C. Schumann: Piano Trio op. 17.
A scholarly and practical edition including an expanded commentary on the performance practice of the composer and her circle.
- Submitting institution
-
Guildhall School of Music & Drama
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- ROBLAUA
- Type
- R - Scholarly edition
- DOI
-
-
- Title of edition
- C. Schumann: Piano Trio op. 17
- Publisher
- Bärenreiter
- ISBN
- -
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2021
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- Yes
- COVID-19 affected output statement
- The delayed publication of this output due to the publisher operating on skeleton staff as a result of COVID-19 furlough means the version submitted here is a mock-up of the edition based on the author’s accepted manuscript. The score has been engraved by Bärenreiter and is not expected to change; however, the text elements have not yet been proofed and typeset.
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The significance of this edition may be said to lie in its correcting of misreadings of the most substantial mature work of a key figure in the development of mid-nineteenth-century musical aesthetics, and its associated unpicking of the creative processes of a composer-pianist whose importance (including, but not limited to, her having been at the time a rare example of a successful woman in her field) is increasingly being recognised.
The research consisted of three interrelated processes:
1. a thorough examination of the available authoritative sources (the composer’s working manuscript and the first published edition, as well as subsequent editions derived from it) with the aim of arriving, for the first time (given the absence of the Stichvorlage used by the publishers, and the problems with the first edition), at an accurate musical text;
2. detailed triangulation of those sources with witnesses to contemporary performance practice (the writings of other composer-pianists Clara Schumann is known to have been influenced by and those of her teacher; accounts of her own performance principles from those who heard her play, studied with her, and played works written for and in various senses with her; and recordings made by her pupils) in order to a) corroborate editorial decisions in 1. above, and b) add to our limited understanding of her influential artistry;
3. reflection, based on analysis of the composer’s correspondence with the publishers and others, and the piece’s early critical reception, on the commercial and gender politics revealed by the work’s genesis and publication.
The critical apparatus is configured (across Preface, Editorial Note, musical text, Critical Commentary, and Performance Commentary) to allow all performers to engage with the performance practices of the composer and her circle to a degree previously reserved for those able to access expensive critical editions and rare contemporary recordings.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -