There are many composers of whom it is said today that they had gone back in time or had composed against contemporary taste. Today, the question arises, though, as to what of value is to be extracted, rediscovered, or re-edited. Camillo Schumann (1872–1946) is one of these nearly forgotten composers. His works are still largely unknown today. Schumann’s tonal language combines the Brahmsian sound scape with the grand late romantic Liszt school. His piano pieces range even to sounds reminiscent of Rachmaninoff and are of tremendous power and virtuosity. The pronounced and inventive melody makes the works the testimony of a composer who has not yet come to the fore.
His two sonatas for clarinet and piano have hitherto remained completely unknown. This is astonishing, for they are on the level of the sonatas of Johannes Brahms, who probably contributed the most essentially to this genre.
Surfacing as a special treasure from the estate of the Saxon musicologist and collector Harald Schurz were the autographs of both clarinet sonatas, now to be published for the first time.