Robert Schuman - biography, photo, personal life of the composer. Robert Schuman Biography briefly
Biography
House Shuman to Zwickau
Robert Schuman, Vienna, 1839
Main works
Here are works that are often used in concert and pedagogical practice in Russia, as well as a large scale, but rarely executed.
For piano
- Variations on the topic "ABEGG"
- Butterfly, op. 2.
- Dancing DavidsBundlers, op. 6.
- Carnival, op. nine
- Three Sonats:
- Sonata No. 1 Fa Diez Minor, OR. eleven
- Sonata No. 3 in Minor, OR. fourteen
- Sonata No. 2 Salt Minor, OR. 22.
- Fantastic plays, op. 12
- Symphony etudes, op. 13
- Children's scenes, op. fifteen
- Craislerian, op. sixteen
- Fantasy to major, op. 17.
- Arabesque, op. eighteen
- Humor, op. twenty
- Memellites, op. 21.
- Viennese carnival, op. 26.
- Album for youth, op. 68.
- Forest scenes, Op. 82.
Concerts
- Konzertstück for four horn and orchestra, op. 86.
- Introduction and Allegro APPASSIONATO for piano with orchestra, op. 92.
- Cello concert with orchestra, op. 129.
- Concerto for violin with orchestra, 1853
- Introduction and Allegro for piano with orchestra, op. 134.
Vocal works
- "Mirty", OR. 25 (on poems of various poets, 26 songs)
- "Circle of songs", op. 39 (Sl. Eichendorf, 20 songs)
- "The love and life of a woman", op. 42 (SL. A. von Shamisso, 8 songs)
- "Poet's love", op. 48 (Sl. Heine, 16 songs)
- "Genoveva". Opera (1848)
Symphonic music
- Symphony number 2 to major, op. 61.
- Symphony No. 3 of the Barol Major Rainskaya, OR. 97.
- Symphony number 4 re minor, op. 120.
- Overture to the tragedy "Manfred" (1848)
- Overture "Messinsky Bride"
see also
Links
- Robert Schuman: notes of works at International Music Score Library Project
Musical fragments
Attention! Musical Fragments in OGG Vorbis format
- Sempe Fantasticamente ED Appassionatamente (info)
- Moderato, SemPre Energico (INFO)
- Lento Sostenuto Sempe Piano (INFO)
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Schumann, Robert Alexander (Schumann, Robert Alexander) Robert Schuman (1810 1856), german composer. Born in Zwickau (Saxony) June 8, 1810. The first lessons of music Schumani took at the local organist; At the age of 10 began to compose, including ... ... Encyclopedia Color
+ Manfred
I.With the work of Robert Shuman, musical romanticism entered a new phase of its development. It is a mature stage of romanticism, the time of his flowering in music, which has gone to the world in the 30s-40s of the XIX century Chopin, Berlioz, Paganini, Bellini, who began their activities Verdi, Sheet and Wagner. (In Russian music, this was the time of the heyday of Glinka, the diversity of which includes romantic traits).
The Creativity of Shuman, associated with the preceding (Schubert, Beethovenski) traditions, has many points of contact and with late romantics - sheet, Wagner, Brookner, especially directly brings to Brahms. Schumann (together with Chopin) occupies a central position in the history of musical romanticism. Romanticism of Shumann is subject to significant evolution: it begins to form at the end of the 20s - the connection with Jean-Field (Ienskaya School), Hoffmann, the 30s - the stormy climax (sturgeon), the serm.40-x - evolves in the direction of the objectification of the art. method, emotional balance. Noticeable communication with classical traditions (symphonies, wok.-speaker. Genres). At the very end of the creative path, Schumanim loses artistic identity.
It concentrated such qualities of it. Romanticism as intimacy, mentality, psychologism. And another pole of German romance. Essences - irony, imbued with pain and longing about unattainable prxran. Two faces, two types of hero, reflecting the bilateral essence of conflict Shumanovsky perception \u003d Florestan and Evsebiy. The generalization of the two started Shumanovsky romanticism is the all-pervading, peaceful quiet tone of the dream and the rebel of the impulse, fancy fantasy, irony, laughter. Both images are closely connected with each other.
There is another antithesis - images of the national national tradition, the sphere of epic. Hence the two lines of Shuman - subjectively psychological (fort. And vocal lyrics) and objective and genre, legendary-epic (symphonies, oratories) that oppose each other (intertwined among themselves in fantasy C-DUR - contrasting plans of images). And yet the main thing for the Shuman is the sphere of spirituality, intimacy of feelings. And in this accent on the world of internal, psychological (amplification. Compared to Schubert), Sh. Reflected the general focus of the evolution of romanticism.
The method of disclosure of the spiritual, lyrical world of Shuman - through contrasts of emotional movements is shown internal thread of psychological development. ATTENTION TO PSYCHOLOGICAL ANALYSIS (Rodnit Fort. And Valne. Shuman's miniatures and Wagner Opera). A symbolic connection inside the antithesis is important for the noise - the world is real and fiction (wagon. For all romanticism). Shaped contrasts sh. - The essence of life, its new comprehension. Schumanch seeks to know life in all its manifestations, the philosophical coverage of reality, the reaction to everything that is happening in the world, and especially in his country.
Attitude to form.New musical formBorn romantic aesthetics. Free alternation of images, a frequent and sudden change of moods, switching from one plan to another. There are a lot of cycles!
The Schuman method proceeded from romantically understood dialectic, based on the idea of \u200b\u200bincompatibility of the ideal and reality, desired and existing, duality of external and internal.
Spiritual formation of sh. Started in the 20sWhen romanticism in Germany passed through flourishing in the literature. Impulses were all wondering. In Shuman, music and literature and literature were very closely intertwined. Synthesis of Arts, Penetration musical start In the literature, especially in poetry, and vice versa. The joint in the vocal genres, in addressing literary images and plots. Further - "Memellites", cycles-stories, lyrical miniatures (leafle from the album, play with the names "The poet says" and others) Schumann believed that the name of the work strengthens the strength of the music. The literary and plot principle is not reflected in the direct program (also with the place), but more internally and freely - in the peculiarities of musical development.
Features of creative evolution: preparing planned: Piano - Vocals - chamber genres - Concert - Symphony - Oratorio - Opera - spiritual music. Published - Opusov - 147 V different genres: miniatures, songs, symphones, oratorical writings, operas. There was a number of dopaxic writings of different genres - F - BUT, SONGS, YOUNT. Symphony, quartets. Actually got good musical education. Then the whole life was engaged in self-education - I finished. This is a composer with excellent technique, incl. polyphonic.
(1810-1856) The peer of Chopin, Sheet, Wagner, Mendelssohn - with all was familiar. Not many more than 20 years have accounted for an active period of creativity. 2.5 years in the hospital at the end of life. Created a lot. The successor of the Beethoven line. Schuman - and classic, and romantic. Shumanovsky universalism - in the choice of genres also affects: there are lyric rapeic plays, and classic genres - Sonatas, symphonies, ensembles. The synthesis of classical and romantic is important. In all periods of creativity naturally both. I did not play on the organ, but there are 6 fugues on Bach - and this went to organ music. Children's music (for youth - not the author. Name - "43 characteristic plays"). Opera - without Genovyeov to submit the development of the opera difficult. Those. In all areas in which he worked left a significant trace.
Question of periodization of creativity very important. Each period has its own tone, character, has its own dominant.
Early period - the end of the 20s and the beginning of the 30s (to carnival) passes under A sign of literary and pianistic classes, the struggle for the right to become a musician. Student years - First Leipzig, then Heidelberg. Traveling in Italy and Switzerland.
30-Russia - Search in the genre sphere, the manner of writings. The period "Storms and Natiska", a rapid takeoff of his genius. The creator of his romantic piano style. He is all in an artistic rush, creative movement. Creates: "Carnival", "Symphony Etudes", Sonata "Creislerian", Fantasy C-DUR, "Dancing DavidsBundlers", Memellets, "Fantastic Pieces", "Children's Scenes", "Night Pieces". It is actively developing his literary and critical activities. In 1834, in Leipzig, Schumani created his magazine "New musical Journal" The responsibilities of Shuman in the journal were multilateral - he was the publisher, editor, the author of the majority of articles. Defended the Tardius of the classics and laid the road to the future generation, genuine innovation. Articles about Chopin, Berlioz, Brahms. Shumanu owns the opening of Schubert's symphony genius.
The average period - 40th - marriage, going beyond piano music. Adult creative activity, expansion of the genre system. Leipzig Stage (before a trip to Russia in 1844) and the Dresden Stage (1844-1850.) Displacement to other genres. Songs: 1840g. - "Circle of songs" (Heine), Mirty and the second "Circle of Songs" (Eichendorf), "Love and Women's Life" (Shamisso) "Love of the Poet" (Heine). Then refers to major forms of instrumental and vocal music. Piano concert, first symphony, three strings quartet, fort. Ensembles (Quintet and Quartet ES-DUR), Oratoria "Paradise and Peri". The development of a romantic romance, the implementation of classical forms along with the objectivity of the subject.
Dresden (after a trip to Russia).New sides of creativity. Dresden played an outstanding role in the history of German romantic Opera (Weber comes, Wagner). Opera "Genoveva". Another line of interests of Shuman - Classics (Bach, Mozart, Beethoven). He takes part in the meeting of the Bahukhogo society, studying the score of the opera Mozart, listens to Fidelio. Writes "Requiem in Mignon" to the poems "Wilhelm Maister" Goethe. The idea of \u200b\u200bthe oratory "Scenes from the" Fausta "Goethe" (graduated from Düsseldorf in 1853). Lot choral works (associated with its activities) - an incentive to this revolution (48-49) and the uprising in Düsseldorf in 1849. "Manfred." 1844 - Ill seriously. It went out for a long time - the dive in the Bach is a change in the composition of the composition, in the method of writing music. Baroque jet, polyphony enhanced.
Late period 50s. Internal struggle - fight creative start And the fading of spiritual forces. Recent years of Shumanana - Meeting and Communication with Brahms (1853). 2.5 yielded in the hospital.
Many genres are associated with life circumstances. For example, choir - Dresden and Düsseldorf - led different teams. Music for children - 2 albums, 3 Sonatas, a lot for 4 hands - it was written just in those years when his elder daughters smashed.
Schumann - the son of the publisher, while writing, did translations. Schumann - cooked in this since childhood. Later - with the publication took into account all sides of the practical component.
Together with the noise in music, high literature came, often in untouched form, naeadapoted. Experiments, innovations of Shuman. I was interested in new in the literature - a very small time interval was separated by the publication of the literature and the use of its noise.
Made a huge contribution to the development of musical and expressive means - harmony, declamation, form - monotematic compositions - 4 symphony, a fed concert. NOVATURE OF CARNAVAL - Provocative names, short, technique of working with four notes.
Special genre mixers - Concertshtyuk, Oratoria, and Opera, Theater. Treat and Oratoria, Wok. Cycle and Memorial Article?
Periods of creativity are highlighted and presented in concert practice unevenly. More attention is paid to early, from the middle sample, late - a huge number of essays, but we know very little.
In the life began to say - "Schumanov began as a genius, and finished like a talent." Not quite right. Now the creative heritage is overestimated.
"Manfred" - outstanding sample of romantic symphony. Posted by Overture in 1848, music for the poem Manfred Byrona. Identified many specific traits A new stage of musical romanticism. The image of the hero itself is the "Faust of the 19th century", the overture composition, its expressive drugs brought to the Shumanovskaya work to the poems of the Sheet Simphonism, the stylistic features of the Vagner dram. [Music Austria and Germany].
In the music of Shuman, the most characteristic features of German romanticism were embodied - psychologism, a passionate desire for the ideal, intimacy of the tone, the severity of irony and bitterness from the feeling of the messenger of the Meshchansky spirit (as he himself said, "screaming dissonances" of life).
The spiritual formation of Shuman began in the 20s of the XIX century, when romanticism in Germany had just survived his brilliant flourishing in the literature; The effect of literature on the work of Shuman was very strong. It is difficult to find a composer, whose interlacing music and literature would be so close as he (unless Wagner). He was convinced that "aesthetics of one art there is aesthetics and the other, only the material is bottled." It was in the works of Shuman that the deep penetration of literary patterns into music was carried out characteristic of the romantic synthesis of arts.
- direct combination of music with literature in vocal genres;
- appeal to literary images and plots ("butterflies");
- the creation of such musical genres as cycles- "stories" (), "Memellites", lyrical miniatures, similar to poetic aphorism or poems ("Lesson from the album" Fis-Moll, Piece "Poet say", "Warum?").
In his hobby, the literature Schuman was held from sentimental romanticism Jean field (in his youth) to the acute criticality of the Hoffman and Heine (in mature years), and then - to Goethe (at the late period).
The main thing in Shumanovskaya music is the sphere of spirituality. And in this emphasis on the world internally, strengthened even compared to Schubert, Schumani reflected the general focus of the evolution of romanticism. The main content of his work was the most personal from all lyrical topics - theme of love. Inner world His hero is more controversial than the Schubert Wanderer from the "Beautiful Melnichi" and the "winter way", his conflict with the surrounding world is sharp, impulse. This enhanced disharmony brings the Shumanovic hero to the Ladyomantic. The language itself, which "says" hits, is more complicated, he is inherent in the dynamics of unexpected contrasts, a piggyback. If you can talk about Schubert as a romantic classic, then Schumann in the most characteristic writings are far from equilibrium, the completeness of the forms of classical art.
Schumann - the composer, who worked very directly, spontaneously, at the end of the heart. His comprehension of the world is not a consistent philosophical coverage of action, and instantaneous and aggravated sensitive fixation of everything that touched the soul of the artist. The emotional scale of Music Shuman is distinguished by many gradations: tenderness and ironic joke, a stormy impulse, dramatic heat and dissolution in contemplation, poetic gold. Portraits-characters, pictures of mood, images of spiritualized nature, legends, folk humor, funny sketches, poetry of life and intimate recognition - everything that could contain a diary of the poet or an artist's album, embodied by the noise language of music.
"Lig a brief moments", as Shumanan B. Asafiev called. It especially opens itself in Qi-cleaned forms, where the whole is created from a variety of contrasts. Free chest of images, a frequent and sudden change of moods, switching from one action plan to another, often the opposite, is a very characteristic method for it, which reflected the impulsivity of its globility. A considerable role in the formation of this method was played by romantic literary novelism (Jean Paul, Hoffman).
Sumana's life and creative way
Robert Schuman was born on June 8, 1810 in the Saxon city Zwickau.Which at that time was a typical German province. The house in which he was born was preserved to the present day, now there is a composer museum there.
Biographers of the composer does not accidentally attract the identity of his father, from which Robert Schumanh inherited a lot. It was a very intelligent person, outstanding, passionately in love with the literature. Together with her brother, he opened a book publishing house in Zwikkau book Shop "Brothers Schumann". Robert Schumann took this father's passion for literature, and an outstanding literary gift that was so brilliantly affected later in his critical activities.
The interests of young Shuman focused mainly in the world of art. He still composes poems, arranges in the house theatrical ideas, he reads a lot and with the greatest pleasure improvises for the piano (he began to compose from 7 years old). His first listeners admired the amazing ability of a young musician to create in improvisations. music portraits familiar people. This gift of the portraitist will also appear in his work (portraits of Chopin, Paganini, their wife, self portrait).
Father encouraged the fiction of the Son. With all seriousness, he reacted to his musical vocation - even agreed on classes with a Weber. However, due to the departure of Weber to London, these classes did not take place. The first Music Teacher Robert Shuman became the local organist and the teacher Kuntsht, from which he studied from 7 to 15 years.
With the death of the Father (1826), the passionate passion for the Shuman music, literature, philosophy entered into a very busy conflict with the desire of his mother. She categorically insisted that he would receive a legal education. According to the composer, his life has turned "In the fight between poetry and prose." In the end, he is inferior, enrolling at the Faculty of Faculty of the University of Leipzig.
1828-1830 - university years (Leipzig - Heidelberg - Leipzig). With the breadth of interests and curiosity, the science of science did not leave it completely indifferent. And yet he feels with increasing force that jurisprudence is not for him.
At the same time (1828) in Leipzig, he met a man who was destined to play a huge and ambiguous role in his life. This is Friedrich Vic, one of the most authoritative and experienced piano teachers. A bright proof of the effectiveness of the piano technique of Vika served the game of his daughter and student of Clara, who was admired by Mendelssohn, Chopin, Paganini. Schumann becomes a student of Vika, doing music in parallel with studies at the university. From the 30th year, he is entirely devoting his life to art by throwing university. Perhaps this decision arose under the impression of the game of Paganini, whom Schumani heard in the same 1830. It was exceptional, completely special, reviving the dream of an artistic career.
From other impressions of this period, you need to note the trips to Frankfurt and Munich, where Schuman met Heinrich Heine, as well as a summer trip to Italy.
The composer Genius of Shuman in its entirety revealed 30sWhen his best piano works appear one after another: "Butterflies", the variations "ABEGG", "Symphony etudes", "Carnival", Fantasy C-DUR, "Fantastic Pieces", "Creisleriana". Artistic perfection of these early works It seems implausible, because from 1831, Schumann began to systematically engage in the theorist and composer Henry Dorn.
Schumanim himself almost everything created by him in the 30s binds to the image Clara Vic, with a romantic history of their love. Schumann met Clara back in 1828, when she was the ninth year. When friendly relations began to grow into something more, in the path of lovers there was a turbulent barrier - the fanatically stubborn resistance of F. Vika. "The concern for the future of the daughter" took its extremely hard forms. He took Clara to Dresden, banning the noise to support any relationship with her. A year and a half of them separated a deaf wall. Lovers passed through a secret correspondence, long separation, secretly engagement, finally, an open lawsuit. They married only in August 1840.
30s - it is also a heyday period musically critical and literary activity Shumana. In the center of it - the struggle with the mesh, the philistines in life and art, as well as the protection of advanced art, the upbringing of the taste of the public. The wonderful quality of Shuman-Criticism is an impeccable musical taste, a sharp flair for all talented, advanced, no matter who the writer is an essay - world celebrity Or a beginner, not a well-known composer.
The debut of Shuman-criticism was the review of Chopin's variations on the topic of "Don Juan" Mozart. This article, dated 1831, contains famous phrase: "Shame hats, gentlemen, in front of you a genius!" Also accurately appreciated Schuman talent, predicting the role of the largest to anyone who did not know the musician composer XIX. century. An article about Brahms ("new ways") was written in 1853, after a long break in the critical activities of Shuman, once again confirming its prophetic flair.
Total noise created about 200 amazing interesting articles about music and musicians. They are often set forth in the form of entertaining stories or letters. Some articles resemble diary records, others - live scenes involving many acting persons. The main members of these fictional noise dialogues are Frorestan and Evzebii, as well as Maestro Raro. Florestan and Evzebiy - it's not only literary characters, This is the personification of two different sides of the personality of the composer himself. Florestan he endowed an active, passionate, gustful temperament and irony. He is hot and quick-tempered, impressionable. Evzebiy, on the contrary, is a silent dreamer, poet. Both were equally inherent in the contradictory nature of Shuman. In the wide sense in these autobiographical images The 2 opposite options of romantic disorders with reality - a rapid protest and a peaceful in a dream were embodied.
Florestan and Evzebiy became the most active participants in Shchumanovsky "Davidsbude" ("Union David"), named so named the legendary biblical king. This "more than secret Union» existed only in the head of his creator, who identified it as "Spiritual Commonwealth" Artists who united in the fight against Filiuterism for genuine art.
Entrance article to Schuman's songs. M., 1933.
For example, as the creators of romantic novels in the literature, the effect of rotation at the end, the suddenness of its emotional impact was important.
Tribute to the admiration of the game of the genius violinist was the creation of piano etudes in Paganini Capricam (1832-33)
In 1831 and Shumanu, and Chopin was just 21.
Schuman. (Schumann.) Robert (1810-56), German composer and musical critic. Expressive aesthetics of German romanticism. Founder and editor of the "Neeta Taythshrift Fur Muzik" ("New Music Journal", 1834). Creator of software piano cycles ("butterflies", 1831; "Carnival", 1835; "Fantastic plays", 1837; "Creisleriana", 1838), lyrical dramatic vocal cycles ("love poet", "Circle of songs", "Love and Women's life ", all 1840); contributed to the development of romantic piano Sonata and variations ("Symphony etudes", 2nd edition 1852). Opera "Genoveva" (1848), Oratoria "Paradise and Peri" (1843), 4 symphones, a concert for piano with orchestra (1845), chamber and choral works, music to the Dramatic Poem "Manfred" J. (1849).
Schuman. (Schumann.) Robert (full name Robert Alexander) (June 81810, Zwikkau - July 29, 1856, Endenih, Bonna suburb), German composer.
Won love for music
Born in the family of a bookseller and publisher. Early discovered the abilities of the pianist and the composer, as well as the literary gift (to the mature age, he retained the youthful addiction to the work of the German writer-romance Jean Field, in whose works of the Lyrics are bizarrely intertwined with grotesque and irony). In 1828 he went to Leipzig to learn the right, but a significant part of his time was devoted to literary classes and music; piced piano lessons at the prominent teacher Friedrich Vika (1785-1873), wrote several piano Pieces and songs. From Leipzig, Schumann moved to Heidelberg, where instead of jurisprudence was mainly engaged in music. Soon he managed to convince his family in the fact that the career of the pianist more corresponds to his inclinations, and in 1830 he returned to Leipzig, where he settled in the house of Vika. Soon he damaged his hand (perhaps because of the use of a self-made mechanism for training fingers) and forced to refuse the intention to become a concerting pianist. Nevertheless, he continued to compose music for piano; In 1830, his opus 1 - "variations in the name of ABEGG" appeared (in the subject of these variations, the surname of the composer's girlfriend was encrypted).
Davido Brotherhood
In 1834, Schumani founded in Leipzig, the periodical edition of Neue Zeitschrift Fur Musik ("New Music Journal") and until 1844 remained his editor-in-chief and performed in it as the author. He showed himself as a brilliant, insightful musical critic, an adherent of advanced trends in art, the discoverer of young talents. Schumann's articles often signed by the pseudonyms of Evzebiy and Florestan, the first of which personified the lyric-contemplative, the second - impulsive, ardent side of his personality. These heroes, along with F., F. Sheet, N. Paganini and the future wife of Shuman Pianist Clara Vic came into the composition of the fantastic fantastic "DavidSbund), opposing Fili Radis views on art. For the musical embodiment of his tendency to fantasize literary images Young Schumanima chose the shape of a piano cycle consisting of a variety of mood and texture of characteristic plays. During the 1830s, the "Butterfly" cycles, "carnival" appeared (in it, the musical "portraits" of David's brotherhood members - Davidsbündlers appeared), "Dancing Davidsbüdler", "Children's scenes", "Creisleriana" (based on prose E. T . A. Gofman), "Vienna Carnival", a collection of miniatures "Fantastic plays". "FLORESTANOVSKOE" and "EVZIBIEVSKOE" began are whimsically combined and in many non-program works The same period is three sonats (the third of them includes charming "variations on the topic of Clara Vic"), a large-scale three-part fantasy, "symphonic etudes" (in the form of variations on the topic of F. Vika), "humoring".
Love
Hearts always played important role In the life of Shumanan, affecting his work. In the middle of the 1830s, the Roman Shuman began with Klara, the daughter of Vika, who in every way sought to prevent their marriage. The opposition of Vika was overcome only by the decision of the court, in 1840 he found the right to marriage without paternal consent for Clara. The period of struggle for Clara and forced separation with her was noted in the life of a composer in deep depression. Marriage of Shuman and Clara took place in September 1840. Composer's biographers are often referred to as this year "Song Year." In a single creative rush, Schumann created over 100 songs for vote with piano, including vocal cycles "Love and Women's Life" (for A. Shamisso, in 8 parts) and "Poet's love" (for the words of Gaine, in 16 parts). Songs that make up each of the cycles are folded into a holistic plot with a tragic end; Both cycles are completed by large piano "epilogs", nostalgically recreation of a serene atmosphere of the elementary song (in the "love and life of a woman") or one of the central parts (in the "Poet's Love"). Easy items saturated with subtext piano accompaniment - distinctive trait Most of the best vocal miniatures of Shumanan, including from the "Mirate" collection (26 songs on the words of different poets) and notebooks for the words of Heine (Cip. 24) and J. von Eichendorf (cit. 39).
Mature himan
In 1841, Schumann wrote mainly orchestral music. From under his feather, in particular, the 1st Symphony, the first edition of the 4th Symphony and the poetic fantasy for the piano with the orchestra, subsequently became the first part of the piano concert in La Minor (finished in 1845). In 1842, while Clara was in a long concert trip, Schumann, who did not like to be in the shadow of his own wife and therefore preferred to stay at home, wrote several major chamber-instrumental opuses, including a popular quintet for piano and strings. By this time, the Shuman style, largely losing the previous impulsiveness and immediacy, became more balanced, a multilayer characteristic of the 1830s, more economical and traditional forms of presentation came to replace the work of the 1830s). The next, 1843 was noted by the creation of a large symphonic canta (essentially, a secular oratorio) "Paradise and Peri" (on the poem T. Mura) and the beginning of work on music for soloists, choir and orchestra to separate scenes "Faust I. V.; The first was written music to the final scene of the tragedy - one of the most majestic and harmonious creations of the composer.
Hard years
At the same time, Schumann took the position of Professor who had just opened by the Leipzig Conservatory, at the head of which his friend F. was standing. Very soon it was found that Schuman is completely unable to teach; His attempts to work on conducting also led to very modest results. In 1844, Schumani, together with his family, moved to Dresden, where he was continued to persecute depressed, who seriously impede his activities. Only in 1847-48, the composer survived the relative creative ascent, writing several chamber covers, a number of songs and choirs and opera "Genovev" (her premiere in Leipzig went without much success). In 1848, Schumann founded and headed the Dresden Society of Choral singing, whose forces in 1849 were first fulfilled by passages from his music to the "Faust".
In 1850, Schumann took the post of urban Muzicdiller in Dusseldorf. At first, he felt happy and experienced a tide of inspiration, which is expressively evidenced by charming concert for cello with the orchestra and the 3rd symphony, the so-called "Rhineskaya" (one of its parts inspired by the impressions of the famous Cologne Cathedral). However, the possibilities of Shuman-conductor were too limited to work as music executive whole big city; In 1852-53 its physical and independent state worsened, and he realized that he would no longer be able to fulfill his duties. The last large arms of Shumanan (fantasy for violin with the orchestra, 3rd Sonata for Violin and Piano, a concert for violin with orchestra) indicate the declaration of its inspiration. In 1854, Shuman began hallucinations, and on February 27, he made a suicide attempt, after which he was placed in a psychiatric hospital, where he died two years later. Seems to be, peaceful disease Shuman was the result of syphilis, which he infected in his youth. Until the last day, Clara and young I. Brahms took care of him.
Eight children were born in Clara and Robert Schuman. Clara survived her husband for 40 years. Until 1854, she composed music; her best works (Piano Trio, some songs) are characterized by an extraordinary fantasy and skill. Contemporaries appreciated the Shuman-Pianist not only for the brilliant possession of the newest repertoire (Chopin, Schuman, Brahms), but also for high culture Interpretation and singeling tone. By the end of the life, she supported close relations with Brahms.
Robert Schuman (it. Robert Schumann.; June 8, 1810, Zwikkau - July 29, 1856, Endenih) - German composer and influential musical critic. Widely known as the most outstanding composer of the era of romanticism. His teacher Friedrich Vic was sure that Schuman. It will be the best pianist of Europe, but due to damage to the hand, Robert had to leave a pianist career and devote life to writing music.
Until 1840, all writings Shumana Were written exclusively for piano. Later, many songs were published, four symphonies, operas and other orchestral, choral and chamber works. He published his articles about music in the new music newspaper (it. Neue Zeitschrift Für Musik).
Contrary to the desires of the Father, in 1840 Schuman.he marries the daughter of Friedrich Vika Clara. His wife also composed music and had a significant concert career of the pianist. Profit from concerts amounted to most of her father's state.
Schuman. suffered from mental disorder, first manifested in 1833 by the episode of strong depression. After trying to suicide in 1854, he, by own willingwas placed in psychiatric clinic. In 1856. Robert Schumandied and not healing from mental illness.
Biography
Born in Zwikkau (Saxony) June 8, 1810 in the family of a book publisher and writer Augustus Shumana (1773-1826).The first music lessons Schuman. took from the local organist Johann Kuntzsha; At the age of 10 began to compose, in particular, choral and orchestral music. Visited the gymnasium B. hometownwhere I got acquainted with the works of J. Bairon and Jean Fields, becoming their passionate fan. Mood and images of this romantic literature have been reflected in musical creativity Shumana. In childhood, he joined professional literary work, accounting to an article for the encyclopedia, published in the publishing house of his father. Seriously was fond of philology, performed the pre-presidential correction of a large Latin dictionary. And school literary writings Shumana They are written at such a level that they were posthumously published as an application to the meeting of his mature journalistic works. At a certain period of youth Schuman. Even hesitated, whether to elect a writer or musician.
In 1828, he entered the University of Leipzig, and next year he went to the University of Heidelberg. He was planning to become a lawyer at the insistence of mother, but the music has increasingly delayed the young man. He attracted the idea to become a concert pianist. In 1830, he received the Mother's permission to completely devote himself to music and returned to Leipzig, where he hoped to find a suitable mentor. There, he began to take piano lessons in F. Vika and the composition of Dorna.
During learning from Shumana Gradually developed paralysis of the middle finger and partial paralysis of the index finger, because of what he had to leave the thought of the career professional pianist. The version is widespread that this damage happened due to the use of the simulator for the fingers, which Schuman. Allegedly made independently by the type of paths of fingers "Dactylion" Herry Hertz (1836) and "Happy Fingers" Titiano Poly. Another unusual, but the common version says that Schumanno, in the desire to achieve incredible virtuosity, tried to remove his tendon on his hand connecting unnamed finger with medium and maizin. None of these versions has confirmations, and both of them were refuted by his wife Shumana. Self Schuman. Tied the development of paralysis with excessive scriptures from the hand and the excessive duration of the game on the piano. Modern study Eric Samsa musicologist, published in 1971, suggests that the cause of the paralysis of the fingers could be inhaling the vapor of mercury, which Schuman., on the advice of doctors of that time, perhaps tried to cure syphilis. But physician scientists in 1978 considered the dubious and this version, suggesting, in turn, that paralysis could occur as a result of chronic nerve compression in the area of \u200b\u200bthe elbow joint. So far, the cause of malaise Shumanait remains unidentified.
Schuman.seriously engaged in the composition and at the same time musical criticism. Finding support in the face of Friedrich Vika, Ludwig Shunka and Julius Knorra, Schuman, in 1834 to establish one of the most influential in the future music periodic publications - "New Music Newspaper" (it. Neue Zeitschrift Für Musik), which has edited and regularly for several years published its articles in it. He has established himself as a new and fibrous fibrille with the so-called fibrines, that is, with those who have traded the development of music with the so-called fibresters and presented the development of music and was the stronghold of conservatism and burgherness.
In October 1838, the composer moved to Vienna, but at the beginning of April 1839 returned to Leipzig. In 1840, Leipzig University assigned the title of Ph.D.. In the same year, on September 12, the marriage of the Shuman with his daughter of his teacher, an outstanding pianist, Clara Josephine, took place in the Church in Schendelde. About 140 songs were created in the year of marriage of the noise. For several years of Robert's collaboration and Clara fell happily. They had eight children. Schuman accompanied his wife in concert trips, and she, in turn, often performed her husband's music. Schumann taught in the Leipzig Conservatory established in 1843 by F. Mendelson.
In 1844. Schuman.together with his wife, went to the tour to St. Petersburg and Moscow, where they were taken with a lot of honor. In the same year, Schumann moves from Leipzig to Dresden. There for the first time showed signs of nervous disorder. Only in 1846 Schuman. recovered so much that it was able to write again.
In 1850. Schuman. He received an invitation to the position of city director of music in Dusseldorf. However, there soon began taking place there, and in the fall of 1853 the contract was not resumed. In November 1853 Schuman.together with his wife goes on a trip to the Netherlands, where he and Clara took "with joy and with honors." However, in the same year, symptoms of the disease again began to appear. In early 1854, after the exacerbation of the disease, Schumann tried to commit suicide, rushing to Rhine, but was saved. He had to be placed in a psychiatric hospital in Endenich near Bonna. In the hospital, he almost did not compose, the sketches of the new works were lost. Occasionally, he was allowed to see his wife Clara. Robert died on July 29, 1856. Buried in Bonn.
Creation
In his music Schuman.more than any other composer, reflected deeply personal nature of romanticism. His early music, introspective and often frach, was an attempt to break with the tradition of classical forms, in his opinion, too limited. In many ways, the kindred poetry of Gayne, the work of Shuman challenged the spiritual mission of Germany of the 1820s - 1840s, called to the world of high humanity. Heir to F. Schubert and K. M. Weber, Schumani developed democratic and realistic trends of the German and Austrian musical romanticism. A little understood during life, most of his music is now regarded as a bold and original phenomenon in harmony, rhythm and form. His works are closely related to the traditions of German musical classics.Most of the piano works Shumana - These are cycles of small places of lyric-dramatic, visual and "portrait" genres, interconnected by the inner plotical psychological line. One of the most typical cycles - "Carnival" (1834), in which the Petroy Reniece pass scenes, dancing, masks, female images (Among them is Kiarin - Clara Vic), Music portraits of Paganini, Chopin. Close to "carnival" "Butterfly" cycles (1831, based on the work of the Jean field) and "Davidsbundlers" (1837). The cycle of the Craislerian plays (1838, named by the name of the literary hero E. T. A. Gofman - a musician-fantasy of Johannes Craisler) belongs to the highest achievements of Shuman. The world of romantic images, passionate longing, the heroic impulse is displayed in such articles for piano as "symphonic etudes" ("Etudes in the form of variations", 1834), Sonata (1835, 1835-1838, 1836), Fantasy (1836-1838) , a concert for piano with orchestra (1841-1845). Together with the works of variation and sonatory types, Shuman has piano cycles, built on the principle of suite or album Pieces: "Fantastic passages" (1837), "Children's scenes" (1838), "An album for youth" (1848) and others.
In vocal creativity Schuman. Developed the type of lyrical song F. Schubert. In a thinly designed picture, Schumann songs displayed the details of the moods, the poetic details of the text, the intonation of the live language. The role of piano accompaniment increased by Shuman gives a rich outline image and often shakes the meaning of the songs. The most popular of its vocal cycles is "the poet's love" to the verses of Gayne (1840). It consists of 16 songs, in particular, "Oh, if the flowers guess", or "I hear the songs of the sounds", "I meet in the garden in the garden", "I'm not angry", "in a dream I cried bitterly", "you are evil , evil songs. " Another storyline vocal cycle is "Love and Women's Life" on poems A. Shamisso (1840). A variety of songs in the meaning of the song are included in the "Mirty" cycles on the verses of F. Ryuckert, I. V. Götte, R. Burns, Gaine, J. Bairon (1840), "Around the songs" on the verses of J. Eichendorf (1840). In vocal ballads and songs-scenes Schumann affected the very wide circle plots. A bright sample of the Civil Lyrics of Shumanan - Ballad "Two Grenaders" (on the verses of Gayne). Some Schuman songs are simple sketches or household sketches: music is close to German folk song ("People's Song" on the verses of F. Ryuckert and others).
In the shetle "Paradise and Peri" (1843, on the plot of one of the parts of the "eastern" novel "Lalala hands" T. Mura), as well as in the "scenes from Faust" (1844-1853, by I. V. Goethe), Schuman Closely approached the exercise of his long-standing dream of creating a opera. The only finished Opera Shuman "Genovev" (1848) on the plot of the medieval legend did not conquer recognition on the scene. Creative success The Music of Shuman to the Dramatic Poem "Manfred" J. Bairon (Overture and 15 music numbers, 1849).
In 4 symphony of the composer (the so-called "Spring", 1841; the second, 1845-1846; the so-called "Rhine", 1850; Fourth, 1841-1851) are prevailing bright, cheerful moods. Significant place in them occupy episodes of a song, dance, lyrical and picture character.
Schumann made a great contribution to musical criticism. Propaging on the pages of his magazine creativity Classic musicians, struggling against the anti-gravity phenomena of modernity, he supported a new European romantic school. Schumann Bicheval Virtuosoism, indifference to art, which hides under the mask of wellness and fake learning. The main of the fictional characters, on the person spoken on the pages of the press, is torture, frantically daring and ironic Florestan and a gentle dreamer of Evzebiy. Both symbolized the polar traits of the character of the composer itself.
Ideals Shumanawere close to advanced musicians XIX century. His highly appreciated Felix Mendelssohn, Hector Berlioz, Ferrenz Leaf. In Russia, the Creativity of Shuman was promoted by A. G. Rubinshtein, P. I. Tchaikovsky, G. A. Laroc, "Mighty Cup" figures.
Main works
Here are works that are often used in concert and pedagogical practice in Russia, as well as a large scale, but rarely executed.For piano
- Variations on the topic "ABEGG".
- Butterfly, op. 2.
- Dancing DavidsBundlers, op. 6.
- Allegro Op. eight.
- Carnival, op. nine
- Three Sonats:
- Sonata No. 1 Fa Diez Minor, OR. eleven
- Sonata No. 3 in Minor, OR. fourteen
- Sonata No. 2 Salt Minor, OR. 22.
- Fantastic plays, op. 12
- Symphony etudes, op. 13
- Children's scenes, op. fifteen
- Craislerian, op. sixteen
- Fantasy to major, op. 17.
- Arabesque, op. eighteen.
- Humor, op. twenty
- Memellites, op. 21.
- Night plays, op. 23.
- Viennese carnival, op. 26.
- Album for youth, op. 68.
- Forest scenes, Op. 82.
- Pinsy sheets, Op. 99.
Concerts
- Concerto for piano with orchestra La Minor, OR. 54.
- Konzertstück for four horn and orchestra, op. 86.
- Introduction and Allegro APPASSIONATO for piano with orchestra, op. 92.
- Cello concert with orchestra, op. 129.
- Concerto for violin with orchestra, 1853
- Introduction and Allegro for piano with orchestra, op. 134.
- Pieces fantasies for clarinet and piano, op. 73.
- Märchenerzählungen, Op. 132.
Vocal works
- "Circle of Songs" (Liederkreis), OR. 35 (Sl. Heine, 9 songs)
- "Mirty", OR. 25 (on poems of various poets, 26 songs)
- "Circle of songs", op. 39 (Sl. Eyhendorf, 12 songs)
- "The love and life of a woman", op. 42 (Sl. Shamisso, 8 songs)
- "Love of the poet" (Dichterliebe), OR. 48 (Sl. Heine, 16 songs)
- "Seven songs. In memory of the poetess Elizabeth Kulman, OR. 104 (1851)
- "Poems Queen Mary Stewart", OR. 135, 5 songs (1852)
- "Genoveva". Opera (1848)
Chamber music
- Three string quartets
- Piano quintets Barol Major, op. 44.
- Piano quartets of the Barol Major, op. 47.
Symphonic music
- Symphony No. 1 SI BIMOL Major (known as "Spring"), op. 38.
- Symphony number 2 to major, op. 61.
- Symphony No. 3 of the Barol Major Rainskaya, OR. 97.
- Symphony number 4 re minor, op. 120.
Overtures
- Overture, Scherzo and Final for Orchestra OR. 52 (1841)
- Overture to Opera "Genovev" op. 81 (1847)
- Overture to the "Messinsky Bride" F. F. Schiller for big Orchestra OR. 100 (1850-1851)
- Overture to "Manfred", a dramatic poem in three parts of Lord Bayron with the music of OR. 115 (1848)
- Overture to "Julia Caesar" Shakespeare for the Big Orchestra OR. 128 (1851)
- Overture to "Herman and Dorothea" Goethe for Orchestra OR. 136 (1851)
- Overture to "Scenes from" Faust "Goethe Woo 3 (1853)
Records of the works of Shuman
The full cycle of Schuman symphony recorded conductor:Nikolaus Arnoncourt, Leonard Bernstein, Karl Bathoch, Douglas Bostok, Anthony Vit, John Eliot Gardiner, Christophon Background Donania, Wolfgang Zavallish, Herbert Covenaya Karaians, Otto Clemet, Rafael Kubelik, Kurt Mazur, Riccardo Muti, George Sell, Bernard Heitink, Philip Herrevhege , Sergiu Chelibidak (with different orchestras), Ricardo Schay, Georg Scholti, Christoph Eschenbach, Pava Varvy.
- Composition Shumana "Greens" constantly sounds in the hall of the military glory of Mamaeva Kurgan.
- Schumani spoiled her hand and could not play at all, but his plays is technically extremely sophisticated.
- once Schuman. Rushed into the river, but he was saved - he died later, in Bonn.
- For several years of Robert's collaboration and Clara fell happily. They had eight children. Schuman. accompanied his wife in concert trips, and she, in turn, often performed her husband's music.