Album for the Young (Album für die Jugend), Op. 68, was composed by Robert Schumann in 1848 for his three daughters. The album consists of a collection of 43 short works. Unlike the Kinderszenen, they are suitable to be played by children or beginners. The second part, starting at Nr. 19 ("Kleine Romanze"), is marked Für Erwachsenere (For adults; For more grown-up ones) and contains more demanding pieces.

Albumblätter (German for Album Leaves), Op. 124, is a collection of piano pieces by Robert Schumann assembled from earlier unpublished pieces after the success of the Album for the Young (Album für die Jugend), Op. 68. Originally intended to form part of a single collection entitled Spreu (English: Chaff), these pieces were published in 1853, some two years after the first collection Bunte Blätter, Op. 99.

In music, Op. 8 stands for Opus number 8. Compositions that are assigned this number include: Bartók – Two Romanian Dances Beethoven – Serenade for Violin, Viola and Cello Brahms – Piano Trio No. 1 Britten – Our Hunting Fathers Chopin – Piano Trio Finzi – Dies Natalis Korngold – Violanta Morellon – Il cimento dell'armonia e dell'inventione Schumann – Allegro in B minor Scriabin – 12 Études Op. 8 Shostakovich – Piano Trio No. 1 Sibelius – The Lizard (Ödlan), theatre score (1909) Strauss – Violin Concerto Unknown – Three Burlesques Vivaldi – The Four Seasons

Robert Schumann (; German: [ˈʁoːbɐ̯t ˈʃuːman]; 8 June 1810 – 29 July 1856) was a German composer, pianist, and music critic of the early Romantic era. He composed in all the main musical genres of the time, writing for solo piano, voice and piano, chamber groups, orchestra, choir and the opera. His works typify the spirit of the Romantic era in German music. Schumann was born in Zwickau, Saxony, to an affluent middle-class family with no musical connections, and was initially unsure whether to pursue a career as a lawyer or to make a living as a pianist-composer. He studied law at the universities of Leipzig and Heidelberg but his main interests were music and Romantic literature. From 1829 he was a student of the piano teacher Friedrich Wieck, but his hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, and he concentrated on composition. His early works were mainly piano pieces, including the large-scale Carnaval, Davidsbündlertänze (Dances of the League of David), Fantasiestücke (Fantasy Pieces), Kreisleriana and Kinderszenen (Scenes from Childhood) (1834–1838). He was a co-founder of the Neue Zeitschrift für Musik (New Musical Journal) in 1834 and edited it for ten years. In his writing for the journal and in his music he distinguished between two contrasting aspects of his personality, dubbing these alter egos "Florestan" for his impetuous self and "Eusebius" for his gentle poetic side. Despite the bitter opposition of Wieck, who did not regard his pupil as a suitable husband for her, Schumann married Wieck's daughter Clara in 1840. In the years immediately following their wedding Schumann composed prolifically, writing, first, songs and song‐cycles including Frauenliebe und Leben ("Woman's Love and Life") and Dichterliebe ("Poet's Love"). He turned his attention to orchestral music in 1841, completing the first of his four symphonies. In the following year he concentrated on chamber music, writing three string quartets, a Piano Quintet and a Piano Quartet. During the rest of the 1840s, between bouts of mental and physical ill health, he composed a variety of piano and other pieces and went with his wife on concert tours in Europe. His only opera, Genoveva (1850), was not a success and has seldom been staged since. Schumann and his family moved to Düsseldorf in 1850 in the hope that his appointment as the city's director of music would provide financial security, but his shyness and mental instability made it difficult for him to work with his orchestra and he had to resign after three years. In 1853 the Schumanns met the twenty-year-old Johannes Brahms, whom Schumann praised in an article in the Neue Zeitschrift für Musik. The following year Schumann's always-precarious mental health deteriorated gravely. He threw himself into the River Rhine but was rescued and taken to a private sanatorium near Bonn, where he lived for more than two years, dying there at the age of 46. During his lifetime Schumann was recognised for his piano music – often subtly programmatic – and his songs. His other works were less generally admired, and for many years there was a widespread belief that those from his later years lacked the inspiration of his early music. More recently this view has been less prevalent, but it is still his piano works and songs from the 1830s and 1840s on which his reputation is primarily based. He had considerable influence in the nineteenth century and beyond. In the German-speaking world the composers Gustav Mahler, Richard Strauss, Arnold Schoenberg and more recently Wolfgang Rihm have been inspired by his music, as were French composers such as Georges Bizet, Gabriel Fauré, Claude Debussy and Maurice Ravel. Schumann was also a major influence on the Russian school of composers, including Anton Rubinstein and Pyotr Ilyich Tchaikovsky.

Arabeske in C major, Op. 18 is a composition by Robert Schumann, written in 1839 when he was 29 years old. He dedicated it to Frau Majorin Friederike Serre auf Maxen, to whom he also dedicated his Blumenstück in D-flat, Op. 19. Schumann had left Leipzig for Vienna in the autumn of 1838. His relationship with Clara Wieck had reached a point of no return, as her father vehemently opposed anything that might interfere with his daughter's career as a pianist and strongly disapproved of Schumann as a possible son-in-law. Geographically yet not emotionally detached from Clara, he was able to communicate with her only through letters and in his own music. This has been proposed as an explanation for this work, which alternates passages of wistful longing with more robust, declamatory episodes.

In music, Op. 66 stands for Opus number 66. Compositions that are assigned this number include: Britten – War Requiem Chopin – Fantaisie-Impromptu Dvořák – Scherzo capriccioso Mendelssohn – Piano Trio No. 2 Myaskovsky – Cello Concerto Schumann – Bilder aus Osten (Pictures from the East), 6 Impromptus for piano 4-hands Scriabin – Piano Sonata No. 8 Strauss – Der Krämerspiegel

Blumenstück (Flower Piece) in D-flat, Op. 19, is a piano work by Robert Schumann, written in 1839. Blumenstück is a series of short, connected and thematically related episodes, of which the second forms a recurring refrain while undergoing changes in both key and mood. It is considered to reflect the amorous human activities with which flowers are associated, rather than as depictions of flowers themselves. The piece takes between six and seven minutes to play. Blumenstück was written in Vienna in January 1839; its companion piece, the Arabeske in C, Op. 18, was written in December 1838. Other works written around this time were the Humoreske, Op. 20, and the final movement of the Sonata No. 2 in G minor, Op. 22. Schumann wrote that he composed the Arabeske and Blumenstück "hoping to elevate myself to the front rank of favourite composers of the women of Vienna." In his letter of 15 August 1839 to Ernst Becker, Schumann dismissed both works as simply delicate salon pieces fit only for ladies to play; however, they both contain great beauty and are full of intimate charm. His intended fiancee Clara Wieck was in Paris, but Schumann stayed in Vienna to compose and write for the Neue Zeitschrift für Musik, for which he had moved to Vienna from Leipzig. The two pieces were published simultaneously in August 1839, although not as a set. However, in a letter of 11 August 1839 to Henriette Voigt, Schumann seems to regard them as a pair of works, as he described them together as "less important than the Humoreske". Both works were dedicated to Majorin Friederike Serre auf Maxen, the wife of Major Anton Serre, who together lent Schumann great encouragement in his romance with Clara Wieck, despite being close friends of her father Friedrich Wieck, who was implacably opposed to the marriage. Blumenstück features a falling four-note motif that Schumann had previously used to refer to Clara Wieck in Carnaval, Op. 9. Rather than in his manuscript book, Schumann sketched Blumenstück in his Brautbuch; it was offered, along with the song cycle Myrthen, Op. 25, of 1840, as a bridal gift. In a letter to Clara on 24 January 1839, Schumann wrote that he had recently completed a number of small piano pieces, with the titles: Guirlande ("variations, but not on a theme"; this could be a mistranslation of "but not on one theme", meaning "but not on a single theme") Rondolette, and "other small things, of which I have so many, and which I shall chain together prettily under the title Kleine Blumenstücke, much like one might name a series of pictures". The Blumenstück is in the form of a double theme and variations, and the Arabeske is in rondo form. It is unclear whether the first two titles refer to works that are now lost or whether they are the original titles of Blumenstück and the Arabeske respectively. It has also been suggested that both these works were originally meant to be included in the otherwise unidentified Kleine Blumenstücke.

Bunte Blätter (English: Colorful Leaves), Op. 99, is a collection of piano pieces by Robert Schumann assembled from earlier unpublished pieces after the success of the Album for the Young (Album für die Jugend), Op. 68. Upon publication the pieces were issued both as a complete set and individual pieces, the latter in differently colored covers.

Carnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834–1835 and subtitled Scènes mignonnes sur quatre notes (Little Scenes on Four Notes). It consists of 21 short pieces representing masked revelers at Carnival, a festival before Lent. Schumann gives musical expression to himself, his friends and colleagues, and characters from improvised Italian comedy (commedia dell'arte). He dedicated the work to the violinist Karol Lipiński. The work depicts Pierrot and Arlequin, two Zanni characters from commedia dell'arte. They were typically depicted as astute servants and tricksters. The Zanni came from the countryside and represented the typical "dispossessed immigrant worker".

The 24 Caprices for Solo Violin were written in groups (seven, five and twelve) by Niccolò Paganini between 1802 and 1817. They are also designated as M.S. 25 in Maria Rosa Moretti's and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini which was published in 1982. The Caprices are in the form of études, with each number exploring different skills (double stopped trills, extremely fast switching of positions and strings, etc.) Ricordi first published them in 1820, where they were grouped and numbered from 1 to 24 as Op. 1, together with 12 Sonatas for Violin and Guitar (Op. 2 and 3) and 6 Guitar Quartets (Op. 4 and 5). When Paganini released his Caprices, he dedicated them "alli artisti" (to the artists) rather than to a specific person. A sort of dedication can be recognized in Paganini's own score, where he annotated between 1832 and 1840 the following 'dedicatee' for each Caprice (possibly ready for a new printed edition): 1: Henri Vieuxtemps; 2: Giuseppe Austri; 3: Ernesto Camillo Sivori; 4: Ole Bornemann Bull; 5: Heinrich Wilhelm Ernst; 6: Karol Józef Lipiński; 7: Franz Liszt; 8: Delphin Alard; 9: Herrmann; 10: Theodor Haumann; 11: Sigismond Thalberg; 12: Dhuler; 13: Charles Philippe Lafont; 14: Jacques Pierre Rode; 15: Louis Spohr; 16: Rodolphe Kreutzer; 17: Alexandre Artôt; 18: Antoine Bohrer; 19: Andreas Jakob Romberg; 20: Carlo Bignami; 21: Antonio Bazzini; 22: Luigi Alliani; 23: [no name]; 24: Nicolò Paganini, sepolto pur troppo (to my self, regrettably buried). Ferdinand David's first edition was published by Breitkopf & Härtel in 1854. David, as editor, also issued an edition of Caprices with piano accompaniments by Robert Schumann. Another edition by David was issued in two books of 12 caprices each "mit hinzugefügter Begleitung des Pianoforte von Ferdinand David" (with additional piano accompaniment by Ferdinand David) and published by Breitkopf & Härtel (c. 1860). Unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys.

Davidsbündlertänze (Dances of the League of David), Op. 6, is a group of eighteen pieces for piano composed in 1837 by Robert Schumann, who named them after his music society Davidsbündler. The low opus number is misleading: the work was written after Carnaval, Op. 9, and the Symphonic Studies, Op. 13.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

The Symphonic Études (French: Études symphoniques), Op. 13, is a set of études for solo piano by Robert Schumann. It began in 1834 as a theme and sixteen variations on a theme by Baron von Fricken, plus a further variation on an entirely different theme by Heinrich Marschner.

C major is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. C major is one of the most common keys used in music. Its key signature has no flats or sharps. Its relative minor is A minor and its parallel minor is C minor. The C major scale is: These are less common and mostly used in jazz. Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C harmonic major and melodic major scales are: On the piano, the C major scale can be played by playing only the white keys starting on C.

Fantasiestücke for clarinet and piano, Op. 73, were written in 1849 by Robert Schumann. Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on violin or cello.

Fantasiestücke for clarinet and piano, Op. 73, were written in 1849 by Robert Schumann. Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on violin or cello.

Faschingsschwank aus Wien (Carnival Scenes from Vienna or Carnival Jest from Vienna), Op. 26, is a solo piano work by Robert Schumann. He began composition of the work in 1839 in Vienna. He wrote the first four movements in Vienna, and the last on his return to Leipzig. Eric Sams has noted that the word "Faschingsschwank" contains the letters ASCH SCHA in that order of appearance, and that Schumann used these notes in sequence as melodic material for this work. Robert Morgan has noted Schumann's use of Ludwig van Beethoven's Op. 26 as a model in this work, and also Schumann's use of musical symmetry. David Neumeyer has noted the similarity of the first section to the Valse Noble, Op. 77, No. 7 (D. 969) of Franz Schubert.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

In music, Op. 72 stands for Opus number 72. Compositions that are assigned this number include: Beethoven – Fidelio Dvořák – Slavonic Dances, Series II Klebe – Das Mädchen aus Domrémy Prokofiev – Russian Overture Schumann – Four Fugues (Vier Fugen) for piano Scriabin – Vers la flamme Strauss – Intermezzo

In music, Op. 133 stands for Opus number 133. Compositions that are assigned this number include: Beethoven – Grosse Fuge Prokofiev – Piano Concerto No. 6 Schumann – Gesänge der Frühe Shostakovich – String Quartet No. 12

Humoresque (German: Humoreske) is a genre of Romantic music characterized by pieces with fanciful humor in the sense of mood rather than wit.

In music, Op. 5 stands for Opus number 5. Compositions that are assigned this number include: Barber – The School for Scandal Beach – Mass in E-flat Beethoven – Cello Sonatas Nos. 1 and 2 Berlioz – Requiem Brahms – Piano Sonata No. 3 Chausson – Viviane Chopin – Rondo à la mazur Corelli – Twelve Violin Sonatas, Op. 5 Dvořák – Piano Quintet No. 1 G. English – Symphony No. 2 Glazunov – Symphony No. 1 Gottschalk – Le Bananier Liszt – Rondeau fantastique sur un thème espagnol Nielsen – String Quartet No. 2 Madetoja – Chess (Shakkipeli), theatre score for orchestra (1910) Rachmaninoff – Suite No. 1 Reger – Cello Sonata No. 1 Rimsky – Sadko Schoenberg – Pelleas und Melisande Schumann – Impromptus on a Theme by Clara Wieck Shostakovich – Three Fantastic Dances Sibelius – Six Impromptus, for solo piano (1893) Strauss – Gesellschafts-Walzer Stravinsky – Funeral Song Tamberg – Concerto Grosso Vivaldi – Six Violin Sonatas, Op. 5

The Three Intermezzi for piano, Op. 117, are a set of solo piano pieces composed by Johannes Brahms in 1892. They show Brahms's interest in lullaby; in particular, Brahms told a friend that they were "three lullabies of my grief". They consist of: Intermezzo in E♭ major. Andante moderato Intermezzo in B♭ minor. Andante non troppo e con molto espressione Intermezzo in C♯ minor. Andante con moto The first intermezzo is among Brahms's most popular piano compositions. It is prefaced in the score by two lines from an anonymous Scottish ballad, "Lady Anne Bothwell's Lament", translated to German by Johann Gottfried Herder:

In music, Op. 130 stands for Opus number 130. Compositions that are assigned this number include: Beethoven – String Quartet No. 13 Jongen – Mass Schumann – Children's Ball (Kinderball) (four hands)

Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən], "Scenes from Childhood"), Op. 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838.

In music, Op. 32 stands for Opus number 32. Compositions that are assigned this number include: Arensky – Piano Trio No. 1 Barber – Vanessa Beach – Gaelic Symphony Britten – Festival Te Deum Chopin – Nocturnes, Op. 32 Dvořák – Moravian Duets Elgar – Imperial March Holst – The Planets Klebe – Die Ermordung Cäsars Mendelssohn – Die schöne Melusine Nielsen – Chaconne Rachmaninoff – Preludes, Op. 32 Saint-Saëns – Cello Sonata No. 1 Schubert – Die Forelle Schumann – 4 Klavierstücke (Scherzo, Gigue, Romance and Fughette) Sibelius – The Origin of Fire (Tulen synty), cantata for baritone, male choir, and orchestra (1902, revised 1910) Sinding – Frühlingsrauschen Sinigaglia – Le baruffe chiozzotte Tchaikovsky – Francesca da Rimini

Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. Schumann claimed to have written it in only four days in April 1838 and a revised version appeared in 1850. The work was dedicated to Frédéric Chopin, but when a copy was sent to the Polish composer, "he commented favorably only on the design of the title page".

In music, Op. 76 stands for Opus number 76. Compositions that are assigned this number include: Alkan – Trois grandes études Dvořák – Symphony No. 5 Elgar – Polonia Haydn – String Quartets, Op. 76 Prokofiev – Songs of Our Days Schumann – Four Marches (Vier Märsche) for piano Stanford – Much Ado About Nothing Strauss – Die Tageszeiten

The following is a list of compositions by Johannes Brahms, classified by genre and type of work.

The Novelletten, Op. 21, is a set of eight pieces for solo piano, written by Robert Schumann in 1838. This composition is dedicated to Adolf von Henselt.

Papillons (French for "butterflies"), Op. 2, is a suite of piano pieces written in 1831 by Robert Schumann when he was 21 years old. The work is meant to represent a masked ball and was inspired by Jean Paul's novel Flegeljahre (The Awkward Age). The suite begins with a six-measure introduction before launching into a variety of dance-like movements. Each movement is unrelated to the preceding ones, except that the second, A major, theme of the sixth movement recurs in G major in the tenth movement, and the theme of the first movement returns in the finale. Eric Jensen notes that the 11th movement is appropriately a polonaise because the novel's character Wina is Polish. The last movement starts out by quoting the theme of the traditional "Großvatertanz" (Grandfather's Dance), which was always played at the end of a wedding or similar celebration. Repeated notes near the end of the piece suggest a clock striking, signifying the end of the ball. The autograph manuscript of the work is preserved in the Bibliothèque nationale de France.

In music, Op. 85 stands for Opus number 85. Compositions that are assigned this number include: Beethoven – Christ on the Mount of Olives Britten – Owen Wingrave Elgar – Cello Concerto Hummel – Piano Concerto No. 2 Mendelssohn – Songs without Words, Book VII Prokofiev – Zdravitsa Schumann – 12 Piano Pieces for Young and Older Children Sibelius – Five Pieces, Op. 85, The Flowers, for solo piano (1916–1917) Strauss – Capriccio

A piano sonata is a sonata written for a solo piano. Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Liszt, Scriabin, Prokofiev, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata, Czerny's Piano Sonata No. 1, Godowsky's Piano Sonata) or even more movements. The first movement is generally composed in sonata form.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Russian and American classical virtuoso pianist Vladimir Horowitz was a recording artist for over 60 years, beginning in 1926 on a piano roll system for Welte-Mignon, then with audio recordings, starting in 1928 for the Victor Talking Machine Company, later RCA Victor. Horowitz continued to record for a variety of record labels throughout his life. Between 1962 and 1973, he recorded for Columbia Masterworks In 1975, he returned to RCA, with which he recorded a series of live recitals. For the last years of his life, between 1985 and 1989, Horowitz recorded for Deutsche Grammophon. His final recording, with Sony Classical, was completed in November 1989, four days before his death. This final recording consisted of repertoire that he had never previously recorded. His discography contains numerous albums and compilations of works by a variety of composers. Horowitz has also appeared in several video items, most of which were produced in the later years of his life.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

The F-A-E Sonata, a four-movement work for violin and piano, is a collaborative musical work by three composers: Robert Schumann, the young Johannes Brahms, and Schumann's pupil Albert Dietrich. It was composed in Düsseldorf in October 1853. The sonata was Schumann's idea as a gift and tribute to violinist Joseph Joachim, whom the three composers had recently befriended. Joachim had adopted the Romantic German phrase "Frei aber einsam" ("free but lonely") as his personal motto. The composition's movements are all based on the musical notes F-A-E, the motto's initials, as a musical cryptogram. Schumann assigned each movement to one of the composers. Dietrich wrote the substantial first movement in sonata form. Schumann followed with a short Intermezzo as the second movement. The Scherzo was by Brahms, who had already proven himself a master of this form in his E flat minor Scherzo for piano and the scherzi in his first two piano sonatas. Schumann provided the finale. Schumann penned the following dedication on the original score: "F.A.E.: In Erwartung der Ankunft des verehrten und geliebten Freundes JOSEPH JOACHIM schrieben diese Sonate R.S., J.B., A.D." ("F.A.E.: In expectation of the arrival of their revered and beloved friend, Joseph Joachim, this sonata was written by R.S., J.B., A.D."). The composers presented the score to Joachim on 28 October at a soirée in the Schumann household, which Bettina von Arnim and her daughter Gisela also attended. The composers challenged Joachim to determine who composed each movement. Joachim played the work that evening, with Clara Schumann at the piano. Joachim identified each movement's author with ease. The complete work was not published during the composers' lifetimes. Schumann incorporated his two movements into his Violin Sonata No. 3. Joachim retained the original manuscript, from which he allowed only Brahms's Scherzo to be published in 1906, nearly ten years after Brahms's death. Whether Dietrich made any further use of his sonata-allegro is not known. The complete sonata was first published in 1935. All three composers also wrote violin concerti for Joachim. Schumann's was completed on 3 October 1853, just before the F-A-E Sonata was begun. Joachim never performed it, unlike the concertos of Brahms and Dietrich. Steven Isserlis, the English cellist and Schumann aficionado, has transcribed the F-A-E Sonata for cello and piano.

The Toccata in C major, Op. 7 by Robert Schumann, was completed in 1830 and revised in 1833. The piece is in sonata-allegro form. The work was originally titled Etude fantastique en double-sons (Fantastic Study in Double Notes), and was infamously referred to by Schumann as the "hardest piece ever written"—to this day it remains as "one of the most ferociously difficult pieces in the piano repertoire". A series of alternating chords introduce the main theme. The development features rapid unison octaves and counterpoint. There is advanced chromaticism and syncopation throughout the work. A typical performance of this piece (with the repeat sign observed) can last anywhere from six to eight minutes. Schumann dedicated the work to his friend Ludwig Schuncke, who had dedicated his Grande Sonata in G minor, Op. 3, to Schumann. It is partially based on the Czerny Toccata in C major, Op. 92, which Clara Schumann spent much of her youth practicing.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

Clara Josephine Schumann (; German: [ˈklaːʁa ˈʃuːman]; née Wieck; 13 September 1819 – 20 May 1896) was a German virtuoso pianist, composer, and piano teacher and prodigy. Regarded as one of the most distinguished pianists of the Romantic era, she exerted her influence over the course of a 61-year concert career, changing the format and repertoire of the piano recital by lessening the importance of purely virtuosic works. She also composed solo piano pieces, a piano concerto, chamber music, choral pieces, and songs. She grew up in Leipzig, where both her father Friedrich Wieck and her mother Mariane were pianists and piano teachers. In addition, her mother was a singer. Clara was a child prodigy, and was trained by her father. She began touring at age eleven, and was successful in Paris and Vienna, among other cities. She married the composer Robert Schumann, on 12 September 1840, and the couple had eight children. Together, they encouraged Johannes Brahms and maintained a close relationship with him. She gave the public premieres of many works by her husband and by Brahms. After Robert Schumann's early death, she continued her concert tours in Europe for decades, frequently with the violinist Joseph Joachim and other chamber musicians. Beginning in 1878, she was an influential piano educator at Dr. Hoch's Konservatorium in Frankfurt, where she attracted international students. She edited the publication of her husband's work. Schumann died in Frankfurt, but was buried in Bonn beside her husband. Several films have focused on Schumann's life, the earliest being Träumerei (Dreaming) of 1944. A 2008 film, Geliebte Clara (Beloved Clara), was directed by Helma Sanders-Brahms. An image of Clara Schumann from an 1835 lithograph by Andreas Staub was featured on the 100 Deutsche Mark banknote from 1989 to 2002. Interest in her compositions began to revive in the late 20th century, and her 2019 bicentenary prompted new books and exhibitions.

Night of Hunters is the twelfth solo studio album by American singer-songwriter Tori Amos, released on September 20, 2011, in the United States through Deutsche Grammophon. It is a concept album that Amos has described as "a 21st century song cycle inspired by classical music themes spanning over 400 years." She pays tribute to classical composers such as Alkan, Bach, Chopin, Debussy, Granados, Satie and Schubert, taking inspiration from their original compositions to create new, independent songs. Regarding the album's concept, she has described it as the exploration of "the hunter and the hunted and how both exist within us" through the story of "a woman who finds herself in the dying embers of a relationship." Night of Hunters is Amos's first studio album recorded using only acoustic instruments, relying solely on her vocals and classically trained piano skills, along with a variety of accompanying string and woodwind instruments, to create its classical sound. Additionally, to record this album Amos broke a nearly 15-year-long collaboration with her studio and touring bandmates, choosing to work with a variety of new musicians, including the Berlin Philharmonic's principal clarinetist, Andreas Ottensamer, and the award-winning string quartet, Apollon Musagète, while enlisting her daughter, Natashya Hawley, and niece, Kelsey Dobyns, as guest vocalists. Night of Hunters also marks the twentieth anniversary of her long-time collaboration with John Philip Shenale, who has contributed arrangements to most of her albums, beginning with her solo debut, Little Earthquakes (1992). The album is Amos's first release on a classical music label. Like her previous releases, it is available in both standard and deluxe CD formats, digital format, as well as limited edition vinyl. Amos also released an entirely instrumental version of the album entitled Night of Hunters – Sin Palabras (without words) available only to download. The main promotional single released from the album is "Carry", a variation on La fille aux cheveux de lin by Debussy.

The Variations on the name "Abegg" in F major is a piece (theme with variations) for piano by Robert Schumann, composed between 1829 and 1830, while as a student in Heidelberg, and published as his Opus 1. The name is believed to refer to Schumann's fictitious friend, Meta Abegg, whose surname Schumann used through a musical cryptogram as the motivic basis for the piece. The name Meta is considered to be an anagram of the word "tema" (Latin). Another suggestion is Pauline von Abegg. Apparently, when he was twenty years old, Schumann met her and dedicated this work to her, as witnessed in Clara Schumann's edition of her husband's piano works. The first five notes of the theme are A, B♭ (B), E, G, and G. This use of pitch names as letters was also used by Schumann in other compositions, such as his Carnaval. It is composed of: Thema (Animato) (F major) Variations: (energico, F major) (il Basso parlando, F major) (corrente, F major) (cantabile, A-flat major) (Finale alla Fantasia. Vivace, F major)

In music, Op. 82 stands for Opus number 82. Compositions that are assigned this number include: Brahms – Nänie Britten – Children's Crusade Elgar – Violin Sonata Glazunov – Violin Concerto Glière – Concerto for Coloratura Soprano Prokofiev – Piano Sonata No. 6 Reicha – 24 Horn Trios Schumann – Waldszenen Sibelius – Symphony No. 5 in E-flat major (1915, revised 1916 and 1919) Strauss – Daphne