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INFORMATIONEN GLEICHSTELLUNG Gleichstellungsbüro Universität Heidelberg Hauptstraße 126 69117 Heidelberg Telefon 06221 54-7697 [email protected] www.uni-heidelberg.de/200-Clara-Schumann EINLADUNG Die Universität Heidelberg und das Kurpfälzische Museum Heidelberg AUSSTELLUNGSERÖFFNUNG laden Sie herzlich ein zur Eröffnung der ZUM 200. GEBURTSTAG AUSSTELLUNG ZUM 200. GEBURTSTAG. CLARA SCHUMANN: CLARA SCHUMANN KÜNSTLERIN – GESCHÄFTSFRAU – MUTTER Fotovorlage Titel: KÜNSTLERIN VERANSTALTUNGSREIHE Unbekannt, am Donnerstag, 31. Oktober 2019 um 19.00 Uhr im Clara Schumann, REVOLUTIONÄR WIE DIE EISENBAHN – Robert-Schumann-Haus GESCHÄFTSFRAU Kurpfälzischen Museum, Hauptstraße 97, 69117 Heidelberg. [ FRAUEN IM 19. JAHRHUNDERT ] Zwickau. MUTTER PROGRAMM 200 Jahre nach ihrer Geburt hat es sich herumgesprochen: Clara Schumann Clara Schumann war nicht nur Ehefrau, Helferin, Trösterin und Muse von Robert Schumann, der ohne um 1858, sie sein beeindruckendes Lebenswerk kaum geschaffen hätte. Sie war Mutter Porträtaufnahme von Begrüßung Franz Hanfstaengl, von acht Kindern, die sie früh verwitwet alleine großgezogen hat. Clara Schumann München, war zudem die bedeutendste und erfolgreichste Pianistin des 19. Jahrhunderts Prof. Dr. Frieder Hepp, Direktor des Kurpfälzischen Museums Heidelberg © akg-images_ AKG11110 und eine profilierte Komponistin. Sie wirkte stilbildend und erziehend, als Konzert- Prof. Dr. Christiane Schwieren, Gleichstellungsbeauftragte der Universität Heidelberg pianistin wie später als Dozentin. Ihre Konzertreisen quer durch Europa organi- sierte sie mithilfe eines Netzwerks von Familie und Kollegen – in effektiver und Einführung und Moderation gewinnbringender Weise. Dr. Joachim Draheim, Musikpädagoge und Musikwissenschaftler, Karlsruhe Die Ausstellung „Clara Schumann: Künstlerin – Geschäftsfrau – Mutter“ beleuchtet und dokumentiert unter anderem mit Autographen, historischen Fotos und Eröffnungskonzert Erstausgaben von Clara Schumanns Kompositionen ihr vielfältiges und erfolgreiches Wirken als Komponistin, Pianistin, Konzertveranstalterin und Lehrerin. Ausge- Werke von Clara und Robert Schumann, Johannes Brahms, wählte Ausstellungsstücke zeigen die engen Verbindungen zu Familie und Freunden. Felix Mendelssohn-Bartholdy Die Räume des Kurpfälzischen Museums bieten den idealen zeitgeschichtlichen Es musizieren Larissa Wäspy, Sopran; Claus Temps, Bassbariton; Rahmen für die Exponate. Hartmut Nieder, Querflöte; Ira Maria Witoschynskyj und Joachim Draheim, Klavier Kurator der Aussteilung ist Dr. Joachim Draheim (Karlsruhe). Die Präsentation zeigt Anschließend Führung durch die Ausstellung ausgewählte Objekte aus seiner Sammlung. .

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Sämtliche Klavierwerke 1 Werke Von Robert Schumann Durch Florian [1836/Erschienen 1984]: Uhlig Versucht Erstmals, Mit Thematisch Sinn 1 I
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UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Themes of Childhood: A Study of Robert Schumann’s Piano Music for Children A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Division of the College-Conservatory of Music 2006 By DONG XU B.M., Central Conservatory of Music, China, 1996 M.M., Eastman School of Music, 1999 Committee Chair: Frank Weinstock ABSTRACT Robert Schumann’s piano music for children, including the Kinderszenen, Album for the Young, Waldszenen, Three Piano Sonatas for the Young, and three piano duets Twelve Four-Hand Piano Pieces for Small and Big Children, Ball Scenes, and Children’s Ball, has remained the most characteristic and successful example of his engagement with the theme of childhood, a popular topic in Romantic art and culture. Although the techniques required within these collections are not as difficult as those found in Schumann’s other piano works, they embrace some of the finest and most rewarding instances of Schumann’s piano writing, and demonstrate their innermost poetic quality and evocative imagination. The purpose of this document is to explore the expressiveness of these works by revealing the sources of their emotional content, their musical originality and characteristics through a historical study and musical analysis. The first chapter addresses Schumann’s personal and family life and the influence of childhood on him to explain why the theme could have affected his affinity for music related to children.
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An Old Look at Schumann’s Organ Works Robert August his is a work that has occupied of Fugue.9 Other biographers carelessly system, the so-called Bach numbers, which me for the whole of the previ- mislabel op. 60; Marcel Brion describes Bach himself had used to provide cohesion Appendix 1. Selective outline of T 19 ous year in an effort to make it worthy the Four Fugues on the name of Bach, in his contrapuntal work. Schumann’s contrapuntal excercises 10 and studies of the lofty name it bears. It is also a op. 72, while John Worthen writes: “In 1817. Piano studies with Gottfried work which, I believe, is likely to outlive April he began writing his Six Fugues With all due respect to Mr. Ostwald, Kuntsch, organist at St. Mary’s, Zwick- my other creations the longest.”1 This for Organ on B-A-C-H (op. 60), a se- his fi ndings are based on pre-existing, au. The Well-Tempered Clavier was part was Schumann’s description of the Six quence interrupted only by the arrival fl awed research. Though Schumann of these studies. Fugues on the Name of BACH, op. 60, of a rented pedal-piano which allowed indeed incorporated certain Baroque 18 February 1829. “. Bach preludes with in a letter to his publisher, after comple- him to write works for keyboard and principles in his organ works, Peterson’s Glok.” tion of the fi nal fugue. Schumann took pedal which did not require an organ.”11 attempt to attribute “Bach numbers” 9 June 1829.
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Schumann-Journal Begründet 2012 von Dr. Ingrid Bodsch Publikation des Schumann-Netzwerks / Schumann-Forums A Publication of the Schumann Network / Schumann Forum Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks von Irmgard Knechtges-Obrecht Nr. 4 / Frühjahr 2015 Mit Unterstützung der Beauftragten der Bundesregierung für Kultur und Medien Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d.-nb.de abrufbar. Herausgegeben im Auftrag und unter Mitarbeit der Projektleitung des Schumann-Netzwerks (Ingrid Bodsch) von Irmgard Knechtges-Obrecht Redaktion Dr. Irmgard Knechtges-Obrecht Horbacher Straße 366A . D 52072 Aachen Tel.: 0049 (0) 2407 / 90 26 39 Fax: 0049 (0) 3212 / 1 02 12 55 E-Mail: [email protected] Satz und Lektorat Dr. Ingrid Bodsch und Dr. Sigrid Lange Bildredaktion, Bearbeitung und druckfertiges Layout Dr. Ingrid Bodsch Umschlaggestaltung: phVision konzeptwerbung, Christa Polch Druck: bonndruck GmbH, Bonn © Verlag StadtMuseum Bonn 2015 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsan- lagen und der Übersetzung, vorbehalten. Printed in Germany by bonndruck GmbH, Bonn ISBN 978-3-931878-45-0 Verlag StadtMuseum Bonn . Stadt Bonn, Amt 41-5 . D 53103 Bonn Tel.: 0049 (0) 772094, Fax: 0049 (0) 774298 E-Mail: [email protected] Inhalt Editorial 6 «Ich tue es zu meiner Freude». Bernard Haitink über seinen Luzerner Schumann-Zyklus Im Gespräch mit Erich Singer 11 “I do it for my own pleasure”. Bernard Haitink on his Lucerne Schumann cycle In a talk with Erich Singer 17 Ottavia Maria Maceratini im Gespräch mit Rainer Aschemeier über Robert Schumann 25 Ottavavia Maria Maceratini in conversation with Rainer Aschemeier about Robert Schumann 43 Franz Willnauer: Gustav Mahler und Robert Schumann.
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