robert alexander schumann

7/25/2019 Robert Alexander Schumann

1/82

Robert Alexander Schumann

1810-1856


2/82

To send light into the darkness of men's hearts

-such is the duty of the artist.-RobertSchumann


3/82

Born inZwickau, in the Kingdom of Saxony, the fifth and last

child ofJohanna Christiane and August Schumann.

Youth and Early Years


4/82

Schumann began to compose before

the age of seven. Undoubtedlyinfluenced by his father,a

bookseller, publisher, and

novelist.

At the age of 7, he began receiving

general musical and pianoinstruction fromJohann Gottfried

Kuntzsch, a teacher at the

Zwickau high school.

ugust Schumann(1773-1826)attheageof37

PaintingbyL.Glaeser,1810



5/82

Ithas 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 bycertain figures and passages on the piano so exactly and comically that

everyone burst into loud laughter at the similitude of theportrait.

-W.J. von Wasielewski; The Universal Journal of Music 1850



6/82

I was a God-fearing child, innocent and

physically attractive.

-RobertSchumann


7/82

His father, who had encouraged theboysmusical aspirations, died in

1826 when Schumann was 16.

Neither his mother nor his guardian

thereafter encouraged a career in

music.



8/82

Heinrich Heine (1797-1856)

Was a German poet, journalist,

essayist, and literary critic.

Best known outside Germany for his

early lyric poetry, which was set to

music in the form of Lieder (artsongs) by composers such as Robert

Schumann and Franz Schubert.



9/82

But in July he wrote to his mother,

Mywhole life has been a struggle between Poetry and Prose, or

call it Music and Law.

By Christmas he was back in Leipzig,

at age 20 taking piano lessons fromhis old master Friederich Wieck, who assured him that he would be

a successful concert pianist after a fewyearsstudy with him.



10/82

During his studies,Wieck claimed thatSchumann damaged his finger by the use

of a mechanical device designed to

strengthen the weakest fingers.

This claim has been discredited by

Clara Schumann, who said that thedisability was not due to a mechanical

device.



11/82

Anevil fate has deprived me of the full use of my right hand,

so that I am not able to play my compositions as I feel them.

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. -RobertSchumann


12/82

Schumann abandoned ideas of a concert career

and devoted himself instead to composition.

Composed during the period: 1830-1834Papillons, Op. 2 Butterflies

Carnaval, Op. 9 (1834)Die Neue Zeitschrift fr Musik ("New Journal for Music") firstpublished on April1834.
http://localhost/var/www/apps/conversion/Downloads/Claudio%20Arrau%20plays%20Schumann%20Papillons%20Op.%202.mp3


13/82

To this end he began a study of music theory under Heinrich Dorn,a German composer six years his senior and, at that time,conductor of the Leipzig Opera.


14/82

The 1835-1839 Period

We might call this the RAROForLovePeriod.Points to those who understand the reference and can explainit to the class :)


15/82

No?

32

1


16/82

Master Rarowas a notable character that appeared in many ofSchumanns

character pieces for solo piano. Schumann often used Master Raro as hispseudonym withinZeitschrift 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 Wiecksfather, Friederich, she and Robert

continued a clandestine relationship which matured into a full-blown romance.

1835 - 1839


17/82

Clara Wieck at 15

Clara Wieck at 16


18/82

Clara Josephine WieckA child prodigy, from an early age, her career and life was planneddown to the smallest detail by her father. She daily received one-

hour lesson (in piano, violin, singing, theory, harmony,

composition, and counterpoint), and two hours of practice, using theteaching methods he had developed on his own.

Its no surprise that an over-protective, over-achieving father wouldobject to her growing attachment to Robert, then a frustrated lawstudent currently struggling with his career in composition, who wasnine years her senior.


19/82

After a long and acrimonious legal battle with her father, Schumann married Clara

Wieck on 12 September1840, at Schnefeld, theday before her 21st birthday.

Had they waited another day, they would no longer have required herfathersconsent.


20/82

Fantasiestcke, Op. 12Symphonic Studies (1837)

Davidsbndlertnze, Op.6 (also published in 1837 despite thelow opus number)

Kinderszenen, Op. 15

Kreisleriana, Op. 16 (1838)

The Fantasie in C, Op. 17

1835 - 1839


21/82

In the years 18321839, Schumann had written almost exclusively forthe piano, but in 1840 alone he wrote no less than 138 songs.Indeed 1840 is highly significant in Schumanns musical legacydespitehis earlier deriding of works for piano and voice as inferior.

He actually claimed never to have considered song composition as great artwhich he wrote in a letter to Hirschbach in 1839.

The 1840-1849 Period

The Liederjahr or the Year of Song


22/82

You write to become immortal,

or because the piano happens to be open,

or youve looked into a pair of beautiful eyes.

-RobertSchumann


23/82

Clara and Roberts marriage proved a remarkable business partnership,with Clara acting as an inspiration, critic, and confidant to herhusband.

He wrote to her in May of that year:

Much of you is embedded in my Eichendorff Liederkreis and the same

could justly be said of Mythen, Frauenliebe undleben and theKernercycle op. 35.

1840 - 1849


24/82

Liederkreisof Joseph von Eichendorff, Op. 39 (depicting a series of moods

relating to or inspired by nature)

the Frauenliebe und -lebenof Chamisso, Op. 42 (relating the tale of awoman's marriage, childbirth and widowhood)

the Dichterliebeof 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

Song cycles


25/82

Schumanns music was also affected by his love for his children. He wrotepieces 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 theAlbum for theYoung 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


26/82

Despite his achievements, Schumann received few tokens of honour; he wasawarded a doctoral degree by the University of Jena in 1840, and in

1843 a professorship in the

Conservatory of Music,

which Felix Mendelssohnhad

founded in Leipzig that same year.

1840 - 1849


27/82

Mendelssohn I consider the first musician of the day;

I doff my hat to him as my superior.

He plays with everything,especially with the grouping of the instruments in the orchestra,

but with such ease, delicacy and art, with such mastery throughout.

Robert Schumann


28/82

He spent the first half of 1844 with Clara on tour in Russia. Onreturning 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


29/82

On one occasion, accompanying his wife on a concert tour in Russia,

Schumann was asked whether he too was a musician.

1840 - 1849


30/82

His state of unease and neurasthenia is reflected in hisSymphony in C,

numbered second, but third in order of composition, in which the composer

explores states of exhaustion, obsession and depression, culminating inBeethovenian 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


31/82

My heart pounds sickeningly and I turn pale...I often feel as if I were dead... I seem to be losing my mind.

RobertSchumann

(Adiaryentryafterananxietyattackwhenhewasstill18.)


32/82

Other works composed

His only opera,Genoveva, Op. 81, was written in 1848.

The music toByron's Manfredwas written in 1849, the overture of which is one ofSchumann's most frequently performed orchestral works.

Scenes from Goethe's Faust - In August 1849, on the occasion of the centenary ofGoethe's birth, performed in Dresden, Leipzig, Wiemar.

1840 - 1849


33/82

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 viewhas been that his music showed signs ofmental breakdown and creative

decay. More recently, critics have suggested that the changes in style may

be explained by lucid experimentation.


34/82

I feel so entirely in my elementwith a full orchestra; even if mymortal enemies were marshalledbefore me, I could lead them,

master them, surround them, or

repulse them.-RobertSchumann


35/82

In 1851 he completed hisSymphony No. 3, Rhenish

Schumann also published an article, Neue Bahnen (NewPaths) in theNeue 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


36/82

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 SecondString Quartet, again in his Lieder-Album fr die Jugend, and finally in the

slow movement of his Violin Concerto.

After 1850


37/82

In the days leading up to his suicide attempt,Schumann wrote five variations on this theme for thepiano, his last published work, today known as

the Geistervariationen (Ghost Variations).

In late February 1854, Schumann's symptoms

increased, the angelic visions sometimes beingreplaced by demonic visions. He warned Clara thathe feared he might do her harm.

After 1850


38/82

On 27 February 1854, he attempted suicide by throwinghimself from a bridge into the Rhine River.

Rescued by boatmen and taken home, he asked to be taken toan asylum for the insane.

After 1850


39/82

He entered Dr. Franz Richarz's sanatorium in Endenich, aquarter of Bonn, and remained there until he died on 29

July 1856 at the age of 46. During his confinement, he was

not allowed to see Clara.She finally visited him two days before his death. Heappeared to recognize her, but was unable to speak.

After 1850


40/82

Without enthusiasm nothing great

can be effected in art.

-RobertSchumann


41/82

ThebuildingofRicharz'schenprivatelunaticasylum,nowtheRobertSchumannHouse(2009)


42/82

You will be most readily cured

of vanity or presumption by studying

the history of music,

and by hearing the master pieceswhich have been produced

at different periods.

Robert Schumann


43/82

Style

Thestateofmusicdirectlyafterthedeathof

Beethoven,Schubert,andWeberwasoneofsad

stagnation.Dryclassicismwastheorderoftheday.*


44/82

Style

AlargenumberofSchumannspianopieces

containspersonalandliteraryallusionsand

references.

EusebiusandFlorestan

ScenesfromGoethe'sFaust,oratorio


45/82

Eusebius

Florestan


46/82

Style

A miniaturist

InthePapillons,Op.2,Schumannpresentsa

numberofshortpiecesinasequenceofideas

withoutanypretenceatunityofform.


47/82

Style

Thesongaccompanimentsareoftenalmostself-

sufficientpianopieces,andthepianopiecesoften

seemtohavebeenmelodicallyinspiredbylyrical

poems.


48/82

Style

Musicalcodes/translatinglettersofthealphabet

intotheircorrespondingtones

TheAbeggVariations

TheCarnaval


49/82

Style

Chordalwithexclusionofcommonplacearpeggios.

Andafondnessofinterlockedchordstogiveunusual

balancesoftone.


50/82

Style

Unusualandexcitingtextures

Especiallythefigurationbetweentheupperand

lowervoices


51/82

Style

Rhythmicingenuity.Syncopation.Sometimesto

thepointthatthebasicmeterisendangered.
http://localhost/var/www/apps/conversion/tmp/scratch_6/J%C3%B6rg%20Demus%20plays%20Schumann%20Sonata%20in%20G%20minor,%20Op.22%20-%201.%20So%20rasch%20wie%20m%C3%B6glich.mp4


52/82

Schumann Werke


53/82

Piano Werke

Papillons Op. 2

Thetitlemeans'butterflies'inFrench.Theworkismeant

torepresentamaskedballandwasinspiredbytheJean

Paul'snovelFlegeljahre.

12movements,9waltzes,2polonaiseandafinale

Repeatednotesneartheendofthepiecesuggestaclock

striking,signifyingtheendoftheball.
http://localhost/var/www/apps/conversion/tmp/scratch_6/Katrina%20Lexvold%20plays%20Schumann%20Papillons,%20op%20%202.mp4


54/82

Piano Werke

Carnaval Op. 9

(LittleScenesonFourNotes)

Itconsistsof21shortpiecesrepresentingmaskedrevelers

atCarnival,afestivalbeforeLent.

Thefournotesareencodedpuzzles,andSchumann

predictedthat"decipheringmymaskedballwillbeareal

gameforyou.

BothSchumannandhiswifeClaraconsideredhissolo

pianoworkstoodifficultforthegeneralpublic.


55/82

Piano Werke

Carnaval Op. 9

Movementsarenamedthus:

Prambule,Pierrot,Arlequin,Eusebius,Florestan,Coquette,

Replique,Sphinxes,Papillons(unrelated),Chiarina,Chopin,

Estrella,Reconnaisance,PantalonetColombine,Intermezzo:

Paganini,Aveu,Promenade,PauseandtheMarchedes

"Davidsbndler"contrelesPhilistins.
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann%20-%20Carnaval,%20op.%209%20-%20Boris%20Giltburg.mp4


56/82

Eusebius

Florestan

Chopin


57/82

Paganini

Pause

Sphinxes
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann%20-%20Carnaval,%20op.%209%20-%20Boris%20Giltburg.mp4


58/82

Piano Werke

Fantasiestcke Op. 12

Thetitlewasinspiredbythe1814collection

ofnovellasFantasiestckeinCallotsManierbyoneofhis

favouriteauthors,E.T.A.Hoffmann.

Schumanncomposedthepieceswiththecharacters

FlorestanandEusebiusinmind,representingtheduality

ofhispersonality.

EusebiusdepictsthedreamerinSchumannwhile

Florestanrepresentshispassionateside.


59/82

Piano Werke

Fantasiestcke Op. 12

1.DesAbendsIntheevening

2.AufschwungSoaring/Upswing

3.Warum?Why?4.GrillenWhims

5.InderNachtInthenight

6.FabelFable

7.TraumesWirrenDreamsConfusions

8.EndevomLiedEndofthesong
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann-%20Fantasiest%C3%BCcke%20op%2012%20-%20Yeol%20Eum%20Son.mp4


60/82

Piano Werke

Symphonic Etudes op. 13

Thefirsteditionin1837carriedanannotationthatthe

tunewas"thecompositionofanamateur":thisreferred

totheoriginofthetheme,whichhadbeensenttoSchumannbyBaronvonFricken,guardianofErnestine

vonFricken,theEstrellaofhisCarnavalOp.9.

Theworkwasfirstpublishedin1837asXIItudes

Symphoniques.Onlynineofthetwelvetudeswere

specificallydesignatedasvariations.
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann%20Symphonic%20Etudes%20Op.%2013%20&%20Op.Posth.%20Valentina%20Lisitsa.mp4


61/82

Piano Werke

Piano Concerto in A Minor Op. 54

TheworkpremieredinLeipzigon1January1846withClara

Schumannplayingthesolopart.

StartedasaFantasie(1839)

Thepiece,asmarkedinthescore,isinthreemovements:

Allegroaffettuoso(Aminor)

Intermezzo:Andantinograzioso(Fmajor)

Allegrovivace(Amajor)
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann%20piano%20concerto%20in%20A%20minor%20op.%2054%20Allegro%20vivace%20[3_3].mp4http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann%20piano%20concerto%20in%20A%20minor%20op.%2054%20Allegro%20affettuoso%20[1_3].mp4


62/82

Piano Werke

Kreisleriana Op. 16

SubtitledPhantasienfurdasPianoforte

DedicatedtoFredericChopininthescore,butlikemost

ofhispianomusicinthelate1830s,itisreallyabouthisloveforClaraWieck.

Myfavoritework-Patricia

InspiredbyJohannesKreisler(eccentric,wild,andwitty

composer),acharacterinoneofE.T.A.Hoffmanns

novels.

Eachmovementhasmultiplecontrastingsections


63/82

Piano Werke

Kreisleriana Op. 16

Movements:

1. Ausserstbewegt(Extremelymoving)

2. Sehrinnigundnichtzurasch(Veryinwardlyand

nottoquickly)

3. Sehraufgereg(Veryagitated)

4. Sehrlangsam(Veryslowly)

5. Sehrlebhaft(Verylively)

6. Sehrlangsam(Veryslowly)

7. Sehrrasch(Veryfast)

8. Schnellundspielend(Fastandplayful)
http://localhost/var/www/apps/conversion/tmp/scratch_6/Schumann-%20Kreisleriana%20op.%2016%20-%20Andras%20Schiff.mp4


64/82

Kreisleriana op. 16 - Andreas Schiff


65/82

Piano Werke

Fantasie in C Op. 17

DedicatedtoFranzLiszt

DescribedasoneofthecentralworksoftheearlyRomantic

period.Loosesonataform

Movements

Durchausfantastischundleidenschaftlich

vorzutragen;ImLegenden-Tonrhapsodicandpassionate

Mig.Durchausenergischgrandioserondobased

onamajesticmarch

Langsamgetragen.Durchwegleisezuhaltenslow

andmeditative
http://localhost/var/www/apps/conversion/tmp/scratch_6/R%20%20Schumann%20Fantasia%20Opus%2017%20(C)%20By%20Evgeny%20Kissin.mp4


66/82

Fantasia in C Op 17 - Evgeny Kissin


67/82

Piano Werke

Kinderszenen Op. 15

ScenesfromChildhood

Atributetotheuniversalmemoriesandfeelingsof

childhoodfromanostalgicadultperspective

Setof13pieces

Movements:

VonfremdenLndernundMenschen(OfForeignLands

andPeoples)

KurioseGeschichte(ACuriousStory)

Hasche-Mann(BlindMansBluff)

BittendesKind(PleadingChild)


68/82

Piano Werke

Kinderszenen Op. 15

Glckesgenug(HappyEnough)

WichtigeBegebenheit(AnImportantEvent)

Trumerei(Dreaming)

AmKamin(AttheFireside)

RittervomSteckenpferd(KnightoftheHobbyhorse)

Fastzuernst(AlmostTooSerious)

Frchtenmachen(Frightening)

KindimEinschlummern(ChildFallingAsleep)

DerDichterspricht(ThePoetSpeaks)


69/82

Piano Werke

Album for the Young Op. 68

Composedforhisthreedaughters

Acollectionof43shortworks

Forbeginnersandchildren

ALittleCanon,HummingSong,HuntingSong,

Melody,Remembrance,RusticSong,SailorsSong,

SoldiersMarch,SpringSong,TheHappyFarmer


70/82

Piano Werke

Davidsbundlertanze Op. 6

DancesoftheLeagueofDavid

Groupof18pieces

ThethemeisbasedonamazurkabyClaraWieck

SchumanntoldClarathatthedancescontained

manyweddingthoughtsandthatthestoryisan

entirePolterabend(Germanweddingcustomin

whichonthenightbeforethewedding,theguests

breakporcelaintobringlucktothecouples

marriage)


71/82

Piano Werke

Davidsbundlertanze Op. 6

Self-portraitprovidedbySchumannofhisvaried

statesofmindhighlightedbythecontrasts

representedbyFlorestan(passionate,volubleside)

andEusebius(dreamy,introspectiveside)

RegardedasoneofSchumannsgreatest

achievementsandoneofthegreatestpianoworks

oftheRomanticera.


72/82

Piano Werke

Lebhaft

Innig

MitHumor

Ungeduldig

Einfach

Sehrrasch

Nichtschnell

Frisch

Lebhaft

Balladenmig-Sehr

rasch

Einfach

MitHumor

Wildundlustig

Zartundsingend

Frisch

MitgutemHumor

WieausderFerne

Nichtschnell

Davidsbndlertnze Op 6 Adam


73/82

Davidsbndlertnze, Op.6 - Adam

Laloum


74/82

Other Werke

Fantasy Pieces for Clarinet and

Piano Op. 73

Clarinetpartcouldbeperformedbyviolaorcello

3Pieces

ZartundmitAusdruck(Tenderandwith

expression)

Lebhaft,leicht(Lively,light)

RaschundmitFeuer(Quickandwithfire)


75/82

Other Werke

Symphonies

4completesymphonies,and1earlyincomplete

Symphony,Zwickau(Gminor)

SymphonyNo.1,Op.38Spring(Bbmajor)

SymphonyNo.2,Op.61(Cmajor)

SymphonyNo.3,Op.97Rhenish(Ebmajor)

SymphonyNo.4,Op.120(Dminor)


76/82

Other Werke

Cello Concerto Op. 129

Movements

Nichtzuschnell(Aminor)

Langsam(Fmajor)

Sehrlebhaft(AminorAmajor)


77/82

Other Werke

Dichterliebe

A Poets Love

Hisbestknownsongcycle

16songs

TextscomefromHeinrichHeinesLyrisches

Intermezzo

Theverynatural,almosthyper-sensitivepoetical

affectionsofthepoemsaremirroredin

Schumann'ssettings,withtheirminiaturist

chromaticismandsuspensions.

W


78/82

Other Werke

Dichterliebe, A Poets Love

O W


79/82

Other Werke


O W


80/82

Other Werke



81/82

Sources

"RobertSchumann".EncyclopdiaBritannica.Encyclopdia

BritannicaOnline.

EncyclopdiaBritannicaInc.,2015.Web.14Oct.2015

.

Hutcheson,Ernest.TheLiteratureofthePiano London,1974.
http://www.britannica.com/biography/Robert-Schumannhttp://www.britannica.com/biography/Robert-Schumannhttp://www.britannica.com/biography/Robert-Schumannhttp://www.britannica.com/biography/Robert-Schumannhttp://www.britannica.com/biography/Robert-Schumann


82/82

Fin

robert alexander schumann

Documents