Name: Robert Schumann
Age: 46 years old
Place of Birth: Zwickau, Germany
A place of death: Bonn, Germany
Activity: German composer, teacher
Family status: was married
Robert Schumann - Biography
Composer whose works were popular not only in Germany, but all over the world. Schumann found in music the era of romanticism, to which he aspired, becoming a musician, but fate decreed otherwise.
Childhood, musician's family
In the family of a far from poor book publisher and writer, the boy Robert was born. The father gave his son a decent education. Very early, the child showed a talent for literature and music, and his father hired a teacher for him, who was a local organist. Already at the age of ten, the boy composed compositions for the choir and orchestra. Like all children, little Schumann studied at the gymnasium, loved the works of George Byron, who belonged to the romantic direction in literature.
It was difficult to predict what the boy's biography would be like. After all, for a long time, Robert wrote articles that were placed in encyclopedias. These scientific books were published by Schumann Sr. The boy was passionate about philology, and therefore doubted in the future in choosing a profession. Poems, comedies and dramas coming out from under his pen were highly appreciated by specialists.
Education
First, Robert studied at the University of Leipzig, then in Heidelberg. The mother insisted on acquiring the profession of a lawyer, and the young man himself was very fond of music. He played the piano beautifully and dreamed of giving concerts playing the piano. The mother finally gave in and gave her permission to study music. Returning to his hometown, the future composer takes piano lessons. To the great regret of his parents and himself, Robert's two fingers were damaged by paralysis. The cause of the paralysis is unknown, but the biography of the pianist and touring musician had to be forgotten.
The character of the young man changed dramatically: he became silent, stopped joking, became vulnerable. Now writing takes up all of Schumann's free time. In the composer's plays, not only the plot line can be traced, but also the psychologism of the situation. Robert Schumann is a follower of the work of F. Schubert, he uses the verses of the great G. Heine to create his vocal works. The composer only sometimes brings his music closer to German folk songs.
Schumann's old dream
Robert Schumann dreamed of opera for a long time, but the author did not succeed in this genre. When the opera "Genoveva" was completed, she could not find her audience and fans. The composer continues to create overtures, concertos, symphonies. All music is full of drama, lyricism and cheerfulness. Schumann is appreciated for the contribution he made to music criticism.
The composer's views were also shared by Franz Liszt. He also supported their work by writing articles in the New Musical Newspaper he founded. The composer has many works, but the cycles of romances “The Circle of Songs” and “The Poet's Love” are considered the most significant in his work. Schumann composed cycles for piano "Butterflies", "Kreisleriana" and "Carnival".
Robert Schumann - biography of personal life
Robert married at almost thirty years old, taking his teacher's daughter as his wife. Clara Wieck understood her husband, as she herself played the piano beautifully and had already become famous in the performing arts. The marriage was the only one, and, despite the complexity of Robert's character, happy. Eight children became successors to the family of the great composer. The love of Robert and Clara flourished at the same time as a nine-year-old girl grew up and flourished before the eyes of the composer, then a teenager at 15 years old. Then Schumann confessed for the first time to Clara. But the girl's father was categorically against their relationship.
Three years later, after Clara came of age, young people came to court for permission to marry. Schumann had health problems very early on. At the age of 35, he began to show signs of a nervous disorder. He was haunted by sounds, notes, orchestral cacophony. Sometimes everything was clothed in music, but most often it drove the composer crazy. He retired from the profession for two years. Gradually returning to his former duties, writing and raising children, he again plunges into depression.
At the age of 44, Robert commits suicide by jumping into the river Rhine from a bridge. He was rescued, but placed in a hospital for the mentally ill, where he spent two years. In his life, the closest friend was Johann Brahms, who most often saw the composer and reported on all the changes in Schumann's health. Clara during this period gave concerts and earned money to feed the children. Death came at the age of 46. The biography of the great composer ended too early.
Robert Schumann (German: Robert Schumann). Born June 8, 1810 in Zwickau - died July 29, 1856 in Endenich. German composer, teacher and influential music critic. Widely known as one of the most prominent composers of the Romantic era. His teacher Friedrich Wieck was sure that Schumann would become the best pianist in Europe, but due to an injury to his hand, Robert had to leave his career as a pianist and devote his life to composing music.
Until 1840, all of Schumann's compositions were written exclusively for the piano. Many songs, four symphonies, an opera and other orchestral, choral and chamber works were later published. He published his articles on music in the Neue Zeitschrift für Musik (Neue Zeitschrift für Musik).
Against his father's wishes, in 1840 Schumann marries the daughter of Friedrich Wick Clara. His wife also composed music and had a significant concert career as a pianist. Concert profits made up the bulk of her father's fortune.
Schumann suffered from a mental disorder that first manifested itself in 1833 with an episode of severe depression. After a suicide attempt in 1854, he was voluntarily placed in a psychiatric clinic. In 1856, Robert Schumann died without being cured of his mental illness.
Born in Zwickau (Saxony) on June 8, 1810 in the family of the book publisher and writer August Schumann (1773-1826).
Schumann took his first music lessons from local organist Johann Kunzsch. At the age of 10, he began to compose, in particular, choral and orchestral music. He attended a gymnasium in his native city, where he got acquainted with the works of Jean Paul, becoming their passionate admirer. The moods and images of this romantic literature were eventually reflected in Schumann's musical work.
As a child, he joined the professional literary work, writing articles for an encyclopedia published by his father's publishing house. He was seriously fond of philology, carried out pre-publishing proofreading of a large Latin dictionary. And Schumann's school literary works were written at such a level that they were posthumously published as an appendix to the collection of his mature journalistic works. At a certain period of his youth, Schumann even hesitated whether to choose the field of a writer or a musician.
In 1828 he entered the University of Leipzig, and the following year he moved to the University of Heidelberg. At the insistence of his mother, he planned to become a lawyer, but the young man was increasingly drawn to music. He was attracted by the idea of becoming a concert pianist.
In 1830, he received his mother's permission to devote himself entirely to music and returned to Leipzig, where he hoped to find a suitable mentor. There he began to take piano lessons from F. Wieck and composition from G. Dorn.
During his studies, Schumann gradually developed paralysis of the middle finger and partial paralysis of the index finger, which forced him to abandon the idea of a career as a professional pianist. There is a widespread version that this injury happened due to the use of a finger simulator (the finger was tied to a cord that was suspended from the ceiling, but could “walk” up and down like a winch), which Schumann allegedly made on his own according to the type Henry Hertz's "Dactylion" (1836) and "Happy Fingers" by Tiziano Poli were popular at the time.
Another unusual but common version says that Schumann, in an effort to achieve incredible virtuosity, tried to remove the tendons on his hand that connected the ring finger with the middle and little fingers. Neither of these versions has confirmation, and both of them were refuted by Schumann's wife.
Schumann himself attributed the development of paralysis to excessive handwriting and excessive piano playing. A contemporary study by musicologist Eric Sams, published in 1971, suggests that the paralysis of the fingers may have been caused by the inhalation of mercury vapor, which Schumann, on the advice of doctors of the time, may have tried to cure syphilis. But medical scientists in 1978 considered this version doubtful as well, suggesting, in turn, that the paralysis could result from chronic nerve compression in the area of the elbow joint. To date, the cause of Schumann's ailment remains unidentified.
Schumann took up composition and music criticism at the same time. Having found support in the person of Friedrich Wieck, Ludwig Schunke and Julius Knorr, Schumann was able in 1834 to found one of the most influential musical periodicals in the future - the Neue Zeitschrift für Musik (German: Neue Zeitschrift für Musik), which he edited and regularly edited for several years. published his articles. He proved himself an adherent of the new and a fighter against the obsolete in art, with the so-called philistines, that is, with those who, with their narrow-mindedness and backwardness, hampered the development of music and represented a stronghold of conservatism and burgherism.
In October 1838, the composer moved to Vienna, but already in early April 1839 he returned to Leipzig. In 1840, the University of Leipzig awarded Schumann the title of Doctor of Philosophy. In the same year, on September 12, Schumann married the daughter of his teacher, an outstanding pianist, in the church in Schoenfeld - Clara Josephine Wick.
In the year of the marriage, Schuman created about 140 songs. Several years of marriage between Robert and Clara passed happily. They had eight children. Schumann accompanied his wife on concert tours, and she, in turn, often performed her husband's music. Schumann taught at the Leipzig Conservatory, founded in 1843 by F. Mendelssohn.
In 1844, Schumann, together with his wife, went on a tour to St. Petersburg and Moscow, where they were received with great honor. In the same year, Schumann moved from Leipzig to Dresden. There, for the first time, signs of a nervous breakdown appeared. It was not until 1846 that Schumann recovered sufficiently to be able to compose again.
In 1850, Schumann received an invitation to the post of city director of music in Düsseldorf. However, disagreements soon began there, and in the autumn of 1853 the contract was not renewed.
In November 1853, Schumann, together with his wife, went on a trip to Holland, where he and Clara were received "with joy and with honors." However, in the same year, the symptoms of the disease began to appear again. In early 1854, after an aggravation of his illness, Schumann tried to commit suicide by throwing himself into the Rhine, but was saved. He had to be placed in a psychiatric hospital in Endenich near Bonn. In the hospital, he almost did not compose, sketches of new compositions have been lost. Occasionally he was allowed to see his wife Clara. Robert died July 29, 1856. Buried in Bonn.
The work of Robert Schumann:
In his music, Schumann, more than any other composer, reflected the deeply personal nature of romanticism. His early music, introspective and often whimsical, was an attempt to break with the tradition of classical forms, in his opinion, too limited. Much akin to the poetry of H. Heine, Schumann's work challenged the spiritual wretchedness of Germany in the 1820s-1840s, calling to the world of high humanity. The heir of F. Schubert and K. M. Weber, Schumann developed the democratic and realistic tendencies of German and Austrian musical romanticism. Little understood in his lifetime, much of his music is now regarded as bold and original in harmony, rhythm and form. His works are closely connected with the traditions of German classical music.
Most of Schumann's piano works are cycles of small pieces of lyrical-dramatic, visual and "portrait" genres, interconnected by an internal plot-psychological line. One of the most typical cycles is "Carnival" (1834), in which skits, dances, masks, female images (among them Chiarina - Clara Wieck), musical portraits of Paganini, Chopin pass in a motley string.
The cycles Butterflies (1831, based on the work of Jean Paul) and Davidsbündlers (1837) are close to Carnival. The cycle of plays "Kreisleriana" (1838, named after the literary hero of E. T. A. Hoffmann - the musician-dreamer Johannes Kreisler) belongs to the highest achievements of Schumann. The world of romantic images, passionate melancholy, heroic impulse are displayed in such works for piano by Schumann as "Symphonic etudes" ("Studies in the form of variations", 1834), sonatas (1835, 1835-1838, 1836), Fantasia (1836-1838) , concerto for piano and orchestra (1841-1845). Along with works of variation and sonata types, Schumann has piano cycles built on the principle of a suite or an album of pieces: “Fantastic Fragments” (1837), “Children's Scenes” (1838), “Album for Youth” (1848), etc.
In vocal work, Schumann developed the type of lyrical song by F. Schubert. In a finely designed drawing of songs, Schumann displayed the details of moods, the poetic details of the text, the intonations of the living language. The significantly increased role of piano accompaniment in Schumann gives a rich outline of the image and often proves the meaning of the songs. The most popular of his vocal cycles is "The Poet's Love" to verse (1840). It consists of 16 songs, in particular, “Oh, if only the flowers guessed”, or “I hear songs sounds”, “I meet in the garden in the morning”, “I'm not angry”, “In a dream I cried bitterly”, “You are evil , evil songs. Another plot vocal cycle is "Love and Life of a Woman" to the verses by A. Chamisso (1840). Diverse in meaning, the songs are included in the cycles "Myrtle" to the verses of F. Rückert, R. Burns, G. Heine, J. Byron (1840), "Around the Songs" to the verses of J. Eichendorff (1840). In vocal ballads and song-scenes, Schumann touched on a very wide range of subjects. A striking example of Schumann's civil lyrics is the ballad "Two Grenadiers" (to the verses of G. Heine).
Some of Schumann's songs are simple scenes or everyday portrait sketches: their music is close to a German folk song ("Folk Song" to the verses of F. Ruckert and others).
In the oratorio "Paradise and Peri" (1843, based on the plot of one of the parts of the "oriental" novel "Lalla Rook" by T. Moore), as well as in "Scenes from Faust" (1844-1853, after J. W. Goethe), Schumann came close to realizing his old dream of creating an opera. Schumann's only completed opera, Genoveva (1848), based on the plot of a medieval legend, did not win recognition on the stage. Schumann's music for the dramatic poem "Manfred" by J. Byron (overture and 15 musical numbers, 1849) was a creative success.
In 4 symphonies of the composer (the so-called "Spring", 1841; Second, 1845-1846; the so-called "Rhine", 1850; Fourth, 1841-1851) bright, cheerful moods prevail. A significant place in them is occupied by episodes of a song, dance, lyric-picture character.
Schumann made a great contribution to music criticism. Promoting the work of classical musicians on the pages of his magazine, fighting against the anti-artistic phenomena of our time, he supported the new European romantic school. Schumann castigated the virtuoso smartness, the indifference to art, which is hidden under the guise of benevolence and false scholarship. The main fictional characters, on whose behalf Schumann spoke on the pages of the press, are the ardent, fiercely daring and ironic Florestan and the gentle dreamer Euzebius. Both symbolized the polar traits of the composer himself.
Schumann's ideals were close to the leading musicians of the 19th century. He was highly valued by Felix Mendelssohn, Hector Berlioz, Franz Liszt. In Russia, Schumann's work was promoted by A. G. Rubinshtein, P. I. Tchaikovsky, G. A. Laroche, and the leaders of the Mighty Handful.
ROBERT SCHUMANN
ASTROLOGICAL SIGN: GEMINI
NATIONALITY: GERMAN
MUSICAL STYLE: CLASSICISM
SIGNIFICANT WORK: "DREAMS" FROM THE CYCLE "CHILDREN'S SCENES"
WHERE YOU COULD HEAR THIS MUSIC: Oddly enough, “DREAMS” WERE FREQUENTLY SOUND IN THE AMERICAN ANIMATION SERIES MERRY TUNES, INCLUDING IN THE CARTOON “LIKE A BANTIC HARE” (1944) WITH “PARTICIPATION” BUGS BUNY.
WISE WORDS: "IN ORDER TO COMPOSE MUSIC, YOU ONLY NEED TO REMEMBER THE MOTIVE WHICH HAVE INTERESTED NO ONE BEFORE YOU".
The life of Robert Schumann is a love story. And, as in any good love story, there is a strong, ardent young man, a charming girl with character, and a vile, vile scoundrel. Love eventually wins, and the couple in love lives happily ever after.
Unless this couple spent too much time together. In the life of Robert Schumann - and, of course, in his marriage to Clara Wieck - illness unceremoniously broke into the composer, turning the composer into a weak-willed victim of noisy demons and terrible hallucinations. He will die in an insane asylum, so mentally damaged that in the end he will no longer recognize his beloved.
But Schumann's tragic end is followed by a touching epilogue. Clara's life without Robert, the man she's adored since she was eight, is also kind of a beautiful love story.
GUY MEETS GIRL
Schumann was born in 1810 in Zwickau, a city in eastern Germany, in Saxony. His father, August Schumann, was a book publisher and writer. Robert showed an early interest in music, but his parents considered law to be a much more promising profession. In 1828, Schumann entered the University of Leipzig, but, instead of mastering the intricacies of law, Schumann crammed himself into the pupils of Friedrich Wieck, who was considered by many - and above all himself - to be the best piano teacher in Europe.
Probably, Schumann was very upset when he realized that as a pianist he was no match for Vic's eight-year-old daughter Clara. Vic put his daughter at the instrument at the age of five with the intention of making her a musical prodigy and thereby proving that his pedagogical method has no equal if it is from a girl - a girl! - managed to achieve a virtuoso game. Both students quickly became friends, Schumann read fairy tales to Clara, bought sweets - in a word, he behaved like an older brother, inclined to pamper his sister. The girl, forced to study from morning to night, had few joys in life, and she did not look for the soul in Robert.
The young man made a lot of efforts to become a virtuoso pianist. Natural talent helped - until pain appeared in the middle finger of the right hand, and then numbness. Hoping to restore flexibility to the finger, Schumann used a mechanical device, which completely ruined the finger. Out of grief, he began to compose music and soon regained his self-confidence. In 1832 he made his debut with his First Symphony.
Meanwhile, Schumann had an affair with a maid named Kristel - and contracted syphilis. A doctor he knew gave Schumann a moral and gave him a medicine that had no effect on the bacteria. However, after a few weeks, the ulcers healed, and Schumann rejoiced, deciding that the disease had receded.
A GUY BREAKS OFF A GIRL - FOR A TIME
When Vic and Clara left for a long tour of Europe, Schumann developed a stormy activity. He composed a lot; founded the New Musical Journal, which soon turned into a rather influential publication, in which Schumann explained to the public what good composers like Berlioz, Chopin and Mendelssohn were. He even managed to get engaged to a certain Ernestine von Fricken; however, not for long.
Clara returned from the tour. She was only sixteen, Schumann was twenty-five, but between a sixteen-year-old girl and an eight-year-old girl there is a huge difference. Clara had long loved Schumann, and in the winter of 1835 he already fell in love with her. Lovely courtship, furtive kisses, dancing at Christmas parties - everything was exceptionally innocent, but not in the eyes of Friedrich Wieck. Father forbade Clara to see Robert.
For almost two years, Vic kept the young people at a distance from each other, but the separation did not cool, but only strengthened their feelings. Wieck's objections to the marriage between his daughter and Robert were to some extent justified: Schumann earned his living by composing music and magazine publications, he had no other income, and marrying Clara, not accustomed to housekeeping, was simply beyond his means - spouses would need an entire army of servants. Vic had a different mercantile interest (perhaps not too reasonable) - he counted on the brilliant musical future of Clara herself. The years spent training Clara were seen by her father as an investment that was bound to pay off with a vengeance. And Schumann, from the point of view of Wieck, strove to deprive him of the desired wealth.
Vic resisted desperately. He again sent his daughter on a months-long tour, accused Schumann of immorality and depravity, and constantly put forward new demands, knowing full well that Schumann was not able to fulfill them. The legislation of Saxony was only to his advantage. Even having reached the age of majority, that is, eighteen years old, Clara could not marry without the consent of her father. Vic refused consent, and the young people sued him. The battle dragged on for years. Vic even tried to ruin his daughter's career by telling concert organizers not to mess with this "fallen, corrupt, disgusting" woman. Serious passions were in full swing, and yet on September 12, 1840, the young people got married, the day before Clara's twenty-first birthday. It's been five years since their first kiss.
KLARABERT - LONG BEFORE BRANGELINA
Marriage Schumann surprisingly resembles the modern way of "housekeeping". Robert and Clara were professionals, and neither of them was going to give up work for the sake of the family. This meant that they had to negotiate and find compromises, since the thin walls of their apartment did not allow both of them to sit at their pianos at the same time. There was never enough money. Clara's tours brought a fair amount of income, but this meant that either the spouses parted for a long time, or Robert was dragging around the world after his wife.
In addition, you can’t go on tour pregnant, and Clara often became pregnant. In fourteen years she gave birth to eight children (only one died in infancy) and suffered at least two miscarriages. The Schumanns adored their children, and Robert enjoyed teaching them how to play the piano. Some of Schumann's most popular writings were written for his children.
The Schumanns spent the first years of their marriage in Leipzig (where they closely communicated with the Mendelssohns), then they moved to Dresden. In 1850, the composer was offered the position of general music director (music director) of Düsseldorf. Schumann had long dreamed of working with a choir and orchestra, but he clearly overestimated his abilities. He turned out to be a bad conductor. He was very nearsighted and could hardly distinguish the first violins in the orchestra, not to mention the drums at the back of the stage. And besides, he lacked the charisma that is highly desirable for a successful conductor. After a very disastrous concert in October 1853, he was fired.
ANGELS AND DEMONS
Health problems also played a role in the failure of Schumann's conducting career. The composer suffered from headaches, dizziness and "nervous attacks" that put him to bed. The last year in Dusseldorf turned out to be especially difficult: Schumann stopped hearing high notes, often dropped his stick, lost his sense of rhythm.
PURSUED BY A VISION OF A CHOIR OF ANGELS TURNING DEMONS, SCHUMANN WAS AS WELL, IN A robe AND SLIPPERS, DIVING INTO THE RHINE.
And then the worst began. Schumann heard beautiful music and the singing of a choir of angels. Suddenly, the angels turned into demons and tried to drag him to hell. Schumann warned the pregnant Clara, telling her not to come near him or he might hit her.
On the morning of February 27, 1854, Schumann slipped out of the house - he was wearing only a dressing gown and slippers - and rushed to the Rhine. Somehow he got past the barrier at the entrance to the bridge, climbed onto the railing and threw himself into the river. Fortunately, his strange appearance attracted the attention of passers-by; Schumann was quickly pulled out of the water, wrapped in a blanket and taken home.
Soon he was placed in a private hospital for the mentally ill. Sometimes he was quiet and pleasant in conversation and even composed a little. But more often, Schumann screamed, driving away the visions, and fought with the orderlies. His physical condition steadily worsened. In the summer of 1856 he refused to take food. On his last date with Clara, Robert could barely speak and would not get out of bed. But it seemed to Clara that he recognized her and even tried to hug her. There was no tough enough person nearby to explain to her: Schumann has not recognized anyone for a long time and does not control his movements. Two days later, on July 29, 1856, he died.
What killed his talent and brought him to the grave at the relatively young age of forty-six? Modern physicians almost unanimously assert that Schumann suffered from tertiary syphilis. The infection had smoldered in his body for twenty-four years. Clara did not become infected because syphilis is not sexually transmitted in the latent phase. One dose of penicillin would put the composer back on his feet.
Clara was left a widow with seven children. She refused the help of friends who offered to arrange charity concerts, saying that she would provide for herself. And provided for many years - successful tours. She often played her husband's music and raised the children in love with a father whom the younger children did not even remember. Her long and complicated relationship with Johannes Brahms will be discussed in the chapter on this composer, but for now we just note that if Clara eventually fell in love with someone else, she never stopped loving Robert.
Clara outlived Schumann by forty years. Their marriage lasted only sixteen years, and the last two years Schumann was insane - and yet Clara remained faithful to him until his death.
TWO SHOOS IN THE MUSIC RING
Due to the similar sounding of Schumann's names, they often cannot be distinguished from another composer, Schubert. Let's be clear: Franz Schubert was born in a suburb of Vienna in 1797. He studied composition with Salieri and managed to achieve fame. Like Schumann, he suffered from syphilis and apparently drank heavily. Schubert died in 1828 and was buried next to his friend Beethoven. Today he is mainly appreciated for his "Unfinished Symphony" and "Trout" Quintet.
There are not so many similarities between these two people, except for the occupation and the same first syllable in the name. However, they are now and then confused; The most famous blunder occurred in 1956, when a stamp issued in the GDR superimposed the image of Schumann on the sheet music of a musical work by Schubert.
NOTHING WILL STOP CLARA SCHUMANN - EVEN THE PRUSIAN ARMY
The Dresden uprising in May 1849 led to the expulsion of the Saxon royal family and the establishment of a provisional democratic government, but the achievements of the revolution had to be defended against Prussian troops. Schuman was a Republican all his life, but having four small children and a pregnant wife, he was not eager to be a hero on the barricades. When activists came to his house and forcibly recruited him into a revolutionary detachment, the Schumans and their eldest daughter Maria fled the city.
The three younger children were left with the housekeeper in relative safety, but naturally the family wanted to be reunited. Therefore, Clara, leaving a safe haven in the countryside, resolutely headed for Dresden. She left at three o'clock in the morning, accompanied by a servant, left the carriage a mile from the city, and, bypassing the barricades, reached the house on foot. She picked up the sleeping children, grabbed some of her clothes and also moved back on foot, paying no attention to either the fiery revolutionaries or the Prussians, big fans of shooting. Courage and courage this amazing woman was not to take.
MILCHALNIK SCHUMANN
Schumann was famous for his taciturnity. In 1843, Berlioz told how he realized that his "Requiem" was really good: even the silent Schumann approved this work aloud. On the contrary, Richard Wagner was furious when, having spoken out about everything in the world, from the musical life in Paris to the politics of Germany, he did not receive a word from Schumann in response. "An impossible man," Wagner declared to Liszt. Schumann, for his part, remarked that his young colleague (actually Richard Wagner was only three years younger than Schumann) was "gifted with incredible loquacity ... it is tiresome to listen to him."
WITH THIS TO MY WIFE PLEASE
It's not easy being married to a brilliant pianist. One day, after a magnificent performance by Clara, a gentleman approached the Schumanns to congratulate the performer. Feeling that he needed to say something to his husband, the man turned to Robert and politely asked: “Tell me, sir, are you also fond of music?”
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From the book Love Letters of Great People. Women author Team of authors From the book Love Letters of Great People. Men author Team of authorsROBERT SCHUMANN JUNE 8, 1810 - JULY 29, 1856ASTROLOGICAL SIGN: GEMINI NATIONALITY: GERMAN MUSICAL STYLE: CLASSICISM SIGN WORK: DREAMS FROM THE CHILDREN'S SCENES CYCLEWHERE YOU COULD HEAR THIS MUSIC: Oddly enough, "DREAMS" OFTEN HEARD IN THE AMERICAN ANIMATION
From the book of Marilyn Monroe author Nadezhdin Nikolay YakovlevichClara Wieck (Schumann) (1819-1896) But will a heart filled with inexpressible love, like mine, be able to pronounce this short word in all its power? Clara Wieck was born in Leipzig to the famous piano teacher Friedrich Wieck and Marianne Tromlitz, soprano
From the author's bookClara Wieck (Schumann) to Robert Schumann (August 15, 1837, sent from Leipzig) Are you waiting for a simple yes? Such a short word, but so important. But will a heart filled with unspeakable love, like mine, be able to pronounce this short word in all its power? I
From the author's bookRobert Schumann (1810-1856) ... Lord, send me consolation, do not let me die of despair. The pillar of my life was taken from me… Robert Schumann studied law in Leipzig and Heidelberg, but his true passion was music. He was taught to play the piano by Friedrich Wieck, whose daughter,
From the author's bookRobert Schumann - Clara Wieck (Leipzig, 1834) My dear and revered Clara, there are haters of beauty who claim that swans are just big geese. With the same degree of fairness, we can say that distance is just a point stretched in different directions.
From the author's bookRobert Schumann to Clara (September 18, 1837, about her father's refusal to agree to their marriage) Your father's conversation was terrible... Such coldness, such insincerity, such sophisticated cunning, such stubbornness - he has a new manner of destruction, he stabs you in heart,
From the author's book71. ROBERT The Kennedy brothers have never had a strong commitment to moral principles. Talented, energetic, ambitious, they are used to taking from life what they liked. They practically did not receive any refusals from women to their claims. And yet they both loved their
Schumann's music is distinguished by a particularly sharp psychologism, it penetrates deeply into the state of a person's soul. He very subtly reflected the change of these states in music. He has a direct contact of a passionate impulse and immersion in the world of dreams. In many ways, he reflected the properties of his nature - duality.
An important property of Schumann's music is fantasy, but this is not a folk fantasy, but, as it were, the world of his soul, visions, dreams, very individualized. This also manifests itself in musical critical activity. He was very gifted in the field of literature. He wrote novels, short stories, as well as articles in the genre of short stories, plays, letters, dialogues and other works. The heroes of these articles were very unusual characters. He invented for himself the "David's Brotherhood" - a society. Its members are the Davidsbündlers. There he included Mozart, Paganini, Chopin, as well as Clara Wieck (his wife), as well as: Florestan and Euzebius. Florestan and Euzebius are fictitious names (they are, as it were, two halves of his personality that argued among themselves). He used them as pseudonyms. Maestro Raro reconciled dreamy Euzebius and stormy Florestan.
Schumann supported all the best in art. He was the first to talk about Chopin, supported Berlioz, wrote articles about Beethoven. His last article was an article on Brahms. In 1839, he found a Schubert symphony - C-dur and performed it, and in the 50th year he became one
from the organizers of the Beethoven Society. Schumann's work is associated with German romantic literature. His favorite poet is Jeanne Paul (real name is Richter). Impressed by the works of this writer, the play "Butterflies" was written. Loved the poet Hoffmann. Under the influence of his works, "Kreisleriana" was written. Heine had a great influence. Vocal cycles were written on his poems - "The Circle of Songs" and "The Poet's Love".
Schumann liked to use carnival in his works (because there is a change of characters). Schumann's musical language is very subtle. The connection with folk music is not the same as Schubert's. There is no clear example. Melodies are more declamatory. The harmonic language becomes more complicated. The texture is thin, melodic and polyphonic. Rhythm is capricious, whimsical.
Schumann wrote many works: about 50 collections of pieces for piano, variations on the theme of Abegg, "Butterflies", "Carnival", symphonies, etudes, "Dances of the Davidsbündlers", fantastic pieces, "Kreisleriana", "Viennese Carnival", short stories, etc. , 3 sonatas for piano, fantasy, more than 200 songs, vocal cycles: "The Love of a Poet", "Circle of Songs" on Heine, "Myrtle", "Circle of Songs" on Eichendorff's poems, "Love and Life of a Woman" on Chamisso's poems, Spanish love songs, songs from "Wilhelm Meister" (Goethe), 4 symphonies, concertos for piano, cello and violin with orchestra, Styuk concerto for piano and orchestra, Styuk concerto for 4 horns and orchestra, 3 string quartets, piano quartet, piano quintet, 3 piano trios, 2 violin sonatas, other chamber ensembles, the oratorio "Paradise and Perry", the opera "Genoveva", music for dramatic performances, about 200 critical articles - selected articles about music and musicians.
Zwickau
Schumann was born in the family of a book publisher. From childhood, both literary and musical abilities manifested themselves. Until the age of 16, Schumann did not know who he would be. He studied at the gymnasium, composed poetry, wrote comedies, dramas. Studied Schiller, Goethe, ancient literature. Organized a literary circle. I was very fond of Jeanne Paul. Under his influence, he wrote a novel. He has been writing music since the age of seven. As a child, the pianist Moscheles impressed me. The first teacher was the organist Kunsht. Under his leadership, Schumann achieved great success. He studied the music of Mozart, Weber. He wrote musical sketches (the image of a person in music). He fell in love with Schubert and wrote several songs.
In 1828, under the influence of his mother, he entered the Leipzig University at the Faculty of Law. In addition, he studies with Friedrich Wieck on the piano - 30 years. Schumann hears Paganini and wants to become a virtuoso. Subsequently, he wrote etudes based on the caprices of Paganini and concert etudes. Schumann formed a circle of music lovers (while studying at the university). He writes a cycle of pieces "Butterflies" for piano.
In 1829 he transferred to the University of Heidelberg. In 1830 he gave up. While studying at the university, he visited Munich, where he met Heine, as well as in Italy. During this period he wrote: Variations "Abegg", Toccata, "Butterflies", processing of Paganini's caprices. After university, he settled with Wieck in Leipzig. Damaged, outplayed hand. He began to study composition and arrangements with Dorn.
30s. The dawn of piano creativity. Wrote: symphonic studies, carnival, fantasy, fantastic plays. Publishing activity begins. 1st article about Chopin "I'll take my hat off to you gentlemen, genius!". In 1834 he founded the New Musical Newspaper. He opposed conservatism, philistinism, entertainment. Berlioz, Liszt, Brahms, composers of Poland and Scandinavia were promoted there. Schumann called for the creation of a German musical theater in the tradition of Fidelio and the Magic Shooter.
The style of all articles was very emotional. In 1839, Schumann found the score of Schubert's C major symphony, and a friend, Mendelssohn, performed it. In 1840 he married Clara Wieck. He wrote many songs: "Myrtle", "Love and Life of a Woman", "Love of a Poet".
The 40s - early 50s brought symphonies, chamber ensembles, concertos for pianoforte, violin, cello, the oratorio "Paradise and Perry", scenes from Goethe's Faust, music for Manfred Byron. In 1843, Mendelssohn opened the Leipzig Conservatory and invited Schumann there to study piano, composition and reading scores. In 1844, Schumann had to leave the music newspaper and the conservatory. Traveled to Russia as Clara Wieck's husband. Mendelssohn and Italy were fashionable in Russia. Not many understood Schumann's meaning: Anton Rubinstein, Tchaikovsky, members of the Mighty Handful. The disease developed, and the family left for Dresden. Schumann wants to get a position as the head of the musical theater, but it doesn't work out. Meeting with Wagner. Wagner's music was alien to Schumann.
1848 - there was a revolution in France and Germany. He wrote 4 republican marches, 3 men's choirs for revolutionary texts. A few years later, he reacts to the revolution in a different way. At 50 the Schumann family leaves for Düsseldorf. There he led an orchestra and choral societies.
53 - Schumann's acquaintance with Brahms. Schumann's last article on Brahms. In 1854 Schumann tries to commit suicide. He wanted to drown himself, but he was rescued. He was cured, but he went crazy and after 2 years of unsuccessful treatment in a psychiatric hospital in 1856, Schumann died.
Piano creativity
Music is psychological. It displays different contrast states and the change of these states. Schumann was very fond of piano miniatures, as well as cycles of piano miniatures, as they can express contrast very well. Schumann turns to programming. These are program plays, often associated with literary images. They all have names that are a little strange for that time - "Flash", "From ChegoN", variations on the theme of Abegg (this is the name of his friend's girlfriend), he used the letters of her last name as notes (A, B, E, G); "Asch" is the name of the city where Schumann's former love lived (these letters, as keys, were included in "Carnival"). Schumann was very fond of the carnival of music, because of its diversity. For example: "Butterflies", "Hungarian Carnival", "Carnival". Variation method of development - "Abegg", "Symphonic etudes" - a cycle of genre-specific variations on one theme, which is transformed from a mourning march (at the beginning) into a solemn march (at the end). They are called etudes, since each variation contains new virtuoso etude techniques. They are symphonic because the sound of the piano in them resembles an orchestra (powerful tutti, emphasis on individual lines).
Biography
Schumann House in Zwickau
Robert Schumann, Vienna, 1839
Major works
Here are works that are often used in concert and pedagogical practice in Russia, as well as works of a large scale, but rarely performed.
for piano
- Variations on "Abegg"
- Butterflies, op. 2
- Dances of the Davidsbündlers, Op. 6
- Carnival, op. 9
- Three sonatas:
- Sonata No. 1 in F sharp minor, op. eleven
- Sonata No. 3 in F minor, op. 14
- Sonata No. 2 in G minor, op. 22
- Fantastic plays, op. 12
- Symphonic studies, op. 13
- Children's Scenes, Op. 15
- Kreislerian, op. 16
- Fantasy in C major, op. 17
- Arabesque, op. 18
- Humoresque, op. 20
- Novels, op. 21
- Vienna Carnival, op. 26
- Album for youth, op. 68
- Forest scenes, op. 82
Concerts
- Konzertstück for four horns and orchestra, op. 86
- Introduction and Allegro Appassionato for piano and orchestra, op. 92
- Concerto for cello and orchestra, op. 129
- Concerto for violin and orchestra, 1853
- Introduction and Allegro for piano and orchestra, op. 134
Vocal works
- "Myrtle", op. 25 (on poems by various poets, 26 songs)
- "Circle of Songs", op. 39 (lyrics by Eichendorff, 20 songs)
- Love and Life of a Woman, op. 42 (lyrics by A. von Chamisso, 8 songs)
- "The Love of a Poet", op. 48 (lyrics by Heine, 16 songs)
- "Genoveva". Opera (1848)
Symphonic music
- Symphony No. 2 in C major, op. 61
- Symphony No. 3 in E flat major "Rhenish", op. 97
- Symphony No. 4 in D minor, op. 120
- Overture to the tragedy "Manfred" (1848)
- Overture "Bride of Messina"
see also
Links
- Robert Schumann: Sheet music at the International Music Score Library Project
Music fragments
Attention! Music snippets in Ogg Vorbis format
- Semper Fantasticamente ed Appassionatamente(info)
- Moderato, Semper energico (info)
- Lento sostenuto Semper piano (info)
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See what "Schumann Robert" is in other dictionaries:
SCHUMANN, ROBERT ALEXANDER (Schumann, Robert Alexander) ROBERT SCHUMANN (1810 1856), German composer. Born in Zwickau (Saxony) on June 8, 1810. Schumann took his first music lessons from a local organist; At the age of 10, he began to compose, including ... ... Collier Encyclopedia
