Schumann, Robert. (1810–1856). Blumenstück für das Piano-Forte...19tes Werk. . Vienna: Pietro Mecchetti qm Carlo. [1839]. First edition. 4to. Title; 3-11 pp. Engraved folio. [PN] 3131. Scattered minor foxing, one tiny margin tear, otherwise in very fine condition. Finely bound in modern marble boards. The very first issue of this beautiful work. Hoboken 34. Hofmann, p. 51.
The title ("Flower piece") may be an allusion to a novel by Jean Paul, the pen name of Johann Paul Richter (1763-1825), whose work haunted Schumann's imagination as a young man. That Clara is also in his thoughts is suggested by the fact that Schumann threads through the work the falling four-note pattern which he particularly associated with her (as in Carnaval).
The title ("Flower piece") may be an allusion to a novel by Jean Paul, the pen name of Johann Paul Richter (1763-1825), whose work haunted Schumann's imagination as a young man. That Clara is also in his thoughts is suggested by the fact that Schumann threads through the work the falling four-note pattern which he particularly associated with her (as in Carnaval).
Schumann, Robert. (1810–1856). Blumenstück für das Piano-Forte...19tes Werk. . Vienna: Pietro Mecchetti qm Carlo. [1839]. First edition. 4to. Title; 3-11 pp. Engraved folio. [PN] 3131. Scattered minor foxing, one tiny margin tear, otherwise in very fine condition. Finely bound in modern marble boards. The very first issue of this beautiful work. Hoboken 34. Hofmann, p. 51.
The title ("Flower piece") may be an allusion to a novel by Jean Paul, the pen name of Johann Paul Richter (1763-1825), whose work haunted Schumann's imagination as a young man. That Clara is also in his thoughts is suggested by the fact that Schumann threads through the work the falling four-note pattern which he particularly associated with her (as in Carnaval).
The title ("Flower piece") may be an allusion to a novel by Jean Paul, the pen name of Johann Paul Richter (1763-1825), whose work haunted Schumann's imagination as a young man. That Clara is also in his thoughts is suggested by the fact that Schumann threads through the work the falling four-note pattern which he particularly associated with her (as in Carnaval).