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Books on the topic 'Robert Schumann piano music'

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

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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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7

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

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8

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

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9

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

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10

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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11

Robert Schumann, words and music: The vocal compositions. Portland, Or: Amadeus Press, 1988.

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12

Robert Schumann als Pädagoge in seiner Zeit. Berlin: Köster, 1997.

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13

Rethinking Schumann. New York: Oxford University Press, 2011.

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14

Heinz, Gottfried. Die Geschichte des Klavierquintetts von den Anfängen bis Robert Schumann. Neckargemünd: Männeles, 2001.

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15

Tchaikovsky, Peter Ilich. Kinderalbum: Op. 39 : Sammlung leichter Stücke für Kinder à la Schumann = Children's album : op. 39 : collection of easy pieces for children à la Schumann. Wien: Wiener Urtext Edition, 2000.

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16

Bianchi, Sergio. Le Kinderszenen di Robert Schumann: Proposta per un percorso analitico. Treviso: Ass. musicale "Ensemble '900", 1995.

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17

Clara und Robert Schumann in Dresden: Eine Spurensuche. Köln: Dohr, 2014.

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18

Malvano, Andrea. Voci da lontano: Robert Schumann e l'arte della citazione. Torino: EDT, 2003.

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19

Voci da lontano: Robert Schumann e l'arte della citazione. Torino: EDT, 2003.

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20

Krebs, Harald. Fantasy pieces: Metrical dissonance in the music of Robert Schumann. New York: Oxford University Press, 1999.

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21

Becker-Adden, Meike. Nahtstellen: Strukturelle Analogien der "Kreisleriana" von E.T.A. Hoffmann und Robert Schumann. Bielefeld: Transcript, 2006.

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22

Robert Schumann und Richard Wagner im geschichtsphilosophischen Urteil von Franz Brendel. Frankfurt am Main: P. Lang, 1991.

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23

Die geschwinde Promotion: Robert Schumann und Thüringen - ein kleiner Streifzug. Köln: Dohr, 2009.

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24

(2006), Bonner Symposium. Robert Schumann und die grosse Form: Referate des Bonner Symposions 2006. Frankfurt am Main: Peter Lang, 2009.

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25

(2006), Bonner Symposium. Robert Schumann und die grosse Form: Referate des Bonner Symposions 2006. Frankfurt am Main: Peter Lang, 2009.

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26

Bernd, Sponheuer, and Steinbeck Wolfram, eds. Robert Schumann und die grosse Form: Referate des Bonner Symposions 2006. Frankfurt am Main: Peter Lang, 2009.

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27

Internationales Schumann-Symposion (6th 1997 Düsseldorf, Germany). Neue Bahnen: Robert Schumann und seine musikalischen Zeitgenossen : Bericht über das 6. Internationale Schumann-Symposion am 5. und 6. Juni 1997 im Rahmen des 6. Schumann-Festes, Düsseldorf. Mainz: Schott, 2002.

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28

Rebmann, Martina. "Ton ist uberhaupt componirtes Wort": Robert Schumann zwischen Wort und Ton : die Schumann-Autographen der Staatsbibliothek zu Berlin. Berlin: Staatsbibliothek zu Berlin--Preussischer Kulturbesitz, 2010.

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29

Martina, Schieke-Gordienko, and Staatsbibliothek Preussischer Kulturbesitz Musikabteilung, eds. "Ton ist uberhaupt componirtes Wort": Robert Schumann zwischen Wort und Ton : die Schumann-Autographen der Staatsbibliothek zu Berlin. Berlin: Staatsbibliothek zu Berlin--Preussischer Kulturbesitz, 2010.

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30

Robert Schumann: Quand la musique oeuvre contre la douleur, une approche psychanalytique. Paris: Harmattan, 2010.

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31

Vanishing sensibilities: Schubert, Beethoven, Schumann. New York: Oxford University Press, 2012.

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32

Wagner, Hans-Joachim. Begegnungen: Alfred Schnittke und Robert Schumann : Beiträge zu einer Kammermusikreihe in der Kölner Philharmonie. Köln-Rheinkassel: C. Dohr, 1999.

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33

Rice-See, Lynn. The piano teaching of Walter Hautzig, with 613 examples from Beethoven, Schubert, Schumann, and Chopin. Lewiston, NY: Edwin Mellen Press, 2008.

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34

Schumann und Dresden: Bericht über das Symposion Robert und Clara Schumann in Dresden : biographische, kompositionsgeschichtliche und soziokulturelle Aspekte in Dresden vom 15. bis 18. Mai 2008. Köln: Dohr, 2010.

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35

Kelterborn, Rudolf. Analyse und Interpretation: Eine Einführung anhand von Klavierkompositionen : Bach, Haydn, Mozart, Beethoven, Schumann, Brahms, Schönberg, Bartók. Winterthur/Schweiz: Amadeus, 1993.

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36

Vries, Claudia de. Die Pianistin Clara Wieck-Schumann: Interpretation im Spannungsfeld von Tradition und Individualität. Mainz: Schott, 1996.

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37

Ströbel, Dietmar. Am Klavier zu lesen: Beschreibungen für Ungeübte zu vier Klavierstücken von Telemann, Mozart, Schumann und Webern. Darmstadt: THIASOS Musikverlag, 1999.

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38

Singing Schumann: An interpretive guide for performers. Cambridge: Oxford University Press, 1999.

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39

editor, Lewey-Meier Petra, and Städtisches Museum Zwickau, eds. Seit ich ihn gesehen: Reflexionen zu Robert Schumann in der Kunst : ein Projekt von Janet Grau im Schumann-Jahr : Kunstsammlungen der Städtischen Museen Zwickau, 8. August bis 2. November 2010. Zwickau: Kunstsammlungen der städtischen Museen, 2010.

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40

Aschauer, Michael. Einheit durch Vielfalt?: Das Klavierkammermusikwerk ausgewählter "Konservativer" um Johannes Brahms : Klaviertrios, Klavierquartette und Klavierquintette von Robert Fuchs, Hermann Goetz, Karl Goldmark, Heinrich von Herzogenberg, Josef Gabriel Rheinberger, Richard Strauss und Robert Volkmann. Frankfurt am Main: Lang, 2006.

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41

Dann löst sich des Liedes Zauberbann: Interpreten im Gespräch über Robert Schumann und die wunderbare Welt des Liedes. Altenburg: Kamprad, 2010.

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42

A, Hoffmann E. T. E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism. Cambridge: Cambridge University Press, 1989.

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43

A, Hoffmann E. T. E.T.A. Hoffmann's musical writings. Cambridge: Cambridge University Press, 2003.

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44

A, Hoffmann E. T. E.T.A. Hoffmann's musical writings: Kreisleriana, The poet and the composer, music criticism. Cambridge: Cambridge University Press, 2003.

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45

Miles, Michael A. An interpretive and stylistic analysis of the Chamber music VII and Chamber music VIII for trumpet and piano by Robert Suderburg. [S.l: s.n., 1992.

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46

Gesellschaft für Musikforschung (1946- ). Jahrestagung. Synästhesie in der Musik, Musik in der Synästhesie: Vorträge und Referate während der Jahrestagung 2002 der Gesellschaft für Musikforschung in Düsseldorf (25.-28. September 2002) an der Robert-Schumann-Hochschule. Essen: Verlag Die Blaue Eule, 2004.

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47

Musik und musikalische Öffentlichkeit: Musikbeilagen von Philipp Emanuel Bach, Ludwig van Beethoven, Robert Schumann, Franz Liszt, Richard Wagner und anderen Komponisten in Zeitungen, Zeitschriften und Almanachen vom 18. bis zum 20. Jahrhundert. Bremen: Edition Lumière, 2013.

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48

Die Liedduette Robert Schumanns (Europaische Hochschulschriften: Reihe 36. Musikwissenschaft). Peter Lang Publishing, 2005.

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49

Kinderman, William. Schumann, Beethoven, and the “Distant Beloved”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037160.003.0003.

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This chapter turns to Robert Schumann's Fantasie in C Major, op. 17, a piece that lies at the center of his innovative cluster of piano works from the 1830s and that was conceived in 1836 at the stressful nadir of his struggle for the hand of Clara Wieck, the brilliant young pianist who became his wife four years later. As originally conceived, the composition in question was an offering to Beethoven, who had died almost a decade earlier, in 1827. To better illustrate Schumann's approach to the piece, this chapter considers not only his compositional preoccupations and ongoing engagement with Beethoven's music but also Beethoven's own treatment of the theme of a distant beloved in several works—pieces that in turn became sources of inspiration for Robert Schumann and Clara Wieck during their difficult periods of separation in the later 1830s.
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50

Gooley, Dana. Schumann and the Economization of Musical Labor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0005.

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Chapter 4 details Robert Schumann’s evolution from an eager and fluent improviser into a composer who advocated writing music away from the piano entirely. His evolution demonstrates the growing polarization between improvisation and composition, modes of music-making that were generally viewed as mutually beneficial until the 1830s. His early, piano-centered output provides clues into how certain transitional and rhetorical strategies were rooted in keyboard improvisational practices, but consciously invested with a “depth” or “psychology” that gave them a romantic cast. The chapter’s interpretive lens is then broadened to consider how Schumann’s anxiety over improvisation was shaped by an “ethos of economy” then common to the educated classes. Improvisation thrived on certain anti-economic impulses—a dilated sense of temporal unfolding, a strenuous type of performer training, a risk of inefficacious communication—that ran counter to bourgeois ethical codes such as the containment of excess and the rational ordering of available resources.
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