DOCSLIB.ORG

The Romances for Violin and Piano by Robert and Clara Schumann: a Comparison and Contextualization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Romances for Violin and Piano by Robert and Clara Schumann: a Comparison and Contextualization The Romances for Violin and Piano by Robert and Clara Schumann: A Comparison and Contextualization A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music Violin 2018 by Ah Rhim Lim M.M., University of Cincinnati, College-Conservatory of Music, 2014 B.M., Chung-Nam National University, 2011 Committee Chair: Catherine Lees, DMA ABSTRACT The purpose of this document is to compare and contrast the compositional style of Robert and Clara Schumann through a detailed exploration of similar sets of music: Robert Schumann’s Three Romances, Op. 94 for violin and piano and Clara Schumann’s Three Romances, Op. 22, for violin and piano. Robert’s Op. 94 was originally composed for oboe and piano but published for violin and clarinet as well. I will explore similarities and differences between these works, the nature in which they relate to each composers’ romance style, and the relation to other composers’ violin romances in the nineteenth century by Ludwig van Beethoven, Camille Saint-Saëns, Max Bruch, Antonín Dvorák, Gabriel Fauré, and Johann Svendsen. ii Copyright © 2018, Ah Rhim Lim iii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to Professor Timothy Lees, Doctor Catharine Lees, Doctor Won-Bin Yim, and Professor Yehuda Hanani. I cannot thank them enough for their valuable advice and guidance. I am also grateful for all of my loving family, friends, colleagues, and students with whom I have shared experiences throughout this adventure. I also would like to thank Breitkopf and Härtel for granting permission to use the musical examples for this study. I especially thank my mother, Jung Suk Lee, for all the constant prayers, warm encouragement, and unconditional support. Without her love, patience, and sacrifice towards me, I would not be where I am today. I truly appreciate her for standing by my side and cheering me to reach for the stars. Soli Deo gloria! iv TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv LIST OF FIGURES vi LIST OF MUSICAL EXAMPLES vii INTRODUCTION 1 CHAPTER 1. Romance and Hausmusik 5 2. Robert Schumann’s Three Romances for Violin and Piano, Op. 94 9 Context and Musical Analysis 14 3. Clara Schumann’s Three Romances for Violin and Piano, Op. 22 25 Context and Musical Analysis 28 4. Conclusion: A Comparison of Robert’s Op. 94 and Clara’s Op. 22 within the context of the Nineteenth-Century Violin Romance 45 The Violin Romance in the Nineteenth Century 52 BIBLIOGRAPHY 62 v LIST OF TABLES Chapter 2 Table 1: Piano Romances composed by Robert Schumann in 1839 9 Table 2: Lieder and Romances composed by Robert Schumann in 1840 10 Table 3: Choral Partsong Romances composed by Robert Schumann 12 Table 4: Instrumental Chamber Music composed by Robert Schumann in 1849 13 Table 5: Sectional divisions in the Drei Romanzen, Op. 94 14 Chapter 3 Table 6: Romances composed by Clara Schumann 27 Table 7: Sectional Divisions in the Drei Romanzen, Op. 22 28 Table 8: Ternary formal divisions in Clara’s Romance No. 3, Op. 22 30 vi LIST OF MUSICAL EXAMPLES Chapter 2 Example 1: Romance No. 2, Op. 94, mm. 1–5. 18 Example 2: Romance No. 3, Op. 94, mm. 8–12. 18 Example 3: Romance No. 2, Op. 94, mm. 8–16. 19 Example 4: Romance No. 1, Op. 94, mm. 9–15. 22 Example 5: Romance No. 2, Op. 94, mm. 26–31. 23 Chapter 3 Example 6: Romance No. 3, Op. 22, mm. 28–32. 32 Example 7: Romance No. 2, Op. 22, mm. 14–19. 33 Example 8: Romance No. 1, Op. 22, mm. 1–6. 34 Example 9: Romance No. 2, Op. 22, mm. 39–46. 34 Example 10: Romance No. 3, Op. 22, mm. 1–8. 35 Example 11: Romance No. 3, Op. 22, mm. 42–49 36 Example 12: Romance No. 2, Op. 22, mm. 39–46. 37 Example 13: Romance No. 2, Op. 22, mm. 36–39. 38 Example 14: Romance No. 2, Op. 22, mm. 91–95. 38 Example 15: Romance No. 3, Op. 22, mm. 38–41. 39 Example 16: Romance No. 2, Op. 22, mm. 102–105. 39 Example 17: Romance No. 3, Op. 22, mm. 104–106. 40 Example 18: Romance No. 2, Op. 22, mm. 22–23. 41 vii Example 19: Romance No. 2, Op. 22, mm. 31–34. 41 Example 20: Romance No. 1, Op. 22, mm. 24–25. 42 Chapter 4 Example 21: Clara’s Romance No. 2, Op. 22, mm. 129–136. 49 Example 22: Beethoven’s Romance, Op. 40, mm. 33–48. 53 Example 23: Beethoven’s Romance, Op. 50, mm. 1–4. 54 Example 24: Dvorák’s Romance, Op. 11, mm. 87–94. 57 Example 25: Fauré’s Romance, Op. 28, mm. 123–132. 58 Example 26: Svendsen’s Romance, Op. 26, mm. 45–52. 60 viii Introduction The purpose of this document is to compare and contrast the compositional styles of Robert Schumann and Clara Schumann through a detailed examination of their Op. 94 and Op. 22 romances and to contextualize these compositions within the nineteenth- century violin romance genre. The goal of this comparison is to contrast their compositional styles and also to relate these pieces to the genre of instrumental romance, a genre they significantly helped to define and develop. In order to contextualize these pieces within the genre it will be necessary to provide a detailed history of the development of the romance in both its vocal and instrumental incarnations from the late eighteenth century into the middle of the nineteenth century. Taking as a starting point that the instrumental romance is a non-virtuosic, lyrical, and accessible compositional vehicle related to its vocal romance cousin and suitable for Hausmusik, this document will explore how the Schumanns both helped to define the genre of instrumental romance and how this genre evolved and changed. (This discussion will include other romances composed by Robert and Clara Schumann as well as the concept of Hausmusik.) In my detailed examinations of Robert’s Op. 94 and Clara’s Op. 22 (chapters two and three), I will define their individual romance style by specifically exploring the formal structures, phrasing, melodic writing, harmonic language, texture (especially the nature of the combination of solo instrument and piano accompaniment), and rhythm. In the final chapter, I will provide the results of the comparison between these two composers’ romance styles and then situate these pieces within the context of other nineteenth-century violin romances by Beethoven (Op. 40 and 50), Saint-Saëns (Op. 48), Bruch (Op. 42), Dvorák (Op. 11), Fauré (Op. 28), and Svendsen (Op. 26). At the heart of 1 this discussion is the degree to which these pieces conform to the more accessible, non- virtuosic style seen in Robert Schumann’s Op. 94. While much scholarly research has been directed towards the lives and music of Robert and Clara Schumann, their romances, Op. 94 and Op. 22, respectively, have been largely neglected, and there are almost no detailed analyses and assessments of these works. Scholars generally situate Robert’s Op. 94 either within discussions of Hausmusik or what they call the “Dresden period” or both.1 John Daverio speaks of Schumann’s music from this time period as a dialectic “between esotericism and accessibility.”2 Thus Daverio, drawing from Dahlhaus, relates Schumann’s music to the prevailing Biedermeier sensibility, which prized a bourgeois education, temperament, and “conviviality” that was more conservative, above some of the more progressive and Romantic aesthetics.3 His analyses of the works written around the same time as Robert’s Op. 94 stress the lyrical qualities in balance with irregular phrasings and chromatic harmonies. Martin Geck provides even less actual analyses of the music from this time, but rather contextualizes it within contemporaneous political and aesthetic arguments (both of which concern Wagner).4 Though he neglects Op. 94 completely, through examinations of several of Schumann’s piano pieces, choral pieces, and his opera, Genoveva, from this time, Geck paints a portrait of a composer who is neither necessarily 1 For most scholars, Schumann’s “Dresden period” ends in 1849 and is seen as distinctive from the last period beginning in 1850. 2 John Daverio, Robert Schumann: Herald of a “New Poetic Age” (New York: Oxford University Press, 1997), 394. 3 Ibid., 396. 4 Martin Geck, Robert Schumann: The Life of Work of a Romantic Composer (Chicago: University of Chicago Press, 2013). 2 revolutionary nor reactionary, but rather a “realist” of his time both intellectually and aesthetically.5 One other important source for my study is Laura Tunbridge’s monograph, Schumann’s Late Style.6 Though the dates of Tunbridge’s examination span from 1850 to the end of Schumann’s life, and though she does not discuss Op. 94 (written one month before 1850), the style(s) that she explores, explains, and contextualizes is also the style of Op. 94. She argues that simplicity in music is often more difficult to understand and theorize than complex music, but that through this greater simplicity, Schumann’s participation with amateur musicians, including choral societies and festivals, is far from being mere conservatism, but rather fits into his political and nationalist philosophies.7 In my document, I will apply the conceptualizations of Schumann’s late style found in these sources to my discussion of Op. 94. Assessments of Clara Schumann’s Op. 22 are even more scant. While scholarship by John N. Burk, Joan Chissell, Nancy B. Reich, George Hall, and Monica Steegman has elevated Clara Schumann’s position among the Romantic composers, analyses of her music has tended to focus on her larger works, such as the Piano Trio, Op.
Load more

Recommended publications
  • Recasting Gender
    RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION
    [Show full text]
  • 97679 Digibooklet Schumann Vol
    ROBERT SCHUMANN Complete Symphonic Works VOL. III OREN SHEVLIN WDR Sinfonieorchester Köln HEINZ HOLLIGER ROBERT SCHUMANN Complete Symphonic Works • Vol. III recording date: April 8-11, 2013 Cello Concerto in A minor, Op. 129 23:59 I. Nicht zu schnell 11:51 II. Langsam 4:08 P Eine Produktion des Westdeutschen Rundfunks Köln, 2013 lizenziert durch die WDR mediagroup GmbH III. Sehr lebhaft 8:00 recording location: Köln, Philharmonie executive producer (WDR): Siegwald Bütow recording producer & editing: Günther Wollersheim Symphony No. 4 in D minor, Op. 120 recording engineer: Brigitte Angerhausen (revised version 1851) 28:56 Recording assistant: Astrid Großmann I. Ziemlich langsam. Lebhaft 10:25 photos: Oren Shevlin (page 8): Neda Navaee II. Romanze. Ziemlich langsam 3:57 Heinz Holliger (page 10): Julieta Schildknecht III. Scherzo. Lebhaft 6:45 WDR Sinfonieorchester Köln (page 5): WDR Thomas Kost IV. Langsam. Lebhaft 7:49 WDR Sinfonieorchester Köln (page 9): Mischa Salevic front illustration: ‘Mondaufgang am Meer’ Caspar David Friedrich art direction and design: AB•Design executive producer (audite): Dipl.-Tonmeister Ludger Böckenhoff OREN SHEVLIN e-mail: [email protected] • http: //www.audite.de WDR Sinfonieorchester Köln © 2014 Ludger Böckenhoff HEINZ HOLLIGER Remembering, Narrating Schumann’s Cello Concerto contains movements are recalled in the same way the same in another: only the material is On 2 September 1848 Robert Schumann many recollections of Mendelssohn. It as Beethoven had done in his Ninth Sym- different”. Schumann noted this maxim no composed a piece for piano and called opens with three wind chords similar phony. Schumann also referred to his own later than 1834, at the age of twenty-four, it Erinnerung [recollection], inserting to those in the overtures to A Midsum- works: in the transition from the fi rst to the and he followed it in his ideal of musical the subtitle “4.
    [Show full text]
  • Robert Schumann on the Poems of Heinrich Heine
    DICHTERLIEBE opus 48 A Cycle of Sixteen. Songs by Robert Schumann on the poems of Heinrich Heine An Honors Thesis (Honrs 499) by Shawn L. Harrington Thesis Advisor (u,r$/ Mr. John Meadows", . " (! jl'lrli{Lul ~t;(,cY\' Ball State University Muncie, Indiana November, 1995 Expected date of graduation 12/95 !J,:'( ! __ <l !.", .,.' , j:L. ' .. " Purpose of Thesis This project has two components: a written discussion of the music of the Dichterliebe, and the lives of the composer Robert Schumann and the poet Heinrich Heine; and an audio tape of my performance of the Dichterliebe. The performance was the culmination of my study of the Dichterliebe, in particular, and of my voice studies, in general. Through the performance, I set out to share the wonderful music and poetry of the Dichterliebe as well as share my musical and vocal growth over the past four years. The written portion of the project was undertaken to satisfy my personal curiosity of the men who wrote the music and the poetry of the Dichterliebe. A study of the music without knowing the man who composed it or the man who wrote the words would be only half complete at best. Likewise, a study of the men and not the music would also be incomplete. That is why I included both venues of learning and experiencing in this project; and that is why I have included an audio tape of the performance with this written report. Acknowledgements I would like to thank my voice instructor (and thesis advisor), John Meadows. Without his expertise, advise, and instruction, I would not have been able to present the Dichterliebe in a performance.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Spohr and Schumann
    SPOHR AND SCHUMANN by Keith Warsop OR MOST PEOPLE the link between Louis Spohr and Robert Schumann is limited to the latter's negative criticism of the Historrcai Symphony. In fact, the two musicians had a high regard for each other's compositions even though they each sometimes had reservations about particular aspects of certain individual works. Unfortunately, Spohr broke off his memoirs when he reached June 1838 shortly before he and Schumann met for the first time so we do not have his considered thoughts about Schumann's music in general. However, in the section of the memoirs added by his second wife, Marianne, after Spohr's death, she records that after the stay in Carlsbad detailed by Spohr in the last paragraphs he wrote down himself, they stopped in Leipzig on their way home. There, Marianne continues, "it was a source of great pleasure to him to make the long-desired acquaintance of Robert Schumann who, though in other respects exceedingly quiet and reserved, yet evinced his admiration of Spohr with great warmth and gratified him by the performanee of several of his interesting fantasias. " The two composers had, however, been in touch a few months before through the agency of a third composer, Felix Mendelssohn. On 24th November 1836, Mendelssohn wrote to Spohr requesting a song for inclusion in the wedding album of his new bride, Cdcilie Jeanrenaud, and on l3th December wrote again to thank Spohr for the song 'Was mir wohl tibrig bliebe', WoO96 (later included by Spohr as No.5 of his Op.139 Lieder collection).
    [Show full text]
  • A Dichterliebe by Robert Schumann
    ,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0.
    [Show full text]
  • A Study of Ludwig Van Beethoven's Piano Sonata Op. 111
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Fall 11-4-2011 A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU Ji Hyun Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Ji Hyun, "A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU" (2011). Research Papers. Paper 174. http://opensiuc.lib.siu.edu/gs_rp/174 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU by JI HYUN KIM B.M., CHUNG- ANG University, 2006 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale November 2011 RESEARCH PAPER APPROVAL A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU By JI HYUN KIM A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Piano Performance Approved by: Dr. Junghwa Lee, Chair Dr. Eric Mandat Dr.
    [Show full text]
  • Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS
    DICHTERLIEBE SCHUMANN JULIAN PRÉGARDIEN ÉRIC LE SAGE SANDRINE PIAU MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS ROBERT SCHUMANN (1810-1856) SPANISCHES LIEDERSPIEL, OP.74 1 NO.4 IN DER NACHT 4’24 CLARA SCHUMANN (1819-1896) 3 ROMANCES, OP.11 2 NO.2 ANDANte – allegrO PASSIONATO – aNDANTE 5’29 ROBERT SCHUMANN 3 GESÄNGE, OP.31 3 NO.1 DIE LÖWENBRAUT 7’53 CLARA SCHUMANN 4 WENN ICH EIN VÖGLEIN WÄR 1’08 ROBERT SCHUMANN 3 ZWEISTIMMIGE LIEDER, OP.43 (OSSIA GENOVEVA, OP.81, ACT II) 5 NO.5 WENN ICH EIN VÖGLEIN WÄR 1’27 MYRTHEN, OP.25 6 NO.15 AUS DEN HEBRÄISCHEN GESÄNGEN (MEIN HERZ IST SCHWER) 4’32 DICHTERLIEBE, OP.48 7 I. IM WUNDERSCHÖNEN MONAT MAI 1’32 8 II. AUS MEINEN TRÄNEN SPRIEßEN 0’45 9 III. DIE ROSE, DIE LILIE 0’34 10 IV. WENN ICH IN DEINE AUGEN seh’ 1’31 11 V. ICH WILL MEINE SEELE TAUCHEN 0’55 12 VI. IM RHEIN, IM HEILIGEN STROME 2’27 13 VII. ICH GROLLE NICHT 1’27 14 VIII. UND WÜSSTEN’s die BLUMEN 1’12 15 IX. DAS IST EIN FLÖTEN UND GEIGEN 1’17 16 X. Hör’ ich das LIEDCHEN KLINGEN 1’46 17 XI. EIN JÜNGLING LIEBT EIN MÄDCHEN 0’52 18 XII. AM LEUCHTENDEN SOMMERMORGEN 2’16 19 XIII. Ich hab’ im TRAUM GEWEINET 2’36 20 XIV. ALLNÄCHTLICH IM TRAUME 1’22 21 XV. AUS ALTEN MÄRCHEN WINKT ES 2’05 22 XVI. DIE ALTEN BÖSEN LIEDER 4’00 SECHS FRÜHE LIEDER, WOO 21 23 NO.4 KURZES ERWACHEN 2’16 5 LIEDER UND GESÄNGE, OP.127 24 NO.1 SÄNGERS TROST 2’05 3 ROMANZEN, OP.28 25 NO.1 SEHR MARKIRT 3’22 26 NO.2 EINFACH 3’23 4 GESÄNGE, OP.142 27 NO.4 MEIN WAGEN ROLLET LANGSAM 3’03 TOTAL TIME: 66’15 JULIAN PRÉGARDIEN TENOR ÉRIC LE SAGE FORTEPIANO FORTEPIANO BY JULIUS BLÜTHNER, LEIPZIG 1856, RESTORED BY CHRISTOPH KERN SANDRINE PIAU SOPRANO (1,3,4,5) › MENU Jedes musikalische Werk durchläuft eine Entstehungsgeschichte.
    [Show full text]
  • Clara Schumann at 200 -Study Days
    Clara Schumann at 200 -Study Days- 4-5 Oct. 2019 School of Music, University of Ottawa Perez Hall, CreatorSpace Friday, Oct. 4 Saturday, Oct. 5 9:30–10:45. Workshop 1: Clara Schumann’s 9:30–10:45. Workshop 6: Schumann’s “Ihr Bild” Textural Tapestries in David Lewin’s Musical Imagination Julie Pedneault-Deslauriers (University of Nathan Martin (University of Michigan) Ottawa) Coffee break (10:45–11:00) Coffee break (10:45–11:00) 11:00–12:15. Workshop 2: Clara (and Robert) in 11:00–12:15. Workshop 7: Managing the Art of London: Views from Within and Without Listening: Clara Wieck Schumann’s Designing of Julie Hedges Brown (Northern Arizona Concert Programs University) Janina Klassen (Hochschule für Musik Freiburg) Lunch (12h15–13h30) Lunch (12:15–13:30) 13:30–14:45. Workshop 3: Expressive 13:30–14:45. Workshop 8: Clara Schumann’s Declamation in Clara Schumann’s Lieder Nightingales Harald Krebs (University of Victoria) Sharon Krebs, soprano Coffee break (14:45 – 15:00) Coffee break (14:45 – 15:00) 15:00–16:15. Workshop 4: Clara Schumann's 15:00–16:15. Workshop 9: Musical and Poetic 1840s Compositions and her Midcentury Persona Closure in Clara Schumann’s Lieder Alexander Stefaniak (Washington University in Stephen Rodgers (University of Oregon) St. Louis) Coffee break (16:15 – 16:30) 16:15 – 16:30: Closing remarks 16:30–17:45. Workshop 5: Clara Schumann and the Poetry of Emanuel Geibel Susan Youens (University of Notre-Dame) Info: [email protected] Clara Schumann’s Textural Tapestries Julie Pedneault-Deslauriers (University of Ottawa) Building on my past scholarship on Clara Schumann’s use of descending basslines as a means of formal organization, I turn in my workshop to her ascending basslines as a lens into some of her recurrent harmonic techniques and their kaleidoscopic textural arrangements.
    [Show full text]
  • Clara Wieck Schumann
    Volume 7, Issue 2 The Kapralova Society Journal Fall 2009 A Journal of Women in Music Clara Schumann: A Composer’s Wife as Composer Eugene Gates In an age when musical talent in a as little as I spoke. But I had female was seldom developed beyond the always been accustomed to level of an accomplishment--a means of en- hear a great deal of piano hancing her matrimonial prospects--Clara playing and my ear became Schumann, née Wieck, received an envi- more sensitive to musical able musical education, and enjoyed a bril- sounds than to those of liant performing career that kept her before speech.2 the public for more than half a century. Best remembered today as one of the foremost Clara inherited her prodigious musical pianists of the nineteenth century, and as the gifts from both parents. Friedrich Wieck devoted wife and musical helpmate of Rob- (1785-1873), though largely self-educated in ert Schumann, Clara Schumann was also music (he held a degree in theology), was a highly respected during her lifetime as a shrewd businessman and a remarkable composer1--a fact rarely mentioned in music teacher of piano and singing. Obsessed with history textbooks. This article examines her a burning ambition to acquire musical distinc- Special points of interest: life and works, and the forces that impeded tion, he was also an opportunist who ex- her progress as a musical creator. ploited the talents of his immediate family to The details of Clara Wieck's early enhance his reputation as a teacher.3 years are preserved in a diary which Clara's mother, Marianne Tromlitz Clara Schumann Friedrich Wieck, her father-teacher- Wieck (1797-1872), was an uncommonly tal- Jennifer Higdon manager, began for her when she was ented singer and pianist.
    [Show full text]
  • A Study of Vocal Influences in Robert Schumann's
    WHEN CONCERTO MEETS SONG CYCLE: A STUDY OF VOCAL INFLUENCES IN ROBERT SCHUMANN’S CELLO CONCERTO IN A MINOR, OP. 129, WITH REFERENCE TO HIS DICHTERLIEBE, OP. 48 BY KA-WAI YU THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Cello Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Assistant Professor Reynold Tharp, Chair and Director of Research Assistant Professor Christina Bashford Professor Charlotte Mattax Moersch Assistant Professor Brandon Vamos Associate Professor Ann Yeung © Copyright by Ka-Wai Yu, 2011 ABSTRACT This thesis responds to the long-existing doubts, prejudices and mixed critical views about the value of Schumann’s Cello Concerto and his late music with new ideas and possibly answers. It focuses on analyzing influences from Schumann’s vocal music in the concerto. Dichterliebe, Op. 48, which is one of Schumann’s most successful song cycles and reflects the composer’s mature vocal style, will be used as a reference throughout the thesis, besides examples from Schumann’s other early and late vocal works. The analysis of the concerto is divided into four main sections: structure, tonality, rhetoric, and orchestration. The first section examines how the musical material and sections/movements in the concerto are organically connected like the structure of a song cycle through studying the miniature scale of the work, cyclic recurrences of thematic material, structural unity and ambiguity, fragmentation, and possible song form in the concerto. The second part is an analysis of the concerto’s tonal and harmonic language.
    [Show full text]
  • Brahms Rhapsodizing: the Alto Rhapsody and Its Expressive Double Author(S): Christopher Reynolds Reviewed Work(S): Source: the Journal of Musicology, Vol
    Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double Author(s): Christopher Reynolds Reviewed work(s): Source: The Journal of Musicology, Vol. 29, No. 2 (Spring 2012), pp. 191-238 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2012.29.2.191 . Accessed: 10/07/2012 14:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double CHristop H er R E Y noL ds For Donald C. Johns Biographers have always recognized the Alto Rhapsody to be one of Brahms’s most personal works; indeed, both the composer and Clara Schumann left several unusually specific com- ments that suggest that this poignant setting of Goethe’s text about a lonely, embittered man had a particular significance for Brahms. Clara 191 wrote in her diary that after her daughter Julie Schumann announced her engagement to an Italian count on 11 July 1869, Brahms suddenly began
    [Show full text]