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1
Derek
Remeš
MM
Orals
Presentation
April,
2014
A
Performer's
Guide
to
Six
Studies
in
Canonic
Form
for
Pedal
Piano,
Op.
56,
by
Robert
Schumann
This
presentation
will
attempt
to
answer
the
following
questions
surrounding
Robert
Schumann's
Six
Studies
in
Canonic
Form
for
Pedal
Piano,
Op.
56:
• What
was
Schumann's
relationship
to
the
organ?
• Why
did
Schumann
write
this
set
of
canons?
• How
might
a
modern
performer
interpret
these
works
at
the
organ?
Part
1
-‐
General
Comments
Relating
to
Op.
56
Schumann
as
Organist
Organs
Relating
to
Schumann
The
History
of
Op.
56
General
Performance
Suggestions
Part
2
-‐
Specific
Comments
about
Movements
of
Op.
56
Part
1
-‐
General
Comments
Relating
to
Op.
56
Schumann
as
Organist
Opus
56,
published
in
September
1845
in
Leipzig
by
F.
Whistling,
is
dedicated
to
Schumann's
"honored
teacher
and
friend,"
Johann
Gottfried
Kuntsch
(1775-‐1855).
Kuntsch
was
Schumann's
first
piano
teacher
and
organist
at
the
Marienkirche
from
1802
to
1830,
the
largest
church
in
Zwickau.
Schumann
was
born
in
Zwickau
in
1810,
and
baptized
at
the
Marienkirche
on
June
14,
1810.
(J.S.
Bach's
student
Johann
Ludwig
Krebs
was
organist
there
from
1737-‐1743.)
Kuntsch
also
taught
piano
at
Dr.
Archdeacon
Döhner's
private
school,
where
Schumann
studied
from
1817
to
1825.
Schumann
wrote
that
Kuntsch
was
"a
good
teacher
who
2
loved
me,
but
whose
playing
was
mediocre."1
Schumann
remained
lifelong
friends
with
Kuntsch,
although
Clara
Schumann
wrote
in
1889
that
Kuntsch
had
not
been
"distinguished
enough
to
be
my
husband's
teacher."2
According
to
Jon
Laukvik,
we
do
not
know
for
certain
whether
Schumann
ever
studied
the
organ.3
Despite
this,
Schumann
gave
the
following
advice
in
the
Musikalische
Haus-
und
Lebensregeln
(conceived
in
1848
as
part
of
the
Jugendalbum
Op.
68
for
piano):
"Miss
no
opportunity
to
practice
the
organ.
No
other
instrument
avenges
itself
on
impure
and
shoddy
composition
and
playing
like
the
organ
does."4
Would
Schumann
have
written
this
had
he
no
experience
practicing
organ?
Eric
Friederick
Jensen
writes
that
Schumann
was
a
gifted
boy
soprano,
which
could
imply
regular
performances
at
the
Marienkirche
or
another
nearby
church,
likely
accompanied
by
the
organ.5
A
diary
entry
from
1841
describes
Schumann
hearing
a
Silbermann
organ
while
vacationing
in
Freiburg,
and
his
intention
to
take
lessons:
"Lest
I
forget
the
most
important
thing,
we
also
looked
[today]
at
the
outstanding
Silbermann
organ;
the
organist
preluded
and
postluded
a
D
minor
fugue
by
Bach
in
C-‐sharp
minor,
which
made
us
laugh
a
great
deal.
Clara
also
played,
and
soon
might
well
be
the
most
capable
player.
We
are
also
planning
to
take
organ
lessons
in
Leipzig."6
Does
his
comment
about
Clara
imply
that
while
he
has
some
skill
at
organ,
Clara
is
the
better
player?
The
next
entry
implies
neither
of
them
had
much
ability,
but
also
reveals
Schumann's
wit:
"We
also
played
the
organ
once
in
St.
John's
Church;
an
awful
thing
to
remember
because
we
did
no
handle
it
with
any
accomplishment,
and
in
the
Bach
fugues
Clara
could
never
get
past
the
second
entrance,
as
though
she
1
Wörner,
Karl
H.:
Robert
Schumann,
Zurich,
1949,
p.
27
2
Letter
of
28
May
1889
to
Frederick
Niecks
in
Frederick
Niecks,
Robert
Schumann
7
Ibid.
p.
91
8
Website
brochure
for
tours
of
Schumann's
home
town:
http://www.schumannzwickau.de/PDF/schumannweg.pdf
9
Gesammelte
Schriften
(Collected
Letters),
1845,
Book
2,
p.
125
4
Organs
Relating
to
Schumann
Little
is
known
of
the
organ
at
the
Marienkirche
in
Zwikau
during
the
early
19th
cenutry,
as
it
was
replaced
in
the
early
20th
century.
However,
Gottfried
Silbermann
completed
the
20-‐rank,
2-‐manual
organ
at
the
nearby
town
of
Fraureuth
in
1742.
It
remained
in
its
original
condition
at
least
until
1850,
when
small
repairs
were
made.
This
would
have
left
it
in
the
following
form
during
Schumann's
early
years,
should
he
have
ever
visited
with
Kuntsch:
Silbermann
organ
at
Fraureuth,
1742
Manual
1:
Manual
2:
Pedal
Prinzipal
8'
Gedacht
8'
Subbaß
16'
Quinta
4'
Rohrflöte
4'
Posaunenbaß
16'
Octava
2'
Nasat
3'
Tertia
2'
(1
3/5'?)
Octava
2'
Accessories:
Mixture
IV
Quinta
1
1/2'
(1
1/3')
Manual
push-‐coupler
Cornet
III
Sufflet
1'
Pedal
coupler
Quintadena
8'
Sesquialtera
Tremulant
Rohrflöte
8'
Cymbel
II
Calcantenklingel
Spitzflöte
4'
(Bellows-‐treader
bell?)
The
very
small
pedal
division
with
only
16'
may
require
use
of
the
pedal
coupler,
depending
on
the
circumstances.
The
pedal
Posaunenbaß
16'
is
the
only
reed.
There
is
a
complete
8'
principal
chorus
on
the
main
manual,
with
several
mutation
stops.
Another
nearby
organ
that
Schumann
may
have
known
is
the
Silbermann
organ
at
Ponitz,
built
in
1737.
5
Silbermann
organ
at
Ponitz,
1737
Hautwerk:
Oberwerk:
Pedal:
Bordun
16'
Principal
8'
Principal-‐Baß
16'
Principal
8'
Gedackt
8'
Posaunen-‐Baß
16'
Rohrflöte
8'
Quintadehn
8'
Octav-‐Baß
8'
Viol
di
Gamba
8'
Octava
4'
Octava
4'
Rohrflöte
4'
Accessories:
Spitz-‐flöte
4'
Nassat
3'
Calcantenglocke
Quinta
3'
Octava
2'
Tremulant
im
Octava
2'
Gemßhorn
2'
Hauptwerk
Tertia
1
3/5'
Sesquialtera
1
3/5'
Schwebung
im
Mixture
IV
Quinta
1
1/2'
Oberwerk
(drone?)
Cornett
III
Sufflöth1
'
Pedal
coupler
(added
Cymbeln
II
1884)
Vox
humana
8'
Manual
push-‐coupler
A
glockenspiel
was
added
in
1782,
and
organ
was
changed
to
equal-‐
temperament
in
1828,
the
same
year
Schumann
moved
to
Leipzig
to
study
law.
Curiously,
the
pedal
coupler
was
only
added
in
1884,
which
implies
that
the
three
original
pedal
stops
were
strong
enough
to
balance
on
their
own.
Here
we
see
a
more
developed
stop-‐list
of
the
same
Silbermann
style:
greater
variety
of
color
at
the
8'
and
4'
pitch
levels,
a
vox
humana
on
the
Oberwerk,
and
a
16'
bourdon
in
the
Hauptwerk
completes
the
principal
chorus,
with
a
secondary
chorus
on
the
Oberwerk.
Even
if
Schumann
never
visited
either
of
these
organs,
they
are
still
important
because
they
were
part
of
the
sound
world
that
Schumann
inhabited
during
his
formative
years.
After
a
year
in
Heidelberg
in
1829,
Schumann
lived
in
Leipzig
from
1830
to
1843,
when
he
was
appointed
Director
of
Composition
at
the
new
Leipzig
Conservatory,
headed
by
Mendelssohn.
However,
he
moved
to
Dresden
in
1844,
which
is
where
he
composed
Op.
56.
While
still
in
Leipzig,
Schumann
heard
Mendelssohn's
famous
all-‐Bach
organ
concert
at
the
Thomas-‐Kirche
in
1840,
and
wrote
a
review
in
the
Neue
Zeitschrift
für
Musik,
which
demonstrates
some
knowledge
of
registration
and
organ
repertoire:
After
a
short
[extemporized]
introduction,
[Mendelssohn]
played
a
Fugue
in
E-‐flat
Major,
a
noble
work,
containing
three
thoughts,
built
upon
each
other;
then
a
fantasy
on
the
chorale,
"Deck
thyself,
Beloved
6
Soul,"
[...]
then
a
grandly
brilliant
Prelude
and
Fugue
in
A
Minor,
both
very
difficult,
even
for
masters
of
organ
playing.
After
a
pause,
these
were
followed
by
the
Passacaille
in
C
Minor,
with
twenty-‐one
variations,
cleverly
intertwined
with
each
other
and
admirably
handled
in
the
registers
by
Mendelssohn;
then
a
Pastorella
in
F
Major,
[...]
closed
by
a
Toccata
in
A
Minor
with
a
humoristic
Bachian
prelude
[Likely
the
D
minor
Toccata
(and
fugue)
BWV565,
according
to
William
Little].
Mendelssohn
finished
the
concert
with
a
fantasy
of
his
own,
where
he
displayed
the
fullest
glory
of
his
art;
if
I
am
not
mistaken,
it
was
based
on
the
chorale
text,
"O
Sacred
Head
now
Wounded,"
into
which
he
afterwards
introduced
the
name
of
B
A
C
H
and
a
fugued
movement,
rounded
off
in
such
a
clearly
and
masterly
whole,
that
if
printed,
it
would
have
appeared
a
finished
work
of
art.10
Here
we
have
a
known
instance
of
Schumann
hearing
a
significant
performer
play
the
organ
in
an
important
venue.
The
Thomas-‐Kirche
organ
was
built
originally
by
Maurer
(1773),
and
minimally
altered
by
Trampeli
(1794-‐1795)
and
later
by
Mende
(after
1808).
It
had
three
manuals
and
40
stops
when
Mendelssohn
played
it
in
1840.
Could
the
disposition
for
this
organ
relate
to
the
"ideal"
registration
of
Schumann's
Op.
56?
10
Little,
William:
"Mendelssohn
and
the
Organ,"
(Oxford,
2010)
p.
430
7
Maurer
organ
at
Thomas-‐Kirche,
Leipzig
(ca.
1840)
Hauptwerk
Oberwerk
Brustwerk
Pedal
Principal
16'
Principal
8'
Misc.
Gedackt
8'
Sub
Bass
16'
Quintaton
16'
Quintaton
8'
Principal
4'
Bossaun
Bass
16'
Octav
8'
Grobgedackt
8'
Spitzflaut
4'
Clarin
Bass
4'
Portun
8'
Octav
4'
Rohrflaut
4'
Trompet
Bass
8'
Octav
4'
Gemsshorn
4'
Waldflöte
2'
Unter
Satz
32'
Quinta
3'
Quinta
3'
Siflaut
1'
Violon
Bass
16'
Octav
2'
Octav
2'
Mixture
II
Violon
Bass
8'
Mixture
VI
Zimpel
II
Mixture
Bash
8'
Scharff
II
Quinta
1
1/2'
Octave
Bass
4'
Gedeckt
Flaut
4'
Mixture
III
Viola
da
Gamba
8'
Vox
humana
8'
Cornett
IV
Cornet-‐Echo
V
The
Thomas-‐kirche
organ
looks
like
an
enlarged
version
of
the
Silbermann
organ
at
Ponitz,
described
above.
It
has
a
16'
plenum
with
two
mixtures
and
a
cornett
on
the
Hauptwerk,
a
secondary
plenum
and
cornett
on
the
Oberwerk
(with
vox
humana),
and
a
developed
pedal
with
32'
for
the
bass
gravitas
that
Bach
is
known
to
have
desired
on
this
organs.
Does
the
Baroque
aesthetic
of
Silbermann,
emphasizing
the
plenum,
contradict
the
Romantic
style
of
Schumann's
Op.
56?
Does
the
fact
that
Op.
56
was
originally
written
for
piano
oblige
us
to
avoid
any
non-‐unison
(i.e.
mutation
or
mixture)
stops?
The
following
comment
by
Schumann
is
valuable:
When
it
[the
piano]
is
equipped
with
a
pedal
board,
as
on
the
organ,
new
directions
emerge
for
the
composer,
who,
liberating
himself
increasingly
from
a
supporting
orchestra,
learns
to
maneuver
more
richly,
more
independently,
in
a
more
full-‐bodied
manner.11
11
Richter,
Klaus
Peter:
"Die
stockende
Zeit
-‐
Aspekte
Schumannschen
Kontrapunktes
in
den
Komposition
op.
56,
58
und
60
für
Pedalflügel
oder
Orgel",
in:
Musik-Konzepte,
Sonderband
Robert
Scuamnn
I,
Munich,
1981
8
It
therefore
seems
that
Schumann's
Op.
56
is
better
suited
to
the
German
Romantic
organ,
which
aims
to
imitate
the
orchestra,
as
illustrated
by
Walcker's
1833
instrument
for
Frankfurt's
Paulskirche:
Walcker's
organ
at
Frankfurt's
Paulskirche
(1833)
Manual
I
(Great)
C-‐f3
Quintfluote
5
1/3'
Pedal
I
(lower
keyboard)
Untersatz
32'
Octav
4'
C-‐d1
Principal
16'
Flûte
traversière
4'
Contrabaß
32'
Flauto
major
16'
Rohrflöte
4'
Subbaß
32'
Vioa
di
gamba
major
16'
Quint
2
2/3'
Principal
16'
Octav
8'
Octave
2'
Octavbaß
16'
Flöte
8
Mixture
V
(2')
Violon
16'
Gemshorn
8'
Posaune
8'
Quint
10
2/3'
Quint
5
1/3'
Vox
humana
8'
(free
reed)
Octav
8'
Octav
4'
Violoncell
8'
Hohlpfeife
4
Manual
III
(Swell)
C-‐f3
Terz
6
2/5'
Fugara
4'
Quintatoen
16'
Quinte
5
1/3'
Terz
3
1/5'
Principal
8'
Octav
4'
Quinte
2
2/3'
Bifra
8'
Posaune
16'
Octave
2'
Hohlflöte
8'
Trompete
8'
Waldflöte
2
Lieblich
Gedeckt
8'
Clarine
4'
Terz
(treble)
1
3/5'
Harmonica
8'
Cornettino
2'
Octav
1'
Docissimo
4'
(8'?)
Cornet
V
(10
2/3')
Spitzflöte
4'
Pedal
II
(upper
keyboard)
Mixture
V
(2')
Lieblich
Gedeckt
4'
C-‐d1
Scharf
IV
(1')
Flûte
d'amour
4'
Gedeckt
16'
Tuba
16'
Nasard
2
2/3'
Violon
16'
Trompete
8'
Flautino
2'
Principal
8'
Hautbois
8'
(free
reed)
Flöte
8'
Manual
II
C
-‐f3
Physharmonica
8'
(free
Flöte
4'
Bourdon
16'
reed)
Waldflöte
2'
Principal
8'
Fagott
16'
(free
reed)
Gedeckt
8'
Quintatoen
8'
Accessories
Salicional
8'
5
blocking
valves
Doce
8'
Tremulant
5
couplers
Walcker's
own
letter
to
the
organ
committee
concerning
disagreements
about
the
proposed
stop-‐list
summarizes
the
new
Romantic
aesthetic:
Better
insights
of
late
reject
this
tangle
of
tones
[i.e.
mixtures]
and
hold
to
that
which
makes
the
tone
pure,
clear
and
firm,
and
makes
the
unity
of
tone.
This
does
not
however
exclude
the
moderate
use
of
a
9
few
quint
and
tierce
stops
if
such
ranks
are
desired.
It
is
preferable
to
have
many
stops,
which
the
player
may
use
individually
for
the
performance
of
a
melody,
but
which
also
offer
a
rich
variety
of
character
when
used
in
combination.
The
beauty
of
an
organ
does
not
consist
merely
of
a
scream
[Geschrei],
and
least
of
all
of
a
confused
scream.
We
have
retreated
from
that.
Much
more
correctly,
it
depends
on
a
tone
of
grand
character,
I
would
even
say
holy.12
The
German
Romantic
aesthetic
therefore
depends
upon
the
following
principals:
imitation
of
the
orchestra,
gravitas
(similar
to
the
Baroque,
but
here
an
emphasis
on
many
16'
and
8'
stops,
especially
in
the
manuals,
rather
than
pedal
32'),
and
blend
rather
than
contrast.
This
style
of
organ
building
and
registration
probably
relates
more
closely
to
Schumann's
works
for
pedal
piano,
since
Schumann
stated
that
these
works
were
intended
to
imitate
an
orchestra
by
utilizing
a
variety
of
colors
(actually
textures,
since
he
was
referring
to
the
pedal
piano).
The
History
of
Op.
56
According
to
Gerhard
Weinberger,
"It
had
long
been
[Schumann's]
goal
to
obtain
complete
command
of
the
polyphonic
style,
and
he
pursued
this
goal
tirelessly.
His
demand
to
apply
the
highest
artistic
standards
in
the
creation
of
contrapuntal
forms
arose
from
a
deep,
lifelong
veneration
of
Johann
Sebastian
Bach."13
Schumann
wrote,
"With
regard
to
composition
for
organ
and
piano,
obviously
no
one
of
[Bach's]
century
can
measure
up
to
him.
Indeed,
to
me,
everything
else
appears
in
comparison
to
the
development
of
this
giant
figure
as
something
conceived
in
childhood."14
In
1850
Schumann
founded
the
Bach-‐
Gesellschaft
(Bach
Society)
to
mark
the
centenary
of
Bach's
death,
which
was
dedicated
to
publishing
the
complete
edition
of
his
works.
Schumann
also
founded
the
Neue
Zeitschrift
für
Musik,
which
he
edited
from
1834
to
1844;
its
main
purpose
was
to
promote
previously
unpublished
works,
including
music
from
the
Baroque
12
Rinck,
Christian
Heinrich:
Theoretisch-practische
Anleitung
zum
Orgelspielen
op.
21
Jacques
van
Oormerssen,
"Johannes
Brahms
and
the
19th-‐century
performance
23
Jon
Laukvik,
"Historical
Performance
Practice,"
p.
232
14
Part
2
-‐
Specific
Comments
about
Movements
of
Op.
56
No.
1
in
C
Major
-
Nicht
zu
schnell
(q
=
88)
A. Tempo
-‐
q
=
88
seems
too
fast
at
the
organ.
A
tempo
between
q
=
60-‐70
(depending
on
the
instrument,
registration,
and
acoustic)
is
better.
It
allows
the
phrases
to
be
understood
and
the
pipes
to
speak
clearly.
B. Registration
-‐
Apart
from
a
few
hairpins
(which
are
best
realized
as
slight
shadings
of
tempo
-‐
probably
not
with
the
swell
box),
the
only
dynamics
are
the
initial
and
final
piano.
Flutes
8'
and
4'
work
well
for
the
right
hand,
with
a
slightly
quieter
set
of
flutes
8'
and
4'
for
the
left
hand
on
a
different
manual,
as
a
sort
of
echo.
You
may
bring
both
hands
to
the
same
manual
at
the
second
to
last
bar,
while
slowly
closing
the
swell
box.
Pedal:
16'
bourdon
only,
or
with
an
8'
flute.
Last
bars
of
C
Major
canon:
both
hand
on
same
manual?
C. Slurs
-‐
Schumann
puts
slurs
every
bar
or
half
bar.
In
the
romantic
era,
this
usually
indicates
a
pure
legato
throughout
(although
Mendelssohn's
Sonata
IV,
Mov.
3
is
an
exception).
15
D. Ornamentation
-‐
Trills
should
begin
on
the
main
note,
as
this
was
the
common
way
of
playing
trills
in
19th
century
German,
according
to
Laukvik.24
A
Nachschlag
is
optional
here
-‐
perhaps
vary
its
use
between
hands?
No.
2
in
A
Minor
-
Mit
innigem
Ausdruck
(dotted
q
=
60)
A. Tempo
-‐
The
translation
of
"innigem"
is
"intimate,"
"heartfelt,"
or
"earnest."
B. Registration
-‐
The
lower
accompaniment
is
imitative
of
a
string
section
portato,
(slightly
detached,
under
the
same
bow
stroke)
and
should
combine
soft
8'
flutes
and
strings,
in
line
with
the
German
Romantic
organ
aesthetic
of
blending
many
8'
stops.
The
upper
stave
should
be
played
on
a
different
manual
(perhaps
with
the
accompaniment
coupled
in),
with
additional
8'
flues
(or
4'
too).
Pedal
should
have
soft
16'
and
8'
flues,
perhaps
with
the
accompaniment
coupled
to
pedal.
24
Laukvik,
Jon:
"Historical
Performance
Practice"
Vol.
2
(2010)
p.
320
16
Both
hands
can
go
to
a
different
manual
at
the
pickup
to
m.12,
18,
27
and
34
(perhaps
with
left
hand
figures
on
a
different
sound?).
The
pickup
to
m.23
works
well
using
the
initial
registration.
An
echo
effect
can
be
used
in
m.38,
going
to
the
initial
accompaniment
sound
in
m.39,
with
the
swell
completely
shut:
17
The
pickup
to
m.52
can
change
sounds
to
a
softer
registration,
while
the
last
two
bars
can
be
done
in
the
following
manner:
One
might
also
sustain
the
solo
flute
melody
above,
holding
each
pitch
as
long
as
possible,
as
this
is
one
of
the
only
places
in
Op.
56
that
Schumann
indicates
the
use
of
the
sustain
pedal.
A
harp
stop
could
also
be
appropriate.
The
cresc.
and
dim.
indications
are
best
realized
with
the
swell
box,
as
they
indicate
a
gradual
change
over
the
span
of
a
few
bars.
No.
3
in
E
Major:
A. Tempo
-‐
q
=
100
at
"Etwas
schneller"
is
probably
too
fast.
q
=
80-‐85
allows
the
accompaniment
figure
to
avoid
sounding
hurried.
At
this
slower
tempo,
the
initial
18
"Andantino"
could
be
taken
slightly
slower
to
make
the
change
in
tempo
as
pronounced
as
the
initial
indications.
B. Registration
-‐
The
fp
at
the
beginning
can
be
done
with
a
quick
motion
of
the
swell
box.
The
canonic
voices
&
accompaniment
can
be
registered
as
indicated
above.
The
quarter-‐note
pickup
to
m.13
in
the
alto
voice
can
be
taken
on
the
new
sound.
Perhaps
a
free
reed
is
in
line
with
the
German
Romantic
organ?
As
this
stop
is
usually
not
available
on
American
organs,
a
soft
8'
reed
could
substitute.
No.
4
in
A-flat
Major:
A. Registration
-‐
The
left
hand
accompaniment
figure
is
another
string
section
portato
effect,
best
registered
with
many
soft
8'
flues,
perhaps
coupled
to
the
right
hand
canonic
voices,
which
would
have
additional
8'
and
4'
flues.
19
The
transition
to
"Etwas
bewegter,"
or
"somewhat
quicker,"
is
nicely
prepared
by
the
addition
of
a
soft
reed
in
m.19
after
a
complete
break
in
sound
(but
not
too
long).
This
makes
a
nice
orchestra
effect
if
the
reed
is
in
an
enclosed
swell
box:
Be
sure
to
leave
off
the
manual
to
pedal
coupler
in
m.20
to
avoid
obscuring
the
bass
line...
...perhaps
leaving
the
Great-‐Pedal
coupler
off
until
the
preparation
to
the
climax
in
m.43,
as
the
swell
box
is
completely
opened:
20
A
slight
breath
before
the
second
8th
note
of
m.57
facilitates
the
subtraction
of
stops,
and
both
hands
can
move
to
a
quieter
manual
(swell)
in
m.58
B. Ornamentation
-‐
The
trills,
notated
in
two
ways
in
this
piece,
are
always
before
the
beat,
and
are
probably
intended
to
be
performed
the
same
way:
21
No.
5
in
B
Minor:
A. Registration
-‐
Both
hands
should
begin
on
the
same
sound,
with
the
left
hand
beginning
on
a
new
sound
in
m.3
(perhaps
a
soft
8'
reed
with
additional
flues).
When
the
left
hand
has
non-‐canonic
material,
it
should
share
the
same
manual
as
the
upper
voice,
as
in
m.9:
The
sfp
can
be
achieved
through
a
slight
delay
before
and
after
the
beat,
rather
than
through
the
use
of
the
swell
box.
22
Both
hands
can
go
to
the
primary
manual
in
m.75
(see
below),
with
the
left
hand
returning
to
the
canonic
voice
in
m.80.
On
the
last
chord,
only
the
bottom
f#
should
play
on
the
solo
reed
sound,
if
it
can
be
reached.
This
completes
the
canon
with
the
corresponding
sound
for
the
lower
voice.
23
No.
6
in
B
Minor:
A. Registration
-‐
The
voices
on
the
lower
stave
can
be
taken
on
a
second
manual,
coupled
to
the
upper
sounds,
but
with
an
additional
8'
string
stop
to
help
the
clarity
of
pitch
in
the
lower
register.
The
fughetta
(m.17-‐31)
can
be
taken
on
a
quieter
sound
throughout,
again
playing
main
note
trills.
The
pickup
to
m.33
can
return
to
the
original
registration
or
a
slightly
louder
sound,
perhaps
beginning
a
gradual
crescendo
by
opening
the
swell
box
(even
though
this
is
not
indicated).
24
The
last
9
measures,
beginning
with
the
dominant
pedal
in
the
bass,
should
subtract
stops
and
close
the
swell
box.
The
final
chord
may
be
rolled
on
the
organ,
even
though
this
is
pianistic
technique,
probably
beginning
with
the
pedal
and
progressing
to
the
top
of
the
chord:
Ultimately,
many
of
the
comments
in
Part
2
are
subjective.
My
hope
is
that
my
experience
preparing
these
works
for
performance,
combined
with
some
knowledge
of
Schumann
relationship
to
the
organ
and
the
aesthetic
of
registration
during
Germany
in
19th
century
have
yielded
some
insights
that
might
be
valuable
to
other
performers.
I
have
tried
to
keep
the
comments
of
a
general
enough
nature
that
they
might
be
transferred
to
a
variety
of
instruments.
I
hope
this
essay
will
help
other
performers
interpret
Schumann's
pedal
piano
works
at
the
organ
in
an
authentic
and
artistic
way.