f and dim. 394 Flute I MS s f on ebiu B&H 7415 s f on em in m. 393 B&H 10317 s f on ebm RSW s f on e bl11 Horn I, MS no dim. Horn II B&H 7415 no dim. B&H 10317 dim. RSW dim. 404-5 Piano MS no slurs B&H 7415 no slurs B&H 10317 slurs: bb-a, g 1-? RSW slurs: bb-a, g 1- ? B&H VA 643 slurs: bb-a. gl-P 406 Piano MS cresc. B&H 7415 cresc. B&H 10317 cresc. RSW no cresc. B&H VA 643 cresc. 447-55 Piano MS so heavily revised that comparisons with other sources are not possible 458 Oboe I MS staccato, a1 B&H 7415 no staccato, a1 B&H 10317 staccato, a1 RSW staccato, a1 471 Clarinet II MS staccatos, c1 and e1 B&H 7415 no staccatos, c1 and el B&H 10317 staccatos, c1 and e1 RSW staccatos, c1 and el 480 Oboe II MS no staccato B&H 7415 staccato: e11 B&H 10317 no staccato RSW no staccato 482 Bassoon II MS slur: a-e B&H 7415 no slur B&H 10317 slur: a-e RSW slur: a-e 4 8 3 Flute I MS no staccato B&H 7415 no staccato B&H 10317 staccato: e 111 RSW staccato: e 111 Flute II MS no staccato B&H 7415 no staccato B&H 10317 staccato: c#m RSW staccato: c#m Horn I, MS no staccato Horn II B&H 7415 no staccato B&H 10317 no staccato RSW staccato, last note 4 8 5 Flute I MS no staccato B&H 7415 no staccato B&H 10317 staccato, b11 RSW staccato, b11 Flute II MS no staccato B&H 7415 no staccato B&H 10317 staccato, g#u RSW staccato, g#li Horn I, MS no staccato Horn II B&H 7415 no staccato B&H 10317 no staccato RSW staccato, last note34 4 8 7 Flute I MS no staccato B&H 7415 no staccato B&H 10317 staccato, em RSW staccato, e 111 Flute II MS no staccato B&H 7415 no staccato B&H 10317 staccato, c#lu RSW staccato, c#Ui 4 8 9 Flute I MS no staccato

34Measure 487 and other analogus measures: there is staccato. 132 B&H 7415 no staccato B&H 10317 staccato: bu RSW staccato: bu Flute II MS no staccato B&H 7415 no staccato B&H 10317 staccato: g #11 RSW staccato: g #11 4 90 Flute I MS no staccato B&H 7415 no staccato B&H 10317 staccato: cui RSW staccato: cUi Flute II MS no staccato B&H 7415 no staccato B&H 10317 staccato: au RSW staccato: a11 Bassoon II MS no staccato B&H 7415 no staccato B&H 10317 staccato: a RSW staccato: a 504 Plano MS pedal without release B&H 7415 pedal without release B&H 10317 pedal; release in m. 507 RSW pedal; release in m. 507 B&H VA 643 pedal; release in m. 507 505 Plano MS dim. B&H 7415 dim. B&H 10317 dim. RSW dim. B&H VA 643 no dim. 522 Bassoon II MS dim. B&H 7415 no dim. B&H 10317 dim. RSW dim. 533 Plano MS cresc. from m. 533 B&H 7415 cresc. from m. 533 B&H 10317 cresc. from m. 533 133 RSW cresc. from m. 534 B&H VA 643 cresc. from m. 533

Second movement Measure Part Sources Variants Piano MS penultimate note, lower voice in right hand: f135 B&H 7415 penultimate note, lower voice in right hand mote: e1 B&H 10317 penultimate note, lower voice in right hand:note: e1 RSW penultimate note, lower voice in right hand mote: e1 B&H VA 643 penultimate note, lower voice in right hand mote: e1 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross- stroke Piano MS pedal release on the second beat B&H 7415 pedal release on the second beat B&H 10317 pedal release after the second beat RSW pedal release after the second beat B&H VA 643 pedal release after the second beat Piano MS cresc. and dim. B&H 7415 cresc. and dim. B&H 10317 cresc. only RSW cresc. only B&H VA 643 cresc. only

8 Piano MS dim. B&H 7415 dim.

35See m. 69. 134 B&H 10317 dim. RSW no dim. B&H VA 643 dim.

Violin I, MS p Viola B&H 7415 no p B&H 10317 P RSW P Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke RSW short app.: 8th-note with cross-stroke

Flute I MS P B&H 7415 no p B&H 10317 P RSW P Piano MS slur: fU-e1 B&H 7415 slur: P*-P B&H 10317 slur: fU-f1 RSW slur: fU-f1 B&H VA 643 slur: pi-e1 Violin I, MS no p Cello B&H 7415 no p B&H 10317 P RSW P Cello MS cresc. and dim. on the second beat B&H 7415 cresc. and dim. covering whole measure B&H 10317 cresc. and dim. on the second beat RSW cresc. and dim. on the second beat Violin I. MS no p Viola B&H 7415 nop B&H 10317 P RSW P 135 16 Piano MS pedal release on c# B&H 7415 pedal release on d B&H 10317 pedal release on e RSW pedal release on e VA 643 pedal release on d

17 Bassoon I MS PP B&H 7415 P B&H 10317 PP RSW PP 18 Violin I MS staccato, c11 B&H 7415 no staccato, c11 B&H 10317 staccato, cu RSW staccato, cli Cello MS staccato, a B&H 7415 no staccato, a B&H 10317 staccato, a RSW staccato, a 22-3 Plano MS staccatos (no slurs) B&H 7415 mezzo-staccatos B&H 10317 mezzo-staccatos RSW mezzo-staccatos B&H VA 643 mezzo-staccatos 23 Violin I MS staccato, d11 B&H 7415 no staccato B&H 10317 no staccato RSW no staccato 24 Piano MS slur, cU-f1; cresc. and dim. on the first beat B&H 7415 slur. cu-fi; cresc. and dim. on the first beat B&H 10317 slur, c^-f1; cresc. and dim. on the first beat RSW slur. cu-P; cresc. and dim. covering whole measure B&H VA 643 no slur; cresc. and dim. on the first beat

2 6 Piano MS no staccato on fourth note (Bb) B&H 7415 no staccato on fourth note (Bb) B&H 10317 staccato on fourth note (Bb) 1 3 6 RSW staccato on fourth note (Bb) B&H VA 643 staccato on fourth note (Bb) 26-27 Plano MS short app.: 8th-notes B&H 7415 short app.: 8th-notes with cross- stroke B&H 10317 short app.: 8th-notes with cross­ stroke RSW short app.: 8th-notes with cross- stroke B&H VA 643 short app.: 8th-notes with cross- stroke 31 Piano MS cresc. and dim. on bn1 B&H 7415 dim. only, no cresc. B&H 10317 dim. only, no cresc. RSW dim. only, no cresc. B&H VA 643 dim. only, no cresc. 31-32 Piano MS slur: gtfU-d11 B&H 7415 slur: gtfU-d11 B&H 10317 slur: g#U-dH RSW slur: g^-d11 VA 643 slur: 32 Piano MS short app.: 8th-note: dim. B&H 7415 short app.: 8th-note with cross-stroke; no dim. B&H 10317 short app.: 8th-note with cross-stroke; no dim. RSW short app.: 8th-note with cross-stroke: no dim. B&H VA 643 short app.: 8th-note with cross-stroke; no dim.

3 3 Piano MS pedal release on the final 8th-rest B&H 7415 pedal release on the final 8th-rest B&H 10317 pedal release on g1 RSW pedal release on the final 8th-rest B&H VA 643 no pedal release 1 3 7 35-6 Plano MS pedal release after e11 B&H 7415 pedal release on e11 B&H 10317 pedal release on the first beat of m. 36 RSW pedal release on the first beat of m. 36 B&H VA 643 pedal release on the first beat of m. 36 36 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross- stroke 38 Cello MS turn: beamed 8th-notes B&H 7415 turn: beamed 8th-notes B&H 10317 turn: beamed 16th-notes RSW turn: beamed 16th-notes 43 Piano MS slur: g#u-bi B&H 7415 slur: g#u-b* B&H 10317 slur: g#u-b1 RSW slur: gtfU-b1 B&H VA 643 slur: g#ii-cu 44 Piano MS short app,: 8th-note; pedal release on ebl B&H 7415 short app.: 8th-note with cross- stroke; pedal release on bb B&H 10317 short app.: 8th-note with cross- stroke; pedal release on ebi RSW short app.: 8th-note with cross- stroke; pedal release on ebl B&H VA 643 short app.: 8th-note with cross­ stroke; pedal release on ebl

4 7 Piano MS staccato, d111 B&H 7415 no staccato 138 B&H 10317 no staccato RSW no staccato B&H VA 643 no staccato 51 Plano MS staccato: e111 B&H 7415 no staccato B&H 10317 no staccato RSW no staccato B&H VA 643 no staccato 53 Viola MS no cresc. B&H 7415 no cresc. B&H 10317 cresc. RSW cresc. 53-4 Cello MS cresc. from second half of the second beat of m. 53; dim. from the first beat of m. 54 B&H 7415 cresc. from second half of the second beat of m. 53; dim. from the first beat of m. 54 B&H 10317 cresc. covering m. 53, dim. covering m. 54 RSW cresc. covering m. 53, dim. covering m. 54

54 Viola MS no dim. B&H 7415 no dim. B&H 10317 dim. RSW dim.

55-56 Piano MS slur: g#11-bM B&H 7415 slur: g#u-dH B&H 10317 slur: g#ii-du RSW slur: g#ii-du B&H VA 643 slur: g#u-b1li 56 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross-stroke; B&H 10317 short app.: 8th-note with cross-stroke; RSW short app.: 8th-note with cross-stroke; 139 B&H VA 643 short app.: 8th-note with cross-stroke; 59 Plano MS staccato: a11 B&H 7415 no staccato B&H 10317 no staccato RSW no staccato B&H VA 643 no staccato

59-60 Plano MS slurs: c ^ -e 11, c#u-a B&H 7415 slurs: aH-e11, c#u-a B&H 10317 slurs: au-eu, c#u-a RSW slurs: au-c#u, aLa B&H VA 643 slurs: au-c#u, a*-a 69 Piano MS penultimate note, lower voice in right hand: note ft* B&H 7415 penultimate note, lower voice in right hand: note ft1 B&H 10317 penultimate note, lower voice in right hand: note ft1 RSW penultimate note, lower voice in right hand: note e1 B&H VA 643 penultimate note, lower voice in right hand: note e1 69-70 Cello MS no mezzo-staccatos in m. 69; no mezzo-staccato on f In m. 70 B&H 7415 no mezzo-staccatos on g and f B&H 10317 mezzo-staccatos on g and f RSW mezzo-staccatos on g and f 76 Plano MS dim.36 B&H 7415 dim. B&H 10317 dim. RSW no dim. B&H VA 643 dim. 77 Bassoon 1 MS p B&H 7415 m f B&H 10317 no p RSW p

36See m. 8. 140 79 Piano MS short app.: 8th-note37 B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke RSW short app.: 8th-note with cross-stroke B&H VA 643 short app.: 8th-note with cross-stroke 80 Piano MS arpeg.: 16th-note38 B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 83 Piano MS turn: beamed 8th-notes39 B&H 7415 turn: beamed 8th-notes B&H 10317 turn: beamed 16th-notes RSW turn: beamed 16th-notes B&H VA 643 turn: beamed 16th-notes 83-84 Piano MS slur: P-e40 B&H 7415 slur: P-f B&H 10317 slur: P-f RSW slur: P-f B&H VA 643 slur: P-e 84 Piano MS pedal on the first beat B&H 7415 pedal on the first beat B&H 10317 pedal on the second half of the first beat (bbl) RSW pedal on the first beat B&H VA 643 pedal on the first beat 84-85 Piano MS slur: bb-e41 B&H 7415 slur: bb-e

37See m. 11. 38See m. 12. 39See m. 15. 40See mm. 15-16.

41See m. 16. 141 B&H 10317 slur: bb-e RSW slur: bb-e B&H VA 643 slur: bb-f

8 5 Piano MS a1-^: staccatos; du: staccato B&H 7415 a*-cu: mezzo-staccato; du: no staccato B&H 10317 a1-^: mezzo-staccato; d11: no staccato RSW a*-cu: mezzo-staccato; du: no staccato B&H VA 643 a*-ca: mezzo-staccato; du: no staccato

Bassoon I MS PP B&H 7415 P B&H 10317 PP RSW PP 86 Violin I. MS no staccato: c11. c111 Flute I B&H 7415 no staccato: c11, c111 B&H 10317 staccatos: cu, cm RSW staccatos: cu, cm

97 Piano MS PP B&H 7415 no pp B&H 10317 no pp RSW no pp B&H VA 643 no pp Bassoon I MS staccato: d1 B&H 7415 no staccato: d1 B&H 10317 staccato: d1 RSW staccato: d1 106 Piano MS no pedal release B&H 7415 pedal (una corda) release after the second half of the fourth beat B&H 10317 no pedal release RSW no pedal release B&H VA 643 no pedal release

107 Piano MS a tempo B&H 7415 no a tempo B&H 10317 a tempo RSW a tempo 142 B&H VA 643 a tempo 108 Flute I MS string. B&H 7415 no string, B&H 10317 string. RSW string.

3. The Third Movement Measure Part ______Sources Variants______109, Metronome MS dotted half note = 72 B&H 7415 dotted half note = 72 B&H 10317 dotted half note = 72 RSW half note = 7242 B&H VA 643 dotted half note = 72 110 Piano MS no staccatos B&H 7415 staccatos: b1, cu, d11 B&H 10317 staccatos: b1, c11. du RSW staccatos: b1, cu, d11 B&H VA 643 staccatos: bl, cu, d11 114 Flute II MS staccato: eu B&H 7415 no staccato: eu B&H 10317 staccato: e11 RSW staccato: eu 116 Flute II MS staccato: e11 B&H 7415 no staccato: e11 B&H 10317 staccato: e11 RSW staccato: e11 Bassoon I, MS staccato: e Bassoon II B&H 7415 no staccato: e B&H 10317 staccato: e RSW staccato: e 121 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note wirh cross- stroke B&H 10317 short app.: 8th-note wirh cross­ stroke

^Typographical error. 143 RSW short app.: 8th-note wirh cross­ stroke B&H VA 643 short app.: 8th-note wirh cross­ stroke 122 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note wirh cross- stroke B&H 10317 short app.: 8th-note wirh cross- stroke RSW short app.: 8th-note wirh cross- stroke B&H VA 643 short app.: 8th-note wirh cross- stroke 125 Piano MS short app.: 8th-note; staccato on f#11 B&H 7415 short app.: 8th-note cross- stroke: no staccato on f#11 B&H 10317 short app.: 8th-note cross- stroke; staccato on f*11 RSW short app.: 8th-note cross- stroke; staccato on f#11 B&H VA 643 short app.: 8th-note cross­ stroke; no staccato on f#11 126 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 131-32 Piano MS cresc. covering two measures B&H 7415 cresc. covering two measures B&H 10317 cresc. covering m. 131 only RSW cresc. covering m. 131 only B&H VA 643 cresc. covering m. 131 only

132-33 Violin I MS no d iv is L 1 4 4 B&H 7415 no divist B&H 10317 divist RSW divist 1 3 7 Plano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross- stroke 138 Plano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 141 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross- stroke 142 Plano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross­ stroke

1 4 3 44 Piano MS mezzo-staccatos: W-c#11, d^-e11: s/(m . 144) 145 B&H 7415 mezzo-staccatos: b^c#11; du-ftu (no staccato on ft11); no s / B&H 10317 mezzo-staccatos: b^d11; d11-#11 (no staccatos on c#11 and ft11); s f RSW mezzo-staccatos: b^d11: du-ftu (no staccatos on c#11 and ft11); s f B&H VA 643 mezzo-staccatos: bi-d11; du-ftu (no staccatos on c#11 and ft11): no s f 146 Viola MS no staccato B&H 7415 staccato, a B&H 10317 no staccato RSW no staccato 150 Viola MS staccato, c#1 B&H 7415 staccato, c#1 B&H 10317 no staccato, c#1 RSW no staccato, c#1 170 ■72 Piano MS cresc. and dim. B&H 7415 cresc. only, no dim. B&H 10317 cresc. and dim. RSW cresc. and dim. B&H VA 643 cresc. and dim. 173 Piano MS no p B&H 7415 no p B&H 10317 no p RSW P B&H VA 643 no p 174 Piano MS cresc. B&H 7415 cresc. B&H 10317 cresc. RSW cresc. B&H VA 643 no cresc.

1 8 3 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 146

184 Plano MS cresc. B&H 7415 cresc. B&H 10317 cresc. RSW no cresc. B&H VA 643 cresc. 191 Violin I. MS no mezzo-staccatos Viola. B&H 7415 no mezzo-staccatos Cello, B&H 10317 mezzo-staccatos Bass RSW mezzo-staccatos 202 Violin I MS first note: d#i B&H 7415 first note: d** B&H 10317 first note: d#1 RSW first note: d#1 202-3 Bassoon I MS no mezzo staccatos, f#-e, e-b B&H 7415 no mezzo staccatos, f*-e, e-b B&H 10317 mezzo staccatos, f^-e, e-b RSW mezzo staccatos, f*-e, e-b 208 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke RSW short app.: 8th-note with cross-stroke B&H VA 643 short app.: 8th-note with cross-stroke 214 Bassoon I MS mezzo-staccatos. d^-d*1 B&H 7415 no mezzo staccatos, dM-dN1 B&H 10317 mezzo-staccatos, d^-dt1 RSW mezzo-staccatos, dM-d*1

2 1 9 Piano MS no short app. B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross- stroke 221 Oboe I MS P B&H 7415 P B&H 10317 PP RSW PP 230 Viola MS no div. B&H 7415 no div. B&H 10317 div. RSW div. 237 Cello, MS accents on b’s Bass B&H 7415 no accents on b's B&H 10317 accents on b's RSW accents on b’s 240 Piano MS s f B&H 7415 s f B&H 10317 s f RSW s f VA 643 no s f 43 242 Piano MS no pedal B&H 7415 pedal and release B&H 10317 pedal and release RSW pedal and release B&H VA 643 pedal only 245-46 Piano MS no slur B&H 7415 no slur B&H 10317 slur: d#m-b1 RSW slur: d#m-b1 B&H VA 643 slur: d#lu-bl 246 Piano MS no mezzo-staccato, f^-e1 B&H 7415 no mezzo-staccato, f^-e* B&H 10317 mezzo-staccato, f^-e1 RSW mezzo-staccato, f^-e1 B&H VA 643 mezzo-staccato, f^-e1 256 Piano MS short app.: 8th-note with cross- stroke44

43See m. 232. 44The cross-stroke might be a late addition. 148 B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross- stroke 260 Plano MS short app.: 8th-note with cross­ stroke45 B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 270 Plano MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 2 73 Piano MS no staccato, g#lii46 B&H 7415 staccato. g#lu B&H 10317 staccato, g#m RSW staccato, g#m B&H VA 643 no staccato, g#11147 274 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke

45The cross-stroke might be a late addition. 46See m. 269 (no staccato). 47Cf. m. 269 (staccato). 149 RSW short app.: 8th-note with cross-stroke B&H VA 643 short app.: 8th-note with cross-stroke 2 7 7 Plano MS pedal release at the end of the m easure B&H 7415 pedal release at the end of the m easure B&H 10317 pedal release at the beginning of m. 278 RSW pedal release at the beginning of m. 278 B&H VA 643 pedal release at the end of the m easure 278 Plano MS cresc. from the second beat B&H 7415 cresc. from the first beat B&H 10317 cresc. from the second beat RSW cresc. from the second beat B&H VA 643 cresc. from the second beat 280 Piano MS cresc. from the second beat B&H 7415 no cresc. B&H 10317 cresc. from the second beat RSW cresc. from the second beat B&H VA 643 cresc. from the second beat

285 Plano MS no mezzo-staccato, ftUi-ft11; no slurs B&H 7415 no mezzo-staccato, ftiU-ft11; no slurs B&H 10317 mezzo-staccato, ftm-ftu; slurs: ft^-ft11, dN^-ft11 RSW mezzo-staccato, ft111-ft11; slurs: ft^-ft11, d ^ -ft11 B&H VA 643 mezzo-staccato, ftlu-ftu; slurs: ft^-ft11, d^U-ft11 294 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato, a-a1, cl-cn1 RSW mezzo-staccato, a-a1, cn-c*1 B&H VA 643 mezzo-staccato, a-a1, c'l-c'f1 2 95 Plano MS no mezzo-staccato 150 B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccatos, cN*-cN RSW mezzo-staccatos, c^-ci B&H VA 643 mezzo-staccatos, c^-ci 2 9 5■96 Piano MS no slur, a-ci* B&H 7415 no slur B&H 10317 slur, a-c*)1 RSW slur, a-c*1 B&H VA 643 slur, a-cM 298 Piano MS short app.: 8th-note; no mezzo-staccato B&H 7415 short app.: 8th-note with cross­ stroke: no mezzo-staccato B&H 10317 short app.: 8th-note with cross­ stroke; mezzo-staccatos, ai-a11, c^-c*11 RSW short app.: 8th-note with cross- stroke; mezzo-staccatos, a*-au, c^-c*11 B&H VA 643 short app.: 8th-note with cross­ stroke; mezzo-staccatos, a^a11, cNi-cN11 300 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccatos, b*1- m , d‘-b*‘ RSW mezzo-staccatos, b*1- ftiu, di-bM B&H VA 643 mezzo-staccatos, bn1- fliu di-bM 301 Piano MS no staccato on e 111 B&H 7415 no staccato on e 111 B&H 10317 staccato on e111 RSW staccato on e111 B&H VA 643 staccato on e111 301 2 Piano MS no slur B&H 7415 no slur B&H 10317 slur: bbuI-bb11 RSW slur: bbm-bbu B&H VA 643 slur: bbm-bbiI 3 0 2 Piano MS short app.: 8th-note; no mezzo-staccato 151 B&H 7415 short app.: 8th-note with cross- stroke; no mezzo-staccato B&H 10317 short app.: 8th-note with cross- stroke; mezzo-staccato: au-aul, cNu-c'»111 RSW short app.: 8th-note with cross­ stroke; mezzo-staccato: ab-am, cN^-c*111 B&H VA 643 short app.: 8th-note with cross- stroke; mezzo-staccato: au-aul. c*11- ^ 111 303 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: c 1*1111- ^ 111 RSW mezzo-staccato: c^ui-cn111 B&H VA 643 mezzo-staccato: cH^-cn111 303-4 Piano MS no slur B&H 7415 no slur B&H 10317 slur: a^-cM11 RSW slur: au-cNIb B&H VA 643 slur: au-cNm

304 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccatos: abu-ab111, c ^ - c 1*111 RSW mezzo-staccatos: abli-abllif cn^-c*111 B&H VA 643 mezzo-staccatos: abu-abm, ci^-ci111 305 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: cn^-cN111 RSW mezzo-staccato: c ^ - c " 111 B&H VA 643 mezzo-staccato: cNmi-cMii

305-6 Piano MS no slur B&H 7415 no slur B&H 10317 slur: ahu-ci111 RSW slur: a ^ - c * 111 B&H VA 643 slur: ah^-c*111 312 Violin I MS accent on gbi B&H 7415 no accent on gbl B&H 10317 accent on gbl 152 RSW accent on gbl 3 1 4 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: a#-a#l, c#-c#l B&H VA 643 mezzo-staccato: a#-a#1, c#-c#1 315 Plano MS accent on f#1; no mezzo-staccato B&H 7415 no accent on f#1: no mezzo-staccato B&H 10317 accent on f#1; no mezzo-staccato RSW accent on f*1 mezzo-staccato: c#u-c#1 B&H VA 643 accent on f#1; mezzo-staccato: c#u-c#1 315-16 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: a#-c#1 B&H VA 643 slur: a#-c#i 3 1 6 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccatos: c#i-c#u, e-e1 B&H VA 643 mezzo-staccatos: c#1-c#u, e-e1 Cello, MS no ten.; B a ss no p B&H 7415 no ten.; no p B&H 10317 ten.; no p RSW ten.; P 317 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: e^-e1 B&H VA 643 mezzo-staccato: e^-e1

317-18 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: c^-e1 B&H VA 643 slur: c#1-e* 3 1 8 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccatos: g#i-g#u, g#.g#i B&H VA 643 mezzo-staccatos: g#1-g#u,g#-g#1 Cello, MS no ten.; B a ss B&H 7415 no ten.; B&H 10317 ten.; RSW ten.; and p 319 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: bu-b* B&H VA 643 mezzo-staccato: bu-b] 319 -20 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: g#1-bA B&H VA 643 slur: g#i-b* 320 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: g ^ - e 11. g^-e1 B&H VA 643 mezzo-staccato: g^-e11, g^-e1 321 -22 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccatc RSW mezzo-staccato: c#llt-a#1 B&H VA 643 mezzo-staccato: c#lu-a#1 322 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: a^-a^11, a 1!-ft1 B&H VA 643 mezzo-staccato: a^-a^11, aN-ft1 3 2 3 Piano MS no mezzo-staccato 154 B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: du-b1 B&H VA 643 mezzo-staccato: d^-b1 323-24 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: a^b1 B&H VA 643 slur: a 1-!}* 324 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccatos: g#1-eu. b-b1 B&H VA 643 mezzo-staccatos: g#1-eu, b-b1 325 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: dul-bn B&H VA 643 mezzo-staccato: dm-bu 325-26 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: g#1-b* B&H VA 643 slur: g#1-b4 326 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: e1-eIi, e-e1 B&H VA 643 mezzo-staccato: e ^ e 11, e-e1 330 Piano MS staccatos on f* chord B&H 7415 no staccato B&H 10317 staccatos on f# chord RSW staccatos on f# chord B&H VA 643 staccatos on f* chord

3 3 4 Piano MS no staccato B&H 7415 no staccato B&H 10317 staccatos on f#6 chord RSW staccatos on f#6 chord B&H VA 643 staccatos on f*6 chord 155 336-37 Flute II MS no slur B&H 7415 slur: f^ -e 11 B&H 10317 no slur RSW no slur 344 Piano MS pedal release after the third beat B&H 7415 pedal release at the end of measure B&H 10317 pedal release on the second half of the third beat RSW pedal release after the third beat B&H VA 643 no pedal release (pedal change on the first beat of m. 345) 350 Piano MS s f B&H 7415 s f B&H 10317 s f RSW s f B&H VA 643 no s f 357-58 Piano MS no slur: au-d#m B&H 7415 slur: a 1J-d #i11 B&H 10317 no slur RSW no slur B&H VA 643 no slur 359 Piano MS f f B&H 7415 f f B&H 10317 no ff* 9 RSW n o ff B&H VA 643 f f 375 Violin I MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke 376 Violin I MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke

48/in orchestra. 156 B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke 3 7 7 Violin I MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke 378 Violin I MS short app 8th-note B&H 7415 short app 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 379 Viola MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 380 Viola MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke 381 Viola MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke

3 8 2 Viola MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke 157 RSW short app.: 8th-note with cross­ stroke 3 9 2 Viola MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos RSW staccatos 399 B ass MS staccato: c B&H 7415 no staccato B&H 10317 staccato: c RSW staccato: c 401 3 Cello MS one slur: f#-b B&H 7415 one slur: f^-d1 B&H 10317 two slurs: f#-d, g-d1 RSW two slurs: f#-d, g-d1 402 B ass MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos: g, d1 RSW staccatos: g, d1 405 13 Clarinet I MS slurs: e**11-!1 (mm. 405-9). ebl-c1 (mm. 409-11) B&H 7415 slurs: e 1*11-!1 (mm. 405-9), e^-c1 (mm. 409-11) B&H 10317 slurs: ebu-e1 (mm. 405-8), fl-c1 (mm. 409-11) RSW slurs: ehtt-e1 (mm. 405-8), fl-c1 (mm. 409-11) Clarinet II MS slur: c11 •c (mm. 405-9), a-bb (m m . 411-13) B&H 7415 slur: c11 -c (mm. 405-9), a-bb (mm . 411-13) B&H 10317 slur: cu- •bb (mm. 405-8), a-a (m m 409-11), eb-bbl (mm. 411- 13) RSW slur: c11 •bb (mm. 405-8), a-a (mm 409-11), eb-bbl (mm. 411- 13)

4 0 9 11 Viola MS slur: c^-gtmm. 409-10) B&H 7415 slur: c^-g (mm. 409-10) B&H 10317 slur: c^-f (mm. 409-11) RSW slur: ci*-f (mm. 409-11) 15 8

4 1 7 Cello MS staccato: b & Bass B&H 7415 no staccato: b B&H 10317 staccato: b RSW staccato: b 423-25 Violin I MS slur: gu-gu (m, 424) B&H 7415 slur: gu-gu (m. 425) B&H 10317 slur: gu-gu (m. 424) RSW slur: gU-ebli (m. 425) 425-26 Violin I MS slur: e^-f11 B&H 7415 slur: ektt-dN11 B&H 10317 slur: e bI1-d 1'11 RSW slur: ehh-d1*11 427-29 Violin I, MS slur: ebl-cu Viola B&H 7415 slur: ebi-ebli B&H 10317 slur: ebl-ctt RSW slur: e ^ - c 11 4 2 9 Piano MS first note ciU; / on second beat B&H 7415 first note c 111; / on first beat B&H 10317 first note c 11*; / on second beat RSW first note e 111; / on second beat B&H VA 643 first note cm; / on second beat 431 Piano MS left hand, last beat, lower note: e B&H 7415 left hand, last beat, lower note: e B&H 10317 left hand, last beat, lower note: eb RSW left hand, last beat, lower note: eb B&H VA 643 left hand, last beat, lower note: eb 4 3 7 Piano MS right hand, first beat: no staccato; accent B&H 7415 right hand, first beat: no staccato; no accent B&H 10317 right hand, first beat: staccato and accent RSW right hand, first beat: staccato and accent B&H VA 643 right hand, first beat: no staccato; 159 no accent49

4 4 5 Plano MS no p B&H 7415 no p B&H 10317 P RSW P B&H VA 643 no p 449 Plano MS staccato on the first beat B&H 7415 no staccato on the first beat B&H 10317 staccato on the first beat RSW staccato on the first beat B&H VA 643 staccato on the first beat 450 ■51 Plano MS pedal from the first beat of m. 450 B&H 7415 pedal from the first beat of m. 450 B&H 10317 pedal from the first beat of m. 451 RSW pedal from the second beat of m. 451 B&H VA 643 pedal from the second beat of m. 451

453 Plano MS s f B&H 7415 sf B&H 10317 no s f RSW no s f B&H VA 643 no s f 455 Plano MS no pedal B&H 7415 no pedal B&H 10317 pedal from the first beat RSW pedal from the second beat B&H VA 643 pedal from the second beat

474 Piano MS s f B&H 7415 no s f B&H 10317 s f RSW fSO B&H VA 643 s f 474 75 Plano MS pedal from the first beat of m. 474 B&H 7415 pedal from the first beat of m. 474 B&H 10317 pedal from the first beat of m. 475 49See mm. 449 and 453. 50Typographical error. 160 RSW pedal from the second beat of m. 475 B&H VA 643 pedal from the second beat of m. 475

4 7 8-79 Plano MS pedal from the first beat of m. 478 B&H 7415 pedal from the first beat of m. 478 B&H 10317 pedal from the first beat of m. 479 RSW pedal from the second beat of m. 479 B&H VA 643 pedal from the second beat of m. 479 484 Piano MS pedal release after the third beat B&H 7415 no pedal release sign B&H 10317 pedal relese after the third beat RSW pedal relese after the third beat B&H VA 643 pedal relese after the third beat 489 Viola MS double stop in each part B&H 7415 divi. B&H 10317 divi, RSW divi. 489 -90 Piano MS slur: A-G# B&H 7415 no slur B&H 10317 slur: A-G# RSW slur: A-G# B&H VA 643 slur: A-G# 491 Clarinet I MS staccatos B&H 7415 no staccatos B&H 10317 staccatos RSW staccatos 493 Viola MS double stop in each part B&H 7415 divisi. B&H 10317 divisi. RSW divisi.

495 Viola MS double stop in each part B&H 7415 divisi. B&H 10317 divisi. RSW divisi.

496 Piano MS s f 161 B&H 7415 s f B&H 10317 s f RSW s f B&H VA 643 no s f 501 Flute I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke 502 Flute I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 504 Horn I MS no slur B&H 7415 no slur B&H 10317 slur: a^e1 RSW slur: a*-e* Horn II MS no slur B&H 7415 no slur B&H 10317 slur: a-e* RSW slur: a-e1 505 Flute I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke 506 Flute I MS short app.: 8th-note B&H 7415 short app.: 8th-note B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke

508-9 Horn I MS no slur B&H 7415 no slur B&H 10317 slur RSW slur 1 6 2

5 0 9 B assoon II MS staccato: g# B&H 7415 no staccato B&H 10317 staccato: g# RSW staccato: g# 5 1 0 Flute I, MS short app.: 8th-note Oboe I, B&H 7415 short app.: 8th-note Clarinet I, B&H 10317 short app.: 8th-note with cross- Bassoon I, stroke Violin I RSW short app.: 8th-note with cross­ stroke 5 1 6 Bassoon I MS staccato: d1 B&H 7415 no staccato: d1 B&H 10317 staccato: d1 RSW staccato: d1 5 1 7 Flute II MS staccato: c#m B&H 7415 no staccato B&H 10317 staccato: c#lu RSW staccato: c#iU Flute I, MS short app.: 8th-note Clarinet I, B&H 7415 short app.: 8th-note Bassoon I B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke 518 Flute I, MS short app.: 8th-note Clarinet I. B&H 7415 short app.: 8th-note Bassoon I, B&H 10317 short app.: 8th-note with cross- Violin I stroke RSW short app.: 8th-note with cross- stroke

5 2 1 Piano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke RSW short app.: 8th-note with cross-stroke B&H VA 6 4 3 short app.: 8th-note with cross-stroke 163 5 2 2 Plano MS short app.: 8th-note B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 523 -24 Piano MS no mezzo-staccatos B&H 7415 no mezzo-staccatos B&H 10317 no mezzo-staccatos RSW no mezzo-staccatos B&H VA 643 mezzo-staccatos: e 11-g il, gU-bbil 524 Piano MS accent on the first beat B&H 7415 no accent B&H 10317 accent on the first beat RSW accent on the first beat B&H VA 643 accent on the first beat 537 Piano MS dotted half note, a B&H 7415 half note, a B&H 10317 dotted half note, a RSW dotted half note, a B&H VA 643 dotted half note, a 546 Piano MS cresc, from the second beat B&H 7415 cresc. from the first beat B&H 10317 cresc. from the second beat RSW cresc. from the second beat B&H VA 643 cresc. from the first beat 547 ■48 Piano MS dim. from m. 548 B&H 7415 dim. from m. 548 B&H 10317 dim. from the second beat of m. 547 RSW dim. from the second beat of m. 547 B&H VA 643 dim. from the second beat of m. 547

5 6 3 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross­ stroke 164 RSW arpeg.: 8th-note with cross­ stroke B&H VA 643 arpeg.: 8th-note with cross- stroke 564-65 Plano MS tie, a^s B&H 7415 no tie B&H 10317 tie, a^s RSW tie, a^'s B&H VA 643 tie. ar s 566-67 Piano MS no pedal-release B&H 7415 no pedal-release B&H 10317 pedal at m. 566: release at m. 567 RSW pedal at m. 566; release at m. 567 B&H VA 643 pedal at m. 566; release at m. 567 576 Bassoon I MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: e^e1 RSW mezzo-staccato: e^e1 585-86 Piano MS p in m. 585; cresc. from the third beat of m. 585; dim. from the second beat of m. 586 B&H 7415 no p in m. 585; cresc. from the third beat of m. 585; dim. from the second beat of m. 586 B&H 10317 p in m. 585; cresc. for whole measure {m. 585); dim. for whole measure (m. 586) RSW p in m. 585; cresc. for whole measure (m. 585); dim. for whole measure (m. 586) B&H VA 643 p in m. 585; cresc. from the first beat of m. 585; dim. from the second beat of m. 586 588 Piano MS no short app. B&H 7415 short app.: 8th-note 165 B&H 10317 short app,: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross- stroke 593 ■95 Plano MS mezzo -staccato:c#n-ai. c#ii-a#1. e#i. f#i B&H 7415 mezzo-staccato:c#ii-al. c#ii-a#i. e#i- f#t B&H 10317 mezzo-staccato:c#u-a‘. c#ii-a#i, e#l- a#151 RSW mezzo-staccato:c#u-a1. c#n_a#i. e#i- a#i B&H VA 643 mezzo-staccato:c#u-ai, c#ii-a#i, e#i- a#1

599 Plano MS no short app. B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross­ stroke B&H VA 643 short app.: 8th-note with cross­ stroke 614 15 Piano MS pedal release on the first beat of m. 615 B&H 7415 pedal release on the first beat of m. 615 B&H 10317 pedal release at the end of m. 614 RSW pedal release at the end of m. 614 B&H VA 643 no pedal release 622 Plano MS no pedal-release B&H 7415 pedal release at the end of m. 622 B&H 10317 pedal release at the end of m. 622 RSW pedal release at the end of m. 622 B&H VA 643 pedal release at the end of m. 622 623 Piano MS no accent on e111 B&H 7415 no accent on etu B&H 10317 accent on eul

51No mezzo-staccatos in m. 595. 166 RSW accent on e111 B&H VA 643 accent on e111 624 Piano MS staccatos only B&H 7415 mezzo-staccatos B&H 10317 mezzo-staccatos RSW mezzo-staccatos B&H VA 643 mezzo-staccatos 626 Piano MS no staccatos B&H 7415 no staccatos B&H 10317 mezzo-staccatos RSW mezzo-staccatos B&H VA 643 mezzo-staccatos 626-30 Plano MS slurs* gii_g#i B&H 7415 slurs: gWi-aUi, c ^ u-eU eu-e#li. g ^ - e 1 B&H 10317 slurs: g ^ -b 1, e^e*1, g#1I-ei RSW slurs: g#u-b1, ei-e#1, g#11-e1 B&H VA 643 slurs: g ^ -b 1, g#11-e! 631 Piano MS no accent on c#ii; no dim. B&H 7415 no accent on c#Ii; no dim. B&H 10317 accent on c#li; dim. RSW accent on c#il; dim. B&H VA 643 accent on c#u; dim.

632 Piano MS P B&H 7415 no p B&H 10317 P RSW P B&H VA 643 P 633-34 Piano MS pedal release at the third beat B&H 7415 pedal release after the third beat B&H 10317 pedal release at the beginning of m. 634 RSW pedal release at the beginning of m. 634 B&H VA 643 pedal release after the third beat 167 636 Plano MS short app.: 8th-note with cross- stroke52 B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross- stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross- stroke 636 38 Piano MS pedal at the second beat of m. 636: no release sign, but "sempre pedal" B&H 7415 pedal: no release, but "sempre pedal" B&H 10317 pedal at m. 636; release at the first beat of m, 638 RSW pedal at m. 636; release at the first beat of m. 638 B&H VA 643 pedal at m. 636; no release sign 640 Plano MS short app.: 8th-note with cross- stroke53 B&H 7415 short app.: 8th-note with cross- stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke B&H VA 643 short app.: 8th-note with cross- stroke 650 Piano MS short app.: 8th-note with cross­ stroke54 B&H 7415 short app.: 8th-note with cross­ stroke B&H 10317 short app.: 8th-note with cross­ stroke RSW short app.: 8th-note with cross- stroke

52The piano part is in Clara's hand. 53The piano part is in Clara's hand. 54The piano part is in Clara's hand. 168 B&H VA 643 short app.: 8th-note with cross­ stroke 654 Plano MS short app.: 8th-note with cross-stroke55 B&H 7415 short app.: 8th-note with cross-stroke B&H 10317 short app.: 8th-note with cross-stroke RSW short app.: 8th-note with cross-stroke B&H VA 643 short app.: 8th-note with cross-stroke 658 Plano MS pedal release on the first beat B&H 7415 pedal release on the second half of the first beat B&H 10317 pedal release on the first beat RSW pedal release on the first beat B&H VA 643 pedal release on the second half of third beat in m. 657 665 Plano MS dim.: from the second beat B&H 7415 no dim. B&H 10317 dim.: from the first beat RSW dim.: from the first beat B&H VA 643 no dim. 674 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: d^d1*. ft-fM RSW mezzo-staccato: d^d11, ft-ft1 B&H VA 643 mezzo-staccato: d^d11, ft-ft1 675 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: fit^-fM RSW mezzo-staccato: B&H VA 643 mezzo-staccato: fW-ft1 675 76 Piano MS no slur B&H 7415 no slur B&H 10317 slur: d1-^1 RSW slur: d1-^1

55The piano part is in Clara's hand. 169 B&H VA 643 slur: d^ft1 6 7 6 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: e1-^ 11. gi-e1 RSW mezzo-staccato: ei-b13*1. gN-e1 B&H VA 643 mezzo-staccato: e^b*311, gi-e1 677 Piano MS no staccato B&H 7415 no staccato B&H 10317 staccato on a1 RSW staccato on a1 B&H VA 643 staccato on a1 678 Piano MS short app.: 8th-note with cross­ stroke:56 no mezzo-staccato B&H 7415 short app.: 8th-note with cross­ stroke; no mezzo-staccato B&H 10317 short app.: 8th-note with cross- stroke; mezzo-staccato: du-dm, fM-fWi RSW short app.: 8th note with cross- stroke; mezzo-staccato: d^-d111, B&H VA 643 short app.: 8th-note with cross- stroke; mezzo-staccato: d^-d111. fM-fli* 679 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: RSW mezzo-staccato: B&H VA 643 mezzo-staccato: fWii-fl11 679 80 Piano MS no slur B&H 7415 no slur B&H 10317 slur: d1Lftu RSW slur: d^-fl11 B&H VA 643 slur: du-ftu 680 Piano MS no mezzo-staccato

5eThe piano part is in Clara's hand. 170 B&H 7415 no mezzo-staccato B&H 10317 mezzo-staccato: e^-b131111, gM-e*11 RSW mezzo-staccato: e^-b131111, gM-e^i B&H VA 643 mezzo-staccato: eM-bbllil, gM-e*11 681 Piano MS no staccato B&H 7415 no staccato B&H 10317 staccato on aUi RSW staccato on a 111 B&H VA 643 staccato on a 111 6 8 2 Piano MS short app.: 8th-note with cross­ stro k e;57 no mezzo-staccato B&H 7415 short app.: 8th-note with cross- stroke; no mezzo-staccato B&H 10317 short app.: 8th-note with cross- stroke; mezzo-staccato: db-dul, RSW short app.: 8th-note with cross­ stroke; mezzo-staccato: d^-d111, fM-fM1 B&H VA 643 short app.: 8th-note with cross- stroke; mezzo-staccato: du-dm, fM-fMi 6 8 3 Piano MS no mezzo-staccato; dim. from the second beat B&H 7415 no mezzo-staccato; dim. from the first beat B&H 10317 mezzo-staccato: dim. from the first beat RSW mezzo-staccato: dim, from the first beat B&H VA 643 mezzo-staccato: ftiii-ftU; dim. from the first beat 6 83 ■34 Piano MS no slur B&H 7415 no slur B&H 10317 slur: d1-^1 RSW slur: d1-^1 B&H VA 643 slur: d1-^1

57The piano part is in Clara's hand. 6 8 4 Piano MS no mezzo-staccato; cresc. from the second beat B&H 7415 no mezzo-staccato; cresc. from the second beat B&H 10317 mezzo-staccato; dbu-dbm, fl^-fM1 cresc. from the second beat RSW mezzo-staccato: dbu-dblu, fV-ftu no crescendo B&H VA 643 mezzo-staccato: dbu-dbui, fM-fM1 cresc. from the second beat 6 8 5 Piano MS no mezzo-staccato: ftUi-ftU; dim. from the first beat B&H 7415 no mezzo-staccato; dim. from the first beat B&H 10317 mezzo-staccato: dim. from the first beat RSW mezzo-staccato: ftM-fM1; no diminuendo B&H VA 643 mezzo-staccato: dim. from the first beat 685-86 Piano MS no slur B&H 7415 no slur B&H 10317 slur: dbu-dbl RSW slur: dbu-dbi B&H VA 643 slur: dbu-dbl 6 9 4 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: d#I-d#u, B&H VA 643 mezzo-staccato: d#1-d#u, 6 9 5 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: B&H VA 643 mezzo-staccato: f#u_f#i 695-96 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: d^-f*1 B&H VA 643 slur: d^-f*1 6 9 6 Piano MS no mezzo-staccato 172 B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: fW-ft11, a-a1 B&H VA 643 mezzo-staccato: fM-fM1, a-a1 697 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: au-a1 B&H VA 643 mezzo-staccato: au-aJ 697 -98 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: fW-a1 B&H VA 643 slur: f^-a1 698 Plano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: c#u-c#ul, c#1-c#il B&H VA 643 mezzo-staccato: c#li-c#iii, c#,-c#11 699 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: eul-eu B&H VA 643 mezzo-staccato: e^-e11 699 700 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: c#u-eu B&H VA 643 slur: c#u-e11 700 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: cN^-a11, cM-a1 B&H VA 643 mezzo-staccato: c^-a11, cM-a1 701 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: f^-d # 11 B&H VA 643 mezzo-staccato: f#111-d#11 173 701-2 Plano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: citf-d*11 B&H VA 643 slur: cNu-d#11 702 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: dnu-dnui; d^-b1*1 B&H VA 643 mezzo-staccato: diii-d‘ilil; d^-b151 703 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: gn‘u_eii B&H VA 643 mezzo-staccato: gniii-e11 703-4 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: du-eu B&H VA 643 slur: d^-e11 7 04 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: c#u-a11 B&H VA 643 mezzo-staccato: c#u-ail 705 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: gnlu-eu B&H VA 643 mezzo-staccato: gM^-e11 705-6 Piano MS no slur B&H 7415 no slur B&H 10317 no slur RSW slur: c#u-e11 B&H VA 643 slur: c^-e11 706 Piano MS no mezzo-staccato B&H 7415 no mezzo-staccato B&H 10317 no mezzo-staccato RSW mezzo-staccato: a 1- a 11 B&H VA 643 mezzo-staccato: a^a11 174

709 Flute II MS staccato: d 111 B&H 7415 no staccato B&H 10317 staccato: dm RSW staccato: d 111 Bassoon II MS staccato: d1 B&H 7415 no staccato: d1 B&H 10317 staccato: d1 RSW staccato: df 710 Plano MS $ B&H 7415 f B&H 10317 s RSW £ B&H VA 643 S 713 Flute II MS staccato: bu B&H 7415 no staccato B&H 10317 staccato: bu RSW staccato: bu Bassoon II MS staccato: b B&H 7415 no staccato B&H 10317 staccato:b RSW staccato: b 714 Piano MS no staccato B&H 7415 staccato in left hand only B&H 10317 staccato In both hands RSW staccato in both hands B&H VA 643 staccato in both hands 725 •26 Piano MS no pedal B&H 7415 no pedal B&H 10317 pedal (m. 725) and release (m. 726) RSW pedal (m. 725) and release (m. 726) B&H VA 643 pedal (m. 725) and release (m. 726) 741 Flute I, MS staccato: au Flute II, B&H 7415 no staccato Oboe I. B&H 10317 staccato: a11 Oboe II RSW staccato: au 175 Clarinet I, MS staccato: a* Clarinet II B&H 7415 no staccato: a1 B&H 10317 staccato: a1 RSW staccato: a1 Bassoon II MS staccato: a B&H 7415 no staccato: a B&H 10317 staccato: a RSW staccato: a 743 Flute I, MS short app.: 8th-note Flute II. B&H 7415 short app.: 8th-note Oboe I. B&H 10317 short app.: 8th-note with cross- Clarinet I, stroke Bassoon I RSW short app.: 8th-note with cross­ stroke 744 Flute I, MS short app.: 8th-note Flute II. B&H 7415 short app.: 8th-note Oboe I, B&H 10317 short app.: 8th-note with Clarinet I, cross-stroke Bassoon I RSW short app.: 8th-note with cross-stroke 747 Flute I MS short app.: 8th-note Oboe I. B&H 7415 short app.: 8th-note Clarinet I B&H 10317 short app.: 8th-note with cross- Bassoon I stroke RSW short app.: 8th-note with cross- stroke 748 Flute I MS short app.: 8th-note Oboe I, B&H 7415 short app.: 8th-note Clarinet I B&H 10317 short app.: 8th-note with cross- Bassoon I stroke RSW short app.: 8th-note with cross- stroke

751 Flute II MS staccato: au B&H 7415 no staccato B&H 10317 staccato: au RSW staccato: au Oboe I MS staccato: a1 B&H 7415 no staccato B&H 10317 staccato: a1 RSW staccato: a1 176

Bassoon II MS staccato: a B&H 7415 no staccato B&H 10317 staccato: a RSW staccato: a 752 Flute I, MS short app.: 8th-note Flute II, B&H 7415 short app.: 8th-note: Oboe I, B&H 10317 short app.: 8th-note with Clarinet I, cross-stroke Clarinet II, RSW short app.: 8th-note with Bassoon I, cross-stroke Bassoon II 757 Flute I. MS no staccato Flute II, B&H 7415 no staccato Oboe I. B&H 10317 staccato: au Oboe II RSW staccato: au Clarinet II, MS no staccato B&H 7415 no staccato B&H 10317 staccato: a1 RSW staccato: a1 Bassoon I, MS no staccato Bassoon II B&H 7415 no staccato B&H 10317 staccato: a RSW staccato: a 759 Flute I, MS short app.: 8th-note Oboe I, B&H 7415 short app.: 8th-note Clarinet I, B&H 10317 short app.: 8th-note with cross­ Bassoon I stroke RSW short app.: 8th-note with cross­ stroke 760 Flute I, MS short app.: 8th-note Oboe I. B&H 7415 short app.: 8th-note Clarinet I. B&H 10317 short app.: 8th-note with cross- Bassoon I stroke RSW short app.: 8th-note with cross­ stroke 763 Flute I MS short app.: 8th-note Oboe I, B&H 7415 short app.: 8th-note Clarinet I, B&H 10317 short app.: 8th-note with cross- Bassoon I stroke 177 RSW short app.: 8th-note with cross- stroke 764 Flute I MS short app.: 8th-note Oboe I. B&H 7415 short app.: 8th-note Clarinet I. B&H 10317 short app.: 8th-note with cross- Bassoon I stroke RSW short app.: 8th-note with cross­ stroke 766 Violin I MS accent on d11 B&H 7415 no accent B&H 10317 accent on du RSW accent on d11 767 Flute II MS staccato: a11 B&H 7415 no staccato B&H 10317 staccato: au RSW staccato: a11 Clarinet II MS staccato: a1 B&H 7415 no staccato B&H 10317 staccato: a1 RSW staccato: a1 Bassoon II MS staccato: a B&H 7415 no staccato B&H 10317 staccato: a RSW staccato: a 768 Flute I. MS short app.: 8th-note Flute II. B&H 7415 short app.: 8th-note Oboe I. B&H 10317 short app.: 8th-note with cross- Clarinet I, stroke Clarinet II. RSW short app.: 8th-note with cross- Bassoon I. stroke Bassoon II MS staccato: a11 B&H 7415 no staccato B&H 10317 staccato: a11 RSW staccato: au 775 Plano MS mordent on f#1 B&H 7415 no mordent B&H 10317 no mordent RSW m ordent 178 B&H VA 643 no m ordent

785 Piano MS no upper mordent on g #1 B&H 7415 upper mordent g # i s s B&H 10317 no upper mordent on g #i RSW no upper mordent on g #I B&H VA 643 786 Piano MS mordent on b1 B&H 7415 no mordent B&H 10317 mordent on b1 RSW mordent on b1 B&H VA 643 mordent on b1 831-32 Violin I MS slur: e11-dil B&H 7415 slur: e^-d11 B&H 10317 slurs: e^-c#11, fM-d11 RSW slurs: e^-c#11, f^U-d11 835-39 Flute I MS two slurs: eu-d#lu (mm. 835-36), eiii-c#iii (mm. 837-39) B&H 7415 two slurs: eu-d#ui (mm. 835-36), (mm. 837-39) B&H 10317 one slur: eu-c#lil RSW one slur: eu-c#lu 839-43 Bassoon I MS slurs: e-d#1 (mm. 839-40) and ei-c#1 (841-843) B&H 7415 slurs: e-d#1 (mm. 839-40) and e*-c#1 (841-843) B&H 10317 slur: e-c#I RSW slur: e-c#I

843 Piano MS / B&H 7415 n o / B&H 10317 n o / RSW n o / B&H VA 643 n o / Horn II MS staccato: £ B&H 7415 staccato: E B&H 10317 no staccato RSW no staccato

58The upper mordent should be placed on the b'lnm , 786. 17 9 844 Plano MS cresc. from the first beat of m. 844 (up to m. 845) B&H 7415 cresc. from the third beat of m. 843 (up to m. 845) B&H 10317 cresc. from the second half of the third beat of m. 844 (up to m. 847) RSW cresc. from the first beat of m. 844 (up to m. 847) B&H VA 643 cresc. from the third beat of m. 844 (up to m. 847) 856-57 Bassoon I MS cresc. from m. 856 B&H 7415 cresc. from m. 857 B&H 10317 cresc. from m. 856 RSW cresc. from m. 856 859 Trumpet 1 MS staccato: g1 B&H 7415 staccato: g1 B&H 10317 no staccato RSW no staccato 8 6 3 Piano MS mordent on f*1 B&H 7415 mordent on f#1 B&H 10317 no m ordent on f#1 RSW no m ordent on f*1 B&H VA 643 mordent on f#1 8 6 7 Violin I. MS staccatos: g#1 and f#1 Violin II B&H 7415 no staccatos: g#1 and f*1 B&H 10317 staccatos: g#i and f#1 RSW staccatos: g#i and f#1 8 7 4 Viola MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos: d1, c#1 RSW staccatos: d1, c#1 Cello, MS no staccatos Bass B&H 7415 no staccatos B&H 10317 staccatos: e and a RSW staccatos: e and a 8 9 1 -9 4 Piano MS no slur B&H 7415 no slur59

59Cf. mm. 883-86, 887-90. 180 B&H 10317 slur: c#-c#ul RSW slur: c#-c#lil B&H VA 643 slur: c#-c#lu 895-98 Plano MS no slur B&H 7415 no slur B&H 10317 slur: RSW slur: B&H VA 643 slur: c#-c#ul 898 Plano MS no pedal release B&H 7415 pedal release after the third beat B&H 10317 pedal release after the third beat RSW pedal release after the third beat B&H VA 643 pedal release after the third beat 899-902 Piano MS no pedal B&H 7415 no pedal B&H 10317 pedal from m. 899 through m. 902 RSW pedal from m. 899 through m. 902 B&H VA 643 pedal from m. 899 to down beat of m. 900, and from m. 901 through m, 902 906 Plano MS pedal release on the third beat B&H 7415 no pedal release B&H 10317 pedal release on the third beat RSW pedal release on the third beat B&H VA 643 pedal release on the third beat 907-8 Violin I MS cresc. from the second beat of m. 907 B&H 7415 cresc. from the third beat of m. 908 B&H 10317 cresc. from the second beat of m. 907 RSW cresc. from the second beat of m. 907 907-10 Viola, MS no staccatos Cello. B&H 7415 no staccatos & Bass B&H 10317 staccatos (up to m. 909) RSW staccatos (up to m. 910) 911 Plano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note 181 B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 913 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 914 Piano MS cresc. B&H 7415 cresc. B&H 10317 no cresc. RSW cresc. B&H VA 643 cresc. 917 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 918 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 919 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 921 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 923 Piano MS arpeg.: 8th-note B&H 7415 arpeg.: 8th-note B&H 10317 arpeg.: 8th-note with cross-stroke RSW arpeg.: 8th-note with cross-stroke B&H VA 643 arpeg.: 8th-note with cross-stroke 923 24 Piano MS no accent on dm; 182 cresc. from m. 924 B&H 7415 no accent on d 111: cresc. from m. 924 B&H 10317 accent on dUi; cresc. from m. 923 RSW accent on d 111: cresc. from m. 923 B&H VA 643 no accent on d 111; cresc. from m. 924 929-30 Cello MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos RSW staccatos 933-34 Cello MS no staccatos B&H 7415 no staccatos B&H 10317 staccatos RSW staccatos 948 Piano MS staccato B&H 7415 staccato B&H 10317 staccato RSW staccato B&H VA 643 no staccato 949 Piano MS staccato B&H 7415 staccato B&H 10317 staccato RSW staccato B&H VA 643 no staccato 962-63 Horn II MS cresc. B&H 7415 no cresc.60 B&H 10317 cresc. RSW cresc. and/ 966-67 Horn II MS cresc. B&H 7415 no cresc.61 B&H 10317 cresc. RSW cresc.

60This is the correct reading. All other sources are in error. 61This is the correct reading. All other sources are in error. BIBLIOGRAPHY Manuscripts Berlin, Deutsche Staatsbibliothek, Mus. Aut. 20427. Autograph score of Clara Wieck's Piano Concerto in A Minor, Op. 7. Bonn, Unlversitatsbibliothek, Mus. ms. autogr. R. Schumann 13 and 17. Two volumes of Schumann’s sketchbooks. Dusseldorf, Musicologfcal Society, Robert-Schumann-Forschungstelle, shelf number unknown, formerly Aigenstadl, Wlede Collection, Sign. 11/38. Autograph score of Robert Schumann's Piano Concerto in A Minor, Op. 54. Zwickau. Robert-Schumann-Haus, Corr. Nr. 1992. Letter from Schumann to Hippolyte Chelard, dated December 8, 1841. Zwickau, Robert-Schumann-Haus, Sign. 4871, BV Nr. 900. Letter from Schumann to Schuberth, dated November 5. 1842. Zwickau, Robert-Schumann-Haus, Sign. 4871, BV Nr. 916. Letter from Schumann to Whistling, dated January 23, 1843. Zwickau, Robert-Schumann-Haus, Sign. 4871, BV Nr. 944. Letter from Schumann to Joh. Karl Hoffmann, dated May 31, 1843. Zwickau, Robert-Schumann-Haus. Sign. 4871, BV Nr. 984. Letter from Schum ann to C. F. Peter, dated October 6, 1843. Zwickau. Robert-Schumann-Haus, Sign. 4877, A3, vol. 4, pt. 7. Portion of Clara Schumann's diary.

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