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First Sunday Music - Schumann

Posted on 08/01/2009 11:05:56 PM PDT by HoosierHawk

Robert Schumann


Schumann and Clara

Introduction

Robert Schumann was born June 8, 1810, in Zwickau, Saxony, (Germany). He died July 29, 1856, Endenich, near Bonn, Prussia, (Germany). He was a German Romantic composer renowned particularly for his piano music, songs (lieder), and orchestral music. Many of his best-known piano pieces were written for his wife, the pianist Clara Schumann.

His Early Years

Schumann’s father was a bookseller and publisher. After four years at a private school, the boy entered the Zwickau Gymnasium (high school) in 1820 and remained there for eight years. He began his musical education at the age of six, studying the piano. In 1827 he came under the musical influence of the Austrian composer Franz Schubert and the literary influence of the German poet Jean Paul Richter, and in the same year he composed some songs.

In 1828 Schumann left school and, under family pressure, reluctantly entered the University of Leipzig as a law student. But at Leipzig his time was devoted not to the law but to song composition, improvisation at the piano, and attempts to write novels. For a few months he studied the piano seriously with a celebrated teacher, Friedrich Wieck, and thus got to know Wieck’s nine-year-old daughter Clara, a brilliant pianist who was just then beginning a successful concert career.

In the summer of 1829 he left Leipzig for Heidelberg. There he composed waltzes in the style of Franz Schubert, afterward used in his piano cycle Papillons (Opus 2; 1829–31), and practiced industriously with a view to abandoning law and becoming a virtuoso pianist—with the result that his mother agreed to allow him to return to Leipzig in October 1830 to study for a trial period with Wieck, who thought highly of his talent but doubted his stability and capacity for hard work.

Schumann’s Opus 1, the Abegg Variations for piano, was published in 1831. An accident to one of the fingers of his right hand, which put an end to his hopes of a career as a virtuoso, was perhaps not an unmitigated misfortune, since it confined him to composition. For Schumann, this was a period of prolific composition in piano pieces, which were published either at once or, in revised forms, later. Among them were the piano cycles Papillons and Carnaval (composed 1833–35) and the Études symphoniques (1834–37; Symphonic Studies), another work consisting of a set of variations. In 1834 Schumann had become engaged to Ernestine von Fricken, but long before the engagement was formally broken off (Jan. 1, 1836) he had fallen in love with the then 16-year-old Clara Wieck. Clara returned his kisses but obeyed her father when he ordered her to break off the relationship. Schumann found himself abandoned for 16 months, during which he wrote the great Fantasy in C Major for piano and edited the Neue Zeitschrift für Musik (New Journal for Music), a periodical that he had helped to found in 1834 and of which he had been editor since early 1835. In 1837 Schumann formally asked Clara’s father for permission to marry her, but Wieck evaded his request. The couple were finally married in 1840 after Schumann had gone to court to set aside Wieck’s legal objection to the marriage.

The Later Years

Schumann had by now entered upon one of his most fertile creative periods, producing a series of imaginative works for piano. Among these are the Davidsbündlertänze (composed 1837), Phantasiestücke (1837), Kinderszenen (1838; Scenes from Childhood), Kreisleriana (1838), Arabeske (1838), Humoreske (1838), Novelletten (1838), and Faschingsschwank aus Wien (1839–40; Carnival Jest from Vienna). Schumann wrote most of Faschingsschwank while on a visit to Vienna, during which he unearthed a number of manuscripts by Franz Schubert, including that of the Symphony in C Major (The Great). In 1840 Schumann returned to a field he had neglected for nearly 12 years, that of the solo song; in the space of 11 months (February–December 1840) he composed nearly all the songs on which much of his reputation rests: the cycles Myrthen (Myrtles), the two Liederkreise (Song-Cycles) on texts by Heinrich Heine and Joseph Eichendorff, Dichterliebe (Poet’s Love) and Frauenliebe und Leben (Woman’s Love and Life), and many separate songs.

Clara had been pressing him to widen his scope, to launch out in other media—above all, the orchestra. Now in January–February 1841 he composed the Symphony No. 1 in B-flat Major, which was immediately performed under the composer Felix Mendelssohn at Leipzig; an Overture, Scherzo, and Finale (April–May); a Phantasie for piano and orchestra (May), which was expanded into the famous Piano Concerto in A Minor by the addition of two more movements in 1845; another symphony, in D minor (June–September); and sketches for an uncompleted third symphony, in C minor. After this the orchestral impulse was temporarily spent.

In another new departure, Schumann in 1842 wrote several chamber works, the finest being the Piano Quintet in E-flat Major. The year 1843 was marked by Schumann’s most ambitious work so far, a “secular oratorio,” Das Paradies und die Peri (Paradise and the Peri). He made his debut as a conductor—a role in which he was invariably ineffective—with its first performance in December of that year.

During Schumann’s work on The Peri, the newly founded Leipzig Conservatory had been opened with Mendelssohn as director and Schumann as professor of “piano playing, composition, and playing from score”; again he had embarked on activities for which he was unsuited. The first few months of 1844 were spent on a concert tour of Russia with Clara, which depressed Schumann by making him conscious of his inferior role. On returning to Leipzig he resigned the editorship of the Neue Zeitschrift. In the autumn of 1844 his work was interrupted by a serious nervous collapse. From late 1844 to 1850 he and Clara lived in Dresden, where his health was gradually restored. In 1845 he began another symphony, No. 2 in C Major, but because of aural nerve trouble nearly 10 months passed before the score was finished. Schumann wrote the incidental music to Lord Byron’s drama Manfred in 1848–49.

Schumann’s attempts to obtain posts in Leipzig and Vienna had also been abortive, and in the end he accepted the post of municipal director of music at Düsseldorf. At first things went tolerably well; in 1850–51 he composed the Cello Concerto in A Minor and the Symphony No. 3 in E-flat Major (the Rhenish) and drastically rewrote the 10-year-old Symphony in D Minor, ultimately published as No. 4. He also conducted eight subscription concerts, but his shortcomings as a conductor became obvious, and in 1853 he lost his post as music director at Düsseldorf.

Schumann’s nervous constitution had never been strong. He had contemplated suicide on at least three occasions in the 1830s, and from the mid-1840s on he suffered periodic attacks of severe depression and nervous exhaustion. His musical powers had also declined by the late 1840s, though some of his works still display flashes of his former genius. By 1852 a general deterioration of his nervous system was becoming apparent. On Feb. 10, 1854, Schumann complained of a “very strong and painful” attack of the ear malady that had troubled him before; this was followed by aural hallucinations. On February 26 he asked to be taken to a lunatic asylum, and the next day he attempted suicide by drowning. On March 4 he was removed to a private asylum at Endenich, near Bonn, where he lived for nearly two and a half years, able to correspond for a time with Clara and his friends. He died there in 1856.

Read more of Schumann's music here.

Das Paradies und die Peri

Requiem for Mignon and Nachtlied

John Eliot Gardiner conducting the Monteverdi Chorus and the Ochestre Revolutionnaie et Romantiques



TOPICS: History; Music/Entertainment
KEYWORDS: classicalmusic; firstsundaymusic
Prayers up for our troops, veterans, families, friends, and allies.

Classical Music presented on the first Sunday of every month.

1 posted on 08/01/2009 11:05:56 PM PDT by HoosierHawk
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To: HoosierHawk

Thanks for the post - his Second Symphony has always been a favorite of mine.


2 posted on 08/01/2009 11:09:18 PM PDT by rahbert ("when they feel the heat they'll see the light")
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To: Brad's Gramma; bperiwinkle7; Cincinna; curmudgeonII; Duke Nukum; EveningStar; laurenmarlowe; ...
Ping to First Sunday Music.

I'm slowly building a website of achives. You can visit the site here.

I hope all of you enjoy the music.

3 posted on 08/01/2009 11:18:31 PM PDT by HoosierHawk (www.firstsundaymusic.com)
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To: rahbert
I enjoyed the Second as well; it's tough to make the call.

Glad you enjoy.

4 posted on 08/01/2009 11:21:25 PM PDT by HoosierHawk (www.firstsundaymusic.com)
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To: HoosierHawk

How positively wonderful of you! Thanks so much!!


5 posted on 08/01/2009 11:29:22 PM PDT by MountainFlower (There but by the grace of God go I.)
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To: HoosierHawk
Thank you, HoosierHawk!

This is a much needed addition to sooth our souls.
6 posted on 08/01/2009 11:33:47 PM PDT by BIGLOOK (Government needs a Keelhauling now and then.)
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To: HoosierHawk

As a pianist, I never really cared for Schumann. But the one recording I urge everyone to track down is Horowitz’s recording of the Kinderschenen. It was originally released along with his recording of Brahms’ D minor Violin and paino sonata that he did with Nathan Milstein. The whole record is worth hearing, but in the interest of staying on the topic of Schumann, I find this recording of one of his most beloved piano works to be the best I’ve heard, as it really draws us into Schumann’s lyricism and phrasing. So much of his other “greater” piano works come off as contrived and dazzling without a true sense of cohesion.(e.g. the G minor Sonata.)


7 posted on 08/02/2009 12:01:26 AM PDT by Cosmo (Liberalism is for girls)
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To: HoosierHawk

Schumann’s ‘Traumerei’ was one of the early pieces I learned to play and still a favorite.


8 posted on 08/02/2009 12:02:18 AM PDT by libh8er
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To: HoosierHawk
Great archive, HoosierHawk. I am very grateful for this selfless effort and have bookmarked it for future enjoyment. I am a great Chopin fan, and less great practioner of his piano music.

I have several discs by various performers, but not Ashkenazy, so this adds even more perspective as to how to interpret his music. Thanks again! and here's hoping your archive grows and grows.

9 posted on 08/02/2009 12:19:17 AM PDT by ARepublicanForAllReasons (Give 'em hell, Sarah!)
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To: HoosierHawk; .30Carbine; 1rudeboy; 2nd Bn, 11th Mar; 31R1O; ADemocratNoMore; ...

Dear HoosierHawk,

Thanks for the ping!

Classical Music Ping List ping!

If you want on of or off this list, let me know via FR e-mail.

Thanks,

sitetest


10 posted on 08/02/2009 5:36:45 AM PDT by sitetest (If Roe is not overturned, no unborn child will ever be protected in law.)
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To: HoosierHawk

Thank you.


11 posted on 08/02/2009 6:51:13 AM PDT by curmudgeonII (Vocatus atque non vocatus deus aderit.)
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To: HoosierHawk

Sorry, HH...I am not listening to Schumann...I spotted the link went to it and... with all the turmoil politically, economically...I hit on Handel’s Messiah and have had my soul soothed last night and am again listening before church. GOD BLESS! I needed this so badly!!


12 posted on 08/02/2009 7:10:51 AM PDT by MountainFlower (There but by the grace of God go I.)
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To: HoosierHawk
Thanks...you just reminded me to add Carnaval to my iTouch. Always loved that piece.
13 posted on 08/02/2009 7:38:29 AM PDT by Pharmboy (Who ever thought we would long for the days of the Clinton administration...)
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To: HoosierHawk
I want to put in a word of thanks for posting the photograph of the composer and Clara.

Somehow I feel a closer rapport with the music when I can visualize the composer. I'm sure Schumann's music reflects much of the passion of his up-and-down romance with his young pupil.

They DO make a fine-looking couple given the times, the clothing and the hair-dos, LOL.

Leni

14 posted on 08/02/2009 7:42:22 AM PDT by MinuteGal (Work Harder! Millions On Welfare Depend on You!)
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To: HoosierHawk
He was a tortured soul...and Brahms' affair with Clara did not help. I always believed he was bipolar, and others seem to agree.
15 posted on 08/02/2009 8:00:13 AM PDT by Pharmboy (Who ever thought we would long for the days of the Clinton administration...)
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To: HoosierHawk

Your work is appreciated. Thanks for sharing your
interest in wonderful real music.


16 posted on 08/02/2009 9:57:49 AM PDT by seenenuf ( PREPARE TO BE TESTED!)
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To: HoosierHawk; sitetest

Nicely Done! Thanks for the ping. :)


17 posted on 08/02/2009 10:14:32 AM PDT by Diana in Wisconsin (Save The Earth. It's The Only Planet With Chocolate.)
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To: All

Thank you for your comments. I’m glad you all enjoy.


18 posted on 08/02/2009 12:10:02 PM PDT by HoosierHawk (www.firstsundaymusic.com)
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To: Cosmo
So much of his other “greater” piano works come off as contrived and dazzling without a true sense of cohesion.(e.g. the G minor Sonata.)

Certainly true of some of the more traditionally formal works, such as the sonatas. But once you've found your way into his very personal universe, the riches there seem inexhaustible. As a player, I found little or nothing in Schumann to interest me until I was nearly 50: but since then I've never looked back. What most listeners (and many performers) miss in Schumann is the pervasive wit and gift for parody (often self-parody). Unless you get hold of this, the personality appears glum and teutonic. A good example is what I find, as a player, the most rewarding of the longer pieces - the Humoreske, which I've been playing for about five years now, and in which I find something fresh every time I come to it. The main challenges for a pianist are to get light and air into the often thick left-hand textures, and to avoid getting bogged down in the often obsessively repetitive rhythms.

19 posted on 08/03/2009 12:24:24 AM PDT by Winniesboy
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