Ludvig Norman (1831−1885)

Fünf [5] Tonbilder im Zusammenhange

opus 6

Print

1. Allegro ma non troppo
2. Andantino quasi allegretto — Poco più moto — Tempo I
3. Vivace — Un poco più lento
4. Andante cantabile
5. Allegro molto

  • Year of composition: 1851
  • Work category: Violin and piano
  • Dedication: '5 Tonbilder im Zusammenhange für Pianoforte und Violine componirt und seinem Freunde Ruppert Becker zugeeignet'
  • Duration: 16 min
  • Detailed duration: 16' (Meng - Piksa)

Examples of printed editions

Levande musikarv/Swedish Musical Heritage. Emended edition nos. 1715-1719, Stockholm 2000
Leipzig, Fr. Kistner (2017), publ. 1854

Location for score and part material

Musik- och teaterbiblioteket

  • Location autograph: Musik- och teaterbiblioteket

Literature

Bagge, Julius: Förteckning öfver Ludvig Normans tonverk, upprättad af Julius Bagge [List of Ludvig Norman's compositions, established by Julius Bagge]. Stockholm, 1886, p. 4
Sanner, Lars-Erik: Ludvig Norman. Studier kring en svensk 1800-talsmusiker med särskild hänsyn till hans konsertverksamhet och ungdomskompositioner, (Licentiatavhandling i ämnet Musikforskning [licentiate diss. in musicology]), Uppsala 1955, pp. 168-170

Description of work

1. Allegro ma non troppo E minor 6/8, 33 bars, E major /:8 bars:/:16 bars:/,16 bars, E minor, 32 bars
2. Andantino quasi allegretto E major 4/4 (C), /:8 bars:/:16 bars:/, 1 bar, poco più moto, A minor, /:8 bars:/:10 bars:/, 12 bars, Tempo I E major, 28 bars
3. Vivace C major 3/4, /:8 bars:/, 18 bars, /:8 bars:/, 12 bars:/, 29 bars, un poco più lento, 31 bars
4. Andante cantabile A minor 2/4, 89 bars
5. Allegro molto E major alla breve, 168 bars

Work comment

Violinist Ruppert Becker (1830-1904) was the son of Ernst Adolph Becker, one of Robert Schumann's longtime friends. In 1852, Ruppert Becker came to Düsseldorf to succeed Wasiliewski [sic; probably referring to Wilhelm Joseph von Wasielewski (1822-1896)] as concertmaster. He also became Schumann's confidant and often visited his home to play Schumann's works for violin and piano. In his diary (1853), Becker has even recounted Schumann's experiences of auditory hallucinations, which could even consitute whole compositions. /Klas Gagge