BIBLIOGRAPHY AND ACKNOWLEDGEMENTS

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Ferand, Ernst Thomas. Improvisation in Nine Centuries of Western Music; an Anthology with a Historical Introduction. Köln: Arno Volk Verlag. Series: Das Musikwerk (Anthology of music), no. 12 (1961).


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audio Gees, Michael. Beyond Schumann. Challenge Classics (2013).


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Goehr, Lydia. "Improvising Impromptu, Or, What to Do With a Broken String." From The Oxford Handbook of Critical Improvisation Studies, Vol. 1. ed. George E. Lewis and Benjamin Piekut. Oxford: Oxford University Press (2016): 458480. 


Goertzen, Valerie Woodring. "Clara Wieck Schumann's Improvisations and her 'Mosaics' of Small Forms."  From Beyond Notes:  Improvisation in Western Music of the Eighteenth and Nineteenth Centuries, ed. Rudolf Rasch. Turnhout, Belgium: Brepols Publishers (2011): 154162.


Goertzen, Valerie Woodring. "Setting the Stage: Clara Schumann's Preludes." From In the Course of Performance:  Studies in the World of Musical Improvisation. Ed. Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press (1998): 237260.


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Gooley, Dana. "Schumann and Agencies of Improvisation." From Rethinking Schumann, ed. Roe-min Kok and Laura Tunbridge. Oxford: Oxford University Press, 2011.


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Hatten, Robert S. "Opening the Museum Window: Improvisation and its Inscribed Values in Canonic Works by Chopin and Schumann." From Musical Improvisation: Art, Education, and Society, ed. Gabriel Solis and Bruno Nettl.  University of Illinois Press (2009): 281295.

 

Haynes, Bruce. The End of Early Music. Oxford: Oxford University Press, 2007.


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videoaudio Leech-Wilkinson, Daniel. "Preparing to escape Utopia," from the Proceedings of the ORCiM Seminar From Output to Impact. Research Catalogue (2014).

 

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audio Rzewski, Frederic. Performance of Beethoven's Hammerklavier Sonata, Op. 106 with his own extemporized cadenzas. YouTube (2011).


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audio Scott, Anna. "Romanticizing Brahms: Early Recordings and the Reconstruction of Brahmsian Identity. Doctoral dissertation: Leiden University Repository, 2014.


Schwenkreis, Markus. Compendium Improvisation:  Fantasieren nach historischen Quellen des 17. und 18. Jahrhunderts. Basel: Schola Cantorum Basiliensis Scripa (SCBS), Volume 5 (2017).


videoaudio Slåtterbrekk, Sigurd and Tony Harrison. Chasing the Butterfly: Recreating Grieg's 1903 Recordings and Beyond  (2010).

 

videoaudio Slominski, Johnandrew. La Follia Improvisations. YouTube (2017). 


Schön, Donald A. The Reflective Practitioner: How Professionals Think In Action. Routledge, 2016.


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Twain, Mark. Autobiography of Mark Twain: The Complete and Authoritative Edition, Volume 1. Berkeley: University of California Press, 2010.


Volodos, Arcadi. Quote from the programme guide to his Meesterpianisten Series' performance that took place on March 8th, 2015.


de Vries, Claudia. "Virtuosität, Bravour und Poetik des Ausdrucks: Die Improvisatorin Clara Schumann-Wieck." Basel: Basler Jahrbuch für historische Musikpraxis Vol. XX (1996): 115122.


Wangermée, Robert. “L'Improvisation Pianistique au Début du XIXe Siècle,” in Miscellanea Musicologica Floris van der Mueren. Ghent: Drukkerij L. van Melle (1950): 227253.


[border design: perimeter from the Pracht Ausgabe of Schumann's 43 Clavierstücke für die Jugend. Leipzig, Hamburg & New York: Schubert & Comp., 1849]

I have had the great pleasure to work with Rudolf Lutz, Professor Emeritus at the Schola Cantorum Basiliensis (Basel, Switzerland), who played a very significant role in creating Playing Schumann Again for the First Time. Ruedi fulfilled the many roles of a true mentor with integrity, passion, and charm during and after our work together.  


The very next person to acknowledge is the piano restorer and music enthusiast Georg Senn. Thanks to his generosity and cameradery, Ruedi and I were always welcome in his beautiful St. Alban studio (in Basel, Switzerland) to use the Erard piano, and general merriment and many musical soirées ensued, which were a natural continuation of the working sessions Ruedi and I held there.


I am very thankful the exacting and precise supervision of the written content by Marcel Cobussen. Marcel imposed no restrictions in terms of his time as he read, re-read, and commented countless times on the materials presented here. His knowledge and experience were crucial to the process of getting this project to articulate itself. My gratitude continues to extend to Anna Scott who graciously adopted supervisional tasks at a later stage and whose critical mind and generous spirit helped this project take a final shape.


Justin Christensen edited the written text in this document with great attention to detail and sympathy for the content. In both cases, they transcended the role of editor by suggesting further reading and helping me restructure thoughts and ideas.


Markus Schwenkreis (Schola Cantorum Basiliensis) graciously met with me and read / listened to an early draft and offered important insights. His assistance was crucial in helping me find specific historical literature to contextualize my musical examples.


Martin Scherzinger found ways to articulate concepts that I was dealing with during this project's conception and helped me form a rich vocabulary to explain how improvisation in piano playing functions. His company and insights were also infused with a similar interest in pursuing a different approach to Schumann, as can be heard in his piano music that I recorded in the years 2012 to 2018.


Thank you to Casper Schipper for taking the time to tweak the graphic elements of this project.


Thank you to the Orpheus Institute (Belgium) for providing facilities, interesting colleagues, and many generous meals. Furthermore, the University of Leiden (Netherlands) supported my endeavors to attend and lecture at conferences at the University of Oxford and the Fondazione Giorgio Cini in Venice.


I am continually pleased to see how piano playing affects my immediate surroundings in a positive way. Thank you to everyone in the vicinity of my practice studio in Freiburg, Germany for enjoying pianistic practice in all its varieties of sounding glory.


Your thoughts and feedback are very welcome! Feel free to contact me at mitch [dot] bobby [at] gmail [dot] com .


Introduction

 

On Improvisation in the Nineteenth Century 

 

On Mimesis and Morphosis

 

On Rethinking the Current Performance Practice of Nineteenth-Century Music

 

On Scales of Improvisation

 

On My Improvisation Methods

 

On Sonic Signature

 

Between Listening, Forgetting, and Conceptualizing

 

Conclusion

 

Bibliography and Acknowledgements