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SCHUMANN, Robert (1810-1856). Autograph music manuscript, sketchleaf for three works for piano, comprising on the recto 9 bars, marked 'Sostenuto molto', for the Fantasie satyrique nach Henri Herz, here titled ‘Henri Herz. Fragment satyrique’ (McCorkle Anhang F18) and a substantial draft, comprising 54 bars, marked ''Moderato', for Op.10 no.5, the Konzert-Etüden nach Capricen von Paganini, and on the verso three passages, comprising 56 bars, the first section marked 'Allegro', for Op.5 no.11, the Impromptus über ein Thema von Clara Wieck, n.d. [early 1833], on 16-stave paper, 2 pages, oblong folio (267 x 335mm), (pencil annotations, minor spotting and browning, soiling and wear to right margin, more marked to upper corner, with two tears, 25mm and 55mm), window-mounted, framed and glazed. McCorkle Verkverzeichniss: op.5 source 1e; op.10 source 1c; Anhang F18, Autograph a. Provenance: L. von Vietinghoff-Scheel, Berlin – Gise
SCHUMANN, Robert (1810-1856). Autograph music manuscript, sketchleaf for three works for piano, comprising on the recto 9 bars, marked 'Sostenuto molto', for the Fantasie satyrique nach Henri Herz, here titled ‘Henri Herz. Fragment satyrique’ (McCorkle Anhang F18) and a substantial draft, comprising 54 bars, marked ''Moderato', for Op.10 no.5, the Konzert-Etüden nach Capricen von Paganini, and on the verso three passages, comprising 56 bars, the first section marked 'Allegro', for Op.5 no.11, the Impromptus über ein Thema von Clara Wieck, n.d. [early 1833], on 16-stave paper, 2 pages, oblong folio (267 x 335mm), (pencil annotations, minor spotting and browning, soiling and wear to right margin, more marked to upper corner, with two tears, 25mm and 55mm), window-mounted, framed and glazed. McCorkle Verkverzeichniss: op.5 source 1e; op.10 source 1c; Anhang F18, Autograph a. Provenance: L. von Vietinghoff-Scheel, Berlin – Gise
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SCHUMANN, Robert (1810-1856). Autograph music manuscript, sketchleaf for three works for piano.

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SCHUMANN, Robert (1810-1856). Autograph music manuscript, sketchleaf for three works for piano. Comprising on the recto 9 bars, marked 'Sostenuto molto', for the Fantasie satyrique nach Henri Herz, here titled ‘Henri Herz. Fragment satyrique’ (McCorkle Anhang F18) and a substantial draft, comprising 54 bars, marked ''Moderato', for Op.10 no.5, the Konzert-Etüden nach Capricen von Paganini, and on the verso three passages, comprising 56 bars, the first section marked 'Allegro', for Op.5 no.11, the Impromptus über ein Thema von Clara Wieck, n.d. [early 1833], on 16-stave paper, 2 pages, oblong folio (267 x 335mm), (pencil annotations, minor spotting and browning, soiling and wear to right margin, more marked to upper corner, with two tears, 25mm and 55mm), window-mounted, framed and glazed. McCorkle Verkverzeichniss: op.5 source 1e; op.10 source 1c; Anhang F18, Autograph a. Provenance: L. von Vietinghoff-Scheel, Berlin – Gisela von der Goltz-Vietinghoff, Munich – Carl E. Scheel, New York – Alice Tully (1902-1993), New York (as given in McCorkle). This appealing and varied sketchleaf dates from the period of Schumann’s earliest fascination with the then 13-year old child prodigy Clara Wieck, whom he was to marry in 1840. The op.5 Impromptus (dedicated to Clara’s father, Schumann’s piano teacher Friedrich Wieck) and the op.10 Konzert-Etüden were both published in the course of 1833. Clara Wieck in her early years frequently performed the compositions of Henri Herz: the ‘satiric’ title of present fantasy inspired by him is however consistent with Robert Schumann’s generally hostile attitude to the composer.
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