Phantasietanz robert schumann biography

From the earlier period comes Carnaval, a series of short musical scenes based on the letters of the composer's name and that of the town of Asch, home of Ernestine von Fricken, a fellow-student of Friedrich Wieck, to whom Schumann was briefly engaged. This decade also brought the first version of the monumental Symphonic Studies, based on a theme by the father of Ernestine von Fricken, and the well known Kinderszenen Scenes of Childhood.

Kreisleriana has its literary source in the Hoffmann character Kapellmeister Kreisler, as Papillons Butterflies have a source in the work of the writer Jean Paul and Noveletten a clear literary reference in the very title. In kunstderfuge. All rights reserved. Privacy TOS. Contacts kunstderfuge. Bach, J. Gabrieli, G. Leave a Reply Cancel reply Your email address will not be published.

I subscribed to Entrada some time ago and it has revolutionized my teaching. I have a much firmer grasp of the principles of technique and how to explain and articulate that. I could never adequately express what a positive difference this training has made in my teaching abilities. I use it with my beginning and my advanced students. The following years until his marriage to Clara Wieck in , are probably the most moving and important ones in Schumann's human and artistic development.

He continues the series of piano works with the three sonatas, the "Symphonic Etudes", "Kreisleriana" and "Novellettes". The friendship and love for the young talented artist Clara is exposed to increasing pressures by the resistance of her father. Wieck temporarily prevented any company of the loving and knew how to sow doubt. In desperate mood Schumann, who was as often in his life was liberating himself by work, wrote passionate rebellious Fantasy in C major.

In the summer of , he renewed the promise to Clara, his wife to be, and both courageously overcame the ensuing heavy fights with Wieck. Schumann wanted to completely abandon his former sphere of influence: he went to Vienna for half a year to establish the magazine there, but was stopped by the Austrian censors. He wrote the "Faschingsschwank from Vienna" Carnival Scenes from Vienna a reminiscence of the banned in the Imperial and Royal Monarchy Marseillaise in waltz time in his register.

In February , the University of Jena venerated Schumann with an honorable diploma of the philosophical doctorate. Even before the favorable outcome of the lawsuit, Schumann felt new creative impulses. In fact, on 31 March at the Leipzig Gewandhaus his "Spring Symphony", one of the most played compositions by Schumann, was premiered under the conduction of Mendelssohn.

The same is true for the in finished oratory " The echo of this beautiful, today too little-known work, was even contributing to the reconciliation between Schumann and Wieck. In this phase of joyful productivity, Schumann must have felt irritated by the becoming increasingly urgent ideas of his wife to go on mutual concert tours together. Clara tried her best to eliminate this discrepancy and at the same time she also tried to legitimize her own work: She encouraged Schumann, to get in appearance even more public - as conductor of his works.

He agreed in doing so with varying success. In Vienna in - the trip was a fiasco for Clara - he was received in a very cool to negative way and then again, in the same year in his home town Zwickau during a complimentary music festival, he was highly celebrated. After the trip to Russia and an interim activity as a teacher at the newly founded Leipzig Conservatory, the small family two daughters were born in Leipzig, they were followed by two more and four sons!

The magazine he had already disposed of, was now managed by the music aesthetician Franz Brendel and soon opened to the "new German" direction. With the change of location Schumann also followed a recommendation of his doctors and hoped for a recovery of his nervous condition. Chamber [ edit ]. Andante and Variations, Op. Introduction, Theme and Variations 1—5.

Variations 6— Variations 11— Opera and choral [ edit ]. It is a look into the soul. Schumann didn't want anything naturalistic at all. To Schumann this seemed alien to opera. He wanted to find an opera in which the music had more to say. Recordings [ edit ]. Legacy [ edit ]. Notes, references and sources [ edit ]. Notes [ edit ]. His birth and death certificates and all other existing official documents give "Robert Schumann" as his only names.

Many performances cut some of the repeats, but, for example, Sir Colin Davis's complete recording with the Dresden Staatskapelle takes 61 minutes and 50 seconds. One theory is that tertiary syphilis , long dormant, was the cause, and the official certification as death from pneumonia was intended to spare Clara's feelings. This view is given varying degrees of credence by Joan Chissell , Alan Walker , John Daverio and Tim Dowley, [ 75 ] [ 76 ] [ 77 ] [ 78 ] and is not endorsed by Eric Frederick Jensen, Martin Geck and Ugo Rauchfleisch, who regard the evidence for syphilis as unconvincing.

Tibbetts quotes the psychiatrist Peter F. Ostwald: "Did the man have diabetes, did he have liver disease? Did he have an infection? Did he have tuberculosis? These conditions could be remedied today. We could take X-rays of the chest, we could do a test for syphilis, we could treat those conditions with antibiotics. A bipolar affective disorder is eminently treatable today".

References [ edit ]. Schumann Portal.

Phantasietanz robert schumann biography

Archived from the original on 5 July Retrieved 9 June Retrieved 20 May subscription required " 'Jupiter' Symphony". The Oxford Companion to Music. Oxford University Press. January ISBN Archived from the original on 20 May Retrieved 20 May Fuller Maitland, The Times 31 March , p. Retrieved 28 May Sources [ edit ]. Abraham, Gerald A Hundred Years of Music.

London: Duckworth. OCLC Batka, Richard Schumann in German. Leipzig: Reclam. Brody, Elaine Summer Studies in Romanticism. JSTOR In Beate Perrey ed. Cambridge Companion to Schumann. Cambridge: Cambridge University Press. Carse, Adam The History of Orchestration. New York: Dover. Chissell, Joan Schumann Fifth ed. London: Dent.

Dahlhaus, Carl Realism in Nineteenth-Century Music. Schoenberg and the New Music: Essays. Nineteenth-Century Music. Daverio, John Daverio, John; Eric Sams In Stanley Sadie ed. London: Macmillan. Dowley, Tim Schumann: His Life and Times. Neptune City: Paganiniana. Finson, Jon W. Robert Schumann and the Study of Orchestral Composition. Oxford: Clarendon Press.

Robert Schumann. Cambridge, Massachusetts: Harvard University Press. Frank, Mortimer H. Portland: Amadeus Press. Fuller Maitland, J. London: S. Gammond, Peter London: Salamander. Geck, Martin []. Chicago: University of Chicago Press. Hall, George In Alison Latham ed. Oxford Companion to Music. Harrison, Julius In Robert Simpson ed. Harmondsworth: Pelican Books.

Harewood, Earl of In Earl of Harewood; Antony Peattie eds. London: Ebury Press.