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Schumann-Journal Begründet 2012 Von Dr Schumann-Journal Begründet 2012 von Dr. Ingrid Bodsch Publikation des Schumann-Netzwerks / Schumann-Forums Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks von Irmgard Knechtges-Obrecht Nr. 2 / Frühjahr 2013 Mit Unterstütuzung des Beauftragten der Bundesregierung für Kultur und Medien Schumannjournal 2 2013_25042013.indd 1 06.06.2013 11:59:06 Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografir; detaillierte bibliografische Daten sind im Internet über http://dnb.d.-nb.de abrufbar. Herausgegeben im Auftrag 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, Bildredaktion, Lektorat und Layout Dr. Ingrid Bodsch und Dr. Sigrid Lange Umschlaggestaltung: phVision, Christa Polch Druck: printmedia solutions GmbH, Frankfurt © Verlag StadtMuseum Bonn 2013 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 printmedia solutions GmbH, Frankfurt ISBN 978-3-931879-34-4 Verlag StadtMuseum Bonn . Stadt Bonn, Amt 41-5 . D 53103 Bonn, Tel.: 0049 (0) 772094, Fax: 0049 (0) 774298, E-Mail: stadtmuseum@bonn, de Schumannjournal 2 2013_25042013.indd 2 06.06.2013 11:59:06 Inhalt Editorial 4 Schumann ist der Freud der Romantik Gespräch zwischen Nikolaus Harnoncourt und Axel Fuhrmann 6 Schumann is the Freud of Romanticism Conversation between Nikolaus Harnoncourt and Axel Fuhrmann 11 Irmgard Knechtges-Obrecht: Zum Gedenken an Dietrich Fischer-Dieskau 17 In Memory of Dietrich Fischer-Dieskau 21 Hans-Joachim Köhler: Poetischer Kontrapunkt im IV. Satz (Feierlich) der 3. Sinfonie op. 97 (der "Rheinischen") von Robert Schumann 23 Summary by H.-J. Köhler 30 Rainer Boestfleisch: Robert Schumanns Konzertstück für vier Hörner 31 Summary by R. Boestfleisch 41 Irmgard Knechtges-Obrecht: Was nicht in Schumanns Tagebüchern steht Symposium zum 70. Geburtstag von Gerd Nauhaus 43 Summary by I. Knechtges-Obrecht 47 Michaela G. Grochulski: Klavierbearbeitung im 19. Jahrhundert. Bericht über Symposium und Konzert am 21.11.2012, Köln 49 Summary by M. G. Grochulski 55 Neue Robert-Schumann-Gesamtausgabe 57 New Edition of the Complete Works Rückblick und Ausblick / Review and Preview Von / by Ingrid Bodsch 70 Neue Schumanniana / New Schumanniana Ausgewählt von / selected by Irmgard Knechtges-Obrecht 76 Mitglieder im Schumann-Forum/Board of Artists 138 Schumann-Netzwerk − Mitglieder und Partner Schumann Network − Members and partners 154 Schumannjournal 2 2013_25042013.indd 3 06.06.2013 11:59:06 EDITORIAL Mit Freude stellen wir Ihnen den 2. Jahrgang des Schumann-Journals vor, das neue Produkt des Schumann-Netzwerks, auf dessen Portal − www.schumannportal.de − immer eine aktualisierte Online-Fassung des Journals nach Erscheinen der Druckausgabe verfügbar sein wird. Das Schumann-Journal ist international ausgerichtet, unter Berück- sichtigung von Schumann-Aktivitäten weltweit. Unsere Zielgruppe ist kein musikwissenschaftliches Fachpublikum, sondern Künstler, Schumann-Liebhaber und interessierte Laien, die gut informiert und damit angeregt werden sollen. Das zweite Heft bietet ein Gespräch zwischen Nikolaus Harnoncourt und Axel Fuhrmann inklusive englischer Übersetzung, dazu Aufsätze und Berichte mit englischen Zusammenfassungen. Neuerscheinun- gen des Jahres 2012 an CD-Einspielungen, Notenausgaben, Bücher und Filmen stellen wir Ihnen in einer üppigen Auswahl vor, jeweils mit einer kurzen Zusammenfassung in Englisch, ebenso einige he- rausragende Ereignisse bzw. Musikfestivals zu Robert Schumann. Nicht zuletzt erscheinen die Mitglieder und Partner des Schumann- Netzwerks mit ihren Kontaktdaten sowie die dem 2011 neu gegrün- deten Schumann-Forum als „board of artists“ des Schumann-Netz- werks angehörenden Künstler. Ihnen viel Freude bei der Lektüre des Schumann-Journals, Ihre Ingrid Bodsch & Irmgard Knechtges-Obrecht 4 Schumannjournal 2 2013_25042013.indd 4 06.06.2013 11:59:06 EDITORIAL We are pleased to present you the second issue of the Schumann- Journal, the new periodical, focused entirely on its name giver. An updated online version of the Journal will always be available on the web site of the Schumann Netwerk − www.schumannportal.de − after release of the printed version. The Schumann-Journal is internatio- nally oriented, regarding Schumann related activities worldwide. Our target audience is not primarily a scientific one. Instead, we intend to cater artists, Schumann enthusiasts and other interested, non scienti- fic audiences. The second issue offers a conversation between Nikolaus Harnon- court and Axel Fuhrmann, including an english translation, articles and reports, each accompanied by a english summary. An abundant selection of newly released recordings, music books, literature and movies from 2012 is presented, each too accompanied by a short english abstract. Furthermore, some of outstanding events and music festivals related to Schumann are highlighted. Last but not least, the members and partners of the Schumann Network are listed including their contact details, while the ‚board of artists‘ contains the artists of the 2011 established Schumann Forum, who are also part of the Schumann Network. We hope you enjoy reading the Schumann-Journal, Yours Ingrid Bodsch & Irmgard Knechtges-Obrecht 5 Schumannjournal 2 2013_25042013.indd 5 06.06.2013 11:59:06 SCHUMANN IST DER FREUD DER ROMANTIK Nikolaus Harnoncourt zum 200sten Geburtstag von Robert Schumann Das Gespräch führte Axel Fuhrmann 2010 AF Als Gründervater der historischen Aufführungspraxis haben sie sich von der Renaissance über Barock und Klassik bis in die Roman- tik vorgearbeitet und auch mehrfach Werke Robert Schumanns diri- giert. Warum fasziniert die Musik Schumanns noch heute? NH Die Musik Schumanns hat einen Zug von Genialität. Natürlich hat das auch die Musik Mendelssohns und Wagners. Aber Wagner hatte das unbeschreibliche Glück, dass die anderen beiden so früh gestorben sind und er dann allein werken konnte. Aber mit einem neben ihm lebenden Schumann würde die zweite Jahrhunderthälfte auf dem Opernsektor ganz anders aussehen. AF Warum? NH Die Möglichkeiten, die Schumann erfunden hat, mit seiner „Ge- noveva“ oder mit seinen sinfonischen Dichtungen, „Das Paradies und die Peri“ und die „Faust Szenen“, die lassen ahnen, dass Schumann die Oper völlig anders weiterentwickelt hätte. Mit „Genoveva“ hat er die Oper praktisch neu erfunden. Das hat sich leider auch darin geäu- ßert, dass die Welt das nicht angenommen hat. Es wird wahrschein- lich auch mit Wagner zu tun haben, dass immer wieder dieselben Reaktionen kommen: „wunderbare Musik, blöder Text!“ Dasselbe finden wir übrigens bei Schubert. Dessen Opern sind so wichtig und so toll. Die wurden nie vom Publikum angenommen. Immer mit der Begründung: „tolle Musik, blöder Text“. 6 Schumannjournal 2 2013_25042013.indd 6 06.06.2013 11:59:06 AF Sie erwähnten das Oratorium „Das Paradies und die Peri“. Darin versucht die Hauptfigur Peri in das Paradies zu gelangen, aus dem sie aufgrund ihrer Herkunft ausgeschlossen wurde. Dazu muss sie Auf- gaben lösen, an denen sie jedoch scheitert. Hat Schumann sich und sein eigenes Scheitern auf der Suche nach Erlösung in dieser Figur verewigt? NH Ich sehe nicht, dass darin Erlösung gesucht wird. Ich sehe, dass ein Ziel zu erreichen versucht wird und ein Ziel hat jeder Mensch. Diese Peri will unbedingt etwas erreichen und sie wird dreimal abge- wiesen und erreicht es nicht. Und das ist musikalisch so geschrieben, wie es in unserem Leben immer wieder geschieht. Wir versuchen et- was zu lernen und wir scheitern. Schumann schildert den Menschen, dass man nicht aufgeben darf, bis man das erreicht hat, was man er- reichen will. Er hat das auch Fall für Fall wunderbar gelöst. Jeder Teil endet mit dem vermeintlichen Sieg. Peri glaubt ihr Ziel erreicht zu haben. Im nächsten Teil steht sie wieder vor dem Himmelstor und wird abgewiesen. Jeder Akt beginnt mit dem Scheitern und endet mit dem Triumph. Damit sagt Schumann dem Hörer: „Du darfst nie aufgeben, du musst immer weiter!“ AF Das scheint auch gleichsam Schumanns Lebensmotto gewesen zu sein. Wohin hat ihn das in der Musik geführt? NH Ich finde, dass Schumann in seiner Generation der am reichsten instrumentierende Komponist war. Seine Klänge sind die perfekte und umfassendste Ausnützung der Klangmöglichkeiten des Orche- sters. Er hat eigentlich das moderne Orchester erfunden. Und bitte vergessen sie in dem Zusammenhang Berlioz, weil ihm das immer nachgesagt wird. Es ist Schumann, denn bei Schumann finden wir eine emotionale Tiefe, zu der Berlioz überhaupt nicht fähig war. Ich würde nie ein Stück von Berlioz aufführen aus diesem Grund. 7 Schumannjournal 2 2013_25042013.indd 7 06.06.2013 11:59:06 AF Das bedeutet, Schumann hat die Sinfonie mit großem klangfarbli- chem Wissen und Orchesterverständnis wesentlich weiterentwickelt. Warum ist er dann als Musikdirektor und Dirigent in seiner Position in Düsseldorf gescheitert? NH Ich kann mir nicht gut vorstellen, dass Schumann das nötige Feingefühl hatte, sich in den einzelnen Musiker hinein zu versetzen. Der Komponist sieht sein Werk und nichts anderes. Er will das reali- siert haben, was er sich vorstellt. Da sitzen aber Menschen,
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