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“Everywhere only confused combinations of figures; dissonances; passages – in short; for us torture.” – Schumann certainly did not deserve this contemporary slating. He only published the opening movement Allegro di bravura of what was originally meant to be a sonata – the other parts were apparently destroyed. Clara; who was otherwise rather reserved as far as Schumann's early works were concerned; soon incorporated this piece into her repertoire. Ernestine von Fricken; the dedicatee and with whom Schumann was still engaged at its time of composition; often played it after their separateion; even if “with quite curious expression.” Our edition is the result of a thorough revision to incorporate the latest scholarly findings.