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• •-, •• 1
 CONTENTS.
PART I.

(Album fur die Sugend.)

Advice to Young Musicians.

1. Air Melodie Page 3.
2. Soldier's March Soldatenmarsch. „ 4.
3. Humming Song Trdllerliedchen „ 5.
4. Choral Ein Choral „ 6..
5. A little Piece Stuckchen „ 7.

6. The poor Orphan child Jrmes Waisenkind. „ 8.

7. H-unting Song Jdgerliedchen „ 9.
8. The wild Horseman Wilder Reiter ., 10.

9. Popular Air Folksliedchen „ 11.

10. The merry Peasant Fr'dhlicher Landmann ,, 12,

11. Siciliano Sicilianiseh „ 13.

12. Knight Rupert Rnecht Ruprecht „ 14.

13. Welcome to May Mai, li'rl/er Mai. „ 16.

14. A little Study. Rleine Stndie „ 18.
15. Spring Song Friihlingsgesang. „ 20.
16. First Loss Erster Terlnst. „ 22.
17. The little Wanderer Kleiner Morgenwanderer ,.,
23.
18. Song of the reapers Schnitterliidchen 24.
19. A little Romance Rleine Romanze 25.
20. Rustic Song Landliches Lied 26.
21. * * * 27
22. Round Rundgesang 28.
23. The Horseman Reiterstuck 30.
24. Harvest Song Erndteliedchen 32.
25. Recollections of the Play NachMdnge aus dem Theater. 33.
26. * * ..* 34.
27. A little Song in Canon form Canonisches Liedcheti 35.
28. Reminiscence Erinnerung 36.
29. The Stranger Fremder Mann 37.
30. * * * 40.
31. Battle Song Kriegslied 42.
32 . Scheherezade Sheherazade 44.
33. Vintage Time Weinlesezeit. 46.
34. Theme Thema 48.
35. Mignon Mignon 49.
36. Italian Sailor's Song Lied Italienischer Mar inari. 50.
37. Sailor's Song Matrosenlied. 52.
38. Winter Time, I Winterzeit, I. 54.
39. Winter Time, 11 Winterzeit, 11. .• 55.
40. Fughetta Rleine Fuge 58.
41. Northern Song Nordisches Lied. 61.
42. Choral..... Figurirter Choral 62.
43% New Year's Song Sylvester Lied. 64.

• •• • • •*•#
•.*''•• r • • • •

• • t • • 't' « • •

HAROLD B. LEE LIBRARY

BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
 ^'
R OCHUMANN
.
 ADYICE TO YOUNG MUSICIANS
BY

ROBERT SCHUMANN
The cultivation of the ear is the most important. Labour early to-

recognise notes and key. Endeavour to find what notes the bell,

the window-pane, and the cuckoo express.

Practise assiduously scales and other finger exercises. There

are, however, many people who fancy they attain perfection by
spending, even until an advanced age, several hours daily in
mechanical execution : that is as if a person should exert himself

to repeat his A, B, C, faster and faster. Employ your time better.

" Mute " instruments, as they are called, have been invented.

Try them awhile, just to see how useless they are. The dumb
cannot teach speech.

Be steady in keeping time. The performance of many virtuosi

is like the gait of a drunken man. Follow not their example.

Learn betimes the fundamental laws of harmony.

Be not deterred by the words Theory, Thorough-bass, Counter-

point, &c. ; approach them as a friend, and their response will be

most cordial.

Never jingle. Play with ever-freshened eagerness, and always

finish the piece.

Slowness and hurry are both great faults.

 11.

Take pains to play easy pieces well and prettily ; better this

than a mere ordinary performance of difficult ones.

Always keep to a well-tuned instrument.

Be not satisfied with knowing your piece manually ;

you must
also be able to hum it without the aid of the instrument. Stimu-
late your imagination, so that you may retain firmly in the memory
not only the melody of a composition but the harmony which
accords with it.

Exert yourself, even although you have but little voice, to

sing at sight without the help of the instrument ; by this means the
quickness of your ear will constantly increase. But if you have a
good voice, neglect no opportunity of cultivating it ; consider it as

the most valuable gift that heaven has conferred on you.

You must not be content until you succeed in reading music

without playing it.

When playing, be unconcerned who hears you. v^

Play always as if a master listened. /

Should any one place a composition before you to play for the

first time, read it over previously.

If you feel exhausted after having done your daily musical

task, strain your faculties no farther. Better to rest, than work
without inclination and cheerfulness.

As you grow older, play nothing merely because it is the

fashion. Time is precious. One must live a hundred lives to
learn everything that is good.
 111:.

Children do not become healthy men by being fed on sweet-

meats. The mental as well as the bodily fare must be simple and

strengthening. The masters have sufficiently provided for the

former ; adhere to them.

Mere passages change with the time ; they are only of value

when fluency leads to higher objects.

You must not circulate bad compositions ; on the contrary,

you must help with all your might to suppress them.

Neither play bad compositions, nor, unless compelled, listen^

to them.

Never strive in execution for the so-called bravura. Try to

produce in a composition the impression which the composer had

in view. More should not be sought. What is beyond is caricature.

Regard it as something abominable to meddle with the pieces

of good writers either by alteration, omission, or by the introduction

of new-fangled ornaments. This is the greatest indignity you can

inflict on art. .

Respecting the selection of study pieces, ask older musicians,

and you will save much time.

You must gradually make yourself acquainted with all the

most important works of all the celebrated masters.

Be not led astray by the approbation which great virtuosi,

so-called, often secure. Esteem the approbation of the artist more

than that of the multitude.

All that is merely fashionable goes out of fashion in its turn

and if you continue to cultivate it till you are old, you will becomeV
a simpleton whom no one values.
 IV.

Much playing in society does more harm than good. Scrutinise

the company ; but never play anything of which you feel in your
conscience you would be ashamed.

Neglect, however, no opportunity of practising duets, trios, &c.

This gives freedom and compass to your execution. And accom-

pany singers frequently.

If every one would play first fiddle, no orchestra could be got

^ together. Let each musician keep his proper place.

Be fond of your instrument, but without the vanity of con-

sidering it the highest and the only one. Remember that there

are others, and quite as good. Remember also that there are

singers, and that the most elevated music finds expression through
the choir and orchestra.

As you grow older, have more to do with scores than virtuosi.

Play assiduously the fugues of good masters, especially those of

Job. Seb. Bach. Let his " Forty-eight " (Fugues and Preludes) be
your daily bread ;
you will then surely become an able musician.

Seek, among your comrades, those who know more than you.
J

Read poetry with diligence, as a relief from your musical

studies. Take frequent exercise in the open air.

Much can be learned from singers, but do not yield them

unlimited credence.

The world is large. Be modest ! You have not yet discovered

and contrived what others before you have not already imagined
and found out. And even if such should be the case, look on it as

a gift from above to be shared with others.

 V.

The study of the history of music, seconded by hearing the

actual performance of the master-pieces of different epochs, will

prove the most rapid and effectual cure for conceit and vanity.

A charming book on music is Thibaut's treatise on ''

The
Purity of Musical Composition." Read it often, as you get older.

When you pass by a church, and hear an organ played, go

invside and listen. Should you be fortunate enough to obtain a seat
at the instrument, try your small fingers on it, and be amazed at

this omnipotence of music.

Neglect no opportunity of practising on the organ. There is

no other instrument which inflicts such prompt chastisement on

offensive and defective composition or execution.

Sing assiduously in choruses, especially taking the middle

parts. This forms the good musician.

But what is it to be a musician ? Not to have the eyes bent

on the notes, and play the piece laboriously to the end ; not (sup-

posing anyone happens to turn two leaves instead of one) to stick

in the middle, without being able to go on. You are, however, a
musician when with a new piece you almost divine what is coming,
when you know an old acquaintance by rote — in a word, when you
have music not only in your fingers, but inyour head and heart too.

But how does one become a good musician ? Dear student,

the chief thing, a good ear and quick comprehension, comes, as in

all things, from aboVe. Still, the natural ability may be cultivated

and enhanced. Not by secluding yourself for days together and

prosecuting mechanical studies, but by holding enlarged living

musical intercourse —frequent engagements iii choir and orchestra.

 VI. „,
/

Acquire an early and accurate knowledge of the compass of

the human voice in its four principal registers ; watch it well in the

choir ; study closely in what intervals lies its greatest power, in

which others it glides into the soft and tender.

Listen most attentively to all popular songs ; they are a mine

of the most charming melodies, and afford an insight into the
character of different nations.

Apply yourself, as soon as possible, to reading the old clefs.

You will otherwise leave untouched many treasures of by-gone tirnes.

Give early heed to the tone and character of the different

instruments ; try to impress their particular sounds on your ear.

Never neglect to hear good operas.

Reverence what is old, but have a warm heart also for what is

new. Indulge no prejudice against unknown names.

Do not judge a composition from the first hearing; what pleases

at the first moment, is not always the best. Masters require to be

studied. Much will become clear to you at an advanced age only.

In forming a judgment of compositions, distinguish between

those which belong to true art, and those which are intended merely
for the entertainment of amateurs. Abida by the first; do not
quarrel with the others.

^
" Melody" is the amateur's battle-cry, and certainly music with-

^ out melody is naught. But understand clearly what they mean by

it ; an easily comprehensible, agreeably rhythmical one, is all they
care for. But there are melodies of a different stamp, and when you
 Vll.

peruse Bach, Mozart, Beethoven, they flash before you in a thousand

different Hghts. You will, it is to be hoped, soon grov/ weary of the
thread-bare monotony of the so-called new Italian operatic melodies.

Should you succeed in combining little melodies on the piano,

that is already something'; but if they come spontaneously, not on

the piano, then rejoice still more, then stirs within you the in-

stinctive sense of music. The fingers must perform the behest of

the head, not the contrary.

When you begin to compose, do all in the head. Do not try

;>
a piece on the instrument before you have it well prepared. If

the music came from your soul, if you felt it, it will have this

influence on others as well.

Has Heaven bestowed on you a lively imagination, you will

often, in solitary hours, sit entranced at the piano, longing to express

in harmonies your inward fervour ; and the more mystical are your
feelings, while you are drawn as it were into magic circles, the more
obscure perhaps will the realm of harmony appear. These are
youth's happiest hours. But beware of giving yourself up too often

to a faculty which may insensibly mislead you to waste on phantoms

your powers and your time. The management of form, the power
of clear representation, can only be secured by the fixed stamp of.

writing. Be therefore more of a writer than a visionary.

Become acquainted betimes with the art of directing an or-

chestra. Watch good conductors frequently ; endeavour even to

accompany the direction in your own mind. This conduces to
accuracy.

Be diligent in the study of life, as well as of the arts and

sciences.

The laws of morality are also those of art. ,__

 Vlll.

By industry and endurance you will always rise higher.

'^^=j^
From one pound of iron, which costs but a few pence, many
thousand watch-springs are made, and the value is increased a

hundred thousand fold. Make faithful and profitable use of the

\i
pound which God has given thee.

Without enthusiasm nothing genuine is accomplished in art.

Art does not exist for the acquisition of riches.- Aim ever at

becoming a greater and greater artist ; everything else comes to

you of itself.

Only when the form grows clear to you, will the spirit become
so too.

Perhaps it is genius alone that understands genius.

Some one asserted that a perfect musician ought to be able to

see, as if before him, at the very first hearing, the score of an

orchestral piece however compHcated. This is the greatest height

that can be conceived.

Of learning there is no end.

—Sit'^^s^l^S—
 llSii III Ml ISM «

^Ibum fur Vn Jugenb.

Revised and fingered by MM.

Professor Th. Kullak.
Melodie. Robert Schumann, Op. 68.

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Lively and in strict time.

Munter und straff.

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Sagerlzedchen.

Lively and cheerful.

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^) Die Unite Hand mtuss starker hervortreten als die rechte.
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Volkslzedchen.
Sadly.
Im klagenden Ton.

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^) Die Melodie liegt hier in der linlcen Kand,und mnss daher von dieser etwas hervorgehoben warden.

6874
12

The Merry Peasant Jrohlicher Jiandmann,

returning from work. von der Arbeit zuruckkehrend.

Cheerful and lively.

Frisch und munter.

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a,, The Slur below the Stave gives the Rhythm better than that above. The fingering refers to the former
b, The right hand part is here only an accompaniment and must therefore be played more softly than that of the left hand.

a, Di»i Rifthmus entspricht die unter deni System angegehene Bogenfiihrung besser, al.t die dariiber stehende . Die Fingersetzung bezieht
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5874
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J^tczlianisch.
Scherzoso.
Schalkhaft.

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May, charming Mayj Mai, lieber Mai, _
Soon will dawn with cheering ray! Bald bist du wieder da!

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To be played softly and evenly.

Leise und sehr egal zii spielen.

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Jr ilhlzngsgesang.
With expression, m.m. J.= se.

Innig zu spielen.
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a) I consider the slurs enclosed between brackets C i mark the rhythm better.
Vie in Ci eingeschlossene Bogenfiihrung ziehe ich vor.
5874
 21

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Xleiner Mo rgenw underer.
Bold and briskly.
Frischund krafti^.

17.

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s/)*

i ^ £ m § y'jfppf
-i.

ipr'f'P ? ^ ^^ ^^Th*

Ie
^1 iI": C
i^
P
p il

/
j^m ^ S
S
/ ^. *
fe /
*

4/5
1^ p^
45^.

^^^
^?k.

1^ g ^^ #

^^^^^^ ^ /
H-- f
*
^F f f

dim.
.^L.

'p
r 'ffyp ^ PP ^? ^[^
V

KS-y/.
 r

26
if I'g
Xandhches Xted.
mm
In moderately slow time.
Iin massigen Tein]»(>.

5^1
2
,
^
3 s
3 4 3 2
3
1
3
1
5
3
2 2
|t«
m- I I a I I Bzs:

20 P ^. ^ ^. ^ «». ^
^^
3 S
4 3

#
4 3 1 3
t 2
4
^i I
f^=qs
^
fqr
i iRf
wf
« ^
M^
S^
1^
P
mf ^ ^ *
P
AV /W

^
i
Xl^
''
»if

f.
p
^
e
t£ u
« t1»^

^
^
^
m
^
^.
•—

*
i
f^
:^

5* J ^

^. ^ ^. ^ ^. *
5874
 27

Slow and with expression. J = ss

Langsamund init Aiisdruck zu spielen.

5 4

^-^
£
ri'pi'^f
21.

'yy))' P

^p
Slower.
_L 4 5

a Langsamer.

^
w 'i g ff
g
fffV P »
p <
'g

nr #^ 5 ~K\y m I
J !> KV
*^^
5
K^^^^^fR
^
i

a tempo

i 5i
in #-± §
y ^
poco a poco cresc.
y
i=^
m
?^
# fc- fe 1^;:
f
i
4/- 4

>ga 1 ,
'
'
«^'

^^
» 5

i
I^Uj 1 1 1-

B ,;;

i^

i i is
?:
I i i-

i ^^ a little slower
Etwas langsamer.

^;^cxi'n
ITV
>^
^
i^J
j ^ jjj* .
<<
/^ "^

^
14 z.#.
li- i d d d d
r^ ' -- . ^
52
^.

6874
 28

Siundgesang.
Moderate e leg'ato. mm. J.= rg
Massig. Selir gebunden zu spielen.

.nf^f^y
fp

t ^
U1 /Ti
^
3 2

^mu
t:
3
^ ?tt^
*=*:
'^^=^ i^
^rt
^i

i
y h
:jr~j tiJT

^
.1

^^
tip^iL^
^
^
^
FJ ^
^'-g
'^^

e
3

14
^tt

JR,
1
/i*

^
F^
^
i 53
J 4
4

S ^
342
f
»

P1/
A

^
\ a
^^^3

1 1

^1 I 1/7 -i-
i^
//7 5874
 173338
29
Slower.
Zans:samer.

r^^
m- m mi m.
fp 1 2

m
cresc gff
fp.". A 2 r k -I ^
^^=^

9:j|j)lt ^-~^ m:
# J — -^ d) tz
s:

Ossia.
5874
 f

30
f 551 5§iiiIiM
Sieiierstiick,

23.
t
Staccato and with precision. m.m.J. = ioo
Kurz und bestimmt.

^.^^.
J)^}j h^jH ^
43
at
\

^ ?
y y i » ^^ y y K y ^

iS w^ 1 —a— nr— #=* ^ 5

?r
cresc.

=5|f
^
J«1 J)

y y
§4= f % ^Sl I
fct
P
^
jt
V
^
AAA A A

i ^ S t A
I

I
^>n ^
9 9 9
• • •
5"
W^
r^^ **4
i
fe

ff
:l=i

j5^
s : ^ y
^ ^^^
^
,^ e^^ ^ ^p u
?
h
5 4

3 ^

^^
.V

4£
n^ %% i li
^*
^^~ =fc#i^
# W3
3=1: 5

r<
1*
V » y

43
21 4
A 2

t ^
P ^ ^ i:

^.^i'.
^F

?
TT~t r
^=^=^
^
^ ^ J^

5874
 81
more and more softly
Nach und nach schwacher.

n V
i^ i>'m>'i
i),jii),
^ yv \ 1 P
=^F¥=^
r^
^^ ^
?

,^^^w ri^
^s^
^^
^
F
^^ ^
^^
^^^ '* #?

ry
^i» *i
^
' ^Vv^
» y^J)v vjy
If^^ ^^
43 4
softer-
>S'/?/7

i "$4*'**
21 a

u
7^7 ^ ^^ Pis:
Immer schwacher.

^
y y y

^.
^ »
i±
^.

i
5-"^ ^m ^ ^ -ii *

^=±

4 ^
^ i
)'
'•
,

=7=T^
f

^
^ ft
I ^ *^
^^'

^=^
7

t^
^^ > ^

?=r * ^y V ^P
*
h_J
yy-'-yy
— =-#
i
«4
Jl
—I i
F

5874
 511111 iif §©ii
32

^rndtehedchen.
With joyous expression.
Mit frohlichem Aiisdruek. 3 2
4 3

e ^
3*3 1 2
3 * T~~-^ 2
5 ^T /VV

^^^^i j{h ^ ! rv Is:

? ^

^
I

24 m'f

^^ j V»^ p
? 3
5
^^ -^^^M^
I

^^^^^^iJ3i^
^^ ^
^

i
y =y=f^ ^^ ^ ^ ii
Slower,
Langsamer.
i V V y

i^>

5874
 33

Poco affitato -^^^^^^^^^S^ ^^^ '^^^^ Sheater.

J-- J- • •
J--J • '~d^

AA A A

5874
 t

34

Delicately, not fast.

Nicht 8chnell,hub8ch rorzutragen.
3|5

•J I
J J lV vWW i i
•5=^

vj^'p'^n^K
^

i
o: l^^frrrr
12--

»^
$ ^^^
4
2

^
^
-6*^

12 12 i
4 1 2
p»i'''^p^P tir*

^^^
Rather slower.
Etwas langsamer
fp. /^^
1
# —
1 5

i "w^ro a
Wt^ fr^y^^ tempo

^^^^ 112

1. 1 '2
' r\

V F" ?

')\ rju>> ;
l^gg^^j^

5874
 ^ imm §®ii li mum fmn 35

Canontsches Jiiedcken.
Not fast and with deep feeling.
Nicht schnell und mit innigera Ausdruck.

i ^ftftt j^ Sfij \

pp
5874
36

^rznnerung.
Molto cantabile e nioderato.
Nicht schnell and sehr gesangvoll zu spielen
 p

f^l §f B^iilB 37

Jremder Mann,
With vig'our. m. m. J = i44.

29.
if
Stark and kraftig zu spielen.

^
/
}'^h
A
^^
ru
A

^ 1^ S5
J^
J^ I
s
'
hi hi m s
5 ^ ^ r^
1^ ^
«^E ^
^-^

,^
^f*
^Ef^
/?

^
a
H££
#

£a
*
V —

S
7^.
e ^ E^
fi?
2.

i^ 5

efl
^
*/

U
m^
4 5 3

^
p 1^ ^^
t

s
i azzj:

^/
*

'/ ='/
\
P I

3 ±^
»^ —
-
"r
3:
f
^
^
1 §
^^ P*

5874
 i

38

;^S p n ^
m m W 1^ t
A \
% 1
^~9 t I
M ^
€
•^ k ^ S
.3
^
^^
^
•

^N LI V rT ^i
'^
p
^^fel

^^-k'-
j j I

j
^^ M 3
-<9
3 S ^
*
a
^ i

i re
t^ j^ ;
^
i
'

^
^^
^T-r3^
i^^^^^

*^
^^
te^^
/a

w i
:2L
s:
i ^
^
?7>
i it A
S ^
^

r^ ^
if i'\> n 3 a ^^ -•-=-

i^^^ ^ fe
^^ ^
^ r-3:
S
^ i'is *
f

5874
 39

• ^ ^*

1 ^^ IjJ f ^ ^ ^^ ^^
A

If ^h"J 3
J
2
S ^^ 3 a
fe ^ ^ i^ i^

5874
 ^ #

40 *
*

Very slow. «

i ? &^=^
Sehr langsam.

i^
a

^M ^
w #=^
3 *^^
!> 1

30

f
I'p.

=^ 3 12
f
p-r
^ 2 ,
i
2 ^ ^^
I ?--»
S"
s s g W i a^ 12

^s ^ #—
t^-r
^^ f-
t9-r § .-! '2
=k

^ '^.

I S
-2 ll

feOm ^
4 3
1
2 XM
i?
'^'•^
2

1
3 2

^0^ -T^s:
1 2
-« a 1-

e;
ij] Ikl^ZlJ P
ST! ffflF*^ ^"^j» ^

B
O:. P
^
li?z
i 2Z!I
fefc:
V.
II

> >

f >
J^^^
a)

I
2 12 1

^^
M
a tempo
96-r
w.
^ y
f=a

~^- —
45

Bather
2 t

slower.
Etwas langsamer.
2 ^
i
^

3 4
43

2 3
^ 3-* '

5874
 41

,^ S .^^
3
2 12

W^ s
1

tempo
/rm ^^ .P i :
«r

@x
Rather slower,
Etwas langsamer.
^P

5874
42
Mf f if §©i

^^
•

Xriegslied.
With energ-y. m.m.J.=:84.
Sehr

^
kraiftig.
J .3.
4 :^ 3 4
^^^^^^
fcw=4
1
^ 31. / h:

?
s: B =^ ^^^s
#
S3
1 2
I1

^
3

^ fe.
*-^.

^ ^^
5

,^
3 4 3

a=a s ak \r
3
#*:*

I '^'iif Pf M^ *-^
%i.
*b
^
i** ^
2
I ^^ it"

^ f
*
f
h

^^^
%s. *
s
ff^T#*
««
5
3 4
1^ ^^=*^ =
1^

5874
 43

5874
44

J^hekerazade.
Slowly and tenderly.
Zienilich langsam, leise.

raw

^^ ^
i ^^~~^
^2 12 1

-S f B
2^
i ^^ i

5874
 45

a,b.c,d, The Slurs enclosed in brackets will be found to simplify the fingering materially.
Die Benutzung der in t 3 eingeschlossenen Bindelogen erleichtert din Fingersetung wesentlich.
»
5874
46

Vintag-e time, „Weinlesezeit —

Happy time. Frohliche Zeit'/^

Lively. m..m.J = i2o.

Munter. \ /^ ^^

^m ^
'

s i ^^
i'
33. ffjf
^
n'n MJ
^: %
^^ ^. ^
I

* ^.
* ^S«5. *

5874
 47

5874
48

Shema.
Slowly, with much feeling*.
Langsam. Mit innig^r Empfindung.

5874
 r

49

iiiiii
Slow and softly.

^^
Langsam. Zart. 4 5 2 1 4
4 5

k 5:
ni^ I ^ ^3
35.
i p
j
*-# #—

^S i
:z:
^-^
^ t^
^. fP^ %b. fP^ ^- fP^ ^. fp^ ^. * ^. *

^g i
2 1

VI
^
p
12
^-xj^^
w-^m-
?rffi
4
5 5

^^
5 4

^
i
fffi
i
^a
sT
•
^fET
^-^^V
4 13^

;zi

» ^. * ^.
i
* i ^
* ^. * *
®a».

^
*^^^ ^^ ^^
)^
^
4
^ .
5

kj^!]
S
</:

%
h
9 12 13

®^^ t
P
ti

s
^'^ >
^ ^ ?
i

^
* ^. * ^. * ^. *
5 4~-^ 4 ^ 5 2^1

T-G-
y-ffP3
*^
cresc.
*5t a —f— I »-» ^ d/^j ^
f
9
^ ^^^
=fif^
^t9-^
:fii
4 -a
IT
|3

^ * ^. ^ 54 ^. *
<S». ^
—
^
i

W
^4 34 4 14 1

•ffi i 5

i
^P
m^ ntard.
fe
*
r,
P*»p: 3 g^
f 7 /
1 2 1 1
CT^
S^ Z=flZ2
OOZM
12 P
3

^
fe
^.
^, ^. ^ «
*
5874
;50

Xied Stahenischer Mar in art.

Slow. Fast.
Langsam. Schnell.
4
3
1
4
}.

n
^'^ \>-tn-\ -m'_ r i
^
PP
m ^
i
B,
Sfe»
^s ^J*

f^ ^m
36. ^/

'H^\ *^ fc
g • # m
^
: J *
1 2
— =a=g s-^
f %s. /!P %/^
ik .
4 3 4
sL
V--
.?

^^ ^
3
1
4
2
3
1
4
2

f-2J+f-=J*p*^
1
3

^3
1
t
2 1

•
4
2
5
3

^M it/?j~
4
2

^ mm m^ ^
CJ'CSC. >

^ 03

^ ^^
^
^ if

^
A .
• ^ 1 ^ 1

f^
li ^ #
^^^
> vvvji vi'^-f^
i»
^P
5874
 — .

ol

2 3 J 43 3 4 2 4 s

^ ?^ ^s s #^at
^^ 1 1 5 1 1 2 1 2 3

m
^
^
g^adCTt* J. y y
m
tr cresc.
A
^ ^ ^^ ^
• •

if fp 3U

P
^ t=*
-^

^ -fiK-^
brrrrt

# #
«=4

cresc.

1^
\>*

M /Fr
^jt=it
5
^Sl
£
/
4
• . 2

,
/
} ,
1.
3 1 3 1 -j>
M*
i*
^S i*i:
^

^
^ fWi rr
.V'lJ' ^ V v^¥=jfy
i^ ^ S
i S
t ^
fp
^ ^1
cresc. _
#^ ^ tt^ ^

-^.-.
^ ^^
;i

Slower. Fast.
Langsamer Schnell 3 43
12
^
2

m>^
5

3t 4
\ t .%
^
pp
gg i £ ^ #

5874
^
#
/
^
>•
#-#
P # •
#
 52 ,S),

Matrosenlied.

37. ^ ^S
Not

Jt?3
fast.
Nicht schnell.

3:
cr=

-6^

ZT
—z:
-«-

77'
i ^ * bV
-e-^

77 • 3"^
-5^
v~» —z:

n
4
1
4 3

m.
2 2
2

^
,*
^ T^ ^3
F^ ^ t t t t 1»-r
? If

m'f /S'
g^ *-p "ST.
2 3
m ^
4 B
E
^
4 5
4 5 ~5

^ ^^4

i I
3

I
4
2

f
3?
1

it
1

^
J
--V*^

tf
k
?
^ 2
/VV,

^^
4_5

¥ ^ 2

f
//^

W f-TT^
i
i
S
^ ?
fcp
^

:^ ,b
^K ^jj^ f
I

1 . P
f^
^ TTi —z: V' —z:

-6^
^— — 9
-G-
^^it^
j»v :?^-

5874
 53

r.sn
 54
lif li f iiix

Wznterszeit.
Moderately slow.
I.
Ziemlich langsam. 2 2
5 *
2 1 3

t V\ ('/ 7 ^ 3^-f I \iVd^f 7p-C

38 i^
1 ^= —^1 2 2

'^•|/|.<-
^^if ^
^^^ t 4 5
E^
t-^-fHi
f #^

,i
'^"A
1- ^-^

2 3 12
s
^^
h^ V bfT; =S=

:^^
pr »=s ±=d ^=3=^
f 1 2
2 ?

h£n
I
i 1,
1^
1
"

J^J ., , f?i
_G

23 12
izi:

cresc.
t
> rvP-. .^

^^
'te
5
^^ 5
a=i
r
F 5- ^
3^4 I—
1.

-^ — ~-4^ 4 1 1

^
kr I
- ,
-^
— ^ —
c
/>

5874
 55

mf I

Winterszett.

II.
Slow.
Langsam.

39.

jr""j j
} ^rf
I
.
i
4

I
2 3

f
2g 2

P
W~^ ^ WJ^
5
^
.34

g
E
fc
^^ I ?^: ^ ^
sjr. 3 3#^' fy
4 'S

5874
56
With increasing animation
Nach und nach belebter.
3 4

^
4 3 1
2 1

n a
k I
tf ^,i rffl|.|J t
j
J^^ ^?E
P
^ ^^ X
S
*IN
i ^ *^-

* ^ ^S ff^.
g
1 2
^

^ ^ ^^ ^ • ! iiJ ^
jp^

Tempo I.

5874
A little slower. 57
Ein wenig langsamer.

5874
58

Xleine Juge.
Prelude.
Vorspiel

40.

58 n
 59

^^^
FUGUE. Lively, but not too fast.
FUGE. Lebhaft, doch nicht zii schnell.
14
2 —
3 "
3 n 2
3 2 5 3

'^m ^m trwf=r

^
1 4 3 2 1

5 2
2 4 1 2

^
I 2 ?
? 2 t^ ^

j7?:^'iJ-,_
p> ycr> ^^
nf Li;rxi ^ ^ ^^
"5T-
1 4 1 4 2 1

^ -5

/^/i
3 4

h.
^
prw
• . •

t^
3

7
2

y >

^I 2 4 1 4
I

12
i
4 --*'4
^ V vP ^^==^ ftp V Mp ^=y

5874
 ^

60

4
S
y1

i
4 3 2

k
a
,
34

?
2

^^3
9i
1

"3 2"
dr^
^
^^ »
i

i
w^
4
1

')
5
2

J)V hi'

^
s
^g ^

¥TTr^
• -
4 2 t

^ ^ p
y p

^^ ^^to ^^ p-

^^
^^ ff =#=»
i

^ —
V

i
-^y
V ^f—^
j^.
iv

T
V

^T^
t
i7.

^i :^=k

21
3
«
K»v ^^

2 3 2
i

5sr4
 61

^ UMfmm mm
Jfordisches Jiied.
Greeting to G- Gruss an G.

In modo populare.
Im Volkston.
G 4 D E

41.

* Hi.il
t
** fe
^w^
1 ^^^*^j ^j

w
ST

m %
^'
^
V.
'Z~n:
ft *
f'
j=^
5
'4

^m
5^*1*: f I
^
^^
rr^ l>j.
^ ^^ ^
P- ?^^
^

5??
£
^ i

'i
^: =i==
1^
=
—9-
PP
^ {9- * ^ fe
5^

^ ^^
-=^
r
aZZilL^

32
^
5874
62

Siguririer Choral.

42.

r\ 2 3 2 3 2 3 2 4

w 3 s-ff; cu:
js:

C
#21

9 1

36 ^ 1

iSh
i
?*
^/
\c/

'^ 2 2 2

i
-/O 2 1 1 2 4 B 4 3 2

XE
f r f r ^^
21

^ XE
"TT"
^
19-

r
5
r T

^ ^
2 2 2 2 4 54 /r\

^=5 zs:
3X ~Z1
;*
; f ^r f L.ff.

51f i
»—i^
i
f
5874
 63

a 2 8a
:*
Z2:

B
-t9

if^

12
3
t

1
^

2
»
^S
S
^2=?-
Z2Z

f
^
tS^

^^
4 3 2 2

JE
t^ zz:

^—e-
2 4 8
3 2
S 4

^S !» 2 a

* ^3^ f=^ JLH

41

j^^n
S^^
r
j2

TJ-
r~^

a
» 3 4
4 S
J
# #
^ ^ ^
2 3 1
-? S 'N?-
V-
r\

* ^ ZSL

^"^n
2 3

rm L,ff.
#

^^ 5
iP./r

m ^. **®». ^^.
3E
TT

5874
64

J^ylv ester lied.

In moderately slow time.
Im massigen Tempo.
*
S
^_ ? 4 S ^ -. 5 a 4
^ -5 3 I
-^ 2 2 -r ^ 2t 5 2 » ?- ^

43

^ ^r zt
P=

*•? 45

^V^ vfj^lj ^
li j^l %k

^^^^^ 2

Jv 4
3
5 3
^ 2
cresc.
k

•
i
^
'
-^

J.35i
^ y

>
3
4
3
5^3
JC li
f ^

5874
 _

The "Album for the young" otherwise called"Christ- Das „ Album fiir die Jngend" sogenannte „Weihnachtsal-
mas Album" first appeared in the year 1848. biim titat/nnt a»,s di'vi Jahrt 1848.

Schumann, alluding to it in a letter to Reinecke dat- Schumann xchnnht dariihir in einem Briefe an Reinecke

ed October eUl writes thus: rom et£2i October.

'l wrote the first pieces as a Birthday offering to my „Die ersten Siiicke schrieb ich fiir unser altestes Kind zuih
eldest daughter and added the others at subsequent in- rem Gebvrtstage nnd so kam eins >tacfi dem andern hinzu.

tervals. Es tear f/iir, a/s fitig ich noch einvial von vorn an zv com-

It seemed to me as if I were once more just begin- poniren. TJnd auch von dem c'llieren Humor werden Sie hier

ning to compose and you will even find traces of my nnd dn ho'ren-

old humour appearing every now and then? Von dfii „ Kinder sc en p.n" unterschriden sie sich durchaus.

The Album is of an entirely different character from Diese siiid Ritckspiegelungen eines Aelteren undfiir Aelte-

that of the "Scenes of Childhood'.' re, wahrend das Weihnachtsalbum mehr Vorspiegelungen vnd
The latter are recollections of an older man and Ahnungen zukunjtiger Znstande fiir Jiingere enthalt.

intended for players of maturer capacities; whereas

the Christmas Album contains innocent fancies of the

young with all their visions of the future; andisthere-

fore better adapted to the younger ones.

(See August Reissmann's^Robert Schumann" page 178.) (Vergl. August Reissmann: Robert Schumann pag. 178.)

Th. Kullak. Tn. Kullak.

5874
 V
\

CONTENTS,
PART U.

©11
(Kinderscenen)

1. Of strange countries and people Vbn fremden Ldndern und Menschen. Page 65.

2. A strange story Curiose Geschichte 66.

3. Catch me if you can Hasche - Mann 68.

4. The entreating child Bittendes Kind 69.

5. Happy enough Gluckes genug 70.

6. A momentous event JFichtige Begfibenheit. 72.

7. Revery Trdumerei. 78.

8. At the fire-side Am Kamin : 74.

9. The Knight of the hobby-horse Bitter vom Steckenpferd 75.

10. Almost too serious Fast zu ernst 76.

H. Frightening FUrchtenmachen 78.

12. Child falling asleep Kind im Einschluvimern 80.

13. The Poet speaks Der Dichter spricht 82.

 .

-65-
8

Easq Pieces far ths P'lanafortB.

Leichte Stiicke fur das Pianoforte.

m Von fremden Xdndern und Menschen

Composed in the year 1835. Robert Schumann, Op. 15.

M. M. J =dok

1.
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p V P V ^¥ p V P V fi ^
?

In the first bar in all pieces of the "Scenes of Childhood" the sign "^."is marked, but the sign ^ for taking off the Pe.
dal is given not at all, or very sparingly. It must therefore be supposed, that Schumann takes it for granted, that every
player knows how to use the Pedal correctly. In this piece for example the Pejdal may be used throughout; but must be *

changed whenever the harmony changes.

4^ In alien Nummern der„Kinderscenen" iat im ersten TaJcte durch die Bezeichnung »^<i. angedeutef,dass Pedal Gebrauch statt finden soil.
Da sick aber im weiteren Verlaufe einesjeden Stiickes das fiir den Wechsel des Pedals, resji. dcssen Ahlosung eingefuhrte Zeichen ^
entweder
garnicht, oder nur sparlich'vorfijidft, so ist anzunehmen, dass Schumann heijedeni Spieler die Kenntniss von der richtigen Behandlting
des Pedal- vnrausgesetzt hat. Beispielsweise hann dasselbe im vorliegenden Stiicke durchweg benutzt, musi aber beijeder Yeranderung
der Ear nmnie gewechselt werden.
5866
 -66 -

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11.

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0er itchier sprzcht.

M. M

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