Relevant bibliographies by topics / Robert Schumann piano music

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Academic literature on the topic 'Robert Schumann piano music'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Robert Schumann piano music"

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Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.

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Abstract The critics of the Neue Zeitschrift für Musik idealized the private performance as an enlightened alternative to the public concert, and it was in private settings that Clara Wieck Schumann typically played Robert Schumann's music in the early years of her career. In the winter of 1839-40 she was in Berlin, abandoned by her father, Friedrich Wieck, and struggling to continue her career on her own. At Schumann's suggestion she performed his Sonata No. 2 in G Minor, Op. 22 in a public soirée. Afterwards Schumann decided his music was too personal for a public audience, and his major piano works were not heard again until the year of his death.
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White, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler." Musical Offerings 12, no. 1 (2021): 1–9. http://dx.doi.org/10.15385/jmo.2021.12.1.1.

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Robert Schumann was an eccentric composer and musical critic who influenced the Romantic-era musical community through the formation of the Davidsbündler. This “league of David” was Schumann’s idea of a musical society which exemplified a distinctly pure style of modern musical composition. The style of the Davidsbündler was based on the idea that music must reflect the personal life experiences of its composer. Needing a journal to publish musical writings of Davidsbündler, Schumann created the New Journal for Music. Having himself suffered from mental instability throughout his life, Schumann’s music often displayed unique levels of polarity and passion in order to show his own life experiences. Schumann’s mental polarity and instability was directly showcased in his music through the natures of fictional characters Florestan and Eusebius. These characters are clearly displayed though the piano works Carnival and the Davidsbündlertänze. Through the use of modern musical compositional techniques such as chromaticism and syncopation along with clear characterizations of Florestan and Eusebius, the Davidsbündlertänze stands as a testament to the ideals of the Davidsbündler.
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Hoeckner, Berthold. "Schumann and Romantic Distance." Journal of the American Musicological Society 50, no. 1 (1997): 55–132. http://dx.doi.org/10.2307/832063.

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The poetic trope and aesthetic category of "distance" is central to Novalis's and Jean Paul Richter's definition of the Romantic, as embodied in dying sound and distant music. In the "young poetic future" proposed by the composer and critic Robert Schumann in the 1830s, romantic distance figures prominently, exemplified by the relationship between the endings of Jean Paul's Flegeljahre and Schumann's Papillons, Op. 2. Distance also provides the key for a new understanding of the relationship between analysis and poetic criticism in Schumann's review of Schubert's Great C-Major Symphony; between texted and untexted music in his Piano Sonata, Op. 11; between music and landscape in Davidsbündlertänze, Op. 6; and between the composer and his distant beloved in the Fantasie, Op. 17 and the Novelletten, Op. 21. The article presents new evidence of Schumann's reference to Beethoven's An die ferne Geliebte and Clara Wieck's Romance variée, Op. 3 in the Fantasie, and to Clara's Valses romantiques, Op. 4 in Davidsbündlertänze.
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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.

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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
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Schmalfeldt, Janet. "From Literary Fiction to Music: Schumann and the Unreliable Narrative." 19th-Century Music 43, no. 3 (2020): 170–93. http://dx.doi.org/10.1525/ncm.2020.43.3.170.

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The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre, surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing. Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe. Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset that rejection in love lies ahead. The emergence of narrative unreliability in fiction may have served as an influence that drove experimentation not only for Schumann but also for some of his contemporaries and successors. Debates about musical narrativity might profit from considering the recent literary concept of a “feedback loop,” in which the author, the narrator (text), and the narratee (reader)—in our case, the composer, the performer, and the listener (including analysts, performers, and composers, who are also intensive listeners)—continually and recursively interact.
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Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.

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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, the sublime abnegated mere sensuous pleasure; inspired a mixture of attraction, admiration, and trepidation; and implied both masculinity and intellectual cultivation. It offered a framework for self-consciously elevating virtuosity rooted in the sheer intensity and, in some cases, perceived inaccessibility of particular works and performances. Schumann extended the mantle of sublimity to Liszt during the virtuoso’s 1840 Leipzig and Dresden concerts. Critics described three of Schumann’s own 1830s piano showpieces using the rhetoric of the sublime, comparing the finale of the Concert sans orchestre, Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques, Op. 13, to Beethoven, hinting at the ways in which Schumann alluded to or modeled these showpieces on Beethoven symphonies. These episodes in Schumann’s career broaden our understanding of the contexts in which nineteenth-century writers on music evoked the sublime, showing how they described this quality not only in symphonies and large choral works but also in solo performances and showpieces. They illuminate the politics of the sublime, revealing its significance for nineteenth-century thinking about the cultural prestige that particular musical works and performances could attain.
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Weaver, Andrew H. "Memories Spoken and Unspoken: Hearing the Narrative Voice in Dichterliebe." Journal of the Royal Musical Association 142, no. 1 (2017): 31–67. http://dx.doi.org/10.1080/02690403.2017.1286123.

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ABSTRACTThe question of what happens when a composer alters a poet's poetic cycle haunts examinations of many song cycles and has proven especially problematic for Robert Schumann's Dichterliebe. The long-held view that Schumann crafted a clear plot from Heine's non-narrative Lyrisches Intermezzo has recently been questioned in favour of a view of the cycle as an incoherent fragment. Using the tools of narratology, this article argues that Dichterliebe is both a fragment and a coherent whole, a string of memories held together by a distinct narrative logic. Identifying two poetic voices illuminates the cycle's narrative strategy and also sheds light on problematic aspects of the music, including Schumann's deletion of four songs, the voice–piano relationship and the enigmatic final postlude. This article proposes answers to age-old questions about Dichterliebe while also offering a fresh approach to the study of song cycles.
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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Stefaniak, Alexander. "Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism." Journal of the American Musicological Society 70, no. 3 (2017): 697–765. http://dx.doi.org/10.1525/jams.2017.70.3.697.

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In her contemporaries’ imaginations Clara Schumann transcended aesthetic pitfalls endemic to virtuosity. Scholars have stressed her performance of canonic repertory as a practice through which she established this image. In this study I argue that her concerts of the 1830s and 1840s also staged an elevated form of virtuosity through showpieces that inhabited the flagship genres of popular pianism and that, for contemporary critics, possessed qualities of interiority that allowed them to transcend merely physical or “mechanical” engagement with virtuosity. They include Henselt's études and variation sets, Chopin's “Là ci darem” Variations, op. 2, and Clara's own Romance variée, op. 3, Piano Concerto, op. 7, and Pirate Variations, op. 8. Her 1830s and early 1840s programming offers a window onto a rich intertwining of critical discourse, her own and her peers’ compositions, and her strategies as a pianist-composer. This context reveals that aspirations about elevating virtuosity shaped a broader, more varied field of repertory, compositional strategies, and critical responses than we have recognized. It was a capacious, flexible ideology and category whose discourses pervaded the sheet music market, the stage, and the drawing room and embraced not only a venerated, canonic tradition but also the latest popularly styled virtuosic vehicles. In the final stages of the article I propose that Clara Schumann's 1853 Variations on a Theme by Robert Schumann, op. 20, alludes to her work of the 1830s and 1840s, evoking the range of guises this pianist-composer gave to her virtuosity in what was already a wide-ranging career.
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Hedges Brown, Julie. "Higher Echoes of the Past in the Finale of Schumann's 1842 Piano Quartet." Journal of the American Musicological Society 57, no. 3 (2004): 511–64. http://dx.doi.org/10.1525/jams.2004.57.3.511.

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Critics have long emphasized the stylistic distanced between Robert Schumann's early piano music and the more traditional works of the early 1840s. This essay clarifies-precisely by questioning-this seeming divide, showing how the finale of the 1842 Piano Quartet in Eb Major, Op. 47, interacts with Schumann's compositional and personal histories in multifarious and previously unexplored ways: (1) by reworking the effect of a lyrical arabesque within a sonata-form movement to a more "redemptive" end (thus deflecting a formal strategy for the first movement of the 1836 Fantasie, Op. 17); (2) by readopting the "parallel forms" of his earlier piano sonatas; and (3) by alluding to the fifth piece of Schumann's 1838 Novelletten, Op. 21, an idea that introduces within both works a play between private and public moments that echoes aspects of Robert and Clara's life as it evolved from their early betrothal to married life in 1842. The article also demonstrates links to the works of two significant predecessors: Schubert's F-Minor Impromptu, Op. 142, and Bb-Major Piano Trio, Op. 99, and Beethoven's "Hammerklavier" Sonata, Op. 106, works evoked by the finale in ways that gauge Schumann's affinity for, yet also distance from, his precursors.
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Dissertations / Theses on the topic "Robert Schumann piano music"

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Kang, Mahn-Hee. "Robert Schumann's piano concerto in A minor, Op. 54 : a stemmatic analysis of the sources /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225222077.

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Tseng, Shih-Chen. "Literary characteristics hidden in Schumann's piano music : taken from mutually-related ideas of E.T.A. Hoffmann and Robert Schumann /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11309.

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Vezeau, Erica Ablene. "Musical messaging in the early piano correspondence between Clara Wieck and Robert Schumann." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27068.

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Clara Wieck (1819-96) was a particularly successful nineteenth-century musician. Unlike many of her female contemporaries, and contrary to her social conditioning, she occupied space within the male dominated public sphere of music making, as both a performer and composer. Her participation in dichotomous social realms was unique, and affected the normalcy of her personal life and relationships. Accordingly, during their courtship, Clara Wieck and Robert Schumann (1810-56) were forced to communicate their love through a means that departed from the nineteenth-century norm---music. This thesis argues that many of their early piano works, spanning the decade of the 1830s, were written with some intention of correspondence or message to the other party. Three main conceptual frameworks are employed for musical analysis: firstly, the characteristics of sentiment, social context, mood, and gender as betrayed by genre; secondly, the overt relevance of musical quotation; and finally, the perceived relevance of titles and dedications. Wieck and Schumann's music and courtship is explored herein to determine the extra-musical communicative potential of music for solo piano.
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Fernandes, Ana Cristina Pereira. "A música para piano de Clara Schumann: uma perspetiva analítica." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16163.

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Este trabalho de projeto foca-se na música para piano de Clara Schumann. Contextualiza as obras da compositora na sua biografia e analisa as formas, tonalidades, texturas, temas e influências usadas na música para piano; ABSTRACT: This research project focuses on the piano music of Clara Schumann. It contextualizes her works within her biography and analyses them in terms of form, key, texture, theme and influence.
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Chou, Chllung-Wel. "Aspects of historical background, literary influence, form, and performance interpretation in Robert Schumann's Carnaval." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114437718.

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LIN, YUEH-RENG. "THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SHUMANN, AND JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1101539626.

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XU, DONG. "THEMES OF CHILDHOOD: A STUDY OF ROBERT SCHUMANN'S PIANO MUSIC FOR CHILDREN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154535932.

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Lim, Ahrhim. "The Romances for Violin and Piano by Robert and Clara Schumann: A Comparison and Contextualization." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1543579293352703.

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Xu, Dong. "Themes of childhood a study of Robert Schumann's piano music for children /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1154535932.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Nov. 27, 2006). Includes abstract. Keywords: Robert Schumann; Music for Children; Childhood; German Romanticism; Kinderszenen; Album for the Young; Waldszenen; Three Piano Sonatas for the Young; Piano duets. Includes bibliographical references.
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Heinemann, Alma. "En fri interpretation : En analys kring olika instruments påverkan på interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2993.

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Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning.

För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast Adagio und Allegro op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.

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Books on the topic "Robert Schumann piano music"

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Robert Schumann and the piano concerto. New York: Routledge, 2005.

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--un sì meraviglioso intreccio: Il contrappunto nelle composizioni per pianoforte di Robert Schumann. Firenze: Phasar, 2012.

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Die Gattung Konzertstück in der Rezeption Robert Schumanns. Kassel: Merseburger, 2003.

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Jost, Peter. Robert Schumanns "Waldszenen" op. 82: Zum Thema "Wald" in der romantischen Klaviermusik. Saarbrücken: Saarbrücker Druckerei und Verlag, 1989.

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Dietel, Gerhard. "Eine neue poetische Zeit": Musikanschauung und stilistische Tendenzen im Klavierwerk Robert Schumanns. Kassel: Bärenreiter, 1989.

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Joachim, Draheim, and Schuncke Michael, eds. Robert Schumann's closest "Jugendfreund": Ludwig Schuncke (1810-1834) and his piano music. Hamburg: Fischer+Partner, 1997.

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XII Burlesken für Klavier (1832/33): Untersuchungen zu einem unveröffentlicht gebliebenen Zyklus Robert Schumanns. Kassel: Gustav Bosse Verlag, 2011.

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Schumann piano music. London: British Broadcasting Corporation, 1986.

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Robert und Clara Schumann: Romantische Entdeckungen. Petersberg: Imhof, 2010.

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Internationales Schumann-Symposion (5th 1994 Düsseldorf, Germany). Robert Schumann und die französische Romantik: Bericht über das 5. Internationale Schumann-Symposium der Robert-Schumann-Gesellschaft am 9. und 10. Juli 1994 in Düsseldorf. Mainz: Schott, 1997.

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Book chapters on the topic "Robert Schumann piano music"

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Brendel, Franz. "Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General." In Mendelssohn and His World, edited by R. Larry Todd, 341–51. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831623.341.

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Manning, Jane. "GARY CARPENTER (b. 1951)Love’s Eternity: Five Songs of Elizabeth Barrett Browning (2006)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 28–31. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0010.

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This chapter studies Gary Carpenter’s Love’s Eternity (2006). Carpenter admits that this work is quite different from anything else in his output. It was first conceived as part of a radio programme about Robert Browning’s final days, and the knowledge of Browning’s affection for Schumann’s music had a subliminal influence on the style. Carpenter’s sensitivity to sound quality is exceptional: timings and tessitura ensure the complete audibility of the texts. The singer stays comfortably on the stave for the bulk of the piece, and the voice is allowed to cruise evenly through limpid lines that feel entirely natural from the outset. The music rises and falls in logical patterns, often repeated, in an unaffected, tonal idiom. Deep feeling is conveyed simply and directly without bombast or over-dramatization. Moreover, piano parts throughout have a strong stylistic unity. Their rich textures, often covering a wide range, contribute strongly to the expressive impact, providing warm sonorities and added colour to the plainer vocal lines.
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"ROBERT SCHUMANN." In The Classical Music Lover's Companion to Orchestral Music, 677–92. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.55.

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"On Robert Schumann's Piano Compositions (1844)." In Schumann and His World, 303–16. Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863860.303.

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"Schumann and the Marketplace: From Butterflies to Hausmusik." In Nineteenth-Century Piano Music, 274–331. Routledge, 2013. http://dx.doi.org/10.4324/9781315024479-16.

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"Robert Schumann (1810–1856)." In Music Analysis in the Nineteenth Century, 161–94. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511470257.014.

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"From the Concert Hall to the Salon: The Piano Music of Clara Wieck Schumann and Fanny Mendelssohn Hensel." In Nineteenth-Century Piano Music, 332–71. Routledge, 2013. http://dx.doi.org/10.4324/9781315024479-17.

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Steinberg, Reinhard. "Robert Schumann in the psychiatric hospital at Endenich." In Music, Neurology, and Neuroscience: Historical Connections and Perspectives, 233–75. Elsevier, 2015. http://dx.doi.org/10.1016/bs.pbr.2014.11.009.

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Tadday, Ulrich. "Life and literature, poetry and philosophy: Robert Schumann's aesthetics of music." In The Cambridge Companion to Schumann, 38–47. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521783415.003.

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"Schumanniana No. 4· The Present Musical Epoch and Robert Schumann's Position in Music History (1861)." In Schumann and His World, 362–74. Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863860.362.

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Conference papers on the topic "Robert Schumann piano music"

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.

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The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.

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There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
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Reports on the topic "Robert Schumann piano music"

1

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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