{"id":997,"date":"2021-04-28T10:18:23","date_gmt":"2021-04-28T08:18:23","guid":{"rendered":"https:\/\/www.bach-bogen.de\/blog\/thecelloupgrade\/?p=997"},"modified":"2026-09-26T18:24:12","modified_gmt":"2026-09-26T16:24:12","slug":"robert-schumann-traumerei-op-15-n-7","status":"publish","type":"post","link":"https:\/\/www.bach-bogen.de\/blog\/thecelloupgrade\/robert-schumann-traumerei-op-15-n-7\/","title":{"rendered":"Robert Schumann, Tr\u00e4umerei op. 15, N\u00b0 7"},"content":{"rendered":"

\ud83c\udde9\ud83c\uddea Deutsch<\/strong><\/span><\/p>\n

Video<\/a> auf YouTube<\/strong><\/span><\/p>\n

Partituren f\u00fcr Violin<\/a>, Viola<\/a> und Cello<\/a><\/strong><\/span><\/p>\n

Die Tr\u00e4umerei<\/em> aus Robert Schumanns Klavierzyklus Kinderszenen<\/em> ist ein musikalisches Stimmungsbild von au\u00dfergew\u00f6hnlicher klanglicher Dichte. Ihre Wirkung entsteht nicht allein aus der Melodie, sondern aus dem subtilen Ineinandergreifen von Melodie-, Begleit- und Akkordt\u00f6nen. Gerade diese Gleichwertigkeit und fragile Wechselwirkung der einzelnen Stimmen pr\u00e4gt den besonderen Charakter des St\u00fccks.<\/span><\/p>\n

Die Tr\u00e4umerei<\/em> wird h\u00e4ufig in einer Bearbeitung f\u00fcr Streichinstrument und Klavier aufgef\u00fchrt. Dabei \u00fcbernimmt das Streichinstrument die Melodie, w\u00e4hrend dem Klavier die \u00fcbrigen Stimmen und harmonischen Funktionen zugewiesen werden. Diese Aufteilung ist zwar naheliegend, ver\u00e4ndert jedoch die innere Struktur des Originals: Die miteinander verwobenen Stimmen werden auf zwei Instrumente verteilt, und das Klavier \u00fcbernimmt dabei h\u00e4ufig nur noch eine begleitende Funktion.<\/span><\/p>\n

Die vorliegende Bearbeitung verfolgt einen anderen Ansatz: Die wesentlichen melodischen und harmonischen Elemente sollen auf einem einzigen Streichinstrument erklingen. Eine solche Solofassung stellt besondere Anforderungen an die Reduktion des originalen Klaviersatzes. Harmonietragende T\u00f6ne m\u00fcssen erhalten bleiben, w\u00e4hrend auf einige Verdoppelungen verzichtet werden kann. So enth\u00e4lt der Klaviersatz beispielsweise zahlreiche Oktavierungen, die f\u00fcr die solistische Fassung nicht notwendig sind.<\/span><\/p>\n

Auch der Ambitus wird um eine Oktave reduziert. Gleichzeitig entsteht durch die Konzentration der musikalischen Substanz auf ein Instrument wieder eine besondere klangliche Dichte. Aus spieltechnischen und klanglichen Gr\u00fcnden wurde die Tr\u00e4umerei<\/em> au\u00dferdem von F-Dur nach G-Dur f\u00fcr Cello und Viola beziehungsweise nach D-Dur f\u00fcr Violine transponiert. Dadurch k\u00f6nnen die leeren Saiten und ihre Obert\u00f6ne in die Klanggestaltung einbezogen werden.<\/span><\/p>\n

F\u00fcr die Realisierung dieser mehrstimmigen Solofassung eignet sich der Rundbogen<\/strong> in besonderer Weise. Seine flexible Haarspannung erm\u00f6glicht es, einzelne Stimmen innerhalb des Akkordgef\u00fcges deutlicher hervortreten zu lassen und zugleich weichere und klangvollere Arpeggien auszuf\u00fchren.<\/span><\/p>\n

Eine besondere Bedeutung hat dies am Ende des St\u00fccks. Der siebenstimmige Doppeldominantseptnonenakkord mit Fermate bildet einen markanten Spannungsmoment. Im originalen Klaviersatz ist dieser Akkord \u2013 anders als an mehreren vergleichbaren Stellen \u2013 nicht als Arpeggio notiert. Dadurch entsteht eine \u00fcberraschende Verdichtung gegen\u00fcber dem entsprechenden Akkord zu Beginn in Takt 6, wo er als Zwischendominante zur Tonikaparallele erscheint.<\/span><\/p>\n

Auch die drei Schlussakkorde werden ohne Arpeggio ausgef\u00fchrt. Sie bilden die aufl\u00f6sende Antwort auf den vorausgehenden Spannungsakkord und f\u00fchren nach der \u00fcberm\u00e4\u00dfigen None zu einem vers\u00f6hnlichen Abschluss.<\/span><\/p>\n

Die Bearbeitung versucht somit, die innere Mehrstimmigkeit und harmonische Spannung der Tr\u00e4umerei<\/em> auch in einer Fassung f\u00fcr ein einziges Streichinstrument erfahrbar zu machen.<\/span><\/p>\n

Michael Bach Bachtischa<\/span><\/p>\n

Wissembourg, 2021<\/span><\/p>\n

 <\/p>\n

Entdecken Sie weitere Bearbeitungen f\u00fcr Violine, Viola und Cello solo, die das Solo-Repertoire der Streichinstrumente um neue Werke ohne Klavierbegleitung erweitern, in der Music Scores-Sammlung<\/a>.<\/span><\/p>\n

 <\/p>\n

\ud83c\uddec\ud83c\udde7 English<\/strong><\/span><\/p>\n

Video <\/a>on YouTube<\/strong><\/span><\/p>\n

Scores for Violin<\/a>, Viola<\/a> and Cello<\/a><\/strong><\/span><\/p>\n

The Tr\u00e4umerei<\/em> (“Dreaming”) from Robert Schumann\u2019s piano cycle Kinderszenen<\/em> (“Scenes from Childhood”)<\/span><\/p>\n

Robert Schumann\u2019s Tr\u00e4umerei<\/em> from his piano cycle Kinderszenen<\/em> is a work of remarkable musical and tonal density. Its effect lies not only in the melody, but in the subtle interplay of melodic, accompanying and harmonic tones. It is precisely this equality and delicate interaction of the individual voices that gives the piece its distinctive character.<\/span><\/p>\n

Tr\u00e4umerei<\/em> is often performed in an arrangement for string instrument and piano, with the string instrument playing the melody while the piano provides the remaining material and harmonic support. Although this division is straightforward, it changes the inner structure of the original: the interwoven voices are distributed between two instruments, leaving the piano largely in an accompanying role.<\/span><\/p>\n

This arrangement takes a different approach: the essential melodic and harmonic elements are brought together on a single string instrument. Creating such a solo version requires a careful reduction of the original piano texture. The pitches that carry the harmony must be retained, while certain doublings can be omitted. The piano score, for example, contains numerous octave doublings that are not necessary in the solo version.<\/span><\/p>\n

The overall range is also reduced by one octave. At the same time, concentrating the musical substance on a single instrument creates a renewed sense of tonal density. For technical and tonal reasons, Tr\u00e4umerei<\/em> has also been transposed from F major to G major for cello and viola, and to D major for violin. This allows the open strings and their overtones to become part of the tonal design.<\/span><\/p>\n

The curved bow<\/strong> is particularly well suited to realizing this multi-voiced solo version. Its flexible hair tension allows individual voices within the chordal texture to emerge more clearly while also enabling softer and more resonant arpeggios.<\/span><\/p>\n

This is particularly significant at the end of the piece. The seven-note double-dominant seventh-ninth chord with fermata creates a striking moment of tension. In the original piano score, this chord is not marked as an arpeggio, unlike several comparable passages. This creates a surprising intensification in relation to the corresponding chord at the beginning, in measure 6, where it functions as a secondary dominant leading to the relative minor.<\/span><\/p>\n

The three final chords are likewise played without arpeggiation. They provide the resolving answer to the preceding chord of tension and bring the piece to a conciliatory close after the augmented ninth.<\/span><\/p>\n

The aim of this arrangement is therefore to make the inner polyphony and harmonic tension of Tr\u00e4umerei<\/em> perceptible even when the work is performed by a single string instrument.<\/span><\/p>\n

Michael Bach Bachtischa<\/span><\/p>\n

Wissembourg, 2021<\/span><\/p>\n

 <\/p>\n

Discover more solo arrangements for violin, viola and cello, created to expand the solo repertoire without piano accompaniment, in the Music Scores collection<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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Gerade diese Gleichwertigkeit und fragile Wechselwirkung der einzelnen Stimmen pr\u00e4gt den […]<\/p>\n","protected":false},"author":278,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-997","post","type-post","status-publish","format-standard","hentry","category-allgemein"],"yoast_head":"\nRobert Schumann, Tr\u00e4umerei op. 15, N\u00b0 7 the cello upgrade<\/title>\n<meta name=\"description\" content=\"\ud83c\udde9\ud83c\uddea Deutsch Video auf YouTube Partituren f\u00fcr Violin, Viola und Cello Die Tr\u00e4umerei aus Robert Schumanns Klavierzyklus Kinderszenen ist ein musikalisches | Explore insights, compositions, and developments in solo violin and cello music at the cello upgrade.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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