Toccata in C major (Schumann)

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The Toccata in C major is an early, extremely virtuoso, one-movement piano work by Robert Schumann , the first version of which was written in Heidelberg in the winter of 1829/30 . It is related to Schumann's piano technical studies in preparation for the aspired career of concert pianist . After a thorough revision, Schumann published the piece as Op. 7 in Leipzig in 1834 and dedicated it to his friend Ludwig Schuncke , who, to Schumann's surprise, was able to play it after listening to it several times without having practiced it. The public premiere was by Clara Wieck , Schumann's future wife, on September 11, 1834 in Leipzig. Today the Toccata op. 7 belongs to the repertoire of many renowned pianists.

Emergence

The Toccata op. 7 went through a long process of creation. Of these, in addition to a witness autograph , Excercice pour le piano version mentioned of 1830 and entries in sketches and diaries of Robert Schumann and mentions in letters.

Improvisations based on models

The Toccata op.7 in comparison with possible models (excerpts)

In August 1828 Schumann began taking piano lessons with Friedrich Wieck in Leipzig . Wieck's teaching method also contained instructions for improvisation exercises, in which his students should develop or expand exercise material and etudes according to their own needs. In May 1829 Schumann moved to Heidelberg to study . There he shone as an improviser on the piano and began - following the suggestion of Wieck's lessons - to work on a larger étude ( Exercice ) that was adapted to his own pianistic problems with its double stops , which after several revisions, largely improvising on the piano, finally became a toccata op. 7 was. Examples for this could have been Exercise No. 31 from Friedrich Wieck's lessons and later published by Marie Wieck Pianoforte Studies and Carl Czerny's Toccata ou exercice op. 92 published in 1826 , in which double stops form the basic motivic element. Double stops also appear in other comparable etudes and toccatas of the time, e.g. B. in the Caprice ou Toccata op.6 by George Onslow (1810) and in Johann Baptist Cramer's Etude op.50 , No. 29. References to Cramer's etudes can be found in Schumann's diary on December 11, 1828, i.e. before Schumann's Change to Heidelberg: "Lessons at Wieck - Cramersche Etude". Even Johann Nepomuk Hummel's Grande Sonata in F sharp minor, which Schumann first mentioned in January 1829 in the diary and he practiced repeatedly and Hummels Schumann worked through detailed theoretical practische instruction for fortepiano game containing such double stops. Transposed examples from the statement quoted Schumann in his sketchbook I .

First notations and the Exercice pour le Pianoforte from 1830

Comparison of bars 44–50 of the Toccata op. 7 with the corresponding sketch from 1829/30

In a letter dated March 15, 1835, Schumann dated the beginning of the composition to 1829, on the autograph flyleaf of his copy of the first edition from 1834, however, to 1830. In his project book he subsequently noted: “1830 […] Toccata in C major in 1st Gestalt. ”In Schumann's sketchbook V with entries from Heidelberg from 1829 and 1830, there is a short draft that is almost unchanged in the first complete autograph of the as Exercice pour le Pianoforte. called Toccata. from the year 1830 and with decisive changes in the final version. In this final version, printed in 1834, the note values ​​of the sketch were halved and the time signature changed accordingly from alla breve( alla breve ) to 2/4. In addition, a calm melody was added as a secondary theme.

Several versions with different titles

Schumann mentioned the work on the Toccata several times in his diaries and in letters , but initially referred to it differently, for example Exercice , large Exercice in double stops , Exercice fantastique , and Gr. Etude à quatre voix .

On May 11, 1831, he recorded: “my Exercice mundiert” (= written in the purest form). This could be the lost fair copy of the preserved, corrected autograph from 1830. On June 4, 1831, Schumann had a conversation with Heinrich Dorn , who advised against publication because everything was surprising and new. And Schumann speculated that the Exercice lacked Jacobi's "sense of well-being". He was referring to a place in Friedrich Heinrich Jacobis Woldemar, a rarity from natural history .

On July 13, 1832 he noted: "The ex. Fantastique was also finished."

Offers to the publishers Haslinger and Breitkopf & Härtel

In a letter to the publisher Tobias Haslinger of 13 August 1832, he offered an imagination exercise - as a possible "continuation of Cramer's and Kessler's Etudes" - and a second study in double stops for publication on and on 2 November 1832 the publishing house Breitkopf & Hartel one probably with the said imagination exercise identical imagination exercise that he wanted to dedicate his former Zwickau teacher Johann Gottfried Kuntsch.

In an autograph list of compositions by Robert Schumann printed by Jansen, this fantasy exercise is listed as Exercice fantastique , as well as an Etude fantastique :

  • “Exercice fantastique pour le Pft. Dedié à Mr. JG Kuntsch par son élève. Op. January 5, 1832, worked out in July. "
  • “Etude fantastique en doubles-sons, dedié à M. de Schlegel. Oeuv. 6. Heidelberg, May 1830, worked out in July 1832. "

They correspond to the works offered to the publisher Haslinger on August 13, 1832. This means that the Exercice fantastique and the Etude fantastique were completely executed works next to each other and provided with their own opus numbers. Both records were lost. The term Exercice en doubles sons (diary: March 8, 1833) probably also refers to the Etude fantastique en doubles-sons of the composition index.

Exercice pour le Pianoforte and Toccata op.7

Drafts in Schumann's Sketchbook II show that further revisions took place in 1833, until a now-lost autograph was finally completed as a master copy for the first edition of the Toccata op. 7.

Only after the publication of the toccata was the generic term toccata used for them in the diary and in letters . Previous diary entries for Toccata , e.g. B. on December 22, 1828, concern a toccata by Charles Mayer (Schumann: Meyer).

Today there are two fully executed works: the autograph Exercice pour le Pianoforte from 1830 and the printed Toccata op. 7 from 1834. The Exercice is shorter than the Toccata and appears less uniform overall. Schumann wrote about this in a letter to Theodor Töpken on August 18, 1834: “In my Toccata you will be shaking hands with an old friend; he no longer speaks so wildly, but much more morally. ”Both in this letter and on the flyleaf of his copy of the first edition and in his project book , Schumann stated that he had completed the composition of the Toccata in 1833.

Musical characteristics

genus

While Schumann was working on the toccata , on the one hand he dealt with piano technical problems, on the other hand he dealt with the sonata main movement form . Parallel to the Toccata , drafts for etudes as variations on a theme by Ludwig van Beethoven as well as the studies and concert etudes after Caprices by Paganini op. 3 and op.10 were created. During this time he also worked on the Allegro op the piano sonatas op.11 and 22.

The Toccata combines the concerns of both groups of works: it is an étude in the form of a sonata main movement. The multiple-used attribute fantastique of the older titles and working titles Etude fantastique and Exercice fantastique , which is also used in the German title Fantasy Exercise , indicates that the toccata also follows artistic-poetic ambitions and is particularly suitable as the final piece of a concert.

Technical piano requirements

  • rhythmic precision in the standard sequence of the almost permanent continuous movement of virtuoso characters and passages, even with metric shifts
  • Rapid change of double handles in the opposite movement, primarily in the right hand, wherein in particular the outer fingers to be loaded, which the provisional titles Etude en fantastique doubles-sons and exercice en doubles Sons corresponds
  • fast octave and polyphonic chord progressions
  • Jumps in countermovement
  • Up to five-part polyphonic playing
  • Legato with sustaining notes
  • Dynamics: quiet play even with great mechanical difficulties; Contrasts ff - pp

shape

Sonata main clause form:

  • Exposure : introductory bars (bars 1–2), syncopated rhythm : G as a half-close of the main key of C major; Main movement (bars 3–25), in the right hand double stops in rapid countermovement (16th notes), in the lower part of the left hand syncopation from the introduction; Transition (bars 25–43), modulating from C major to G major, many intermediate dominants, new, dotted, scale-like motif leading downwards in the upper part of the left hand, at the end of the introductory syncope resumption; Side movement (44–79), G major, counter melody to the 16th note movement with dots (motif from the transition) in the tenor, repeated in double counterpoint in the upper part, suspension of syncopation, resumption and continuation of the main movement theme ; Final movement (bars 80–88), G major, variant of the side movement and motifs of the main movement; Codetta (bars 88–96), G major, organ point on G, return to C major (with lowered 6th level); Back modulation with introductory clocks (97a-99a); Repetition.
  • Implementation : introductory bars in A minor (bars 100-101 before the double bar), brief processing of the main movement, episode with a new octave motif in the upper part, largely A minor and A major, fugato with a double theme from 16ths of the octave motif and syncopation of the introduction After narrowing it leads to a modulation to the organ point on G as the dominant of the main key of C major.
  • Recapitulation : introductory bars (bars 149–150), main movement (bars 151–173), transition expanded with a new motif (bars 80 ff), side movement (bars 127–213), C major.
  • Transition 2 (= 2nd development): metric shift by a sixteenth (measure 229 ff), imitation of the dotted motif of the transition in the exposition leading downwards, transition to the notated and labeled legato .
  • Coda: Più mosso (moving), C major with a plagal ending , motif of the subordinate movement, final chords in piano .

Meter and rhythm

Within a 2/4-time measure, largely continuous 16th note movements of the upper parts and contrasting, as well as driving syncopation of the lower part dominate the course of the toccata . The regularity is broken up by metric shifts by a sixteenth or an eighth and by accents.

Keys and harmonics

The main key of C major, its dominant key of G major and the parallel key of A minor are seldom abandoned, but are endowed with many intermediate dominants and deviations .

Tempo and volume

Tempo: The prescription for the entire piece is Allegro (without the metronome). A ritardando and an accelerando each prepare the following molded parts. Più mosso is at the beginning of the coda .

The smorzando (dying, fading, fading away) in bar 78 can refer to a decrease in tempo or a decrease in volume, or both.

Volume: only the most economical instructions are given. A crescendo arrow indicates the implementation . In the fugato , stress marks mark the use of the topic. The introduction to the recapitulation should be played fortissimo . Stress marks restore the shifted meter. Forte and sforzati and finally with a ritardando connected diminuendo indicate the last form part of the implementation . From bar 213, an abrupt volume difference between ff and pp is required. The final chords are to be performed p .

Fingering

Regarding the fingering, Schumann wrote in a footnote in the first print: "To allow the player the greatest possible freedom of performance, only those passages that could possibly be out of print are specified more precisely."

Attack and phrasing

In the final version of the Toccata , compared to the Exercice of 1830, Schumann largely dispensed with phrasing and notation. The phrasing was drawn in as an example in a few bars and Schumann only prescribed staccato and legato at one point .

Pedaling

Terms for pedal, which is otherwise used in many ways at Schumann, are limited to a minimum.

Expression

In addition to the already mentioned smorzando at the end of the transition between the main movement and the subordinate movement, Schumann only prescribes an espressivo at a modulatory and melodic point in measure 106. Otherwise, the possible expression is inherent in the rapid course of the toccata as well as in the contrast between the main and secondary movements and is modified by a few changes in tempo, volume and phrasing.

reception

The first printing and the world premiere of the Toccata in 1834 coincided with a time when pianists were still heavily orientated towards popular virtuoso pieces, often composed by themselves. It was only slowly that they began to take up the ideas of François-Joseph Fétis and, like Felix Mendelssohn Bartholdy in Leipzig in 1838, offer historical concerts with a classically named canon of works and finally - like Anton Rubinstein - concerts in the second half of the 19th century design that were only dedicated to a recognized composer. Clara Wieck was among the first, the works of Johann Sebastian Bach , Ludwig van Beethoven and Robert Schumann - including the Toccata stand beside his own compositions, and after her marriage as Clara Schumann's solo works and concerts of these three composers and works by - Johannes Brahms one German-influenced concert type that was valid well into the 20th century. But it was not until after Robert Schumann's death that the toccata was generally regarded as a touchstone for professional concert pianists, as the reports on Franz Liszt's lessons in Weimar show , for example .

Dedicated

The first recipient of the completed Toccata op. 7 was Ludwig Schuncke, to whom Schumann had dedicated it and who lived next door to him in Leipzig in 1834. Schumann wrote about it on the occasion of a review of Schuncke's Capriccios : “If you dedicate something to someone, you want him to prefer to play it; for many reasons I had dedicated one of the most difficult piano pieces, a toccata, to him. Since I missed not a single note that he struck, I had a slight annoyance that he did not worry about it, and sometimes played it for him from my room into his, perhaps to stimulate him to study. As before, everything remained as quiet as a mouse. There, after a long time, a stranger visits us to hear Schunke. But how amazed I was when he played the toccata to him in full perfection and confessed to me that he had overheard me a few times and had studied it quietly without the piano, practiced it in his head. "

First print and further editions by Hofmeister

At the end of May or June 1834, the Leipzig publisher Hofmeister published the first edition of the Toccata in an edition of 100 copies. Smaller editions followed in 1835, 1846, 1951 and 1853. From 1858 the Toccata appeared annually in up to three further editions and reached its peak in July 1878 with an edition of 1000 copies. Hofmeister had printed a total of 4,450 copies by April 1886.

First performance in Leipzig

Clara Wieck played the toccata for the first time on September 11, 1834 in a self-organized, public concert in the hall of the Hôtel de Pologne in Leipzig . The program of this concert, which Felix Mendelssohn Bartholdy also attended, also included Frédéric Chopin's Rondo op.16 and his Grande fantaisie sur des airs polonais op.13 as well as his own concert movement - orchestrated by Robert Schumann - the later 3rd movement of her piano concerto . Ernst Ortlepp wrote about it as an anonymous reporter in the magazine Der Komet :

“The last piece, a [sic] Toccata by Schumann, made a wonderful impression. The work is a molding of originality and novelty and, despite its strict style, had a deeper magic on all listeners. We are convinced what a Seb. Bach, what a Beethoven, what a Paganini carried within, that also rests in Schumann; yes, perhaps even more than Chopin, he has the strength to elevate the modern musical school to its highest splendor through the peculiar productions. He does not please the taste of the public and will not indulge it in spite of all the demands often made of him; but on his way he will certainly achieve a completely different goal than the fashion composers, who have no better thought than to make every bite for people bite-sized. Schumann's Toccata is so difficult that no one here can play it well except Schunke and Clara Wieck. They both play differently. The former performs it as an etude with the greatest mastery; She knows how to interpret the latter poetically and to breathe a soul into it through and through. This time, too, she enlivened them with such delicate and deeply felt shades that the original piece of music with which the concert ended strikingly appeared in its highest splendor. "

In her girlhood, Clara Wieck managed, against her father's resistance , to continue including the toccata in her concert programs alongside other works by Robert Schumann and to record this in her diary, which was partly kept by her father. So she entered the performances of the toccata on February 21 and on March 2, 26 and 19, 1836 on her concert tour in Breslau .

Publication at Richault in Paris

In 1840 Schumann had the Toccata , together with the Paganini Etudes op. 3 and 10, published by Richault in Paris . Clara Wieck had already taken the work with her on her concert tour to Paris in 1839, but had not dared to play it in public. It was not until around 1860 that Schumann's works were no longer completely rejected in Paris.

Johannes Brahms on concert tours

Johannes Brahms had Schumann's Toccata in his concert repertoire at a young age. For example, he played it at his 2nd Vienna concert on April 7, 1867, in which he included smaller pieces by Domenico Scarlatti and Franz Schubert as well as Schumann's Fantasia op.17, the Toccata in F major by Johann Sebastian Bach and Ludwig van Beethovens Sonata in E major op.109 presented. The performance of the two toccatas was particularly praised in the concert review.

The toccata in the repertoire of the European pianist schools

Franz Liszt

In Franz Liszt's Weimar master class, the toccata was performed by various students as Liszt classified as difficult work, for example on June 11, 1884 by Emil Sauer , who already knew the toccata from his lessons with Nikolai Rubinstein in Moscow. Liszt, who valued Schumann's piano works very much, made only very laconic comments on the toccata performances . Carl Lachmund reported praise: “You played with a fine feeling and good phrasing.” However, Liszt dismissed a pupil who did not play the toccata with a typical exclamation: “O, you holy bimbam!” For many Liszt pupils the toccata became a kind of compulsory piece in their lessons well into the 20th century.

Anton and Nikolai Rubinstein

In 1844 Anton Rubinstein became acquainted with the Schumann couple in Saint Petersburg . On December 15, 1846, he performed Schumann's Andante and Variations op. 46 together with Clara Schumann in Vienna . In the course of his pianist career he added many Schumann works to his extensive concert repertoire. In 1888/89 he gave two series of lectures at the St. Petersburg Conservatory - in the first he played 1,302 works by 79 composers, in the second 877 works by 57 composers, including Schumann's Toccata op.7. Through him and his brother Nikolai Rubinstein , the teacher was at the Moscow Conservatory , the toccata was included in the canon of the Russian pianist school , which also included Heinrich Neuhaus , the teacher of Svyatoslaw Richter and Emil Gilels .

USA (19th century)

On her major concert tour through the USA from October 1870 to June 1872, the German pianist Mary Krebs, who is musically connected to Clara Schumann and Joseph Joachim, performed 257 concerts. She also had Schumann's Toccata in her repertoire . The Leipziger Musikalische Wochenblatt reported on January 13, 1871, of her performance in New York's Steinway Hall: "Schumann's Toccata op. 7 was a parforce performance of the first order, and it deservedly received rich applause for it." A Dictionary of Music and Musicians von Grove from 1900 highlights Schumann's Toccata from their large repertoire .

Through the Liszt student Carl Lachmund, the European repertoire and with it Schumann's Toccata came to the US Conservatories.

20th and 21st centuries

Many prominent pianists of recent times have or have had Robert Schumann's Toccata op. 7 in their repertoire. This was recorded on technical sound carriers - from the Welte Mignon reproduction piano to the record and tape to compact discs , optical data storage devices and film .

literature

  • Arnfried Edler: Toccata op. 7. In: Ulrich Tadday (Ed.): Schumann-Handbuch . Metzler, Stuttgart / Weimar 2006, p. 222 f.
  • Jarmila Gabrielova: Toccata for piano op. 7. In: Helmut Loss (Ed.): Robert Schumann. Interpretations of his works. Volume 1, Laaber 2005, pp. 43-45.
  • Richard D. Green: Robert Schumann's Exercice and the Toccata, Opus 7. In: Enrique Alberto Arias et al. (Ed.): Essays in Honor of John F. Ohl. A Compendium of American Musicology. Pp. 179-194.

Individual evidence

  1. ^ A b c Richard D. Green: Robert Schumann's Exercice and the Toccata, Opus 7. In: Enrique Alberto Arias et al. (Ed.): Essays in Honor of John F. Ohl. A Compendium of American Musicology. Pp. 179-194.
  2. ↑ Janina Klassen: Clara Schumann. Music and the public. Cologne et al. 2009, p. 82.
  3. ↑ Ernst Burger: Robert Schumann. A life history in pictures and documents . Mainz 1999, p. 72.
  4. ↑ Ernst Burger: Robert Schumann. A life history in pictures and documents . Mainz 1999, p. 74.
  5. ^ A b Arnfried Edler: Robert Schumann . Munich 2009, p. 70.
  6. ↑ Jarmila Gabrielova: Toccata for piano op. 7. In: Helmut Loss (Ed.): Robert Schumann. Interpretations of his works. Volume 1, Laaber 2005, p. 43.
  7. ^ Friedrich Wieck: Piano studies . (imslp.org)
  8. ↑ Carl Czerny: Toccata op 92.. (Imslp.org)
  9. ^ Wolfgang Boetticher: Robert Schumanns piano works. P. 31 f.
  10. ↑ Johann Baptist Cramer: Etudes , Op. 50. (imslp.org)
  11. ↑ Robert Schumann. Diaries Volume 1. S. 153. (archive.org)
  12. ^ Dana Gooley: Schumann and Agencies od Improvisation. In: Roe-Min Kok et al. (Ed.): Rethinking Schumann . Oxford et al. 2011, p. 139 f.
  13. ↑ Schumann. Diaries Volume 1, p. 174 f (archive.org)
  14. ↑ Applicator exercises. In double handles. In: Johann Nepomuk Hummel: Detailed theoretical-practical instruction on piano forte playing. (1827) (imslp.org)
  15. ↑ Explanations for the publication of sketchbooks I and II. (Schumann.ga.de)
  16. ^ Sketchbook I. P. 92 with notations after Hummel.
  17. ↑ Robert Schumann's letters. New episode. P. 150. (archive.org)
  18. ↑ a b Ernst Herttrich: Comments. In: Robert Schumann. Toccata Opus 7. Versions 1830 and 1834. G. Henle Verlag, Berlin 2009, p. 25.
  19. ^ Michael J. Luebbe: Robert Schumann's Exercice pour le Pianoforte. In: Bernhard R. Appel (Ed.): Schumanniana nova. Festschrift for Gerd Nauhaus on his 60th birthday. Sinzig 2002, p. 430.
  20. ↑ Robert Schumann: Sketchbook V. P. 76. Retrieved on May 19, 2019
  21. ↑ Robert Schumann. Diaries Volume 1. p. 329. (archive.org)
  22. ↑ Robert Schumann. Diaries Volume 1. P. 336. (archive.org)
  23. ↑ Youth letters from Robert Schumann based on the originals communicated by Clara Schumann. P. 156. (archive.org)
  24. ↑ Youth letters from Robert Schumann based on the originals communicated by Clara Schumann. P. 170. (archive.org)
  25. ↑ Youth letters from Robert Schumann based on the originals communicated by Clara Schumann. P. 184. (archive.org)
  26. ↑ Robert Schumann. Diaries Volume 1. S. 381. (archive.org)
  27. ↑ Robert Schumann. Diaries Volume 1. p. 394. (archive.org)
  28. ↑ Robert Schumann. Diaries Volume 1. S. 411. (archive.org)
  29. ↑ Robert Schumann. Diaries Volume 1. p. 413. (archive.org)
  30. ↑ Robert Schumann. Diaries Volume 1. p. 329. (archive.org)
  31. ↑ Robert Schumann. Diaries Volume 1. P. 336. (archive.org)
  32. ↑ Keyword wellbeing in Woldemar . (books.google.de)
  33. ↑ Robert Schumann. Diaries Volume 1. S. 412. (archive.org)
  34. ↑ Robert Schumann's letters. New episode. P. 413. (archive.org)
  35. ↑ Youth letters from Robert Schumann based on the originals communicated by Clara Schumann. P. 190. (archive.org)
  36. ^ Johann Gottfried Kuntsch at the Schumann portal
  37. ↑ Robert Schumann's letters. New episode. P. 536. (archive.org)
  38. ↑ Robert Schumann. Diaries Volume 1. p. 418. (archive.org)
  39. ^ Michael J. Luebbe: Robert Schumann's Exercice pour le Pianoforte. In: Bernhard R. Appel (Ed.): Schumanniana nova. Festschrift for Gerd Nauhaus on his 60th birthday . Sinzig 2002, p. 432.
  40. ↑ Sketchbook II. P. 4. , Sketchbook II. P. 6. , Sketchbook II. P. 9.
  41. ↑ Ernst Herttrich: Foreword. In: Robert Schumann. Toccata Opus 7. Versions 1830 and 1834. G. Henle Verlag, Berlin 2009, p. IV.
  42. ^ Margit L. McCorkle: Robert Schumann. Thematic-bibliographical catalog raisonné. Munich 2003, pp. 27-30.
  43. ^ Location at archive.org
  44. ^ Margit L. McCorkle: Robert Schumann. Thematic-bibliographical catalog raisonné. Munich 2003, p. 28.
  45. ↑ Robert Schumann's letters. New episode. P. 53. (archive.org)
  46. ↑ Ernst Burger: Robert Schumann. A life history in pictures and documents . Mainz 1999, pp. 119-121.
  47. ↑ Ernst Burger: Robert Schumann. A life history in pictures and documents . Mainz 1999, pp. 107-109.
  48. ^ Ernst Hettrich: Foreword to the Urtext edition of the G. Henle publishing house
  49. ↑ Ernst Burger: Robert Schumann. A life history in pictures and documents . Mainz 1999, pp. 116-117.
  50. ↑ a b c d e Jarmila Gabrielova: Toccata for piano op. 7. In: Helmut Loss (Ed.): Robert Schumann. Interpretations of his works. Volume 1, Laaber 2005, pp. 43-45.
  51. ↑ See the fugato from bar 129.
  52. ↑ See the coda
  53. ↑ See especially from bar 212.
  54. ↑ The analysis largely follows Jarmila Gabrielova: Toccata for piano op. 7. In: Helmut Loss (Ed.): Robert Schumann. Interpretations of his works. Volume 1, Laaber 2005, pp. 43–45 and Arnfried Edler: Toccata op. 7. In: Ulrich Tadday (Ed.): Schumann-Handbuch . Metzler, Stuttgart, Weimar 2006, p. 222 f.
  55. ↑ Janina Klassen: Clara Schumann. Music and the public. Cologne et al. 2009, pp. 395-408.
  56. ^ A b Carl Lachmund: My life with Franz Liszt. Eschwege 1970, various positions.
  57. ^ Wilhelm Jerger: Franz Liszts piano lessons from 1884–1886: depicted in the diary entries of August Göllerich . Regensburg 1975.
  58. ^ New magazine for music . Volume 3, p. 183.
  59. ↑ May 1834: New Leipzig Magazine for Music. First year No. 1, p. 68.
  60. ↑ June 1834 et ff: Christopher H. Gibbs et al. (Ed.): Franz Liszt and his World . Princeton 2006, p. 283.
  61. ↑ Janina Klassen: Clara Schumann. Music and the public. Cologne et al. 2009, p. 125.
  62. ^ New Leipzig magazine for music. First volume No. 48, p. 192. (archive.org)
  63. ↑ cit. after Wolfgang Boetticher: Robert Schumann's piano works . Part II, Wilhelmshaven 1984, p. 22.
  64. ↑ Janina Klassen: Clara Schumann. Music and public. Cologne et al. 2009, p. 93.
  65. ^ Janina Klassen: The Teacher and His Artist - Private and Public Self-Attention in the Diaries of Clara and Friedrich Wieck. In: Bernhard R. Appel (Ed.): Schumanniana nova. Festschrift for Gerd Nauhaus on his 60th birthday . Sinzig 2002, p. 313.
  66. ^ Serge Gut: Schumann and France. In: Ute Bär (Ed.): Robert Schumann and the French Romanticism . Mainz et al. 1997, p. 16.
  67. ^ Brahms: Personal draft of the program for the concert on April 7, 1867
  68. ^ Review of the concert in: Selmar Bagge (Hrsg.): Leipziger general musical newspaper . Born in 1867. Leipzig and Winterthur, 1867, p 170 . (Digitized version of the Bavarian State Library)
  69. ^ A b Carl Lachmund: My life with Franz Liszt. Eschwege 1970, p. 270.
  70. ↑ Emil von Sauer: My world . Berlin 2014, p. 61.
  71. ^ Carl Lachmund: My life with Franz Liszt. Eschwege 1970, p. 247.
  72. ↑ Ernst Burger: Robert Schumann . Mainz 1999, p. 225.
  73. ^ The list of the second series of lectures with Schumann's Toccata . (books.google.de)
  74. ↑ Article Mary Krebs in the Lexicon of Music and Gender on the Internet .
  75. ↑ Article Krebs, Mary, Marie, married. Brenning . Lexicon of instrumentalists from the Sophie Drinker Institute.
  76. ↑ Musikalisches Wochenblatt, January 13, 1871, p. 40.
  77. ↑ Article Cancer of the Grove on en.wikisource.org
  78. ↑ List of artists at henle.de PDF (106 KB)

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