Schumann - Concert for cello and piano op.129


Schumann - Concert for cello and piano op.129. You can download the sheet music Schumann - Concert for cello and piano on this page. The Cello Concerto in A minor, Op. 129, by Robert Schumann was completed in a period of only two weeks, between 10 October and 24 October 1850, shortly after Schumann became the music director at Düsseldorf. The length of a typical performance is about 25 minutes.
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Cello part: 14 pages. 1382 K


Piano part: 31 pages. 3105 K


Schumann - Concert for cello and piano - Instrument part - First page Schumann - Concert for cello and piano - Piano part - First page


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The concerto was never played in Schumann's lifetime. It was premiered on 9 June 1860, four years after his death, at the Leipzig Conservatory in a concert in honour of the 50th anniversary of Schumann's birth, with Ludwig Ebert as soloist.

Written late in his short life, the concerto is considered one of Schumann's more enigmatic works due to its structure, the length of the exposition, and the transcendental quality of the opening as well as the intense lyricism of the second movement. On the autographed score, Schumann gave the title Konzertstück (concert piece) rather than Konzert (concerto), which suggested he intended to depart from the traditional conventions of a concerto from the very beginning. (It is notable that Schumann's earlier piano concerto in the same key was also originally written as a concert piece.)

Consistent with many of Schumann's other works, the concerto utilizes both fully realized and fragmentary thematic material introduced in the first movement, material which is then quoted and developed throughout. Together with the concerto's relatively short, linked movements, the concerto is thus extremely unified both in material and in character, although the work's emotional scope is very wide. Schumann's use of the same themes but in very different contexts and moods lends the cello concerto a strong sense of character development and an extended emotional arc, from its opening measures vacillating between deeply meditative and agitated to the brilliant, affirmative conclusion.

 
 
     
 
 
 
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