Most of Schumann's piano works were written by 1839 during his Leipzig period, but this collection was composed around 1848 during his Dresden period. While his previous major works were conceived as artistic compositions, this collection initially comprised a few pieces prepared as a birthday gift for his eldest daughter, Marie, to which he successively added more, naming it "Christmas Album." It has since held an important position as a pedagogical work for children.

No. 1: Melody / op. 68-1 "Melodie"

A study in contrasting a simple melody with a contrapuntal accompaniment.

No. 2: Soldier's March / op. 68-2 "Soldatenmarsch"

Briskly and energetically. A study in dotted rhythms and chords.

No. 3: Humming Song / op. 68-3 "Trallerliedchen"

Not fast. A study in playing both the melody and accompaniment with a single hand, for both the right and left hands.

No. 4: A Chorale / op. 68-4 "Ein Choral"

A study in four-part polyphony. Ensure all voices can be followed by ear.

No. 5: Little Piece / op. 68-5 "Stückchen"

Not fast. This could be considered a review of Nos. 1 and 3. The left-hand leaps extend to an octave, making it more challenging than the previous two pieces.

No. 6: Poor Orphan / op. 68-6 "Armes Waisenkind"

Slowly. Building upon the previous exercises, this piece features a melody with accompaniment, a counter-melody, and a distinct character as a composition. Formally, it is in ABA ternary form, repeated twice. In the repeated B section, for the first time in this collection, there is an indication "Langsamer" (slower), causing a tempo change mid-piece.

No. 7: Hunter's Song / op. 68-7 "Jägerliedchen"

Briskly and cheerfully. Germanic peoples generally enjoy hunting, and composers like Mendelssohn and Schubert also wrote many "hunting songs," most of which are in 6/8 time. The opening is in unison, and this ascending fourth figure, favored by Schumann, likely imitates a horn. A motif of quarter note + eighth note + quarter note + eighth note and staccato eighth notes is repeated, changing in shape and key. For the first time in the piece, dynamic markings such as f, p, ff, and accents are specified.

No. 8: The Wild Rider / op. 68-8 "Wilder Reiter"

Ternary form. Although no tempo is indicated, it is likely quite fast, suggesting a flag-bearer riding a horse. Here too, it begins with an ascending fourth figure. The melody features light staccato notes interspersed with sf and slurs. In the middle section, the melody shifts to the left hand; in all sections, playing the accompanying chords lightly will effectively convey the character of the piece.

No. 9: Little Folk Song / op. 68-9 "Volksliedchen"

With a melancholic atmosphere. Ternary form. The initial section features a beautiful melody with arpeggiated accompaniment, followed by a chorale-like counter-melody. The middle section is marked "Lustig" (cheerfully), modulating to a major key and changing character. Playing the motif, which includes rests, with a light bounce will effectively convey the feeling. In the recapitulation, the melody is first in the left hand with a counter-melody in the right, followed by thick chords that emphasize the final lament.

No. 10: The Happy Farmer / op. 68-10 "Fröhlicher Landmann"

Briskly and cheerfully. This is one of the most famous pieces in the collection, originally titled "The Happy Farmer, Returning from Work." In Germany, there is a word "Feierabend," which literally means "celebration evening," but many Germans, upon finishing work each day, eagerly head home or to a pub, exclaiming "Feierabend!" Capturing this atmosphere would be sufficient for this piece.

No. 11: Sicilienne / op. 68-11 "Sizilianisch"

With a touch of mischief. The Sicilienne is a dance originating from Sicily around the 17th-18th centuries, also used as a slow dance or movement in works by Bach and others. The form is rondo, including a da capo. Although the melody is typically Italianate and melancholic, the opening instruction suggests a slightly light and elegant feel. The middle section changes to 2/4 time, with fast sixteenth-note movements and added accents, transforming into a quick dance.

No. 12: Santa Claus / op. 68-12 "Knecht Ruprecht"

The title "Knecht Ruprecht" is translated as Santa Claus, but it more accurately refers to "Servant Ruprecht," the companion of Saint Nicholas, who is the German equivalent of Santa Claus. December 6th is Saint Nicholas Day. Saint Nicholas does not secretly appear from the chimney but rather appears grandly in the town, giving presents to good children, while Servant Ruprecht punishes naughty children with a whip he carries. The first part of this ternary form piece likely depicts the boisterous arrival of Saint Nicholas and his entourage. The middle section shifts to F major, creating an atmosphere similar to the German Christmas song "What will the children get tomorrow, tomorrow Santa Claus will come," and likely expresses the growing anticipation for Christmas through the intricate sixteenth notes.

No. 13: May, Dear May... / op. 68-13 "Mai, lieber Mai"

Not fast. The subtitle is "Soon you will come!" German winters are long, cold, and dark until the end of April, but in May, new greenery suddenly sprouts, and the bright sun shines. Perhaps because of this, the longing for May is very strong, and not only Schumann but many Germans have left behind numerous poems and songs celebrating May, filled with anticipation and joy for spring. E major is inherently a key of joy. The opening right-hand portamento and the leap of a sixth effectively convey the atmosphere. Furthermore, the left-hand motif might represent birdsong. Formally, it appears somewhat complex but is in binary form. Technically, the difficulty increases sharply from this point.

No. 14: Little Study / op. 68-14 "Kleine Studie"

To be played quietly and very evenly. Formally, it resembles the Prelude No. 1 from Bach's Well-Tempered Clavier Book 1. Since dynamic markings are mostly absent, it is crucial to accurately grasp the harmonic progression. Additionally, the highest note of the arpeggio on the fourth beat can be considered a hidden melody. It is important to strike the keys while carefully listening to ensure that the chords are beautifully formed within each measure.

No. 15: Spring Song / op. 68-15 "Frühlingsgesang"

To be played with feeling. Again in E major, this is a piece expressing the joy of spring. While No. 13 conveyed anticipation for the coming spring, this piece seems to immerse itself leisurely in the warmth of spring that has already arrived. If the dotted rhythms are played slightly tenuto rather than too sharply, the characteristic warmth of German music will emerge. The exceptionally beautiful melody could easily become a song if lyrics were added, making it a piece truly befitting the title "Spring Song."

No. 16: First Loss / op. 68-16 "Erster Verlust"

Not fast (Moderato). It consists of two sigh-like descending motifs, characteristic of German music, beginning with an anacrusis. The very first note has an fp marking, but by emphasizing the first note of each phrase just before the bar line, the feeling of "loss" will be well conveyed. There is a temporary modulation to C major mid-piece, and the end features chords with f and accents, likely an exposure of strong emotion, but the original motif remains that of a sigh. What might cause a child to experience a sense of loss for the first time?

No. 17: Little Morning Wanderer / op. 68-17 "Kleiner Morgenwanderer"

Briskly and strongly. A depiction of a child walking with the fresh feeling of just waking up, yet whimsically changing pace. It would be beneficial to specifically experiment with the rhythmic differences of dotted notes, triplets, and sixteenth notes. Although the instruction is "strongly," it is not a military march, so avoid playing roughly. It is, after all, "a child on a morning walk."

No. 18: Reaper's Song / op. 68-18 "Schnitterliedchen"

Not too fast. The structure appears complex but can be considered AA'A B AA' Coda. In Germany, harvesting typically refers to wheat. To the author, the legato melody in eighth notes, changing expression, evokes a wheat field swaying in the wind, with a farmer contentedly gazing at his cultivated crops, and the final staccato motif in the coda suggesting the act of harvesting. The wheat field simultaneously receives wind from different directions through counter-melodies, sways uniformly in one direction in unison, and creates different rustling sounds by changing tonality.

No. 19: Little Romance / op. 68-19 "Kleine Romanze"

Not fast. In Germany, a romance refers to a lyrical song or a small instrumental piece. It is in binary form, with A being 4 measures x 2, and B being 6 measures x 2. As a free lyrical poem, what emotional changes can be expressed from the detailed musical instructions?

No. 20: Rural Song / op. 68-20 "Ländliches Lied"

At a moderate tempo. The simple melody and harmony are pleasing to the ear, reminiscent of a brass band performance in a small provincial town. The eight-measure theme at the beginning gradually changes the left-hand figuration each time it reappears.

No. 21: *** / op. 68-21

To be played slowly and with feeling. This is one of three untitled pieces marked with ***. Since both the musical character and form are very free, I believe it is a piece where one can imagine their own scene and express it freely.

No. 22: Roundelay / op. 68-22 "Rundgesang"

At a moderate speed. To be played very legato. This piece appears in a slightly different form in Schumann's autograph manuscript; it seems that a note to "print" the repeat section was misread as "delete" during publication. However, Schumann himself approved this change. As it is a piece with a very beautiful melody, it should be played legato as indicated at the beginning, aiming for each player to form independent phrasing as in a string quartet.

No. 23: Rider's Piece / op. 68-23 "Reiterstück"

Short and clear. The sixteenth-note movement might imitate the sound of horse hooves. This motif closely resembles that in No. 8 of "Kreisleriana, Op. 16." Playing it very crisply, and somewhat non-legato where slurs are not indicated, will create a sense of lightness. From the recapitulation, there is an instruction to play "gradually softer," but as it softens, it is important to maintain tension and rhythmic precision. The subsequent coda further indicates "getting softer and softer," ending pp while maintaining a resolute atmosphere.

No. 24: Harvest Song / op. 68-24 "Ernteliedchen"

With a joyful expression. From the word "harvest," the season is likely autumn. It depicts farmers cheerfully singing while gathering crops or after they have been gathered. Although in the same 6/8 time and A major as No. 22 "Rundgesang," it differs in character from the smooth legato melody of that piece. While there are slurs, emphasizing accents and giving the quarter notes a bouncing direction will create a cheerful atmosphere. The middle section features an interesting contrast between staccato and smooth legato.

No. 25: Echoes from the Theater / op. 68-25 "Nachklänge aus dem Theater"

Somewhat excitedly. It seems like a child, still caught up in the excitement after seeing a play or opera, is eagerly recounting it. The performance was likely dramatic. In the middle section, fanfares with f and ff are also seen. This combination of fanfare and melody strongly evokes a typical opera overture. Playing the sixteenth-note staccatos lightly but with a condensed tone will effectively convey the excited atmosphere.

No. 26: *** / op. 68-26

No. 27: Canonic Song / op. 68-27 "Canonisches Liedchen"

No. 28: Remembrance / op. 68-28 "Erinnerung"

No. 29: Stranger / op. 68-29 "Fremder Mann"

No. 30: *** / op. 68-30

No. 31: War Song / op. 68-31 "Kriegslied"

No. 32: Scheherazade / op. 68-32 "Sheherazade"

No. 33: Vintage Time - Joyful Time / op. 68-33 "Weinlesezeit - Fröhliche Zeit"

No. 34: Theme / op. 68-34 "Thema"

No. 35: Mignon / op. 68-35 "Mignon"

No. 36: Song of Italian Sailors / op. 68-36 "Lied italienischer Marinari"

No. 37: Sailor's Song / op. 68-37 "Matrosenlied"

No. 38: Winter Time I / op. 68-38 "Winterzeit I"

No. 39: Winter Time II / op. 68-39 "Winterzeit II"

No. 40: Little Fugue / op. 68-40 "Kleine Fuge"

No. 41: Nordic Song 'Greeting to G' / op. 68-41 "Nordisches Lied 'Gruß an G'"

No. 42: Figured Chorale / op. 68-42 "Figurierter Choral"

No. 43: New Year's Eve Song / op. 68-43 "Sylvesterlied"

No. 44: Hidden Cuckoo / op. 68-44 "Kuckuck im Versteck"

No. 45: Lagoon in Venice / op. 68-45 "Lagune in Venedig"

No. 46: Tag / op. 68-46 "Haschemann"

No. 47: Little Waltz / op. 68-47 "Kleiner Walzer"

No. 48: For the Very Young / op. 68-48 "Für ganz Kleine"

No. 49: Doll's Lullaby / op. 68-49 "Puppenschlafliedchen"

No. 50: The Left Hand Shall Also Show Itself / op. 68-50 "Linke Hand soll sich auch zeigen"

No. 51: On the Gondola (Theme from Op. 68, No. 20) / op. 68-51 "Auf der Gondel"

No. 52: *** / op. 68-52

No. 53: A Drinking Song by C.M. von Weber / op. 68-53 "Ein Trinklied von C.M. von Weber"

No. 54: Piano Piece in E-flat Major / op. 68-54 "Klavierstück in Es"