Warren Haynes's Best of Warren Haynes PDF

By Warren Haynes

ISBN-10: 1575605163

ISBN-13: 9781575605166

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In January 1838 he referred in his diary to 'the old Fantasiestiicke' (die alte Phantasiestucke). Writing to Breitkopf & Hartel on 6 February he mentioned the 'Fantasies' (Phantasieen), which he now wished to call Fata Morgana. Writing to Clara on 18 March he referred to 'a Fantasy (Phantasie) in three movements'. On 16 April he told Clara that he now intended to call the 'Fantasies' (Phantasien) by the names 'Ruins' (Ruinen\ 'Triumphal Arch' (Siegesbogen), and 'Constellation' (Sternbild), and that the whole work was to be called 'Poems' (Dichtungen) in order to distinguish it from the already published Fantasiestiicke', Op.

15 And although he never used the particular title again, quasi una fantasia is an apt description for a number of the later sonatas. Op. 101, for example, exhibits a number of the characteristics mentioned above. The nature and order of the movements is unconventional. The unusually unassertive first movement is almost crushed by the following march, which, with its obsessive dotted rhythms, cannot have been far from Schumann's mind when he was writing the second-movement march in the Fantasie.

As Plate 1 shows, it was precisely here that the first major deletion had occurred in the autograph manuscript, causing Schumann to add his instruction to the copyist. As well as completing the musical text in this way, Schumann went through the Stichvorlage adding expression marks, phrasing, dynamics and so on. Most of these markings are in ink also, but some, notably pedalling indications, are written in pencil. The third hand found in the score is that of the engraver, who pencilled in page breaks and other details of the layout for the printed edition.

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Best of Warren Haynes by Warren Haynes


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