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In Meeres Mitten ist ein offner Laden. Auteur ou responsable intellectuel 31 Neujahrslied.

Schumann: Spanisches Liederspiel; Minnespiel; Spanische Liebeslieder

Verzweifle nicht im Schmerzenstal. Parolier 14 Rose, Meer und Sonne Ni una sombra D Safi Eddin von Hilla Politische Gedichte Bayer Auteur ou responsable intellectuel autre 1 Tu es le repos Auteur du texte mis en musique 2 Ferne Lieder Der Weltpoet Rapport sur la traduction de quelques ghazels de Hafez par F. Philologie sanskrite. John Bernhoff. Matthias Claudius Paul Fleming Emanuel Geibel Paul Gerhardt Georg Gessner Johann Wolfgang von Goethe Wilhelm Hauff Nicolaus Herman Beate Hess.

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August Heinrich Hoffmann von Fallersleben Johann Georg Jacobi Alfred Kalisch Justinus Kerner Friedrich Gottlieb Klopstock August von Kotzebue Friedrich Adolf Krummacher Adolphe Larmande. Hans Ferdinand Massmann Haoran Meng ? Philipp Nicolai Christian Adolf Overbeck Wilhelm Heinrich von Riehl Johann Rist Max von Schenkendorf Ludwig Uhland Johann Nepomuk Vogl Johann Heinrich Voss Wei Wang Victor Wilder Henry Carey Karl Friedrich Curschmann Friedrich Ernst Fesca Robert Franz Niels Wilhelm Gade Carl Heinrich Graun ?

Moritz Hauptmann Friedrich Heinrich Himmel Heinrich Hofmann compositeur, Friedrich Franz Hurka Joseph Kreipl Carl Loewe Martin Luther Gustav Mahler Karl Marx Albert Gottlieb Methfessel Wolfgang Amadeus Mozart Georg Neumark Friedrich Nietzsche Max Reger Aribert Reimann. Carl Reinecke Wolfgang Rihm. Hannah Mathilde von Rothschild The prospectus, printed as the lead item in the first issue 3 April , promised theoretical articles, belletristic pieces, reviews of contemporary compositions and reports from foreign correspondents.

Although Schumann boasted to his mother that the venture was off to an auspicious start, dissension soon broke out. Taking advantage of a dispute involving Knorr and Wieck, Hartmann enlisted legal counsel in an attempt to seize editorial control over the journal. Schumann saved the enterprise from collapse by negotiating a new contract that named him sole owner and editor.

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  • The intensity of their relationship escalated during the summer, so that by September they were engaged. While in Zwickau in December, he began the composition that would become Carnaval and also set to work on the Etudes symphoniques. Underlying this stance is a tripartite, teleological philosophy of history wherein the past is viewed as a nurturing source for the present, the present as a site of imperfection and the future as the poetic age towards which the past and present should aspire.

    On the contrary, the relationship between past and future was characterized by striking leaps and reversals. A site of apparently contradictory trends, the present reflects the whole of the larger tripartite framework in microcosm. But he hardly viewed the products of the latter group whose members included Mendelssohn, Chopin, William Sterndale Bennett, Hiller and Schumann himself as embodiments of perfection; indeed, it was precisely their imperfections that held out the most promise for the poetic age to come.

    Although Schumann eventually looked upon his journalistic activity as a drain on his time and energy in he sold the Neue Zeitschrift to K. Brendel , it nonetheless enabled him to resolve the longstanding struggle between his inclinations towards poetry and music.

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    Moreover, his writings stand in reciprocal relationship to his compositional projects. Just as much of his poetic criticism adopts an almost musical style, many of his compositions can be interpreted as critiques in sound of past and contemporary practice. Schumann completed two significant compositions early in : Carnaval op.

    These works grew out of his relationship with Ernestine von Fricken.

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    • At times contrapuntally dense, often syntactically free, and consistently challenging from a technical point of view, the Etudes symphoniques first version, published in unfold a symmetrical structure around strategically placed variations. No doubt the Neue Zeitschrift claimed a large part of his attention. A brief encounter on 27 September with Chopin, then en route to Carlsbad, was followed on 4 October by his first meeting with the newly appointed director of the Leipzig Gewandhaus concerts, Felix Mendelssohn.

      But his idyll with Clara was soon brought to an unceremonious end. Her father became aware of their nocturnal trysts during the Christmas holidays and summarily called them to a halt. The Piano Sonata in G minor that Schumann provisionally completed in October was less obviously linked with Clara, at least at this point. Though often cited as one of his most classically structured works, the composition in fact brims with Florestanian pathos, especially in its concluding Presto passionato later replaced by a far tamer Rondo , a veritable encyclopedia of complex rhythmic and metric effects.

      On 14 January Wieck sent Clara to Dresden, where Schumann, undeterred even by the death of his mother, met her secretly in the second week of February. The enforced separation threw Schumann into a state of utter despair. In spite of his dejection, Schumann cultivated a number of fruitful artistic ties during the second half of the year. Chopin may also have treated Schumann and his colleagues to a performance of a preliminary version of his second Ballade op.

      Late in October Schumann established a warm bond with William Sterndale Bennett, who had gone to Leipzig to study with Mendelssohn and was to remain there until June Schumann brought only two compositions to provisional completion in , but both are of imposing dimensions. The work he first drafted as a five-movement piano sonata in F minor and completed by June was published as the three-movement Concert sans orchestre op.

      The second major compositional project of was equally bound up with Clara. In June he drafted a work called Ruines: fantaisie pour le pianoforte ; probably the title refers to what later became the first movement of the C major Fantasie op.

      So wahr die Sonne Scheiner by Clara Schumann

      When in early September he had an idea for a contribution to the committee soliciting funds for a Beethoven memorial, he returned to the single-movement fantasy, added two more movements, and offered the work in this form to the publisher C. Grosse Sonate f. The composer projects his own voices through those of his alter egos Florestan and Eusebius, who dominate the second and third movements respectively, and collaborate on the first.

      In December Schumann experienced something of a reawakening from the abject despair to which he had succumbed the year before. The first of his cycles to draw on the world of E. In early August, Clara broke the silence that had separated them for 18 months. Acting through Ernst Becker, a lawyer and amateur pianist, she invited Schumann to a forthcoming performance featuring three of his Etudes symphoniques.

      But by mid-November he was again in the throes of depression. Schumann recovered from this neurotic spell by sheer determination. Begun in late January or early February and drafted by April, the Novelletten bring together diverse and seemingly incompatible tendencies. Perhaps for the first time in his career, Schumann struck the delicate balance between art and artlessness that was to take on increasing importance in the works of the years ahead.

      According to a letter of 3 April to Joseph Fischhof, the work was well on the way to completion by that time, though corroborating musical sources are lacking. Another quartet was contemplated in June. In the meantime, Schumann had begun a new keyboard cycle in late April. Thus the dualism previously associated with Florestan and Eusebius, the leading players of the Davidsbund, is placed in even bolder relief.

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      That day he wrote to his brothers Eduard and Karl outlining his intention to settle with Clara in Vienna, where he planned to continue to edit the Neue Zeitschrift under the auspices of a Viennese firm, and where Clara, using her influence with the empress, might obtain a teaching post at the conservatory. A preliminary visit to the Austrian capital would be necessary before making the final move, planned for no later than Easter When Clara returned to Leipzig on 15 May , Schumann had just entered another depressive phase. Recovery followed rapidly as he began to prepare for the exploratory trip to Vienna.

      He and Clara secretly exchanged farewells in mid-September and again later in the month, when he circled back to Leipzig from Zwickau. Schumann reached his destination on 3 October, hatless and covered with dust but in unusually high spirits. His mood darkened considerably, however, when he failed to make headway with either the publishers Haslinger and Diabelli, or the Austrian court censor, whose approval was necessary if the Neue Zeitschrift was to be issued from Vienna by January , as Schumann hoped.

      Suspecting that Wieck was responsible for his cool reception by the Viennese authorities, he resigned himself, by late November, to keeping his journal in Leipzig. Regular visits to the opera and theatre rekindled his interest in dramatic music. When it became clear that he would not find a new home for his journal in Vienna, Schumann turned to writing and composing.

      An important article for the Neue Zeitschrift on the concerto occupied him in December. After six months of relative inactivity as a composer, Schumann was slow to establish a regular rhythm of creativity. Although he finished a little piece for Clara on 12 November Fata Morgana , later published as no. Before leaving Vienna, he could boast of having made significant progress on about a dozen keyboard pieces. At the turn of the year came sketches for an Allegro in C minor and by 24 January a draft for a concerto movement in D minor.

      It is also likely that the Arabeske op. At the same time he produced sketches and drafts for Faschingsschwank aus Wien op. In a long diary entry of 20 March , Schumann expressed a desire to leave Vienna within a fortnight.

      Notes and Editorial Reviews

      Hoffmann, when the work appeared as op. Schumann left Vienna on 4 April , but when he arrived in Zwickau on 9 April, Eduard had already been dead for three days. Works in the larger forms appear side-by-side with character-pieces and cycles of miniatures. Most striking, however, is the tendency to conflate larger and smaller forms and a resultant dialectic between accessibility and esotericism.

      After failing to reach an agreement with Wieck in late June, and acting on the counsel of the lawyer Wilhelm Einert, Schumann submitted his petition to the Leipzig court on 16 July. On 19 August he and Clara met for the first time for nearly a year in the Leipzig suburb of Altenburg and later went to Zwickau, where they celebrated their reunion with extended sessions of four-hand piano playing.

      Back in Leipzig by the end of the month, they met 31 August Archdeacon R. Fischer, the court-appointed mediator in their lawsuit, but were dismayed to find that Wieck, claiming urgent business in Dresden, had cancelled the appointment at the last moment. When Wieck failed to appear at the hearing this time without even proffering an excuse , the court set a new date for 18 December. The lull in the legal proceedings afforded Schumann time to give thought to composition after a lengthy hiatus.