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1
Ardura, Bernard. "Robert Schumann — “Father of Europe”." ISTORIYA 12, no. 11 (109) (2021): 0. http://dx.doi.org/10.18254/s207987840017651-5.
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The article examines the main milestones in the biography of Robert Schumann, a prominent politician in post-war France, a member of several cabinets and an active supporter of Western European integration, who proclaimed a plan to unite the production of coal and steel (“The Schuman Declaration”, known as “Schumann Plan” in Russian historiography). His efforts to achieve historic reconciliation between France and Germany after the deep trauma inflicted by the two World Wars are underlined. Particular attention is paid to Schumann's Christian worldview and his ideas about Christian values that serve the common good and the cause of uniting Europe.
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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.
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In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of people through such means as ciphers, quotations, allusions, and motives. Yet documentary and circumstantial evidence—diary entries and correspondence, private forms of music making (sight-reading and practicing in solo and chamber settings), material culture in the form of giving and receiving flowers, and a little-discussed yet remarkable piano arrangement of Robert’s Piano Quintet, op. 44, by Brahms—suggest that Brahms’s op. 9 quotation of the Schumanns’ melody was meant to recall a shared experience during a poignant moment in the year 1854. Not only to be read and recognized on paper, musical borrowings can gain expressive value as performative acts creating an open-ended field of meaning.
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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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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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WIECK, Clara. "To Robert Schumann." INTAMS review 3, no. 1 (January 1, 1997): 88–89. http://dx.doi.org/10.2143/int.3.1.2014824.
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Azenha Júnior, João. "Robert Schumann, tradutor." Tradterm 8 (April 18, 2002): 51. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2002.49119.
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Este trabalho é parte de um projeto de pesquisa mais abrangente, cujo objetivo é a tradução comentada e anotada dos <em>Gesammelte Schriften über Musik und Musiker</em> (Coletânea Integral de Escritos sobre Música e Músicos) do compositor alemão Robert Schumann à luz de sua relação com o Romantismo alemão – literatura e estética – e com os fundamentos da crítica musical. Neste artigo introdutório, procuro oferecer uma visão panorâmica do interesse de Schumann pelas línguas estrangeiras – o cerne de sua formação no <em>Gymnasium</em> de Zwickau – e de sua atividade como tradutor de poetas gregos e latinos. A transposição para a música de sua experiência literária como escritor, leitor, tradutor e editor revela Schumann sob dois aspectos: de um lado, como porta-voz, na música, dos expoentes do Classicismo alemão e de poetas de sua geração e, de outro, como um leitor voraz que, em suas composições, faz uma interpretação muito pessoal do cânone literário de sua época.
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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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Wißmann, Friederike. "Lyrische Momente des Fragmentarischen." Die Musikforschung 60, no. 2 (September 22, 2021): 117–28. http://dx.doi.org/10.52412/mf.2007.h2.529.
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Robert Schumann ist in der Neuen Musik häufig rezipiert worden. Ein Beispiel hierfür sind die "Sieben Fragmente für Orchester in memoriam Robert Schumann" von Aribert Reimann, die innerhalb des vielgestaltigen Schaffens von Reimann dessen Schwerpunkte Lied und Oper deutlich erkennen lassen.
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Jameux, Dominique. "Robert Schumann (1810-1856)." Commentaire Numéro 115, no. 3 (2006): 789. http://dx.doi.org/10.3917/comm.115.0789.
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Green, Richard D. "Robert Schumann als Lexikograph." Die Musikforschung 32, no. 4 (September 22, 2021): 394–403. http://dx.doi.org/10.52412/mf.1979.h4.1753.
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Wermager, Sonja. "“Worthy of a Monument in Artistic History”: Religion and Nation in the Plans for Robert Schumann’s Unrealized Martin Luther Oratorio." 19th-Century Music 46, no. 1 (2022): 39–59. http://dx.doi.org/10.1525/ncm.2022.46.1.39.
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In January 1851, Robert Schumann wrote to Richard Pohl with an idea: “I would like to write an oratorio. Perhaps you would lend your hand? I thought of Luther.” Pohl enthusiastically agreed to write the libretto and the two began discussing their ideas for a musical work depicting the life of the sixteenth-century Protestant reformer Martin Luther in an extended correspondence. Ultimately, despite two years of intermittent planning and deep investment on the part of Schumann, the project fell through. That there is no libretto or musical sketches for the proposed oratorio has meant the project, apart from brief mentions, has gone largely unexamined in scholarship about Schumann. Nevertheless, the letters between Schumann and Pohl give valuable insight into what drew both composer and librettist to this subject—and into the questions of identity, confession, and politics that captivated them and their contemporaries. In this article I argue that the Luther oratorio plans offer a prime example of what Alexander Rehding calls “historical monumentality,” characterized by the harnessing of historical figures into symbols of collective political, religious, and social identity. Drawing on perspectives from religious studies to visual culture, I argue that Schumann and Pohl sought to create a musical monument of Martin Luther as a symbol of politically liberal and confessionally Protestant Deutschtum. More broadly, I aim to demonstrate that Schumann’s interest in Martin Luther exemplified the complex interweaving of historicism, confessional legacy, political revolution, and emergent nationalism that guided Schumann’s compositional efforts during his tenure as municipal music director in Düsseldorf (1850–54), with particular emphasis on his active engagement with questions of religion and confession in German society in the years following the 1848 revolutions.
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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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Synofzik, Thomas. "Rückert-Kanon als Keimzelle zu Schumanns Klavierkonzert Op. 54." Die Musikforschung 58, no. 1 (September 22, 2021): 28–32. http://dx.doi.org/10.52412/mf.2005.h1.605.
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Im Januar 1841 komponierte Robert Schumann ein bisher unbeachtetes kanonisches Duett für seinen Rückert-Zyklus op. 37 <Ich bin dein Baum, o Gärtner>, das keine Parallelen zur späteren Vertonung op. 101/3 aufweist. Es wurde schließlich nicht in den gedruckten Zyklus übernommen, da daraus im Mai 1841 der erste Satz von Schumanns Klavierkonzert op. 54 entstand. Das Duett wurde wenig verändert als As-Dur-Mittelteil übernommen, darum herum bildet Schumann nach einer schon 1836 geäußerten Idee einen a-Moll-Konzertsatz, der eine Synthese aus dreisätzigem Konzertmodell und Sonatenhauptsatz bildet. Dessen monothematische Anlage hat ihren Ursprung somit nicht im Hauptthema, sondern im As-Dur-Mittelteil. Durch die vokale Prägung dieses Teils erscheint dessen gängige Aufführungspraxis in einem Tempo weit unterhalb der Metronomvorschrift mit oft falschen Betonungen als verfehlt.
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Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.
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Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)
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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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Astvazaturov, Alexey G. "Robert Schumann and Jean Paul." Journal of Integrative Cultural Studies 1, no. 2 (2019): 116–26. http://dx.doi.org/10.33910/2687-1262-2019-1-2-116-126.
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Kast, Paul. "CLARA und ROBERT SCHUMANN: Briefwechsel." Annalen des Historischen Vereins für den Niederrhein 189, jg (December 1986): 184–85. http://dx.doi.org/10.7788/annalen-1986-jg21.
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Lester, Joel. "Robert Schumann and Sonata Forms." 19th-Century Music 18, no. 3 (1995): 189–210. http://dx.doi.org/10.2307/746684.
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Lester, Joel. "Robert Schumann and Sonata Forms." 19th-Century Music 18, no. 3 (April 1995): 189–210. http://dx.doi.org/10.1525/ncm.1995.18.3.02a00020.
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Leblanc, Antoine. "Robert Schumann, poète de l'enfance." Enfances & Psy 55, no. 2 (2012): 124. http://dx.doi.org/10.3917/ep.055.0124.
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Park, Jung ja. "Robert Schumann et le Japon." Hermès 86, no. 1 (2020): 85. http://dx.doi.org/10.3917/herm.086.0085.
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Peter Bloom. "Robert Schumann and Mary Potts." Notes 65, no. 2 (2008): 268–81. http://dx.doi.org/10.1353/not.0.0098.
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JENSEN, ERIC FREDERICK. "Norbert Burgmüller and Robert Schumann." Musical Quarterly 74, no. 4 (1990): 550–65. http://dx.doi.org/10.1093/mq/74.4.550.
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Ferris, David. "Robert Schumann, Composer of Songs." Music Analysis 32, no. 2 (July 2013): 251–82. http://dx.doi.org/10.1111/musa.12014.
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de Yébenes, J. García. "Did Robert Schumann have dystonia?" Movement Disorders 10, no. 4 (July 1995): 413–17. http://dx.doi.org/10.1002/mds.870100402.
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Stinson, Russell. "Neue Erkenntnisse zu Robert Schumanns Bach-Rezeption." Bach-Jahrbuch 101 (October 22, 2018): 233–45. http://dx.doi.org/10.13141/bjb.v20152381.
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Der Artikel liefert einige Beobachtungen zum Verständnis der Rezeption von Bachs Musik im 19. Jahrhundert speziell in Bezug auf Robert Schumann und seinen Kreis. Den Ausgangspunkt bildet dabei ein erst vor wenigen Jahren veröffentlichtes Tagebuch des Komponsiten und Dirigenten Woldemar Bargiel, in dem er von einer Unterhaltung mit Schumann, unter anderem über dessen Haltung zu Bachs Passionen, berichtet.
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Peters, U. H. "P01-242-Composer robert schumann not a bipolar. New sources." European Psychiatry 26, S2 (March 2011): 243. http://dx.doi.org/10.1016/s0924-9338(11)71953-8.
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According to new findings the name of Robert Schumann has to be striked off the list of famous people with bipolar disorder. The author has reviewed hundreds of hitherto unknown sources, daily notes of his psychiatrists, letters, diaries, among others. Schumann turned out to have been an alcoholic, who suffered from delirium tremens, 4 days, misdiagnosed as madness by his physicians. The famous suicidal attempt by jumping into the Rhine was just a floating rumour, not reality. Schumann was admitted to a privately owned madhouse. In spite of all his painstaking he could not free himself. His wife did not want him back. Finally he died from malnutrition and pneumonia. – Schumann always worked as easy as Mozart, according to the financial needs of his fast growing family. Attributing this to a manic state is erroneous. Already in young age Schumann had trained his “inner hearing”, he just wrote down, what he had heart. Only once in his life Schumann said himself to have been a melancholic, but that was for making up a plausible excuse for an intimate relationship to an other girl, pretending medical advice against melancholia. – All of these scattered sources are available only in German language. In two books I have written lengthy quotations in order to ease the access. However, there is no English translation available.
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Weaver, Andrew H. "Poetry, Music and Fremdartigkeit in Robert Schumann's Hans Christian Andersen Songs, op. 40." Nineteenth-Century Music Review 6, no. 2 (November 2009): 41–69. http://dx.doi.org/10.1017/s1479409800003098.
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On 1 October 1842, Robert Schumann sent Hans Christian Andersen a copy of his recently published Fünf Lieder op. 40, a song collection consisting of settings of four poems by Andersen as well as an anonymous ‘Neugriechisch’ poem, all translated into German by Adelbert von Chamisso. Although Clara Schumann had become acquainted with the poet earlier that year during a concert tour that took her through Copenhagen, Robert had yet to meet him, and the letter included with op. 40 was the first time that he addressed Andersen directly.
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Lalvée, Brigitte. "La manie sublime de Robert Schumann." Figures de la psychanalyse 26, no. 2 (2013): 229. http://dx.doi.org/10.3917/fp.026.0229.
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Mantero, R. "La main folle de robert schumann." Annales de Chirurgie de la Main et du Membre Supérieur 12, no. 3 (January 1993): 234–39. http://dx.doi.org/10.1016/s0753-9053(05)80110-3.
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Fahrer, M. "The right hand of robert schumann." Annales de Chirurgie de la Main et du Membre Supérieur 11, no. 3 (January 1992): 237–40. http://dx.doi.org/10.1016/s0753-9053(05)80375-8.
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Meißner, Thomas. "Kein „da capo“ für Robert Schumann." CME 12, no. 4 (April 2015): 34–35. http://dx.doi.org/10.1007/s11298-015-1262-4.
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Reimer, Erich. "Zwei Miszellen zur Mendelssohn-Rezeption." Die Musikforschung 57, no. 2 (September 22, 2021): 141–51. http://dx.doi.org/10.52412/mf.2004.h2.665.
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Die Felix Mendelssohn Bartholdys Oratorium "Paulus" (Nr. 16) entnommene Bläserfanfare, die alljährlich während des Libori-Festes in Paderborn als Libori-Tusch erklingt, ist wahrscheinlich 1836, acht Wochen nach der Uraufführung des "Paulus" in Düsseldorf, zum tausendjährigen Libori-Jubiläum in Paderborn eingeführt worden. Als Vermittler kommt der Louis-Spohr-Schüler Otto Julius Gehrke (1807-1878) in Frage. Bei der Bläserfanfare am Ende des vierten Satzes der "Rheinischen Symphonie" von Robert Schumann handelt es sich mit großer Wahrscheinlichkeit um eine Anspielung auf die Bläserzwischenspiele im Wachet-auf-Choral (Nr. 16) des "Paulus" von Mendelssohn. Diese Anspielung dürfte in einem assoziativen Zusammenhang mit Schumanns Interesse am Kölner Dom gestanden haben.
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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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Silva, Eliana Monteiro, Amilcar Zani, and Heloisa Fortes Zani. "La Musica para Clara [A música para Clara]." Revista Música 19, no. 1 (July 3, 2019): 279–88. http://dx.doi.org/10.11606/rm.v19i1.157953.
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A resenha aqui apresentada remete ao livro La música para Clara [A música para Clara], da autora chilena Elizabeth Subercaseaux. Lançada em 2014, a biografia romanceada da compositora alemã Clara Schumann (1819-1896) tem como diferencial o tom intimista adotado pela autora, que é tataraneta de Clara e Robert Schumann, herdeira, portanto, dos genes do casal que marcou a História da Música Ocidental por suas contribuições ao estilo romântico que vigorou no século XIX.
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Любимов, Д. В. "ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS”." Music Journal of Northern Europe, no. 4(36) (January 15, 2024): 61–83. http://dx.doi.org/10.61908/2413-0486.2023.36.4.61-83.
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Статья посвящена оркестровой и хореографической версиям пьесы «Papillons» из фортепианного цикла Р. Шумана «Карнавал». Рассматриваются особенности оркестровки Н. Черепнина. При сохранении основных элементов структуры, тонально-гармонического плана, фактуры пьесы оркестровка Черепнина демонстрирует свободное обращение с регистрами и различную технику оркестрового письма. Красочная оркестровка вносит свежесть и новизну в музыку Шумана, помогая воплотить пластический образ Бабочки в одноактном балете Фокина «Карнавал». Сюжетным продолжением сцены «Бабочка и Пьеро» стал последующий одноактный балет Фокина «Бабочки» на музыку одноименного цикла Шумана в оркестровке Черепнина. The article is dedicated to the orchestral and choreographic versions of the play “Papillons” from R. Schumann’s piano cycle “Carnaval”. The features of N. Tcherepnin’s orchestration are considered. While maintaining the basic elements of the structure, the tonal-harmonic plan, the texture of the piece, Tcherepnin’s orchestration demonstrates free handling of registers and various orchestral writing techniques. Colorful orchestration brings freshness and novelty to Schumann’s music, helping to embody the plastic image of the Butterfly in Fokine’s one-act ballet “Carnaval”. The plot continuation of the scene “Butterfly and Pierrot” was the subsequent one-act ballet “Les Papillons” by Fokine to the music of the cycle of the same name by Schumann, orchestrated by Tcherepnin.
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Alexandrova, E. L. "Texture of Piano Compositions by Robert Schumann." Университетский научный журнал, no. 62 (2021): 27–33. http://dx.doi.org/10.25807/22225064_2021_62_27.
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Boetticher, Wolfgang. "frühe Klavierquartett c-moll von Robert Schumann." Die Musikforschung 31, no. 4 (September 22, 2021): 465–67. http://dx.doi.org/10.52412/mf.1978.h4.1813.
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Nickisch, Craig W., and Udo Rauchfleisch. "Robert Schumann, Leben und Werk: Eine Psychobiographie." German Studies Review 14, no. 2 (May 1991): 399. http://dx.doi.org/10.2307/1430593.
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Franzen, C. "Frédéric Chopin, Robert Schumann und Gustav Mahler." DMW - Deutsche Medizinische Wochenschrift 135, no. 51/52 (December 2010): 2579–87. http://dx.doi.org/10.1055/s-0030-1269429.
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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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Weisberg, Robert W. "Genius and Madness?: A Quasi-Experimental Test of the Hypothesis That Manic-Depression Increases Creativity." Psychological Science 5, no. 6 (November 1994): 361–67. http://dx.doi.org/10.1111/j.1467-9280.1994.tb00286.x.
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Much evidence has been adduced to support the view, originally proposed by Kraepelin, that mania increases creativity Examples of supporting evidence are findings of similarity in thought between creative persons and manic-depressives and high creativity in normal relatives of manic-depressives However, such data are correlational and are therefore equivocal concerning the hypothesis that mania is a cause of increased creativity The present study analyzed the relationship between mood and productivity in the career of composer Robert Schumann, who has been diagnosed as bipolar Schumann's positive mood was related to increased quantity of his work but not to increased quality, indicating that mania did not increase creativity of thought processes
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Messerschmidt, Kathrin. ""... manchmal ist es mir, als könnte ich immerfort spielen..."." Die Musikforschung 58, no. 1 (September 22, 2021): 11–27. http://dx.doi.org/10.52412/mf.2005.h1.604.
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Die Frage nach der Bedeutung beziehungsweise der Möglichkeit von Humor in der Instrumentalmusik überhaupt betrifft das grundsätzliche Verständnis vom Funktionieren der Musik: Was kann Musik sagen, wie können ästhetische und philosophische Kategorien Thema der Musik sein? Bisherige Versuche, den Humorbegriff auf die Musik zu beziehen, gingen meist davon aus, dass die universellen Begriffe sich direkt mit konkreten musikalischen Sachverhalten verknüpfen lassen. Am Beispiel der "Humoreske" von Robert Schumann wird gezeigt, wie der Ablauf eines Werkganzen auch auf höherer Ebene mit einer ästhetischen Kategorie parallelisiert werden kann. Zwischen dem Werk, dem musikalischen Zeitbegriff und dem romantischen Humorbegriff werden so Vernetzungen sichtbar, die nicht nur die Bedeutung der "Humoreske" innerhalb von Schumanns frühem Klavierwerk neu beleuchten, sondern auch weitere Möglichkeiten für die Betrachtung anderer Werke und Werkgruppen aufzeigen können.
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Poulain-Berhault, Marie. "Illustration clinique de la non fermeture du corps dans la psychose : Robert Schumann, composer ou se décomposer." psychologie clinique, no. 45 (2018): 149–56. http://dx.doi.org/10.1051/psyc/201845149.
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Cet article montre que l’artiste enseigne le clinicien sur le traitement de sa psychose. Le but de est de montrer que la création, précisément la composition musicale, a une fonction pour l’artiste. Robert Schumann tente de border un débordement intérieur avec son art. La méthode choisie consiste à lire le journal intime, la correspondance avec sa femme et ses pairs, et certains articles de la revue pour la musique de Robert Schumann. Cette lecture éclairée par la psychanalyse lacanienne montre que le choix de la musique a eu un effet de fragilisation psychique qui s’est inscrite dans son corps. Son œuvre a été une réponse au réel qui s’est manifesté à lui en différents moments de son existence. Nous montrons que la création est en rapport avec le corps, pas biologique, celui de la libido, des pulsions et de l’angoisse. La création pourrait être un moyen de mettre à distance l’objet pulsionnel et de colmater une part de jouissance envahissante mais elle n’a pas opéré du côté de la suppléance. La composition pour une tentative de fermeture du corps a mené vers une décompensation psychique menant Schumann à tenter de se suicider.
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Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 213–31. http://dx.doi.org/10.34064/khnum2-17.14.
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Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore Österschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. Fétis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on cliché about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite this, during the twentieth century, Clara Schumann’s work continues to be carefully studied by the researchers of Germany (B. Litzmann, W. Kleefeld, K. Höcker, R. Hohenemser, A. Meurer, E. Wickop), France (R. Pitrou), England (P. Susskind, J. Chissell, N. Reich). During the last forty years, interest to Clara Wick Schumann’s creativity has grown substantially, possibly due to activation of the feminist movements in the world. Clara became one of the main objects of research about women who wrote and performed musical compositions. The culmination of this process can be called the emergence of the fundamental monograph by Janina Klassen “Clara Wieck-Schuman. Die Virtuosin als Komponistin” (1990), where the composer’s creative efforts are most fully analyzed, as well as valuable references to rare historical sources are given, including the letters from the Robert Schumann’s house in Zwickau, which have not yet been published. Conclusions. Thus, the presented large array of literary sources, being systematized by chronology and the subjects, gives an idea of the state of the studying and analysis of the cultural heritage of Clara Wieck Schumann today. The author hopes that the information collected will ease orientation in finding answers to questions arising to musicologists who explore her creativity. Summing up, we can present the generalized classification of the literature considered. So, Clara’s diaries including the records making by her father and relating to the early period of her creation, give the understanding of how the pianist’s outlook was formed. Estimative judgments about the value of composition as an important area of Clara’s creation should be sought in her epistolary heritage, in particular, in the correspondence with R. Schumann and J. Brahms. At the same place one should to look for the motives and emotional boundaries of her creativity. Answers the many questions that may arise to a performer who interprets of Clara Schumann’s music can be found in the fundamental biographical study by B. Litzmann and the articles by F. Liszt. A large layer of modern researches, which has been published since the 80s of the twentieth century, cannot be discounted as the authors rely on modern methods of analysis. Therefore, it is as if the resolved problems are being considered on a new level: from the research of forgotten pages of “XIX century women’s music” (J. Klassen), new data about Clara’s life outlook formation, and ending with issues of her music style. All these aspects give the opportunity to “collect” the creative and personal “portrait” of a genius woman of the nineteenth century.
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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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Repp, Bruno H. "The Difficulty of Measuring Musical Quality (And Quantity): Commentary on Weisberg." Psychological Science 7, no. 2 (March 1996): 121–22. http://dx.doi.org/10.1111/j.1467-9280.1996.tb00341.x.
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In a recent article in this journal, Weisberg (1994) examined the hypothesis that creative individuals suffering from manic-depressive disease not only are more productive during hypomanic phases (which they commonly are) but also produce works of higher quality than during normal or depressed periods As his test case, he took the composer Robert Schumann (1810-1856), who suffered from a bipolar affective disorder (Jamison, 1993, Ostwald, 1985, Slater & Meyer, 1959) and who left extensive records of his mood swings in letters and diaries A plot of the number of Schumann's compositions by year of completion (Weisberg's Fig 1) reveals two periods of particularly intense activity the years 1840 and 1849-1851, especially 1849 According to Slater and Meyer (1959), the years 1840, 1849, and 1851 coincide with hypomanic periods in Schumann's life Years classified as mostly depressive periods, by contrast, show very low productivity
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Orgel, Paul, and John Daverio. "Robert Schumann: Herald of a "New Poetic Age"." Notes 54, no. 3 (March 1998): 698. http://dx.doi.org/10.2307/899904.
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MacDonald, Claudia, and Ernst Burger. "Robert Schumann: Eine Lebenschronik in Bildern und Dokumenten." Notes 56, no. 2 (December 1999): 409. http://dx.doi.org/10.2307/900021.
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Federhofer-Konigs, Renate, Louis Schindelmeisser, and Robert Schumann. "Louis Schindelmeisser und Robert Schumann in ihrer Korrespondenz." Studia Musicologica Academiae Scientiarum Hungaricae 38, no. 1/2 (1997): 37. http://dx.doi.org/10.2307/902618.
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