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1810-1856
-Robert Schumann
It has been related that Schumann, as a child, possessed rare taste and
talent for portraying feelings and characteristic traits in melody,
ay, he could sketch the different dispositions of his intimate friends by
certain figures and passages on the piano so exactly and comically that
everyone burst into loud laughter at the similitude of the portrait.
-W.J. von Wasielewski; The Universal Journal of Music 1850
The trouble with my hand is that certain fingers have become so weak,
probably through writing and playing too much at one time, that I can
hardly use them. -Robert Schumann
No?
3
2
1
1835 - 1839
Master Raro was a notable character that appeared in many of Schumanns
character pieces for solo piano. Schumann often used Master Raro as his
pseudonym within Zeitschrift fr Musik, the journal through which he
evaluated the music world. Raro appears to bring logic and reason and
reflects Schumanns writing mastery and musical genius.
Raro may represent the union of (ClaRa + Robert).
Despite the opposition of Clara Wiecks father, Friederich, she and Robert
continued a clandestine relationship which matured into a full-blown romance.
Clara Wieck at 16
Clara Wieck at 15
A child prodigy, from an early age, her career and life was planned
down to the smallest detail by her father. She daily received onehour lesson (in piano, violin, singing, theory, harmony,
composition, and counterpoint), and two hours of practice, using the
teaching methods he had developed on his own.
Its no surprise that an over-protective, over-achieving father would
object to her growing attachment to Robert, then a frustrated law
student currently struggling with his career in composition, who was
nine years her senior.
After a long and acrimonious legal battle with her father, Schumann married Clara
Wieck on 12 September 1840, at Schnefeld, the day before her 21st birthday.
Had they waited another day, they would no longer have required her fathers consent.
1835 - 1839
Fantasiestcke, Op. 12
Symphonic Studies (1837)
Davidsbndlertnze, Op.6 (also published in 1837 despite the
low opus number)
Kinderszenen, Op. 15
Kreisleriana, Op. 16 (1838)
The Fantasie in C, Op. 17
1840 - 1849
1840 - 1849
Song cycles
Liederkreis of Joseph von Eichendorff, Op. 39 (depicting a series of moods
relating to or inspired by nature)
the Frauenliebe und -leben of Chamisso, Op. 42 (relating the tale of a
woman's marriage, childbirth and widowhood)
the Dichterliebe of Heine, Op. 48 (depicting a lover rejected, but coming to
terms with his painful loss through renunciation and forgiveness)
Myrthen, a collection of songs, including poems by Goethe, Rckert, Heine,
Byron, Burns and Moore.
1840 - 1849
Schumanns music was also affected by his love for his children. He wrote
pieces directly inspired by their activities, as well as works written for
children in general. These were not the usual sonatinas, but imaginative
and entertaining works, like those he published in the Album for the
Young Op. 68 in 1848.
Clara and Robert had eight children. Marie (1841); Elise (1843); Julie
(1845); Emil (1846), who died at 1 year; Ludwig (1848);
Ferdinand (1849); Eugenie (1851); and Felix (1854).
1840 - 1849
Despite his achievements, Schumann received few tokens of honour; he was
awarded a doctoral degree by the University of Jena in 1840, and in
1843 a professorship in the
Conservatory of Music,
which Felix Mendelssohn had
founded in Leipzig that same year.
1840 - 1849
He spent the first half of 1844 with Clara on tour in Russia. On
returning to Germany, he abandoned his editorial work and left Leipzig
for Dresden, where he suffered from persistent nervous prostration.
As soon as he began to work, he was seized with fits of shivering and an
apprehension of death, experiencing an abhorrence of high places, all
metal instruments (even keys), and drugs.
Schumanns diaries also state that he suffered perpetually from imagining that
he had the note A5 sounding in his ears.
1840 - 1849
1840 - 1849
His state of unease and neurasthenia is reflected in his Symphony in C,
numbered second, but third in order of composition, in which the composer
explores states of exhaustion, obsession and depression, culminating in
Beethovenian spiritual triumph.
Also published in 1845 was his Piano Concerto in A minor, Op. 54,
originally conceived and performed as a one-movement Fantasy for Piano
and Orchestra in 1841.
1840 - 1849
The music to Byron's Manfred was written in 1849, the overture of which is one of
Schumann's most frequently performed orchestral works.
Scenes from Goethe's Faust - In August 1849, on the occasion of the centenary of
Goethe's birth, performed in Dresden, Leipzig, Wiemar.
After 1850
From 1850 to 1854, Schumann composed in a wide variety of genres.
Critics have disputed the quality of his work at this time; a widely held view
has been that his music showed signs of mental breakdown and creative
decay. More recently, critics have suggested that the changes in style may
be explained by lucid experimentation.
After 1850
In 1851 he completed his Symphony No. 3, Rhenish
Schumann also published an article, Neue Bahnen (New
Paths) in the Neue Zeitschrift (his first article in many
years), hailing the unknown young Brahms from Hamburg,
a man who had published nothing, as the Chosen One
who was destined to give ideal expression to the times.
After 1850
Schumann returned to Dsseldorf and began to edit his complete works and make an
anthology on the subject of music. He suffered a renewal of the symptoms that had
threatened him earlier.
One night he suddenly left his bed, having dreamt or imagined that a ghost
(purportedly the spirit of either Schubert or Mendelssohn) had dictated a "spirit
theme" to him. The theme was one he had used several times before: in his Second
String Quartet, again in his Lieder-Album fr die Jugend, and finally in the
slow movement of his Violin Concerto.
After 1850
After 1850
After 1850
The building of Richarz'schen private lunatic asylum, now the Robert Schumann House (2009)
Style
The state of music directly after the death of
Beethoven, Schubert, and Weber was one of sad
stagnation. Dry classicism was the order of the day.*
Style
A large number of Schumanns piano pieces
contains personal and literary allusions and
references.
Eusebius
Florestan
Style
A miniaturist
In the Papillons, Op. 2, Schumann presents a
number of short pieces in a sequence of ideas
without any pretence at unity of form.
Style
The song accompaniments are often almost selfsufficient piano pieces, and the piano pieces often
seem to have been melodically inspired by lyrical
poems.
Style
Musical codes/translating letters of the alphabet
into their corresponding tones
The Abegg Variations
The Carnaval
Style
Chordal with exclusion of commonplace arpeggios.
And a fondness of interlocked chords to give unusual
balances of tone.
Style
Unusual and exciting textures
Especially the figuration between the upper and
lower voices
Style
Rhythmic ingenuity. Syncopation. Sometimes to
the point that the basic meter is endangered.
Schumann Werke
Piano Werke
Papillons Op. 2
Piano Werke
Carnaval, Op. 9
Piano Werke
Carnaval, Op. 9
Eusebius
Florestan
Chopin
Paganini
Pause
Sphinxes
Piano Werke
Fantasiestcke, Op. 12
Piano Werke
Fantasiestcke, Op. 12
1. Des Abends In the evening
2. Aufschwung Soaring/Upswing
3. Warum? Why?
4. Grillen Whims
5. In der Nacht In the night
6. Fabel Fable
7. Traumes Wirren Dreams Confusions
8. Ende vom Lied End of the song
Piano Werke
Symphonic Etudes op. 13
The first edition in 1837 carried an annotation that the
tune was "the composition of an amateur": this referred
to the origin of the theme, which had been sent to
Schumann by Baron von Fricken, guardian of Ernestine
von Fricken, the Estrella of his Carnaval Op. 9.
Piano Werke
Piano Concerto in A Minor, Op. 54
Piano Werke
Kreisleriana, Op. 16
Subtitled Phantasien fur das Pianoforte
Dedicated to Frederic Chopin in the score, but like most
of his piano music in the late 1830s, it is really about his
love for Clara Wieck.
My favorite work - Patricia
Inspired by Johannes Kreisler (eccentric, wild, and witty
composer), a character in one of E. T. A. Hoffmanns
novels.
Each movement has multiple contrasting sections
Piano Werke
Kreisleriana, Op. 16
Movements:
1.
2.
Piano Werke
Fantasie in C, Op. 17
Piano Werke
Kinderszenen, Op. 15
Scenes from Childhood
A tribute to the universal memories and feelings of
childhood from a nostalgic adult perspective
Set of 13 pieces
Movements:
Von fremden Lndern und Menschen (Of Foreign Lands
and Peoples)
Kuriose Geschichte (A Curious Story)
Hasche-Mann (Blind Mans Bluff)
Bittendes Kind (Pleading Child)
Piano Werke
Kinderszenen, Op. 15
Piano Werke
Album for the Young, Op. 68
Composed for his three daughters
A collection of 43 short works
For beginners and children
A Little Canon, Humming Song, Hunting Song,
Melody, Remembrance, Rustic Song, Sailors Song,
Soldiers March, Spring Song, The Happy Farmer
Piano Werke
Davidsbundlertanze, Op. 6
Dances of the League of David
Group of 18 pieces
The theme is based on a mazurka by Clara Wieck
Schumann told Clara that the dances contained
many wedding thoughts and that the story is an
entire Polterabend (German wedding custom in
which on the night before the wedding, the guests
break porcelain to bring luck to the couples
marriage)
Piano Werke
Davidsbundlertanze, Op. 6
Self-portrait provided by Schumann of his varied
states of mind highlighted by the contrasts
represented by Florestan (passionate, voluble side)
and Eusebius (dreamy, introspective side)
Regarded as one of Schumanns greatest
achievements and one of the greatest piano works
of the Romantic era.
Piano Werke
Lebhaft
Innig
Mit Humor
Ungeduldig
Einfach
Sehr rasch
Nicht schnell
Frisch
Lebhaft
Balladenmig - Sehr
rasch
Einfach
Mit Humor
Wild und lustig
Zart und singend
Frisch
Mit gutem Humor
Wie aus der Ferne
Nicht schnell
Other Werke
Fantasy Pieces for Clarinet and
Piano, Op. 73
Clarinet part could be performed by viola or cello
3 Pieces
Zart und mit Ausdruck (Tender and with
expression)
Lebhaft, leicht (Lively, light)
Rasch und mit Feuer (Quick and with fire)
Other Werke
Symphonies
4 complete symphonies, and 1 early incomplete
Symphony, Zwickau (G minor)
Symphony No. 1, Op. 38 Spring (Bb major)
Symphony No. 2, Op. 61 (C major)
Symphony No. 3, Op. 97 Rhenish (Eb major)
Symphony No. 4, Op. 120 (D minor)
Other Werke
Cello Concerto, Op. 129
Movements
Nicht zu schnell (A minor)
Langsam (F major)
Sehr lebhaft (A minor A major)
Other Werke
Dichterliebe, A Poets Love
His best known song cycle
16 songs
Texts come from Heinrich Heines Lyrisches
Intermezzo
The very natural, almost hyper-sensitive poetical
affections of the poems are mirrored in
Schumann's settings, with their miniaturist
chromaticism and suspensions.
Other Werke
Dichterliebe, A Poets Love
Other Werke
Dichterliebe, A Poets Love
Other Werke
Dichterliebe, A Poets Love
Sources
Britannica Online.
Fin