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Vorwort Öffnen (PDF) HN 917_Vorwort.fm Seite III Montag, 22. März 2010 9:18 09 III Vorwort Zusammenstellung der Instrumente in me ad libitum beigelegt. Ähnlich war den ,Märchenerzählungen‘ ist von ganz bereits der Verleger von Mozarts „Kegel- eigenthümlicher Wirkung“ (Robert statt-Trio“ verfahren; man wollte mit Schumanns Briefe. Neue Folge, hrsg. der Alternativstimme offenbar einen Zu der eigentümlichen Zusammenstel- von F. Gustav Jansen, Leipzig 21904, größeren Interessentenkreis erreichen. lung von Klavier, Klarinette und Viola S. 485). Da die Stimme jedenfalls von Schumann in seinen Märchenerzählungen op. 132 Schumann war mit seinem neuen autorisiert ist, liegt sie auch dieser Aus- dürfte Robert Schumann (1810–56) Opus offenbar sehr zufrieden. Nach gabe bei. Das Exemplar der Erstausga- wohl durch Mozarts „Kegelstatt-Trio“ Claras bereits erwähntem Tagebuchein- be, das der Komponist dem Widmungs- KV 498 angeregt worden sein. Mögli- trag war er „sehr beglückt darüber“, empfänger Albert Dietrich schenkte, cherweise war es sogar eine Aufführung und er selbst schrieb im Brief an Breit- enthält folgende Aufschrift: An Albert dieses Werkes am 23. Januar 1851 in kopf & Härtel, es seien „meistens fröh- Dietrich | zu langer Erinnerung. | Düs- Düsseldorf (mit Clara Schumann, dem liche, mit guter Lust geschriebene Stü- seldorf am 20. Februar 1853 [recte: Klarinettisten Johann Kochner und Jo- cke“. Vor der Absendung an den Verlag 1854] | (einem guten Tage). Dietrich seph von Wasielewski), die Schumanns war das Werk in mehreren privaten Auf- war seit 1851 Schumanns Schüler. Als Begeisterung für diese Besetzung auslös- führungen „ausprobiert“ worden, und solcher war er sicher auch bei der einen te. Allerdings vergingen immerhin fast zwar bei Musikabenden im Hause Schu- oder anderen privaten Aufführung der drei Jahre, bevor – vom 9. bis 11. Okto- manns am 23., 28. und 30. Oktober Märchenerzählungen zugegen. Er ge- ber 1853 – die Märchenerzählungen 1853. Ausführende waren jeweils Clara hörte später zum engen Freundeskreis entstanden. Schumann und der Klarinettist Koch- von Johannes Brahms und Joseph Joa- In den „Verschiedenen Notizen aus ner; beim ersten Mal spielte Ernst Carl chim und machte sich auch als Kompo- der Düsseldorfer Zeit“ (Manuskript im Ruppert Becker das Streichinstrument, nist einen Namen. Robert-Schumann-Haus Zwickau, Si- bei den beiden anderen Malen Joseph Ausführliche Angaben zu den Quellen gnatur 4871/VII C,7) sind „Romanzen Joachim. Im Zuge dieser Aufführungen finden sich in den Bemerkungen am f. Clarinette, Bratsche u. Klavier“ als dürfte Schumann noch die eine oder an- Ende dieser Ausgabe. Dort sind auch kompositorisches Vorhaben festgehalten dere Retusche an den Stücken vorge- die wichtigsten Lesarten mitgeteilt. – leider ohne genauere Datierung. Kurze nommen haben. Da die Manuskripte, Zeit vor der Entstehung der Märchen- aus denen musiziert wurde, nicht erhal- Herausgeber und Verlag bedanken sich erzählungen, am 30. September 1853, ten sind, ist das aber nicht mehr zu be- bei allen in den Bemerkungen genann- hatte sich Johannes Brahms erstmals bei legen. Aus dem erhaltenen Autograph ten Bibliotheken, die freundlicherweise Schumann vorgestellt. Am 4. Oktober kann jedenfalls nicht musiziert worden Quellenmaterial zur Verfügung stellten. nachmittags fand in dessen Musiksalon sein, da es zumindest teilweise nicht ein kleines Privatkonzert statt, bei dem über ein Entwurfstadium hinausgeht. Berlin, Frühjahr 2010 neben Stücken von Brahms wohl auch Der Titel der vier Stücke formte sich Ernst Herttrich Schumanns zwei Jahre zuvor entstande- erst allmählich. Wurden sie im Kompo- nes Klaviertrio op. 110 gespielt wurde. sitionsplan noch als „Romanzen“ be- Die direkte Konfrontation mit dieser zeichnet, so sprach Schumann, als er die Triokomposition mag Schumann dazu Fertigstellung des Werkes am 11. Okto- bewogen haben, nun endlich seinen ber 1853 in seinem Haushaltbuch fest- Plan eines Werkes für „Clarinette, Brat- hielt, von „Mährchenphantasien“. Erst sche u. Klavier“ in die Tat umzusetzen. im Brief an Breitkopf ist dann von Preface Dass es dabei tatsächlich in erster Linie „Märchenerzählungen“ die Rede. Wie die Besetzung als solche war, die ihn an Schumann überhaupt im Zusammen- dem Vorhaben reizte, ist mehrfach be- hang mit den neuen Stücken auf den legt. So äußerte Schumann einem Tage- Begriff „Märchen“ kam, muss offen Robert Schumann (1810–56) probably bucheintrag Claras vom 11. Oktober bleiben. Auszuschließen ist jedoch, dass found the inspiration for his Märchen- 1853 zufolge, „diese Zusammenstellung ihm bei der Komposition konkrete Mär- erzählungen’s (Fairy tales) unusual werde sich höchst romantisch ausneh- chen vorschwebten; Märchen gehörten combination of piano, clarinet and viola men“ (zit. nach Berthold Litzmann, einfach zum romantischen „Titelreper- in Mozart’s “Kegelstatt Trio” K. 498. Clara Schumann. Ein Künstlerleben. toire“, aus dem Schumann sich bereits Perhaps it was even a performance of Nach Tagebüchern und Briefen, Bd. II, bei seinen Märchenbildern op. 113 für this work in Düsseldorf on 23 January Ehejahre 1840–1856, Leipzig 71925, Viola und Klavier bedient hatte. 1851 (with Clara Schumann, the clari- S. 282). Und als er das Werk am 3. No- Das Werk erschien im Februar 1854. nettist Johann Kochner and Joseph von vember 1853 an Breitkopf & Härtel Als Alternative zur Klarinettenstimme Wasielewski) that triggered Schumann’s schickte, schrieb er im Begleitbrief: „Die war der Ausgabe auch eine Violinstim- enthusiasm for this scoring. Neverthe- HN 917_Vorwort.fm Seite IV Montag, 22. März 2010 9:18 09 IV less, nearly three years elapsed before he on all three evenings, Ernst Carl Rup- Joachim, and also made a name for wrote the Märchenerzählungen op. 132, pert Becker played the string instrument himself as a composer. between 9 and 11 October 1853. on the first evening, and Joseph Joachim Detailed information on the sources The “Verschiedene Notizen aus der on the other two. During the course of can be found in the Comments at the Düsseldorfer Zeit” (various notes from the performances, Schumann probably end of this edition. The most important the Düsseldorf period – manuscript in made occasional retouches; but since the readings are also communicated there. the Robert-Schumann-Haus in Zwi- manuscripts used by the musicians are ckau, shelfmark 4871/VII C,7) list “Ro- no longer extant, this cannot be ascer- The editor and publisher extend their mances for Clarinet, Viola and Piano” tained. In any event, the performers cordial thanks to all libraries mentioned as a compositional project – unfortu- could not have played from the surviv- in the Comments for kindly putting the nately without any closer dating. On ing autograph, which sometimes looks source material at their disposal. 30 September 1853, shortly before more like a sketch than a fair copy. Schumann wrote the Märchenerzählun- It took a while for the title of the four Berlin, spring 2010 gen, he had received his first visit from pieces to take shape: while they were Ernst Herttrich Johannes Brahms. On the afternoon of still called “Romances” in the list of 4 October, a small private concert was compositional projects, they were desig- held in Schumann’s music salon, at nated as “Mährchenphantasien” when which his Piano Trio op. 110, written Schumann recorded the completion of two years earlier, was presumably per- the work in his Haushaltbuch on 11 Oc- formed along with pieces by Brahms. tober 1853. It was not until his letter to Préface Hearing the Trio again might have incit- Breitkopf that he used the term “Mär- ed Schumann to finally realise his pro- chenerzählungen.” We do not know why ject of a work for “clarinet, viola and Schumann came up at all with the con- piano.” Several documents confirm that cept of “fairy tales” in connection with C’est probablement le «Kegelstatt-Trio» it really was above all the scoring which the new pieces. However, it can be ruled K. 498 de Mozart (Trio des quilles) qui had appealed to the composer with this out that he had any concrete fairy tales incita Robert Schumann (1810–56) à project. In a diary entry of 11 October in mind while writing the work. Fairy utiliser pour ses Märchenerzählungen 1853, Clara noted her husband’s com- tales were simply part of the romantic (Récits de contes) op. 132 cette forma- ment that “this combination will sound “title pool” which the composer had tion singulière rassemblant piano, clari- highly romantic” (quoted from Berthold already drawn upon for his Märchen- nette et alto. L’enthousiasme du compo- Litzmann, Clara Schumann. Ein Künst- bilder op. 113 for viola and piano. siteur pour ce genre d’ensemble fut lerleben. Nach Tagebüchern und Brie- The work was published in February peut-être même provoqué par une exé- fen, vol. II, Ehejahre 1840–1856, Leip- 1854. An ad libitum violin part was also cution de cette œuvre le 23 janvier 1851 zig, 71925, p. 282). And when he sent enclosed with the edition as an alterna- à Düsseldorf (par Clara Schumann, le the work to Breitkopf & Härtel on 3 No- tive for the clarinet part. The publisher clarinettiste Johann Kochner et Joseph vember 1853, the composer wrote in his of Mozart’s “Kegelstatt Trio” had al- von Wasielewski). Il s’écoula toutefois accompanying letter: “The combination ready done the same in an attempt to in- près de trois ans avant que – du 9 au of the instruments in the ‘Märchener- terest a larger circle of musicians. Since 11 octobre 1853 – les Märchenerzäh- zählungen’ produces a most unusual ef- the part was clearly authorised by Schu- lungen soient composées. fect” (Robert Schumanns Briefe. Neue mann, we have included it in this edi- Les «Romanzen f. Clarinette, Brat- Fol g e , ed. by F. Gustav Jansen, Leipzig, tion. The copy of the first edition which sche u. Klavier» sont signalées comme 21904, p. 485). the composer presented to the dedicatee projet de composition – malheureuse- Schumann was apparently very satis- Albert Dietrich bears the following in- ment sans datation précise – dans les fied with his new work. According to scription: An Albert Dietrich | zu langer «Verschiedene Notizen aus der Düssel- Clara’s aforementioned diary entry, he Erinnerung.
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