"Sechs Fugen über den Namen BACH" - SIGNED PRESENTATION SCORE in Sammelband of Organ Works

Leipzig: Whistling. [1846]. Score to Schumann's Six Fugues on B-A-C-H, op. 60, signed and inscribed by the composer on the front wrapper to the organist, pianist, violinist, and composer Robert Radecke. He has penned (translated from the German): "To Mr. Radecke / In remembrance and with many thanks / for his excellent organ playing," and dated D[resden], February 26, 1850. 35 pp. Engraved, [PN] 410.411–416. Bound together with six further works for organ (listed in full below), including first editions of Mendelssohn's Preludes and Fugues op. 37, Liszt's Fantasy and Fugue S. 259, and further works by Liszt, Brosig and Hesse. Some internal foxing and toning to the inscription page; overall fine. Blue full-cloth with gold tooling to spine; light shelf wear; overall fine. 10.5 x 13.25 inches.

Further works bound in the following order:

Präludien und Fugen für die Orgel componirt und Herrn Thomas Attwood [...] gewidmet von Felix Mendelssohn-Bartholdy. Op. 37. Leipzig: bei Breitkopf & Härtel; London: bei Alfred Novello, [1837]. First edition. Engraved, [PN] 5823. 29 pp.

Drei Präludien und Zwei Postludien für die Orgel [...] von Moritz Brosig. Op. 11. Breslau: F. E. C. Leuckart, [n.d.]

Praeludium in G dur, Praeludium zu dem Liede o Traurigkeit, o Herzeleid, Praäludium und Fuge in A moll [...] von Moritz Brosig. Op. 12. Breslau: F. E. C. Leuckart, [n.d.]

V Orgelstücke verschiedenen Characters [...] von Adolph Hesse. Op. 81. Breslau: F. E. C. Leuckart, [n.d.]

Kirchliche Fest-Ouverture über den Choral 'Ein feste Burg ist unser Gott' von Otto Nicolai, op. 31, für Orgel oder Pedalflügel gesetzt von Franz Liszt. Leipzig: bei Friedrich Hofmeister; London: bei Ewer & Co, [1852]. Engraved, [PN] 4579. 11 pp. First edition. Liszt's arrangement for organ or pedal piano of Otto Nicolai (1810–1849)'s "Sacred Festival Overture" on the chorale Ein feste burg.

Fantasie und Fuge über den Choral 'Ad nos, ad salutarem undam' für Orgel oder Pedalflügel [...] von Franz Liszt. Leipzig: bei Breitkopf & Härtel, [1852]. Engraved, [PN] 8528. 51 pp. First edition of Liszt's fantasy and fugue for organ S. 259, pedal piano or piano four hands. Unlike some later editions, this edition includes both the organ and four-hands versions embedded in extra staves.

Together with others such as Mendelssohn and Liszt, Schumann was instrumental in reviving Bach's music in the nineteenth century. He was also one of several Romantic composers to write on the melodic theme B-A-C-H (B flat-A-C-B natural), calling his Six Fugues on B-A-C-H, op. 60, "The work which, I believe, will longest outlive my others." Schumann's only work for organ, it is a monumental composition, rich in contrapuntal invention and demonstrating Schumann's mastery of the fugue in a nineteenth-century style. The fugues were written in 1845, as Schumann's health had already begun to deteriorate. Biographer Eric Frederick Jensen writes: "... in a fragile mental state, [Schumann] must have thought it helpful as a composer to be obliged to follow the numerous rules of counterpoint required by the style he had selected; in that sense, it was as if self-imposed boundaries had been erected, and some of the freedom of thought that appeared to frighten him at the time had been removed." (Eric Frederick Jensen, Schumann, pp. 26–27.)

Robert Radecke studied at the Leipzig Conservatory and served as musical director of the Court Theatre of Leipzig beginning in 1853. Later, he became royal Kapellmeister in Berlin, as well as a successful violinist, organist, and composer.  (15598)

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