Pianophilia

Merry Christmas

Fabulous stuff!
Thank you.

Parag

Christmas Eve Niemann treasures. Thanks so much for sharing these. Love the little Chaconne!

Your'e welcome parag and fleubis

WalterNiemann wrote:Merry Christmas

Niemann W Der gelbe Tango 1933.pdf

Niemann W op. 44, Chaconne 1917.pdf

Niemann W op. 94, Zwei Klavierstücke 1924.pdf

What a nice Christmas gift

THANK YOU !!

// Didi

You're welcome!

Dear Niemänner,

maybe some of you know that I want to collect Niemanns works to publish in the far far future an edition with Niemanns complete piano works. I use Sibelius 7 and I started three weeks ago with Der Orchideengarten. Niemann fans know in the scores are so many symbols, lines, expressions and so on that make a score very awkward to read. My question is should I add all symbols, lines, expressions and so on to the score, so that you have an Urtext edition or can I leave some hairpins (for example) out? Sometimes they are really unnecessary.
Please don't get me wrong. I know that Niemann was a very sensitive person and pianist.
My next question is about the <> symbols in later Niemann works (Die Gespensterbark, Drei Tangoimpressionen, Die Wohnung des Glücks). Are they the same as >?

I hope you can understand that it is after a certain time just annoying editing Niemann scores

Thank you for your answers!

WalterNiemann wrote:Dear Niemänner,

maybe some of you know that I want to collect Niemanns works to publish in the far far future an edition with Niemanns complete piano works. I use Sibelius 7 and I started three weeks ago with Der Orchideengarten. Niemann fans know in the scores are so many symbols, lines, expressions and so on that make a score very awkward to read. My question is should I add all symbols, lines, expressions and so on to the score, so that you have an Urtext edition or can I leave some hairpins (for example) out? Sometimes they are really unnecessary.
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I think you should definitely leave in all Niemann's markings, and I don't think anyone would buy your edition if they were left out. There are a lot of them, but when I play his works I studiously try to follow all of them. I agree that there are too many, but given the lack of recordings from Niemann's time, they provide an invaluable guide to his style of playing. The same view could also be taken of Eduard Schütt's works - he is another composer who was fastidious in his markings - but they are all needed to understand his style. It is interesting to compare the approaches of these composers to modern commercial arrangements of pop and musical theatre songs, which have barely any markings. The assumption is, I guess, that everyone playing them is to some extent cloning recordings that have been heard many times. That is why it can be a pain to accompany people singing this repertoire if I haven't heard the go-to recordings.

I would publish the edition privately because many pianists out there aren't interested in Niemann (unfortunately). You're right that the many markings are part of Niemanns very personal style, so I have to be patient and add all markings Niemann added to the sheet music. Thank you for your information on Schütt!

P.S. I ordered Niemanns Japanischer Wandbehang from the State Archive of Saxony and I hope It'll arrive soon!

Thank you for the Der Orchideengarten, Op.76 - very nice engraving.