Schumann Fairy Tale Pictures Op 113 for Flute and Piano


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Schumann Fairy Tale Pictures Op 113 for Flute and Piano

Schumann Fairy Tale Pictures Op 113 for Flute and Piano

Publisher-Universal Edition
Märchenbilder op. 113
Vier Stücke für Klavier und Flöte
Henrik Wiese presents


The four pieces of Opus 113 were originally composed for viola and piano. Using the viola edition as a base, Wiese also uses the violin version as a reference in translating these pieces for flute and piano.

Remarks in his household books indicate that Robert Schumann (1810–1856) composed the Märchenbilder (Fairy-Tale Pictures) for piano and viola (or violin) op. 113 in just four days between 1st and 4th March 1851, in Düsseldorf. Schumann only gradually came to the title Märchenbilder.

The four pieces are unified by their shared opus number and keys (D minor, F major, D minor, D major), but the first edition published them in two volumes (Vol. 1: Nos. 1 and 2; Vol. 2: Nos. 3 and 4). Clearly, the Märchenbilder op. 113 do not need to be performed as a group but can be played in pairs or individually.

The present arrangement is based on the viola part. The viola’s ambitus, when transposed up an octave, matches that of the flute. Solutions from the violin part have also been used on occasion. The double stops in the second piece were, for example, already simplified in the violin version. At such points, the violin part provides a model for further simplifications in the flute part. A later, corrected edition of the first print served as the source of the current edition.

Composer-Robert Schumann

Robert Schumann (1810-1856), a renowned German Romantic composer, is celebrated for his piano music, lieder (songs), and orchestral works. His piano pieces, notably dedicated to his wife Clara Schumann, a virtuoso pianist, have gained widespread recognition. Schumann’s musical journey commenced at a young age when he began studying the piano. Influenced by the compositions of Franz Schubert and the writings of poet Jean Paul Richter, he embarked on composing his own songs.

Despite reluctantly pursuing law studies, Schumann’s true passion resided in music composition. He developed a profound connection with Clara, the daughter of his piano teacher Friedrich Wieck, and eventually overcame legal obstacles to marry her in 1840. Schumann’s compositional repertoire encompassed a plethora of piano pieces, including the notable Papillons and Carnaval and his Symphonic Studies. Expanding his horizons, he delved into orchestral compositions, creating Symphony No. 1 in B-flat Major and the Piano Concerto in A Minor.

However, Schumann’s personal life was fraught with emotional struggles and periods of mental illness. He encountered challenges in his relationship with Clara, battled severe depression, and grappled with declining mental and physical health. In 1854, he made an attempt on his own life and found solace in a private asylum in Endenich, where he spent his final years. Schumann’s legacy is a testament to his profound musical contributions and enduring influence on the Romantic period of classical music.

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