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Journal articles on the topic 'Schumann, Robert, Music Music and youth'

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Published: 4 June 2021
Last updated: 10 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

Hallmark, Rufus, Dietrich Fischer-Dieskau, and Reinhard G. Pauly. "Robert Schumann: Words and Music-The Vocal Compositions." Notes 47, no. 1 (September 1990): 55. http://dx.doi.org/10.2307/940537.

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10

Hallmark, Rufus. "The Rückert Lieder of Robert and Clara Schumann." 19th-Century Music 14, no. 1 (1990): 3–30. http://dx.doi.org/10.2307/746673.

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11

Anderson, Robert, Gerd Nauhaus, and Peter Ostwald. "The Marriage Diaries of Robert & Clara Schumann." Musical Times 135, no. 1815 (May 1994): 291. http://dx.doi.org/10.2307/1003172.

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12

DILL, HEIINZ J. "Romantic Irony in the Works of Robert Schumann." Musical Quarterly 73, no. 2 (1989): 172–95. http://dx.doi.org/10.1093/mq/73.2.172.

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13

Hallmark, Rufus. "The Ruckert Lieder of Robert and Clara Schumann." 19th-Century Music 14, no. 1 (July 1990): 3–30. http://dx.doi.org/10.1525/ncm.1990.14.1.02a00010.

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14

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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15

Münster, Robert. "Beethoven-Etuden von Robert Schumann Aus Anlaß ihrer Erstausgabe." Die Musikforschung 31, no. 1 (September 22, 2021): 53–56. http://dx.doi.org/10.52412/mf.1978.h1.1773.

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16

Braunschweig, Yael. "Review: Robert Schumann: Life and Death of a Musician by John Worthen; Robert Schumann: The Book of Songs by Jon W. Finson." Journal of the American Musicological Society 62, no. 3 (2009): 726–36. http://dx.doi.org/10.1525/jams.2009.62.3.726.

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17

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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18

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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19

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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20

Boyd, Melinda. "Gendered Voices: The "Liebesfrühling" Lieder of Robert and Clara Schumann." 19th-Century Music 23, no. 2 (1999): 145–62. http://dx.doi.org/10.2307/746921.

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21

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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22

Plantinga, Leon. "Robert Schumann: Herald of a "New Poetic Age" . John Daverio ." Journal of the American Musicological Society 51, no. 2 (July 1998): 384–92. http://dx.doi.org/10.1525/jams.1998.51.2.03a00060.

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23

Tunbridge, L. "Robert Schumann: The Book of Songs. By Jon W. Finson." Music and Letters 90, no. 2 (April 29, 2009): 292–94. http://dx.doi.org/10.1093/ml/gcn102.

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24

Boyd, Melinda. "Gendered Voices: The "Liebesfruhling" Lieder of Robert and Clara Schumann." 19th-Century Music 23, no. 2 (October 1999): 145–62. http://dx.doi.org/10.1525/ncm.1999.23.2.02a00030.

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25

Ehrhardt, Damien. "Les Études symphoniques de Robert Schumann: Projet d'intégration des variations posthumes." Revue de musicologie 78, no. 2 (1992): 289. http://dx.doi.org/10.2307/946987.

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26

Möller, Eberhard. "Drei unveröffentlichte Gutachten von Niels W. Gade, Felix Mendelssohn Bartholdy und Robert Schumann über Robert Franz." Die Musikforschung 44, no. 2 (September 22, 2021): 156–58. http://dx.doi.org/10.52412/mf.1991.h2.1232.

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27

Plantinga, Leon. "Review: Robert Schumann: Herald of a "New Poetic Age" by John Daverio." Journal of the American Musicological Society 51, no. 2 (1998): 384–92. http://dx.doi.org/10.2307/831982.

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28

Sharma, Seema. "THE POWER OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3505.

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Since time immemorial, music has been embedded in life. It seeps into arts and culture, finds expression in language, and has great affect on lifestyle. The origin of music dates back to the earliest of civilization, thereby making it difficult to pinpoint the exact date whence it started. Robert Schumann, a German composer, noted, “Perhaps it is precisely the mystery of her origins which accounts for the charm of her beauty. Whether vocal or instrumental, music can be viewed as a form of language or speech, possessing subtler shades of meaning than the spoken word and yet displaying much more emotive force. There seems to be something innate in human being that gives them the capacity to understand and respond to musical tones, rhythms, and pattern.
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29

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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30

McKee, Eric. "Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (review)." Notes 57, no. 1 (2000): 97–99. http://dx.doi.org/10.1353/not.2000.0039.

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31

Beller-McKenna, Daniel. "Distance and Disembodiment: Harps, Horns, and the Requiem Idea in Schumann and Brahms." Journal of Musicology 22, no. 1 (2005): 47–89. http://dx.doi.org/10.1525/jm.2005.22.1.47.

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In his final book, Crossing Paths, John Daverio identified a common "Requiem Idea" in the music of Robert Schumann and Johannes Brahms. Both composers, Daverio argued, focused more on the survivors of the deceased than on the souls of the dead, and on consolation rather then grieving. Whereas works by Schumann and Brahms that represent Daverio's Requiem Idea take many forms and fall into various genres, a considerable number of these pieces are united by their use (literally or figuratively) of two distinctly romantic instruments-primarily the harp and secondarily the horn, instruments which Daverio labelled "emblems of distance and disembodiment." Borrowing on both the Osssianic/ bardic tradition of the late 18th century and on the spiritually tinged associations of the harp among German Romantics, Schumann, and later Brahms, used this instrument to convey separation and mediation between the dead and the living, the underlying paradigm that informs the consolatory nature of the Requiem Idea. Frequently allied with the harp in such situations is the horn, which carries its own associations with distance and thereby separation.
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32

Boresch, Hans-Werner. ""alte Traum von alten Deutschland"." Die Musikforschung 52, no. 1 (September 22, 2021): 55–69. http://dx.doi.org/10.52412/mf.1999.h1.875.

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Similar to national feasts - e.g. the Wartburg Fest 1817 - German music festivals could be understood as symbolic politics: the masses of interpreters and listeners representing the German 'nation', the works, especially symhonies and oratorios, representing the 'greatness' of German culture (shown in texts by Wolfgang Robert Griepenkerl, Eduard Krüger, Robert Schumann). Mendelssohn's <Lobgesang>, first performed at the Leipzig Gutenberg Fest 1841, then one year later at the Düsseldorf music festival, is discussed as music for national feasts (with its references to the national 'heroes' Gutenberg, Luther, and Beethoven).
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33

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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34

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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35

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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36

MacDonald, Claudia. "Konzertsatz fur Klavier und Orchester d-moll . Robert Schumann , Jozef De Beenhouwer , Joachim Draheim ." Journal of the American Musicological Society 45, no. 1 (April 1992): 143–53. http://dx.doi.org/10.1525/jams.1992.45.1.03a00070.

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37

Tunbridge, Laura. "Robert Schumann, Abegg Variationen op. 1; Urtext edition, edited by Ernst Herttrich (Munich: G. Henle Verlag, 2004). 16pp. €6. - Robert Schumann, Fantasiestücke op. 12; Urtext edition, edited by Ernst Herttrich (Munich: G. Henle Verlag, 2004). 45pp. €9. - Robert Schumann, Kreisleriana op. 16; Urtext edition, edited by Ernst Herttrich (Munich: G. Henle Verlag, 2004). 42pp. €9. - Robert Schumann, Faschingsswank aus Wien op. 26. Urtext edition, edited by Ernst Herttrich (Munich: G. Henle Verlag, 2004). 37pp. €8." Nineteenth-Century Music Review 3, no. 1 (June 2006): 163–66. http://dx.doi.org/10.1017/s1479409800000513.

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38

Heather Platt. "Robert Schumann: The Book of Songs (review)." Notes 65, no. 4 (2009): 779–81. http://dx.doi.org/10.1353/not.0.0167.

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39

MacDonald, Claudia. "Review: Konzertsatz für Klavier und Orchester d-moll by Robert Schumann, Jozef De Beenhouwer, Joachim Draheim." Journal of the American Musicological Society 45, no. 1 (1992): 143–53. http://dx.doi.org/10.2307/831494.

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40

Marston, Nicholas. "Robert Schumann — Musikalische Haus- und Lebensregeln: Faksimile mit übertragung und Textabdruck. Ed. by Gerd Nauhaus. pp. 105. Schumann-Studien, 2. (Studio, Sinzig, 2002. ISBN 3-89564-05507.)." Music and Letters 86, no. 4 (November 1, 2005): 644–45. http://dx.doi.org/10.1093/ml/gci116.

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41

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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42

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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43

Biddle, Ian. "Policing Masculinity: Schumann, Berlioz and the Gendering of the Music-Critical Idiom." Journal of the Royal Musical Association 124, no. 2 (1999): 196–220. http://dx.doi.org/10.1093/jrma/124.2.196.

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Robert Schumann's review of Berlioz's Symphonie fantastique has attracted continued intensive scholarly attention since its serialized publication in the Neue Zeitschrift für Musik in 1835. There is a marked tendency in that attention to focus on a set of closely related critical themes: to use the review as a key to the German reception of Berlioz; to read it in terms of what it demonstrates about Schumann's own critico-aesthetic position; to see it as a model of music-critical practices in the first half of the nineteenth century; to scrutinize it in terms of the insights it furnishes into music-analytical practices. More recent scholarship has also added to this cluster of scholarly topoi the formal design of the text, its polyvalent texture and, in particular, what Fred Everett Maus terms ‘intersubjectivity’, scrutinizing the text for any clues it might offer as to the manner in which constructions of forms of subjectivity are engaged, sustained, problematized or subverted. Maus's attention to this ‘intersubjectivity’ stands as testament to musicology's (somewhat belated) interest in theories of subjectivity (or subjectivities), and opens Schumann's text to myriad new readings. In particular, Maus begins to tease out the text's potential as an artefact for the study of contemporaneous formations of ‘the composer’ as a cultural ‘type’ in the music-critical idiom.
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44

Hatten, R. S. "Harald Krebs. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999." Music Theory Spectrum 24, no. 2 (September 1, 2002): 273–82. http://dx.doi.org/10.1093/mts/24.2.273.

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45

Binder, Benjamin. "Robert, Clara and the Transformation of Poetic Irony in Schumann's Lieder: The Case of ‘Dein Angesicht’." Nineteenth-Century Music Review 10, no. 1 (June 2013): 1–28. http://dx.doi.org/10.1017/s1479409813000025.

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In the last decade, musicologists have definitively put to rest the lingering concern that Robert Schumann misunderstood poetic irony in his settings of Heinrich Heine's poetry. My contribution to this project begins with Robert's written correspondence with his fiancée Clara Wieck in the years leading up to their marriage in 1840. Relying on passages in the letters that have previously received little or no critical attention, I closely observe the lovers’ views about the workings of ironic language in their relationship, especially concerning the technique that scholars of Heine's poetry have called the Stimmungsbruch (‘breaking of mood’): a sudden reversal of tone that punctures a poem's lyric beauty and maliciously invalidates its apparent sincerity. Clara detested this gesture when it came from Robert in everyday life or in his letters; she insisted that Robert share his negative feelings openly, even though Robert knew that this would distress her. The letters thus provide a helpful context in which to understand Schumann's idiosyncratic compositional treatment of the Stimmungsbruch in ‘Dein Angesicht’ (1840). Using the evidence of the letters, I argue that Heine's poem would likely have had strong personal associations for Robert and Clara. In his setting, Robert thus transformed the poem's dual Stimmungsbruch to reflect pain honestly without inflicting it at the same time. Focusing primarily on the torturous dialectic between major and minor in the song, I show how Robert has the protagonist absorb the thrust of Heine's damaging Stimmungsbruch into himself, keeping the beloved out of harm's way while still allowing the dark, throbbing energy of the wound to radiate from beneath the surface.
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46

Cramer, Alfred W. "Of Serpentina and Stenography: Shapes of Handwriting in Romantic Melody." 19th-Century Music 30, no. 2 (2006): 133–65. http://dx.doi.org/10.1525/ncm.2006.30.2.133.

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Like nineteenth-century handwriting, Romantic melody consisted of a single unbroken, shaped curviline and was invested with the ability to evoke the ideal, maternal feminine, to evoke deeper images and specific meanings, and to function simultaneously as language and as signifier of infinite meaning. It can be fruitfully compared with stenography, a handwriting-based information technology flourishing in the middle nineteenth century. This article documents the perceived handwriting-like nature of music and the perceived musicality of stenography through writings of E. T. A. Hoffmann, Robert Schumann, Wagner, and the stenographer F. X. Gabelsberger. The perceptual phenomenon of auditory streaming, along with analytical approaches developed by Robert O. Gjerdingen and Eugene Narmour, makes it possible to demonstrate structural similarities between stenography and melody (in examples by Berlioz, Mendelssohn, and Wagner) and to show commonalities between the notion of the "music of the future" and the futuristic aspirations of stenography. In turn, it becomes possible to perform the shapes of handwriting in Romantic melody and hear voices and fantastic visions in those shapes.
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47

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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48

Brodbeck, David. ": Robert Schumann and the Study of Orchestral Composition: The Genesis of the First Symphony, Op. 38 . Jon W. Finson." 19th-Century Music 15, no. 1 (July 1991): 69–75. http://dx.doi.org/10.1525/ncm.1991.15.1.02a00060.

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49

Gooley, Dana. "Beyond Schumann - Robert Schumann Sinfonische Etüden op. 13 Kinderszenen op. 15 Kreisleriana op. 16 ‘Der Vogel als Prophet’ from Waldszenen op. 82 - Michael Gees pf Challenge Classics 72597 (2 CDs: 96 minutes), $32." Nineteenth-Century Music Review 13, no. 2 (May 6, 2016): 364–66. http://dx.doi.org/10.1017/s1479409815000828.

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50

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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