Three Fantasiestücke, Op. 111
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Three Fantasiestücke, Op. 111
''Three Fantasiestücke'' for piano, Opus number, Op. 111, were written in 1851 by Robert Schumann. History Title ''Three Fantasiestücke'' for piano, Op. 111, composed in 1851, is one of four works by Schumann entitled . The other three are: * Fantasiestücke, Op. 12, ''Fantasiestücke'', Op. 12 (1837), eight pieces for solo piano, also based on Hoffmann's ''Fantasiestücke in Callots Manier'' * Fantasiestücke, Op. 73, ''Fantasiestücke'', Op. 73 (1849), three pieces for clarinet and piano (Ad libitum, ad.lib violin or cello) * ''Phantasiestücke'', Op. 88 (1842), for piano, violin and cello in four movements The title was inspired by the collection of letters and writings about music published in 1814–1815, ''Fantasiestücke in Jacques Callot, Callots Manier'' by E. T. A. Hoffmann, one of Schumann's favourite authors. The composer greatly appreciated the 17th-century engraver's sense of fantasy. Composition Schumann composed the Op. 111 in 1851, a few months after ...
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Robert Schumann
Robert Schumann (; ; 8 June 181029 July 1856) was a German composer, pianist, and music critic of the early Romantic music, Romantic era. He composed in all the main musical genres of the time, writing for solo piano, voice and piano, chamber music, chamber groups, orchestra, choir and the opera. His works typify the spirit of the Romantic era in German music. Schumann was born in Zwickau, Saxony, to an affluent middle-class family with no musical connections, and was initially unsure whether to pursue a career as a lawyer or to make a living as a pianist-composer. He studied law at the universities of Leipzig University, Leipzig and Heidelberg University, Heidelberg but his main interests were music and Romantic literature. From 1829 he was a student of the piano teacher Friedrich Wieck, but his hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, and he concentrated on composition. His early works were mainly piano pieces, inclu ...
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