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Index

Achim, Arnim von 50, 87 as editor of Schumann’s collected works 62, Achim, Bettina von 202 92, 141–2, 210–11 Adorno, Theodor Wiesengrund 55, 68, 103, as inﬂuence on Schumann 10, 136, 141–2, 106, 205 149–51 on late Beethoven 6–7, 137, 176–7, 198–9 Dem dunkeln Schoss der heilgen Erde on Holderlin¨ 170–1, 174, 176–7 (WoO 20) 10, 207–8 Applegate, Celia 89 motivic working in 110, 141–2, 149–51 on Schumann’s Symphony no. 4 79–80 Bach, Johann Sebastian 5, 52, 60, 88, 115, Symphony no. 1 in C minor (op. 68) and 213 Manfred 10 Ein feste Burg ist unser Gott 4 Variations on a Theme by Robert Schumann St John Passion (BWV 245) 52 (op. 9) 87, 212 Schumann’s accompaniments to, 5, 9, 75–6 Variations on a Theme by Robert Schumann (see also list of works) 5, 9, 75 (op. 23) 10 Bach Gesellschaft 82, 89 Brandes, Minna 34 Bagge, Selmar 62–4 Breitkopf und Hartel¨ 81, 89 Bar,¨ Ute 166 Brendel, Franz 64, 103–105, 124, 141, 161, Bargiel, Woldemar 141 199–200, 215 Barthes, Roland 128, 151, 178, 188, 208 Brentano, Clemens 61, 87, 143 Baudrillard, Jean 75, 81 Bruckner, Anton 63 Becker, Nicolaus 107 Bruyck, Carl Debrois van 163–5 Becker, Ruppert 61, 115, 163 Burgmuller,¨ Norbert 79, 125 Beethoven, Ludwig van 25, 108, 109, 113, Byron, George Gordon, Baron 14, 117; also 125, 160–1, 163, 216 see Manfred counterpoint in 214–15 Fidelio (op. 72) 58 Catholicism 59–61 late style of 5–7, 127, 136–8, 199 Chamisso, Adelbert von 8, 33–4; see also Piano Concerto no. 4 in G (op. 58) 61 Frauenliebe und Leben Symphony no. 5 in C minor (op. 67) 1, 3, Cherubini, Luigi 63, 68, 73, 171, 213 9 Classicism 9 Violin Concerto (op. 61) 115, 116 and objectivism 9, 77, 104–5, 215, 217; Behr, Heinrich 25 see Schumann’s ‘new manner’ Benjamin, Walter 75, 76 Cologne, cathedral 91, 103, 107, 109 Berg, Alban 16 Crane, Susan 88, 91 Berlioz, Hector 64, 109, 117, 118 Biedermeier 14, 138 Dahlhaus, Carl 141 Bildung, see Nationalism Daverio, John 16, 59, 148, 205, 215 Bischoff, Ludwig 80, 108 on Holderlin¨ and Schumann 138 Bockmuhl,¨ Robert Emil 119, 123 on late styles 6 Bowie, Andrew 127 on motivic working 10, 110–11, 190 Brahms, Johannes 1, 3–5, 7, 59, 67, 88, 92, on Schumann as collector 75, 82, 87 94, 95, 160, 166, 212 on Schumann’s poetry 178 Academic Festival Overture (op. 80) 114 on Schumann’s politics 8, 55

Index 241

David, Ferdinand 124, 135 Harrison, Robert Pogue 49–50 Delacroix, Eugene` 52 Hartel,¨ see Breitkopf und Hartel¨ Deleuze, Gilles, and Felix´ Guattari 118, 119, Hatten, Robert 214–15 128 Hauptmann, Moritz 206–7 on refrains 201–2, 206 Mass in G minor (op. 30) 61, 115 Dietrich, Albert 161, 166, 174–5 Head, Matthew 34 Dorffel,¨ Alfred 81, 152 Hebbel, Friedrich 54–5, 83 Dorn, Heinrich 213 Heidegger, Martin 179 Dresden 23 Heine, Heinrich 8, 14 Dunsby, Jonathan 33 Herder, Johann Gottfried 50, 60 Durer,¨ Albrecht 138 Heyse, Paul 26–27 Dusseldorf¨ Hiller, Ferdinand 1, 3, 114 nation-building in 106 Hinrich, Friedrich 4 reception of Schumann’s Symphony no. 3 in historicism 48, 55, 91 108 and collecting 80–2, 89 religious tensions in 59–61 and performance 91 Schumann’s Music Directorship in 2–3, 8, Hoffmann, Ernst Theodor Amadeus 9, 87 51, 60, 61, 103, 135 Holderlin,¨ Friedrich 10, 137–8, 142, 146–7, 152, 179, 202, 217 Eichendorff, Joseph, Freiherr von, 14, 60 (see and Adorno 137, 170–1, 174 Eichendorff Liederkreis) and parataxis 169 1848–9 – see Revolutions reception of 175 Endenich, asylum 4; see also Richarz and Holloway, Robin 176 Schumann, mental illness Homer 87 Horn, Moritz 48 Fairy-tales 138, 143, 153; and see Hume, David 128 Märchenbilder and Märchenerzählungen Isserlis, Stephen 123 Fantin-Latour, Henri 188 Ferris, David 191, 206 Jensen, Eric Frederick 190, 213 Fichte, Johann Gottlieb 50, 106 Joachim, Joseph 3, 5, 6, 62 88, 92–4, 119, Finson, Jon W. 77 160, 163, 212 Fisk, Charles 209 and Beethoven’s Violin Concerto 115, Folk tales, see Volk 116 Freiligrath, Ferdinand 139 and Schumann’s Phantasie 123–4, 135 Freud, Sigmund 24, 84 and Schumann’s Violin Concerto 124–5, 127, 136 Gade, Niels 10 and Schumann’s Violin Sonata no. 3 10, Geibel, Emmanuel 27, 56 166, 167 Geulen, Eva 84 Jommelli, Niccolo60` Gillespie, Susan 169–70 Goethe, Johann Wolfgang von 3, 14, 85, 88 Kapp, Reinhard 8, 127, 216 Erlkönig 49 Kerner, Justinus 8 Faust 48, 52–3, 152, 178 Kinkel, Gottfried 27 religion in 64, 68 Kirchner, Theodor 141 Hermann und Dorothea 51, 110, 113 Kok, Roe-Min 198 in Dichtergarten 9, 75, 87 Krebs, Harald 94, 209 Grimm, Jacob and Wilhelm 49, 50, 88 Kruger,¨ Eduard 48 Kulmann, Elisabeth 8, 31–6 Hamburger, Michael 175, 188, 217 Kurtag,´ Gyorgy¨ 137, 169, 176 Handel, Georg Friedrich 115 Israel in Egypt 52 Lassus, Orlando de 60 Hanslick, Eduard 63, 81, 123, 165–6, 210 Laurencin, Ferdinand Peter Graf von 63

242 Index

Leader, Zachary 77–9 Perrey, Beate Julia 23–5, 77 Lenau, Nikolaus 8, 15 Phillips, Adam 24 Lester, Joel 90–1 Pixis, Theodor 108 Lind, Jenny 3, 25–6 Plato 87, 202 Liszt, Franz 16, 58, 109, 141 Pohl, Richard 3, 109, 123 Grandes Etudes´ de Paganini (S141) 92–3 as Hoplit 4 on church music of the future 64 as Schumann’s librettist 51–2 Litzmann, Berthold 2, 54 Protestantism 59–61 Locatelli, Pietro 94 Lotti, Antonio 60 Quotations, value of 88 Lower Rhine Music Festival (Niederrheinischen Musikfestes) 3, 51, 80, 114; see also Raff, Joachim 16 nationalism Reiman, Erika 190 Luther, Martin 51–2, 60 Reimers, Carl Heinrich 135, 163 Lutheranism 59 Rethel, Alfred 138–40, 179 Another Dance of Death 139–40 Mahler, Gustav 16, 25, 205 Retzsch, Moritz 52 Mendelssohn, Felix 3, 52, 58, 61, 141, 174, Revolutions (1848–9) 3, 8–9, 14, 139 188, 210 and aftermath 50–1, 59, 85, 106 accompaniment to Bach’s D minor Schumann’s response to 55, 58, 196 Chaconne 89 Reynolds, Christopher 171, 194 Minter, Theodor 52 Rhine 4, 210 Modernism 9, 84, 136–8, 176 and nation-building 8, 103, 107, 108, Molique, Bernhard 92, 121 113–15 Moore, Thomas 49 in Hermann und Dorothea 113 Morike,¨ Eduard 27 Richarz, Dr Franz 4, 95, 212–13, 216 Motte Fouque,´ Friedrich de la 143 Richter, Adrian Ludwig 52, 138 Mozart, Wolfgang Amadeus 61, 67–8 Richter, Johann Paul Friedrich. See Paul, Muller,¨ Wolfgang (Muller¨ von Konigswinter)¨ Jean 26, 139 Rihm, Wolfgang 137, 157–60, 169, 176 Ritter, Carl 141 Nationalism (German) 48–52, 58, 88, 91, Roesner, Linda Correll 107, 108, 110 103, 106; see also Volkst¨umlichkeit and Romanticism 9–11, 58, 60, 119, 141–2 Volk and collecting 81, 91 And religion 60 and subjectivity 9, 15, 58, 77–8, 103–106, And concept of Bildung 82, 85, 91, 135 117–18, 176, 199, 215 In Schumann’s Symphony no. 3 107 Romantic fragment 17–18, 137, 178, 191 Neue Zeitschrift f¨ur Musik 3, 4, 16, 81, 87, Rosen, Charles 77, 160 123, 137, 161, 201 Rubinstein, Anton 3 Neureuther, Eugen 52 Ruckert,¨ Friedrich 60, 61 Newcomb, Anthony 190 Rumph, Stephen 214–15 Nono, Luigi 137, 169, 176 Runge, Philipp Otto 143 Novalis 60, 88, 106, 143, 148 Said, Edward 5, 6 Ostwald, Peter 2 Samson, Jim 177 Schiller, Friedrich 38, 51, 110, 178, 207–8 Paganini, Niccolo` 92–5, 117, 177 In Dichtergarten 87 See also Schumann’s accompaniments to Schlegel, Friedrich 9, 106, 137 Caprices Schloss, Sophie 26 Palestrina, Giovanni Pierluigi da 60 Schoenberg, Arnold 91, 142, 150 Paul, Jean 9, 10, 75, 76, 82, 88, 137, 196 Schreber, Daniel Paul 212 in Dichtergarten 87 Schubert, Franz 4, 61, 117–18, 188, 210 Pelikan, Jaroslav 64 ‘Erlkonig’¨ 54

Index 243

as model for late style 5, 136, 200–1, ‘new manner of composing’ 2, 9, 104, 213, 209–10 215 Impromptus (op. 142) 200, 209–10 use of Marseillaise 113 Schuberth, Julius 81, 92–3 Schwind, Moritz von 49, 143 Schubring, Adolf 141–2 Seances´ 1–2, 216 Schumann, Clara 1–2, 87, 107, 119–21, 157, Shakespeare, William 5, 9, 27, 75, 87, 161, 162, 166, 212 110 as editor of Collected Works 4–6, 62, 92, in Dichtergarten,87 93, 124 Sheehan, James J. 91 as performer 3, 10, 93, 115, 160, 163, Shostakovich, Dmitri 122–3 166, 178 Sievers, August Heinrich Theodor 17 relationship with Robert 4, 14, 67 Solie, Ruth A. 33 Schumann, Eugenie 124 Spitta, Philipp 157 Schumann, Robert Alexander Spohr, Louis 171 and brokenness 151, 178 Spontini, Gasparo 108 and Cologne cathedral 107 Steinberg, Michael 117–18, 188 and counterpoint 108 Stewart, Susan 95 and folk song 108 Stifter, Adalbert 10, 75, 82–84, 106 and gender 26, 31–4 narrative techniques in Bunte Steine 82, 85, and Holderlin¨ 137–8, 142 195–6 and J. S. Bach 88, 90–1; see also list of works Stockhausen, Julius 3 and mannerism 109 Struck, Michael 110, 113, 118, 123, 166 and music for childhood 26, 86, 198 Stuart, Maria 8 (see Gedichte der Königin and parataxis 170–1 Maria Stuart) and programme music 108 and public style 103, 105–6, 116, 176 Table-tipping, Tischrücken;seeSeances´ and redemption 15, 26, 31, 41–3, Taruskin, Richard 79, 105 68 Tausch, Julius 114–16, 135 and religion 59 Thibaut, Anton Friedrich 52 and Stifter 82, 85 Uber¨ Reinheit der Tonkunst 60 and subjectivity, see Romanticism, Perrey Thoreau, Henry David 188, 200 and Deleuze Tieck, Ludwig 143 and tableaux vivants 52 and thematic allusions 152–3, 171–4 Uhland, Ludwig 8, 51, 56 and virtuosity 103, 116–17, 123, 136, 151, Uhlig, Theodor 108–9, 160–1 167, 176 Ullrich, Titus 27 and Wagner 58–9 as collector 75–6, 88 Vincke, Gisbert 39 and list-making 87, 95 Volk, 56, 59, 60; see also Volkstümlichkeit as conductor 3, 79, 115–16 Folktales as German heritage 50, 56, 88 as editor 76–80, 85–7 and German spirit 59, 103 as Florestan and Eusebius 5, 118, 160 Volkstümlichkeit 7, 9, 49, 52, 55, 114; see bird imagery 36–8 also Nationalism and Historicism declamatory vocal style in 18–21, 54 and Luther oratorio 51–2 rezitativischer Gesang (see Das Paradies and Symphony no. 3 108 und die Peri) mental illness 2–3, 95, 212–13 Wagner, Richard 4, 5, 7, 8, 48, 141 and mysticism 68 ‘Kunstwerk der Zukunft’ 58, 64 aural hallucinations 4 Lohengrin 58 effect on reception 5, 14–16, 105, 151, ‘Oper und Drama’ 58 165–6 relationship with Schumann 58–9 suicide attempt 4 Tannhäuser 58–9, 113 treatment at Endenich 4, 6 Waldura, Markus 203, 205–6

244 Index

Wasielewski, Wilhelm Josef von 1–2, 5, 66–8, publication of ‘Lehn deine Wange’ and 77, 135, 151, 162–3, 166, 188, 212 ‘Mein Wagen rollet langsam’ (op. 142) on Schumann as conductor 79 15, 75, 77 on Schumann’s Symphony no. 3 107, 110 analysis of 16 Weber, Carl Maria von 49 relationship to Lenaulieder 16 Whistling, Friedrich 77, 80 ‘Ich hab’ im Traum geweinet’ 21–5 Wolf, Hugo 7, 16, 27 Drei Clavier-Sonaten f¨ur die Jugend (op. 118) Wordsworth, William 78–9 189, 198 Wullner,¨ Franz 62 Drei Gedichte aus den Waldliedern von Pfarrius (op. 119) 14 Yearsley, David 214–15 ‘Warnung’ 37, 194

Ziolkowski, Theodore 176 Eichendorff Liederkreis (op. 39), 8, 14, 191 revision of 77 ‘Intermezzo’ 152 ‘Zwielicht’ 194, 196, 203, 205–6, Schumann: works 211 Etudes Symphoniques (op. 13) 76–7 Adventlied (op. 71) 60 Albumblätter (op. 124) 9, 75, 82, 189, 191 F. A. E. Sonata 136, 166, 174–5 ordering of 85–7 Fantasie (op. 17) 91, 199–200 ‘Larghetto’ 86–7 Fantasiestücke (op. 12) 190, 199–200 ‘Canon’ 86 Fantasiestücke (op. 111) 86, 188–90, 209 Album für die Jugend (op. 68) 3, 52, 86, 197–8 form and content in 199–200 Arabeske (op. 18) 191 Faschingsschwank aus Wien (op. 26) 113 Fest-Ouvertüre mit Gesanguber ¨ das Ball-Szenen (op. 109) 189, 198 ‘Rheinweinlied’ (op. 123) 113–15 Bunte Blätter (op. 99) 9, 75, 82, 189, 191, 212 Frauenliebe und Leben (op. 42) 8, 14, 33–4 ordering of 85–7 Fünf heitere Gesänge (op. 125) 26 ‘Geschwindmarsch’ 86 Fünf Romanzen for cello (lost) 5–6, 92, 135, ternary forms in 85 136

Carnaval (op. 9) 85, 188 Gedichte der Königin Maria Stuart (op. 135) Cello Concerto (op. 129) 103, 118–23, 126, 14, 38 127 and exile 36–8 re-orchestration of 122–3 and gender 31–4 Choral Ballades 5, 8, 54–5, 59, 64 motivic and harmonic relations in 39, Der Königssohn (op. 116) 53, 55–6 147 Vom Pagen und der Königstochter (op. 140) ‘An die Konigin¨ Elisabeth’ 39–41 53, 55–7, 61 ‘Gebet’ 41–3 Harmonic relationships in 53 Geisterthema,seeThema mit Variationen für Des Sängers Fluch (op. 139) 51, 55–7 das Pianoforte Das Glück von Edenhall (op. 143) 55 Genoveva (op. 81) 18, 23, 49, 58–9, 113 Gesammelte Schriften 80 Davidsbündlertänze (op. 6) 76–7, 147, 191, Gesänge aus Lord Byrons ‘Hebra¨ıschen Gesänge’ 208–10 (op. 95) 14 Declamation ballads (op. 122) 21, 54 Gesänge der Frühe (op. 133) 5–6, 92, 137, ‘Ballade vom Haideknaben’ 54–5, 57 196, 211–12 Dichtergarten 9, 75, 87, 88 and Barthes 208 Dichterliebe (op. 48) 8, 14, 107, 191 content and form in 202, 208–9 publication of ‘Dein Angesicht’ and ‘Es reworking by Brahms 10, 207–8 leuchtet meine Liebe’ in Lieder und Gesänge (op. 127) 15 Humoreske (op. 20) 5, 156, 194

Index 245

Impromptus (op. 5) 76–7 Paradies und die Peri, Das (op. 50) 3, 4, 31 Introduction mit Allegro (op. 134) 116 and genre 53, 59 Introduction und Allegro appassionato (op. 92) and orientalism 49 80 and rezitativischer Gesang 20, 48 Phantasie for violin and orchestra (op. 131) Kinderball (op. 130) 189, 198 103, 116, 123–4 Kinderszenen (op. 15) 142, 160, 197–8, Piano accompaniments to Bach, Suites for solo 206 cello 5, 75, 88, 89, 91 Kreisleriana (op. 16) 77, 87, 103–4, 151, 188, Piano accompaniments to Bach, Sonatas and 191 Partitas for solo violin 75, 88–90, 135 revision of 76–7 D minor Chaconne 89 Piano accompaniments to Paganini, Caprices Lieder-Album für die Jugend (op. 79) 14, 16, for solo violin 76, 88, 92–5, 135 210 G minor Caprice 93 Lieder und Gesänge aus Wilhelm Meister (op. Piano Concerto 104, 115, 116, 138, 213 98a) 14 Piano Quartet in C minor (incomplete) 135 Lieder von Elisabeth Kulmann (op. 103) 14, Piano Quintet (op. 44) 135 31–6 Piano Sonata no. 2 in G minor (op. 22) 110 and gender 31–4 Piano Sonata no. 3 (Concert sans orchestre)(op. bird imagery in 36–8 14) 76–7, 110 harmonic relationships in 35 Piano Trios 4 Luther oratorio 9, 51–2, 54, 61 Piano Trio no. 1 in D minor (op. 63) 152 Piano Trio no. 2 in F major (op. 80) 152–3 Manfred (op. 115) 3, 4, 25, 113 Piano Trio no. 3 in G minor (op. 110) 3, and Brahms 10 135–6, 151, 163 and melodrama 21, 54 form and harmony in 153–6 Märchenbilder (op. 113) 9, 25, 135, 138, 190, reception of 157–60 199 imagistic quality of 137, 138, 142–3 Requiem (op. 148) 9, 59, 61 form and harmony in 143–7 Requiem fürMignon (op. 98b) 52 and Holderlin’s¨ tones 146, 147 Romanzen und Balladen (opp. 67, 75, 145, 146) Märchenerzählungen (op. 132) 9, 135, 136, 54 138, 142–3, 199–200 ‘Die beiden Grenadiere’ 113 form and harmony in 147–51 Rose Pilgerfahrt, Der (op. 112) 3, 8, 25, 48, and Brahms 149–51 52, 59, 68, 143 Mass (Missa sacra) (op. 147) 9, 59, 61 and historicism and nationalism 48–49 religious character of 62 as oratorio 53 ‘Sanctus’ 64 Myrthen (op. 25) 14 Sechs Concert-Etuden nach Capricen von Paganini (op. 10) 92 Neujahrslied (op. 144) 60 Sechs Fugen for organ on the name of Bach (op. Novelletten (op. 21) 5, 156, 194 60) 213–14 Sechs Gedichte von Nikolaus Lenau und Ouvertüre, Scherzo und Finale (op. 52) 79 Requiem (op. 90) 14, 15, 31 Overtures 5, 26 ‘Der schwere Abend’ 17, 21–5 Braut von Messina (op. 100) 51, 110 ‘Die Sennin’ 16–18 Hermann und Dorothea (op. 136) 51, 110, ‘Einsamkeit’ 17, 21, 37, 194 113 ‘Kommen und Scheiden’ 17–18 Julius Caesar (op. 128), 26, 110–13, 119 ‘Lied eines Schmiedes’ 16, 17 Manfred (op. 115) 3, 113 ‘Meine Rose’ 17–19 ‘Requiem’ 17 Papillons (op. 2) 5, 188 as cycle 17 ‘Patriotisches Lied’ 81 harmonic relationships in 17–18

246 Index

Sechs Gesänge von Wielfried von der Neun (op. Verzweifle nicht im Schmerzensthal (op. 93) 60, 89), ‘Roselein,¨ Roselein’¨ 19–20 61 Sechs Gesänge (op. 107) 26 Vier Fugen (op. 72) 213 ‘Abendlied’ 30 Vier Husarenlieder von Nikolaus Lenau (op. ‘Der Gartner’¨ 30 117) 25 ‘Die Fensterscheibe’ 30 Violin Concerto (WoO 23) 5, 92, 103, 116, ‘Herzeleid’ 27–30 119, 123–9, 148, 167, 194, 210 ‘Im Wald’ 30–1 Violin Sonata no. 1 in A minor (op. 105) 3, as cycle 26 126, 168 Sechs Studien for pedal piano (op. 56) 213 final movement 160–2 Sieben Clavierstücke in Fughettenform (op. 126) Violin Sonata no. 2 in D minor (op. 121) 4, 189, 215–16 135, 160, 167 Spanisches Liederspiel (opp. 74 and 138) 4 form and content in 162–5 Stabat Mater and Requiem (planned) 61 slow movement 171–75 String Quartets (op. 41) 135 Violin Sonata no. 3 in A minor (WoO 27) 5, 6, no. 2 86–7 10–11, 92, 136, 148, 165 Studien nach Capricen von Paganini (op. 3) 92 and F. A. E. Sonata 166 Symphony no. 2 in C (op. 61) 4, 31, 104, in comparison to Violin Sonata no. 2 167 117–18 in comparison to Violin Sonata no. 1 168 Symphony no. 3 ‘Rhenish’ in E (op. 97) 3–5, and parataxis 170–1, 197 9, 103, 106, 107, 215; see also and virtuosity 176 Volkstümlichkeit and motivic working 110 Waldszenen (op. 82) 142, 188, 197–8 Symphony no. 4 in D minor (op. 120) 61, 115 revisions to 190 revision of 79 ‘Herberge’ 86, 190–1, 194, 196–7 Szenen aus Goethes Faust (WoO 3) 3, 9, 31, ‘Vogel als Prophet’ 190–1, 196 58, 64, 113, 138, 178, 194 chorale in 194–6, 210 and genre 53, 59 form in 191, 196–7 Wenn mein Stündlein vorhanden ist 216 Thema mit Variationen für das Pianoforte (Geisterthema or Letzter Gedanke)4, Zwölf Gedichte von Justinus Kerner (op. 35) 10, 87, 125, 188, 189, 194, 210–12 20