Robert Schumann - biography, information, personal life. Schumann - who is he? A failed pianist, a brilliant composer or a sharp music critic? Schumann history
SCHUMANN (Schumann) Robert (1810-56), German composer and music critic. An exponent of the aesthetics of German romanticism. Founder and editor of Neue Zeitschrift für Musik (New Music Magazine, 1834). Creator of program piano cycles ("Butterflies", 1831; "Carnival", 1835; "Fantastic Pieces", 1837; "Kreisleriana", 1838), lyric-dramatic vocal cycles ("The Poet's Love", "Circle of Songs", "Love and a woman's life", all 1840); contributed to the development of the romantic piano sonata and variations ("Symphonic Etudes", 2nd edition 1852). Opera "Genoveva" (1848), oratorio "Paradise and Peri" (1843), 4 symphonies, concert for piano and orchestra (1845), chamber and choral works, music for the dramatic poem "Manfred" by J. (1849).
SCHUMANN (Schumann) Robert (full name Robert Alexander) (June 8, 1810, Zwickau - July 29, 1856, Endenich, a suburb of Bonn), German composer.
The love of music won
Born into the family of a bookseller and publisher. Early on he discovered his abilities as a pianist and composer, as well as a literary gift (until adulthood he retained his youthful passion for the work of the German romantic writer Jean Paul, in whose work lyricism is intricately intertwined with the grotesque and irony). In 1828 he went to Leipzig to study law, but devoted a significant part of his time to literary studies and playing music; took piano lessons from the prominent teacher Friedrich Wieck (1785-1873), wrote several piano pieces and songs. From Leipzig, Schumann moved to Heidelberg, where, instead of jurisprudence, he studied music mainly. He soon managed to convince his family that a career as a pianist was more in line with his inclinations, and in 1830 he returned to Leipzig, where he settled in Wieck's house. He soon injured his hand (possibly due to the use of a homemade mechanism for training his fingers) and was forced to abandon his intention to become a concert pianist. Nevertheless, he continued to compose music for the piano; in 1830 his opus 1 appeared - “Variations on the name ABEGG” (the surname of the composer’s then girlfriend is encrypted in the theme of these variations).
David's brotherhood
In 1834, Schumann founded the periodical Neue Zeitschrift fur Musik ("New Music Magazine") in Leipzig and remained its editor-in-chief and author until 1844. He proved himself to be a brilliant, insightful music critic, a supporter of advanced trends in art, and a discoverer of young talents. Schumann often signed his articles with the pseudonyms Eusebius and Florestan, the first of which personified the lyrical and contemplative, the second the impulsive, ardent side of his personality. These heroes, along with F., F. Liszt, N. Paganini and Schumann’s future wife, pianist Clara Wieck, became part of the fantastic “Brotherhood of David” (Davidsbund), invented by Schumann, opposing philistine views on art. To musically embody his penchant for fantasy in literary images, the young Schumann chose the form of a piano cycle, consisting of characteristic pieces of various moods and textures. During the 1830s, the cycles “Butterflies”, “Carnival” (featuring musical “portraits” of members of the Brotherhood of David - the Davidsbündlers), “Dancing of the Davidsbündlers”, “Children’s Scenes”, “Kreisleriana” (based on the prose of E. T. . A. Hoffman), "Vienna Carnival", a collection of miniatures "Fantastic plays". The “Florestan” and “Eusebius” principles are whimsically combined in multi-movement non-program works of the same period - three sonatas (the third of them includes the charming “Variations on a Theme of Clara Wieck”), a large-scale three-part Fantasia, “Symphonic Etudes” (in the form of variations on a theme F. Vika), "Humoresque".
Love
Matters of the heart always played an important role in Schumann's life, influencing his work. In the mid-1830s, Schumann began an affair with Clara, Wieck's daughter, who tried in every possible way to prevent their marriage. Vic's opposition was overcome only by a court decision, which in 1840 recognized Clara's right to marry without paternal consent. The period of struggle for Clara and forced separation from her was marked in the composer’s life by deep depressions. The marriage of Schumann and Clara took place in September 1840. Biographers of the composer often call this year the “year of songs.” In a single creative impulse, Schumann created over 100 songs for voice and piano, including the vocal cycles “Love and the Life of a Woman” (with words by A. Chamisso, in 8 parts) and “The Love of a Poet” (with words by G. Heine, in 16 parts). The songs that make up each of the cycles form a coherent plot with a tragic ending; both cycles end with large piano “epilogues”, nostalgically recreating the serene atmosphere of the initial song (in “Love and Life of a Woman”) or one of the central parts (in “The Love of a Poet”). Replete with details, rich with subtexts, the piano accompaniment is a distinctive feature of most of Schumann’s best vocal miniatures, including those from the collection “Myrtles” (26 songs with words by various poets) and notebooks with words by Heine (Op. 24) and J. von Eichendorff (Op. 39).
Mature Schumann
In 1841 Schumann wrote mainly orchestral music. From his pen came, in particular, the 1st Symphony, the first edition of the 4th Symphony and the poetic Fantasy for piano and orchestra intended for Clara, which later became the first part of the Piano Concerto in A minor (completed in 1845). In 1842, while Clara was on a long concert tour, Schumann, who did not like to be in the shadow of his wife and therefore preferred to stay at home, wrote several major chamber instrumental opuses, including the popular Quintet for piano and strings. By this time, Schumann's style, having largely lost its former impulsiveness and spontaneity, became more balanced; the multi-layered, richly decorated (“arabesque”) texture characteristic of the works of the 1830s was replaced by more economical and traditional forms of presentation. The next year, 1843, was marked by the creation of a large symphonic cantata (essentially a secular oratorio) “Paradise and Peri” (based on the poem by T. Moore) and the beginning of work on music for soloists, choir and orchestra for individual scenes of “I.V.’s Faust; The first music to be written was for the final scene of the tragedy - one of the composer’s most majestic and harmonious creations.
Difficult years
At the same time, Schumann took the position of professor at the newly opened Leipzig Conservatory, headed by his friend F. Very soon it was discovered that Schumann was completely incapable of teaching; his attempts to take up conducting also led to very modest results. In 1844, Schumann moved with his family to Dresden, where he continued to be haunted by depression, which seriously hampered his activities. Only in 1847-48 the composer experienced a relative creative upsurge, composing several chamber opuses, a number of songs and choruses, and the opera Genoveva (its premiere in Leipzig was without much success). In 1848, Schumann founded and headed the Dresden Choral Society, which in 1849 first performed excerpts from his music for Faust.
In 1850, Schumann took the post of city music director in Düsseldorf. At first, he felt happy and experienced a surge of inspiration, as evidenced by the charming Cello Concerto and the 3rd Symphony, the so-called “Rhenish” (one of its parts was inspired by impressions of the famous Cologne Cathedral). However, Schumann's capabilities as a conductor turned out to be too limited to work as the musical director of an entire large city; in 1852-53 his physical and mental condition deteriorated and he realized that he could no longer carry out his duties. Schumann's last major opuses (Fantasia for violin and orchestra, Sonata 3 for violin and piano, Concerto for violin and orchestra) indicate the decline of his inspiration. In 1854, Schumann began to hallucinate, and on February 27 he attempted suicide, after which he was admitted to a psychiatric hospital, where he died two years later. Apparently, Schumann's mental illness was the result of syphilis, which he contracted in his youth. Until his last day, Clara and young J. Brahms took care of him.
Clara and Robert Schumann had eight children. Clara outlived her husband by 40 years. Until 1854 she composed music; her best works (Piano Trio, some songs) are characterized by extraordinary imagination and skill. Contemporaries valued Schumann the pianist not only for her brilliant mastery of the latest repertoire (Chopin, Schumann, Brahms), but also for her high culture of interpretation and melodious tone. Until the end of her life she maintained a close relationship with Brahms.
A great composer and famous person, whose life was full of interesting and sometimes tragic events. What did the musician dream of, was he able to realize his plans, how did he become a composer? Did his personal life affect his work? We will talk about this and other interesting facts from the composer’s life.
On June 8, 1810, Robert Alexander Schumann was born into the family of a book publisher, who later became a world-famous composer and music critic. The family lived in the German town of Zwickau. The father of the future musician was a fairly wealthy man, so he wanted to give his son a good education. At first, the boy studied at a local gymnasium. And from an early age he showed ability and desire for music and literary creativity. At the age of seven he begins to study music and plays the piano.
While studying at the gymnasium, he composed his first literary works and became the organizer of a literary circle. And acquaintance with the work of the writer J. Paul encouraged Schumann to write his first literary work - a novel. But still, music attracted the boy more, and at the age of ten, Robert wrote his first musical work, which finally determined Schumann’s further musical fate. Therefore, he diligently studies music, takes piano lessons, writes songs and musical sketches.
After graduating from high school in 1928. the young man, at the insistence of his parents, goes to the University of Leipzig. Here he is studying to become a lawyer. But music lessons still attract the young man. And he continues to take lessons, but with a new teacher, F. Vic, the best piano teacher at that time. In 1829 Robert transferred to study at the University of Geldeiberg. But even there, instead of studying law, he is actively involved in music. He convinces his parents that he will not make a lawyer, since this work is not interesting to him.
In 1830 he returns to Leipzig again, to his teacher F. Wieck. And during one of his diligent piano lessons, Schubert strains his tendon. The injury was serious, so a career as a pianist was out of the question. All this forced the musician to turn his attention to the path of music criticism and composer, which he successfully did.
1834 in Schubert's life was marked by the opening of the “New Musical Journal” in Leipzig. The young musician became the publisher of the magazine, as well as its main author. All new young musicians found support in this publication, since Schumann was also a supporter of new trends in music and strongly supported innovative trends. It was at this time that his creativity as a composer began to flourish. All personal experiences about the failed career of a pianist were reflected in the composer’s musical works. But the language of his works differed from the music usual at that time. His works can easily be called psychological. But still, fame came to the composer, despite the misunderstanding of many musical figures, during his lifetime.
In 1840 Robert Schumann married the daughter of his music teacher F. Wieck, Clara, who was a talented pianist. Under the influence of this significant event, the following works by the composer were published: “Love and Life of a Woman”, “Love of a Poet”, “Myrtles”. Schumann is also known as the author of symphonic works. Among them are symphonies, the oratorio “Ray and Peri”, the opera “Ganoveva”, etc. But the composer’s happy life was overshadowed by his deteriorating health. For two years, the composer was treated in a psychiatric clinic. The treatment did not bring much results even in 1856. R. Schumann died, leaving behind a rich musical heritage.
Schumann's music is distinguished by its particularly acute psychologism and penetrates deeply into the state of the human soul. He very subtly reflected the change of these states in music. He has a direct contact between a passionate impulse and immersion in a 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 folk fantasy, but, as it were, the world of his soul, visions, dreams, very individualized. This is also evident in musical criticism. He was very gifted in the field of literature. He wrote novels, 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 “Brotherhood of David” - a society. Its members are Davidsbündlers. There he included Mozart, Paganini, Chopin, as well as Clara Wieck (his wife), as well as Florestan and Eusebius. Florestan and Eusebius are fictitious names (these are, as it were, two halves of his personality that argued with each other). He used them as pseudonyms. Maestro Raro reconciled the dreamy Eusebius and the stormy Florestan.
Schumann supported the best in art. He was the first to talk about Chopin, supported Berlioz, and wrote articles about Beethoven. His last article was an article on Brahms. In 1839 he found Schubert's symphony - C major and performed it, and in 1950 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). Under the impression of the works of this writer, a play was written - "Butterflies". Loved the poet Hoffmann. Kreisleriana was written under the influence of his works. Heine had a great influence. Vocal cycles were written based on his poems - “Circle of Songs” and “Love of a Poet”.
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 obvious example. The melodies are more declamatory. The harmonic language becomes more complex. The texture is subtle, melodic and polyphonic. The 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 plays, "Kreisleriana", "Vienna Carnival", short stories, etc. , 3 sonatas for piano, fantasy, more than 200 songs, vocal cycles: “The Love of a Poet”, “Circle of Songs” on Hein, “Myrtles”, “Circle of Songs” on poems by Eichendorff, “Love and Life of a Woman” on poems by Chamisso, Spanish love songs, songs from "Wilhelm Meister" (Goethe), 4 symphonies, concertos for piano, cello and violin and orchestra, Stück concerto for piano and orchestra, Stück concerto for 4 horns and orchestra, 3 string quartets, piano quartet, piano quintet, 3 piano trios, 2 violin sonatas, other chamber ensembles, oratorio "Rye and Perry", opera "Genoveva", music for dramatic performances, about 200 critical articles - selected articles about music and musicians.
Zwickau
Schumann was born into the family of a book publisher. Since childhood, both literary and musical abilities have manifested themselves. Until the age of 16, Schumann did not know who he would be. He studied at the gymnasium, composed poetry, wrote comedies and dramas. He studied Schiller, Goethe, and ancient literature. Organized a literary circle. I was very interested in Jeanne Paul. I wrote a novel under his influence. He has been writing music since he was seven years old. As a child, I was impressed by the playing of pianist Moscheles. The first teacher is organist Kunsht. Under his leadership, Schumann achieved great success. He studied the music of Mozart and Weber. Wrote musical sketches (depiction of a person in music). He fell in love with Schubert and wrote several songs.
Best of the day
In 1828, under the influence of his mother, he entered the Faculty of Law at the University of Leipzig. In addition, he studies piano with Friedrich Wieck - 30 years old. Schumann hears Paganini and wants to become a virtuoso. Subsequently, he wrote etudes based on Paganini's caprices and concert etudes. Schumann formed a circle of music lovers (while studying at the university). Writes a cycle of pieces "Butterflies" for piano.
In 1829 he transferred to the University of Heidelberg. In 1830 he quit. While studying at the university, he visited Munich, where he met Heine, and also in Italy. During this period he wrote: Variations “Abegg”, toccata, “Butterflies”, adaptation of Paganini’s caprices. After university he lived with Wik in Leipzig. Damaged, beat the hand. He began studying composition and transcriptions with Dorn.
30s. The dawn of piano creativity. Wrote: symphonic studies, carnival, fantasy, fantastic plays. Publicistic activity begins. 1st article about Chopin “I’ll take my hat off to you, genius!” In 1834 he founded the New Musical Newspaper. He opposed conservatism, philistinism, and entertainment. Berlioz, Liszt, Brahms, and composers from Poland and Scandinavia were promoted there. Schumann called for the creation of a German musical theater in the tradition of Fidelio and The Magic Marksman.
The style of all articles was very emotional. In 1839, Schumann found the score of Schubert's C major symphony, and his friend Mendelssohn performed it. In 1840 he married Clara Wieck. He wrote many songs: “Myrtles”, “Love and Life of a Woman”, “Love of a Poet”.
The 40s - early 50s brought symphonies, chamber ensembles, concerts for piano, violin, cello, the oratorio "Paradise and Perry", scenes from Goethe's Faust, music to Manfred Byron. In 1843, Mendelssohn opened the Leipzig Conservatory and invited Schumann there to teach piano, composition and score reading. In 1844, Schumann had to resign his music newspaper and conservatory. Traveled to Russia as the husband of Clara Wieck. Mendelssohn and Italy were fashionable in Russia. Not many people understood the significance of Schumann: Anton Rubinstein, Tchaikovsky, members of the “Mighty Handful”. The disease progressed and the family left for Dresden. Schumann wants to get a job as head of a 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 male choirs based on revolutionary texts. A few years later he reacts to the revolution differently. At 50 Schumann's family leaves for Düsseldorf. There he directed the orchestra and choral societies.
53 - Schumann meets Brahms. Schumann's last article on Brahms. In 1854 Schumann tries to commit suicide. He wanted to drown himself, but he was saved. 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 contrasting states and the change of these states. Schumann was very fond of piano miniatures, as well as cycles of piano miniatures, since 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 - “Rush”, “From WhatN”, variations on the theme of Abegg (this is the surname of his girlfriend), he used the letters of her surname as notes (A, B, E, G); “Asch” is the name of the city in which Schumann’s former love lived (these letters, like keys, were included in “Carnival”). Schumann was very fond of the carnival nature of music, because of its diversity. For example: "Butterflies", "Hungarian Carnival", "Carnival". Variation method of development - "Abegg", "Symphonic Etudes" - a cycle of genre-characteristic variations on one theme, which is transformed from a funeral march (at the beginning) to a solemn march (at the end). They are called etudes, since each variation contains new virtuosic etude techniques. They are symphonic because the piano sound in them resembles an orchestra (powerful tutti, emphasis on individual lines).
They are rightly called the greatest composers of the 19th century. But the phrase Schumann period is more often heard; this is the name given to the era of romanticism in the world of music.
Childhood and youth
German composer and music critic Robert Schumann was born on June 8, 1810 in Saxony (Germany) to a loving couple, Friedrich August and Johanna Christiana. Because of his love for Johanna, whose parents opposed marriage to Friedrich due to poverty, the father of the future musician, after a year of working as an assistant in a bookstore, earned money to marry a girl and open his own business.
Robert Schumann grew up in a family of five children. The boy grew up mischievous and cheerful, similar to his mother, and was very different from his father, a reserved and silent person.
Robert Schumann began school at the age of six and was distinguished by his leadership qualities and creative abilities. A year later, the parents noticed the child’s musical talent and sent him to learn to play the piano. He soon developed an ability to compose orchestral music.
For a long time the young man could not decide on the choice of his future profession - to take up music or go into literature, as his father wanted and insisted. But the concert of the pianist and conductor Moscheles, which Robert Schumann attended, left no chance for literature. The composer's mother had plans to make her son a lawyer, but in 1830 he finally received his parents' blessing to devote his life to music.
Music
Having moved to Leipzig, Robert Schumann began attending piano lessons from Friedrich Wieck, who promised him a career as a famous pianist. But life makes its own adjustments. Schumann developed paralysis of his right hand - the problem forced the young man to give up his dream of becoming a pianist, and he joined the ranks of composers.
There are two very strange versions of the reasons why the composer began to develop the disease. One of them is a simulator made by the musician himself to warm up his fingers, the second story is even more mysterious. There were rumors that the composer tried to remove tendons from his hand in order to achieve piano virtuosity.
But none of the versions has been proven; they are refuted in the diaries of his wife Clara, whom Robert Schumann knew, so to speak, from childhood. With the support of his mentor, Robert Schumann founded the publication “New Musical Newspaper” in 1834. Published in the newspaper, he criticized and ridiculed indifference to creativity and art under fictitious names.
The composer challenged the depressive and wretched Germany of that time, putting harmony, color and romanticism into his works. For example, in one of the most famous piano cycles, “Carnival,” there are simultaneously female images, colorful scenes, and carnival masks. In parallel, the composer developed in vocal creativity, the genre of lyrical song.
The narrative about the creation and the work itself, “Album for Youth,” deserves special attention. On the day when Robert Schumann’s eldest daughter turned 7 years old, the girl received a notebook with the title “Album for Youth” as a gift. The notebook consisted of works by famous composers and 8 of them were written by Robert Schumann.
The composer attached importance to this work not because he loved his children and wanted to please, he was disgusted by the artistic level of musical education - the songs and music that children studied at school. The album includes the plays “Spring Song”, “Father Frost”, “The Cheerful Peasant”, “Winter”, which, in the author’s opinion, are easy and understandable for children’s perception.
During the period of creative growth, the composer wrote 4 symphonies. The main part of the works for piano consists of cycles with a lyrical mood, which are connected by one storyline.
During his lifetime, the music written by Robert Schumann was not perceived by his contemporaries. Romantic, sophisticated, harmonious, touching the subtle strings of the human soul. It would seem that Europe, shrouded in a series of changes and revolutions, was unable to appreciate the style of a composer who kept pace with the times, who fought all his life to face the new without fear.
Colleagues “in the shop” also did not perceive his contemporary - he refused to understand the music of a rebel and rebel; Franz Liszt, being sensitive and romantic, included only the work “Carnival” in the concert program. The music of Robert Schumann accompanies modern cinema: “House”, “The Grandfather of Easy Virtue”, “The Curious Case of Benjamin Button”.
Personal life
The composer met his future wife Clara Josephine Wieck at a young age in the house of a piano teacher - the girl turned out to be the daughter of Friedrich Wieck. In 1840, the wedding of the young people took place. This year is considered the most fruitful for the musician - 140 songs were written, and the year was also notable for the awarding of a Doctor of Philosophy degree from the University of Leipzig.
Clara was famous as a famous pianist; she traveled to concerts in which her husband accompanied his beloved. The couple had 8 children, the first years of their life together were like a fairy tale about love with a happy continuation. After 4 years, Robert Schumann begins to experience acute attacks of nervous disorder. Critics suggest that the reason for this is the composer's wife.
Before the wedding, the musician fought for the right to become the husband of the famous pianist, mostly with the girl’s father, who categorically did not approve of Schumann’s intentions. Despite the obstacles created by his future father-in-law (the matter reached court proceedings), Robert Schumann married for love.
After the marriage, I had to struggle with my wife’s popularity and recognition. And although Robert Schumann was a recognized and famous composer, the feeling that the musician was hiding in the shadow of Clara’s fame did not leave. As a result of emotional distress, Robert Schumann took a two-year break from his work.
The love story about the romantic relationship of the creative couple Clara and Robert Schumann is embodied in the film “Song of Love,” which was released in America in 1947.
Death
In 1853, the famous composer and pianist went to travel around Holland, where the couple was received with honors, but after some time the symptoms of the disease worsened sharply. The composer attempted suicide by jumping into the Rhine River, but the musician was rescued.
After this incident, he was placed in a psychiatric clinic near Bonn; meetings with his wife were rarely allowed. On July 29, 1856, at the age of 46, the great composer died. According to the results of the autopsy, the cause of illness and death at an early age is blood vessels overflowing and damage to the brain.
Works
- 1831 – “Butterflies”
- 1834 – “Carnival”
- 1837 – “Fantastic passages”
- 1838 – “Children’s Scenes”
- 1840 – “The Poet’s Love”
- 1848 – “Album for Youth”
