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HAVING been the first to defy the musty tradition of
complete indifference and mockery toward Schu-
mann’s “lost” violin concerto, a tradition set by the myste-
rious and unexplainable attitude of Joachim—having been
the first one to proclaim alone and emphatically against
all those who have been merely repeating the words of
Joachim, to the effect that the work was unworthy of the
great Schumann, without even taking the pains to go to
the Royal Museum's library in Berlin to examine the work
and see whether time and evolution have not justified a
new reconsideration towards Schumann's last opus—
Yehudi Menuhin, immediately after he had examined and
first played the photostatic copy sent him early in 1937, de-
clared the concerto of Schumann to be a great, noble,
beautiful, genuine and extraordinary work, which he con-
siders the historically missing link between the concertos
of Beethoven and Brahms.
MBNºrs spoke so fearlessly and boldly, his voice
reaching throughout the continent and over the
ocean into Europe with such compelling sincerity, that the
people and government of Germany, who had neglected
the Schumann concerto for 84 years, quickly realized the
protection and world-wide recognition of the work
through Menuhin's endorsement and enthusiasm, and
decreed that the orchestral score and parts must be with-
held until after its first performance in Germany, the date
for which was postponed and advanced four times.
Yºngp MENUHIN is now called upon by an aroused
and universal interest on the part of music lovers
everywhere to give the interpretation to the concerto with
piano and with orchestra as soon as possible, now that the
material is free for anyone to buy and perform it. It is ex-
pected that thousands of copies of the Schumann will soon
reach the hands of musicians, students and music lovers in
this country; and with outbursts of enthusiasm many of
these demanded that Menuhin immediately play this
work at his first New York recital, and thus give this
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great work its first interpretation to the public. This Schu-
mann “lost” violin concerto was first written by the great
master for violin and piano (in fact he composed the
piano part previous to scoring it for orchestra) and
Menuhin's performances of the concerto will be strictly
in accordance with the original “Urtext” edition of the
violin and piano part, identically as the composer wrote
it, of which Menuhin has the photostatic copy in Schu-
mann's own handwriting. Later in the season on January
27 and 28, Menuhin will perform the Schumann Concerto
with the New York Philharmonic Orchestra, Georges
Enesco conducting.
THE American premiere orchestral performance will
take place with the St. Louis Symphony Orchestra
on December 23rd and repeated on the 26th. This will
necessitate Menuhin's giving up his six days of holiday
during Christmas Week, which he had planned to spend
with his family in New York, and make the special trip
to St. Louis and back to New York in order to redeem his
promise to Conductor Golschmann of the first perform-
ance with orchestra in America, which could not be ful-
filled, as originally scheduled, on November 13th, due to
the aforementioned postponements by the German gov-
ernment of the first performance in Germany.
HILADELPHIA will hear the Schumann when
Menuhin appears with the Philadelphia Orchestra on
January 21 and 22, and Boston with the Boston Sym-
phony on February 4 and 5. In addition to New York,
the following cities in America, amongst those yet to be
visited by Menuhin, will hear the Schumann Concerto
with piano accompaniment, viz. Philadelphia, Chicago,
Cincinnati, Cleveland, Rochester, Pittsburgh, Buffalo,
New Haven, Syracuse, and Washington.
IN Europe Menuhin will play the Schumann, Brahms and
Mendelssohn concertos at each of his orchestral ap-
pearances in London, Paris, Amsterdam and the Hague.
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THE MARVELOUS VIO LIN CONCERTO BY
ROBERT SCHUMANN
Composed September 21—October 3, 1853
Last Opus
Concerto in D minor by Robert Schumann in 3 Movements
First Movement
— In Kraftigen nicht zu Schnellen tempo
(Energetically but not too fast)
Second Movement—Langsam
(Slowly)
Third Movement — Lebhaft doch nicht schnell
(Lively but not fast)
AST July 13 Yehudi Menuhin received a two-word
W cablegram from Germany “SCHUMANN ALRIGHT.”
Behind these anxiously awaited glad tidings is a long
and dramatic tragedy of Schumann's last frustrated hopes, his
last melancholic although clear days, and finally the shrouded
and haunted dark spirits which swallowed the mind and body
of one of the greatest Masters of music of all time!
Schumann composed a great and stirring violin concerto,
romantic and lyrical in nature, in the very last days of his life
while his mind was still sound, his heart gay but earnest, and
his inventive genius ablaze—between September 21 and October
3, 1853. He hoped and craved and pleaded with Joachim, who
was the greatest violinist of his time, to play it in public that
very same season. But the latter seems to have taken too much
time to understand and master the great work, and at the same
time Schumann's mind rapidly sank into melancholia and men-
tal illness from which he never recovered.
A mystery is shrouded around Joachim's decision not to play
it or edit it even after, or perhaps because of, the Master's sud-
den illness and death. A mystery is also shrouded around the
will of Joachim and the decision of his heirs that the Schumann
concerto was not to be played or published until 100 years after
the death of Schumann, which would mean the year 1956!
Joachim died in 1907, and in the same year the Schumann con-
certo was entombed with his other personal documents in the
Berlin Staatsbibliothek. Not until the year 1956 was the con-
certo to be opened! Thanks only to the indomitable efforts of a
great admirer of Schumann, who is also a serious and respon-
sible publisher of music, Herr Wilhelm Strecker, the head of
B. Schott's Sohne of Mainz, Germany, and thanks to the un-
bounded enthusiasm and encouragement constantly given him
this summer by Yehudi Menuhin, an immediate resuscitation
and restoration of a great work of Schumann, his last opus, will
be vouchsafed to our generation of music lovers. And, inci-
dentally, with the discovery of the Schumann concerto, a new
light will be thrown on another great, or greater, classical violin
concerto, the Brahms famous and immortal concerto, which
drank deeply from the hitherto unknown and buried Schumann
Concertol
>k >k >k
ARLY in 1937, Yehudi Menuhin received from Germany
a photo-copy of a manuscript of a violin concerto for
violin and piano by Robert Schumann, sent him with the
request that he express his opinion about the concert-worthiness
of the composition. When Menuhin read through the manu-
script, his eyes were glowing and his enthusiasm knew no
bounds. He had been recently working seriously on Schumann's
glorious Phantasie opus 131, also composed in 1853 for violin
and orchestra, but ahead of the concerto. Menuhin had just
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reached the decision to restore the Urtext (original text) edition
of the Phantasie in his concerts this current season when the
concerto manuscript arrived from Germany. The concerto again
vindicated Menuhin's belief in the utter soundness of mind and
integrity of inventive genius of Schumann when he wrote the
Phantasie in 1853 and his famous Sonata in D minor opus 121
in 1851. Menuhin always protested against licentious remarks
made by Performers, Conductors and Composers who, while
casting their reflections upon the sanity of Schumann, allowed
themselves the right to mutilate through revisions and editions
the inspired compositions of the great Master!
Wº. struck Menuhin even more glaringly, is the extra-
ordinary thematic similarity of the Brahms concerto to
this discovered Schumann concerto. He read and sang it to him-
self and then drafted his sister Hephzibah to the piano to accom-
pany him. They played it over and over again the whole day!
Menuhin saw in it real inspired Schumann music, genuine, sor-
rowful, romantic, mature and lyrical music, such as Schumann
knew how to write. Then they took out the old Brahms concerto
and played it through again. What strange similarities, and
what glorious and gigantic contrasts, true Schumann and true
Brahms, yet so related by blood ties. . . . The Brahms concerto
already having reached its immortal niche in the firmament of
classical music, the other, the older work, still dead and buried
in heaps of hidden manuscripts of Joachim since 1907, never
published or played in public, the public for whom Schumann
wrote it, and gave it to Joachim in the year 1853!
On October 13, 1853, the manuscript was rushed alive out of
the warm and trembling hands of Schumann who had just com-
pleted copying the last orchestral parts. He did not want to lose
one minute's time, hoping thus that he might present it in public
that very same musical season in Dusseldorf, with Joachim play-
ing the violin and Schumann himself accompanying him at the
head of the Dusseldorf symphony orchestra whose conductor he
was until then.
Realizing the great value of the Schumann manuscript,
Yehudi Menuhin sat down and wrote a long letter in German
to Herr Strecker in Mainz, expressing his happiness at the dis-
covery, asking the latter to write him at once more details and
explanations why it cannot be published or played, pleading
that Herr Strecker do his utmost to obtain the rights to pub-
lish the work, and offering to play the work everywhere this
coming season, thus restoring the honor of Schumann's memory.
One more thing Menuhin asked: “I ASK NO SPECIAL
RIGHTS OR MONOPOLIES, LET ANYONE PLAY IT
WHO REALIZES THE GREATNESS OF THE WORK. BUT,
IT MUST, IT MUST REMAIN PURE SCHUMANN,
EXACTLY AS IT LEFT THE HANDS AND SOUL OF THE
GREAT MASTER, NO HYPHENS, NO MUTILATIONS” ...
\
HEN Herr Strecker received the letters from Yehudi
Menuhin he was even more inspired, and he determined
to surmount, if only possible, all human, legal and financial
obstacles which threatened to keep the great concerto buried at
least 20 more years. The cablegram “SCHUMANNALRIGHT”
with the letters that followed meant that successful agreements
had been concluded with Prof. Schunemann the Bibliothekar
of the Berlin Staatsbibliothek where the manuscript is kept safe;
that the consent of Joachim's son was secured to open and pub-
lish his father's manuscript before the year 1956; that agree-
ments have been concluded with Robert Schumann's 86-year-old
daughter now living in Switzerland and with many more Schu-
mann heirs who were discovered in Germany all claiming a
share in the inheritance of their Schumann.
Very touching are the human and tragic incidents around the
history of the concerto of Schumann as revealed in the letters of
Robert and Clara Schumann as well as Joachim.
One of the great desires and passions of Robert Schumann i
the last sad and melancholic years of his life was to compose a
great violin concerto as the glorious and only violin concertos
composed by Beethoven and Mendelssohn. He attempted to
carry out this inspiration in the very twilight of his active life
when the lights and shadows intermingled. He wrote it while
the lights still fully dominated the oncoming and depressing
dark clouds. . . . Like all last born issue, the violin concerto,
composed last, was his and his wife Clara's pet and consolation,
their hope and anxiety. . . . How they loved it and how they
both hoped and craved to hear it played in public, is one of the
most touching episodes of their last frustrated joys in life. . . .
>k >k >}:
OS September 21, 1853, Robert Schumann entered into his
diary: “A piece for violin commenced. . . .” A few days
later he enters again: “I am diligently working on the violin
concerto . . . .”, and on October 1 he writes: “The concerto for
violin completed, Brahms visited us, a Genius! . . .” On Octo-
ber 3 he writes: “The concerto is completely instrumented.”
On the same day he rushed the manuscript to Joachim with the
following letter: “Here is something new. It will give you aſ
picture of a sincere earnestness behind which often reigns a
happy mood. ... Often I saw you in my phantasy when I wrote
the concerto. . . . Tell me everything, of the parts that "Unaus-
fuhrbarkeitschmekt' (are impossible to execute; literally 'smell
unperformable'). I shall keep the score four more days as the
orchestral parts must be copied. The piano transcription and the
violin part you may keep! . . .”
On October 13, 1853, Schumann writes again to Joachim:
“Here is the complete concerto; may it encourage you! . . . I
believe it is easier than my Phantasie (opus 131 composed
earlier in the same year). The orchestra too is more effective”
. . . Then, melancholically perhaps, “Oh, how happy I will be


if we can perform it at the opening concert of the new sea-
5, 2
SOfl. * © - ©
On September 30, 1853, while Schumann was writing the last
part of the Concerto, Johannes Brahms arrived from Hamburg
to visit the Schumanns. Brahms played for them his own F
sharp minor sonata, his E flat minor Scherzo, and then his G
major sonata. They all had together glorious days in the Schu-
mann home. They sang and played Lieder of Brahms, pieces of
Robert Schumann, Clara played solos, and Brahms improvised.
Joachim's attitude is baffling and remains a mystery to this
day. It is known that he considered the Concerto a grand work,
yet he put off the actual performance of the work from day to
day, from year to year. He kept on studying it and wrote about
it to Clara Schumann and other friends.
Joachim wrote many laudatory remarks about the concerto,
and must have read it over or studied seriously together with
Brahms, with whom he always collaborated on their individual
compositions. Joachim wrote to Clara Schumann on October
22, 1854: “I cannot imagine spending my time more profitably
than to study the concerto with Brahms and yourself!”...
>k >k Sk
EARING the two concertos, that of Schumann and that of
Brahms, in succession, one cannot help seeing and recog-
nizing the great influence Schumann played on Brahms.
Schumann did not understand the violin thoroughly; he
composed everything on the piano and for the piano. But,
musicians always allowed for these difficulties and overcame
the technical problems through sheer inspiration and a great
desire to carry out the deeper meanings and lofty purposes of
Schumann's music. Was it then because Joachim considered the
Schumann concerto much too inferior to that of Beethoven or
Mendelssohn, and because of the illness of Schumann and his
consequent death he could no longer collaborate with Schu-
mann to effect some necessary changes? One can understand his
reluctance to dare raise a hand on the creation, the last creation,
f his revered Master and friend; but then, why was it willed
that the composition should not be published or played in
public until 100 years after the death of Schumann?
Then, how did Brahms feel about it, if he at all had anything
o do with it? Surely Brahms’ immortal violin concerto had not
|o be ashamed of anything it might have borrowed from the
Human COnceſto. . . . . .
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Joachim wrote to Robert Schumann on November 17, 1854:
“I am now ready to play it for you. I understand it better now
than at the time I played it for you in Hanover so unworthily to
my great sorrow. It sounds so much better now. Oh, those were
glorious days when you laughed so heartily when we all
thought that the last movement sounded as if Kociusco with
Sobiesky opened a Polonaise...” Later Joachim wrote to Clara
Schumann on October 15, 1857: “Your Robert's violin concerto
we must play often together in Dresden. The last movement is so
diſficult for the violin, but I begin to master it in my fingers.
There are such glorious and wonderful passages in the first and
second movements. . . .”
Joachim is known to have suffered pains in his arms and
fingers and this, as an immediate cause, might have had some-
thing to do with his putting off the public performance of the
concerto again and again. He writes to Andreas Moser on
August 5, 1898: “Dear Moser! You ask me to give you informa-
tion about the manuscript in my possession of a violin concerto
by Robert Schumann. I cannot speak about it without deep emo-
tions, for it is the creation of the last half year of my dear
Master and friend, immediately prior to the sad outbreak of his
mental troubles. . . .” Joachim goes on describing the concerto
as an “echt Schumann'sch” (Real Schumann) work, and how
inspiring and rhythmic are many of its parts, but how difficult
and against the violin are many of its passages, and how “un-
effective” are other passages. . . .
LAs. August, Yehudi Menuhin was offered another manu-
Script of the Schumann Concerto, this time a new version
of the same concerto, but edited and revised by a noted com-
poser for “practical use” . . . asking Menuhin's opinion of this
“improved” edition. After going over this new version of the
Schumann Concerto, Menuhin immediately cabled that as far
as he was concerned he would only play the Urtext edition of
the Schumann violin concerto, which he already had in photo-
static form taken directly from the original handwritten manu-
script of the great master.
The Schumann concerto, will be played by Yehudi Menuhin
in New York, Boston, Philadelphia, St. Louis (where its
American premiere with orchestra will be given on Decem-
ber 23) London, Amsterdam, The Hague, and Paris, with their
leading Symphony Orchestras and Conductors.
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Menuhin S Opinion of The “Lost” Schumann Concerto ſº I
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