Brief general information about Robert Schumann's family. Brief biography of Schumann. Robert Schumann looked at her differently

Introduction

Robert Schumann (German) Robert Schumann; June 8, 1810, Zwickau - July 29, 1856, Endenich (now one of the urban districts of Bonn) - German (Saxon) composer, conductor, music critic, teacher. One of the most significant composers of the first half of the 19th century century. (Style - German romanticism, artistic direction - Leipzig school.)

1. Biography

Born in Zwickau (Saxony) on June 8, 1810 in the family of book publisher and writer August Schumann (1773-1826). Schumann took his first music lessons from a local organist; at the age of 10 he began composing, in particular choral and orchestral music. Attended high school in hometown, where he became acquainted with the works of J. Byron and Jean Paul, becoming their passionate admirer. The moods and images of this romantic literature were eventually reflected in Schumann's musical work. As a child, he became involved in professional literary work, composing articles for an encyclopedia published by his father's publishing house. He was seriously interested in philology and carried out pre-publishing proofreading of a large Latin dictionary. And Schumann’s school literary works were written at such a level that they were posthumously published as an appendix to the collection of his mature journalistic works. At a certain period of his youth, Schumann even hesitated whether to choose the career of a writer or a musician.

In 1828 he entered the University of Leipzig, and the following year he moved to the University of Heidelberg. At the insistence of his mother, he planned to become a lawyer, but music attracted the young man more and more. He was attracted by the idea of ​​becoming a concert pianist. In 1830, he received his mother's permission to devote himself entirely to music and returned to Leipzig, where he hoped to find a suitable mentor. There he began taking piano lessons from F. Wieck and composition from G. Dorn. Striving to become a real virtuoso, he practiced with fanatical persistence, but this is precisely what led to trouble: while forcing exercises with a mechanical device to strengthen the muscles of the arm, he injured his right arm. The middle finger stopped working and, despite long-term treatment, the hand became forever incapable of virtuoso piano playing. I had to give up the idea of ​​becoming a professional pianist. Then Schumann seriously took up composition and, at the same time, musical criticism. Having found support in the persons of Friedrich Wieck, Ludwig Schunke and Julius Knorr, Schumann was able in 1834 to found one of the most influential musical periodicals - the New Musical Journal (German). Neue Zeitschrift für Musik) who edited and regularly published his articles in it for several years. He established himself as a supporter of the new and a fighter against the obsolete in art, against the so-called philistines, that is, with those who, with their limitations and backwardness, hindered the development of music and represented a stronghold of conservatism and burgherism.

In October 1838, the composer moved to Vienna, but already in early April 1839 he returned to Leipzig. In 1840, the University of Leipzig awarded Schumann the title of Doctor of Philosophy. In the same year, on September 12, in a church in Schönfeld, Schumann’s marriage took place with the daughter of his teacher, an outstanding pianist, Clara Wieck. In the year of his marriage, Schumann created about 140 songs. Several years of Robert and Clara's life together passed happily. They had eight children. Schumann accompanied his wife on concert tours, and she, in turn, often performed her husband’s music. Schumann taught at the Leipzig Conservatory, founded in 1843 by F. Mendelssohn.

In 1844, Schumann and his wife went on a tour to St. Petersburg and Moscow, where they were received with great honor. In the same year, Schumann moved from Leipzig to Dresden. There, signs of a nervous disorder first appeared. It was not until 1846 that Schumann recovered enough to be able to compose again.

In 1850, Schumann received an invitation to the post of city director of music in Düsseldorf. However, disagreements soon began there, and in the fall of 1853 the contract was not renewed. In November 1853, Schumann and his wife went on a trip to Holland, where he and Clara were received “with joy and honor.” However, in the same year, symptoms of the disease began to appear again. At the beginning of 1854, after an exacerbation of his illness, Schumann attempted to commit suicide by throwing himself into the Rhine, but was saved. He had to be placed in a psychiatric hospital in Endenich near Bonn, where he died on July 29, 1856. Buried in Bonn.

2. Creativity

An intellectual and an esthete, in his music Schumann, more than any other composer, reflected the deeply personal nature of Romanticism. His early music, introspective and often whimsical, was an attempt to break with tradition classical forms and structures, in his opinion, too limited. In many ways akin to the poetry of G. Heine, Schumann’s work challenged the spiritual wretchedness of Germany in the 1820s - 1840s and called into the world of high humanity. The heir of F. Schubert and K. M. Weber, Schumann developed the democratic and realistic tendencies of German and Austrian musical romanticism. Little understood during his lifetime, much of his music is now regarded as bold and original in harmony, rhythm and form. His works are closely related to the traditions of German classical music.

Most of Schumann's piano works are cycles of small pieces of lyrical-dramatic, visual and “portrait” genres, connected by an internal plot and psychological line. One of the most typical cycles is “Carnival” (1835), in which a motley line of scenes, dances, masks, female characters (among them Kiarina - Clara Wieck), musical portraits Paganini, Chopin. Close to “Carnival” are the cycles “Butterflies” (1831, based on the work of Jean Paul) and “Davidsbündlers” (1837). The cycle of plays "Kreisleriana" (1838, named after literary hero E. T. A. Hoffmann - musician-visionary Johannes Kreisler) belongs to highest achievements Schumann. The world of romantic images, passionate melancholy, and heroic impulse are reflected in such works by Schumann for piano as “Symphonic Etudes” (“Etudes in the Form of Variations”, 1834), sonatas (1835, 1835-38, 1836), Fantasia (1836-38) , concerto for piano and orchestra (1841-45). Along with works of variation and sonata types, Schumann has piano cycles built on the principle of a suite or an album of plays: “Fantastic excerpts” (1837), “Children’s scenes” (1838), “Album for the youth” (1848), etc.

In vocal creativity, Schumann developed the type lyrical song F. Schubert. In his subtly developed drawings of songs, Schumann displayed the details of moods, poetic details of the text, and the intonations of a living language. The significantly increased role of piano accompaniment in Schumann gives a rich outline of the image and often explains the meaning of the songs. The most popular of his vocal cycles- “The Poet’s Love” based on poems by G. Heine (1840). It consists of 16 songs, in particular, “Oh, if only the flowers were guessed”, or “I hear the sounds of songs”, “I meet you in the morning in the garden”, “I’m not angry”, “In a dream I cried bitterly”, “You are evil , evil songs." Another narrative vocal cycle is “Love and the Life of a Woman” based on verses by A. Chamisso (1840). Songs of various meanings are included in the cycles “Myrtle” based on poems by F. Rückert, J. W. Goethe, R. Burns, G. Heine, J. Byron (1840), “Around Songs” based on poems by J. Eichendorff (1840). In vocal ballads and scene songs, Schumann touched on a very wide range of subjects. A striking example of Schumann's civic lyricism is the ballad “Two Grenadiers” (based on verses by G. Heine). Some of Schumann's songs are simple scenes or everyday portrait sketches: their music is close to German folk songs ("Folk Song" based on poems by F. Rückert, etc.).

In the oratorio “Paradise and Pere” (1843, based on the plot of one of the parts of the “oriental” novel “Lalla Rook” by T. Moore), as well as in “Scenes from Faust” (1844-53, according to J. V. Goethe), Schumann came close to realizing his long-time dream of creating an opera. Schumann's only completed opera, Genoveva (1848), based on a medieval legend, did not gain recognition on the stage. Schumann's music for the dramatic poem "Manfred" by J. Byron (overture and 15 musical numbers, 1849) was a creative success.

In the composer’s 4 symphonies (the so-called “Spring”, 1841; the Second, 1845-46; the so-called “Rhenish”, 1850; the Fourth, 1841-51) bright, cheerful moods prevail. A significant place in them is occupied by episodes of song, dance, lyric and painting nature.

Schumann made a great contribution to music criticism. Promoting the work of classical musicians on the pages of his magazine, fighting against the anti-artistic phenomena of our time, he supported the new European romantic school. Schumann castigated virtuoso dandyism, indifference to art, which hides under the guise of good intentions and false scholarship. The main fictional characters on whose behalf Schumann spoke on the pages of print are the ardent, furiously daring and ironic Florestan and the gentle dreamer Eusebius. Both of them embodied the character traits of the same composer.

Schumann's ideals were close to the leading musicians of the 19th century. He was highly regarded by Felix Mendelssohn, Hector Berlioz, and Franz Liszt. In Russia, Schumann’s work was promoted by A. G. Rubinstein, P. I. Tchaikovsky, G. A. Laroche, and figures Mighty bunch».

3. Major works

Here are presented works that are often used in concert and pedagogical practice in Russia, as well as works of large scale, but rarely performed.

3.1. For piano

Variations on the theme "Abegg"

Butterflies, op. 2

Davidsbündler Dances, Op. 6

• Carnival, op. 9

  Three sonatas:

  • Sonata No. 1 in F sharp minor, op. 11

    Sonata No. 3 in F minor, op. 14

    Sonata No. 2 in G minor, op. 22

Fantastic Pieces, op. 12

Symphonic Etudes, op. 13

Scenes from Children, Op. 15

Kreisleriana, op. 16

Fantasia in C major, op. 17

Arabesque, op. 18

Humoresque, op. 20

Novellettes, op. 21

Night Pieces, op. 23

Vienna Carnival, op. 26

Album for Youth, op. 68

Forest Scenes, op. 82

Variegated Leaves, op. 99

3.2. Concerts

Concerto for piano and orchestra in A minor, op. 54

Konzertstück for four horns and orchestra, op. 86

Introduction and Allegro Appassionato for piano and orchestra, op. 92

Concerto for cello and orchestra, op. 129

Concerto for violin and orchestra, 1853

Introduction and Allegro for piano and orchestra, op. 134

Fantasy Pieces for clarinet and piano, op.73

Märchenerzählungen, Op.132

3.3. Vocal works

"Circle of Songs", op. 35 (lyrics by Heine, 9 songs)

"Myrtles", op. 25 (poems by various poets, 26 songs)

"Circle of Songs", op. 39 (lyrics by Eichendorff, 20 songs)

"Love and Life of a Woman", op. 42 (lyrics by A. von Chamisso, 8 songs)

"The Poet's Love", op. 48 (lyrics by Heine, 16 songs)

"Seven songs. In memory of the poetess (Elizabeth Kulman", op. 104 (1851)

"Poems of Queen Mary Stuart", op. 135, 5 songs (1852)

"Genoveva". Opera (1848)

3.4. Symphonic music

Symphony No. 1 in B flat major (known as "Spring"), op. 38

Symphony No. 2 in C major, op. 61

Symphony No. 3 in E flat major “Rhenish”, op. 97

Symphony No. 4 in D minor, op. 120

Overture to the tragedy "Manfred" (1848)

Overture "Bride of Messina"

5. Bibliography

Schumann R. "Franz Liszt" (Fragments from the article)

Memoirs of Robert Schumann / Compilation, comments, preface O. V. Loseva. Per. A. V. Mikhailova and O. V. Loseva. - M.: Composer, 2000. ISBN 5-85285-225-2 ISBN 5-89598-076-7

Grokhotov S. V. Schumann and surroundings. Romantic walks through the “Album for Youth”. M., 2006. ISBN 5-89817-159-2

Grokhotov S. V. Schumann: Carnival. - M., 2009. ISBN 978-5-89817-285-5

Zhitomirsky D.V. Robert and Clara Schumann in Russia. – M., 1962.

Zhitomirsky D. V. Robert Schumann: Essay on Life and Work. - M., 1964. (2nd ed. M., 2000.)

Karminsky M. V. Drama of the life of Robert Schumann // Kharkiv Assemblies-1995. International Music Festival “Robert Schumann and Mysterious Youth”: Collection of materials / Superintendent G. I. Hansburg. - Kharkiv, 1995. - P. 7-18.

Ganzburg G. I. Song Theater of Robert Schumann // Musical Academy. - 2005. - No. 1. - P. 106-119.

Robert Schumann and the crossroads of music and literature: Sat. scientific works / Comp. Ganzburg G. I.- Kharkov: RA - Karavella, 1997. - 272 p. ISBN 966-7012-26-3.

Sviridenko S. Schumann and his songs. - St. Petersburg, 1911.

Schumann's recordings on the website ArtOfPiano.ru

Robert Schumann Russian-language site dedicated to the composer

Robert Schumann: Sheet music of works on International Music Score Library Project

Music festival “Schumann Resonances”

References:

in some sources they add his middle name Alexander

Biography

Schumann House in Zwickau

Robert Schumann, Vienna, 1839

Major works

Here are presented works that are often used in concert and pedagogical practice in Russia, as well as works of large scale, but rarely performed.

For piano

• Variations on the theme "Abegg"
• Butterflies, op. 2
• Davidsbündler Dances, Op. 6
• Carnival, op. 9
• Three sonatas:
  • Sonata No. 1 in F sharp minor, op. 11
  • Sonata No. 3 in F minor, op. 14
  • Sonata No. 2 in G minor, op. 22
• Fantastic Pieces, op. 12
• Symphonic Etudes, op. 13
• Scenes from Children, Op. 15
• Kreisleriana, op. 16
• Fantasia in C major, op. 17
• Arabesque, op. 18
• Humoresque, op. 20
• Novellettes, op. 21
• Vienna Carnival, op. 26
• Album for Youth, op. 68
• Forest Scenes, op. 82

Concerts

• Konzertstück for four horns and orchestra, op. 86
• Introduction and Allegro Appassionato for piano and orchestra, op. 92
• Concerto for cello and orchestra, op. 129
• Concerto for violin and orchestra, 1853
• Introduction and Allegro for piano and orchestra, op. 134

Vocal works

• "Myrtles", op. 25 (poems by various poets, 26 songs)
• "Circle of Songs", op. 39 (lyrics by Eichendorff, 20 songs)
• "Love and Life of a Woman", op. 42 (lyrics by A. von Chamisso, 8 songs)
• "The Poet's Love", op. 48 (lyrics by Heine, 16 songs)
• "Genoveva". Opera (1848)

Symphonic music

• Symphony No. 2 in C major, op. 61
• Symphony No. 3 in E flat major “Rhenish”, op. 97
• Symphony No. 4 in D minor, op. 120
• Overture to the tragedy "Manfred" (1848)
• Overture "Bride of Messina"

See also

Links

• Robert Schumann: Sheet music at the International Music Score Library Project

Musical fragments

Attention! Musical fragments in Ogg Vorbis format

• Semper Fantasticamente ed Appassionatamente(info)
• Moderato, Sempre energico (info)
• Lento sostenuto Sempre piano (info)

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See what “Robert Schumann” is in other dictionaries:

SCHUMANN, ROBERT ALEXANDER (Schumann, Robert Alexander) ROBERT SCHUMANN (1810 1856), German composer. Born in Zwickau (Saxony) on June 8, 1810. Schumann took his first music lessons from a local organist; at the age of 10 he began to compose, including... Collier's Encyclopedia

Robert Schumann 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 has survived to this day; now there is a museum of the composer.

It is no coincidence that the composer’s biographers are attracted by the personality of his father, from whom Robert Schumann inherited a lot. He was a very intelligent, extraordinary man, passionately in love with literature. Together with his brother, he opened the Schumann Brothers book publishing house and bookstore in Zwickau. Robert Schumann adopted both this father's passion for literature and the outstanding literary gift that later reflected so brilliantly in his critical activity.

The interests of young Schumann were concentrated mainly in the world of art. As a boy, he wrote poetry, organized theatrical performances in the house, read a lot and improvised at the piano with the greatest pleasure (he began composing at the age of 7). His first listeners admired the young musician’s amazing ability to create musical portraits of familiar people through improvisations. This gift of a portrait painter will subsequently also manifest itself in his work (portraits of Chopin, Paganini, his wife, self-portraits).

The father encouraged his son's artistic inclinations. He took his musical vocation very seriously - he even agreed to study with Weber. However, due to Weber's departure to London, these classes did not take place. Robert Schumann's first music teacher was the local organist and teacher Kunst, with whom he studied from the age of 7 to 15.

With the death of his father (1826), Schumann's passion for music, literature, and philosophy came into very intense conflict with the desires of his mother. She categorically insisted that he receive a law degree. According to the composer, his life turned "into the struggle between poetry and prose." In the end, he gives in, enrolling in the law faculty of the University of Leipzig.

1828–1830 – university years (Leipzig – Heidelberg – Leipzig). Despite the breadth of interests and curiosity of Schumann, his studies in science did not leave him 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 controversial role in his life. This is Friedrich Wieck, one of the most authoritative and experienced piano teachers. A clear proof of the effectiveness of Vic's piano technique was the playing of his daughter and student Clara, who was admired by Mendelssohn, Chopin, and Paganini. Schumann becomes Wieck's student, studying music in parallel with his studies at the university. Since the age of 30, he has devoted his life entirely to art, having dropped out of university. Perhaps this decision arose under the impression of the playing of Paganini, whom Schumann heard in the same 1830. It was exceptional, very special, reviving the dream of an artistic career.

Other impressions of this period include trips to Frankfurt and Munich, where Schumann met Heinrich Heine, as well as a summer trip to Italy.

Schumann's compositional genius was revealed in its entirety in 30s , when his best piano works appear one after another: “Butterflies”, “Abegg” variations, “Symphonic Etudes”, “Carnival”, Fantasia in C major, “Fantastic Pieces”, “Kreisleriana”. The artistic perfection of these early works seems implausible, since it was only in 1831 that Schumann began to systematically study composition with the theorist and composer Heinrich Dorn.

Schumann himself associates almost everything he created in the 30s with the image of Clara Wieck, with the romantic their love story. Schumann met Clara back in 1828, when she was in her ninth year. When friendly relations began to develop into something more, an insurmountable obstacle arose on the path of the lovers - the fanatically stubborn resistance of F. Vic. His “concern for his daughter’s future” took extremely strict forms. He took Clara to Dresden, forbidding Schumann to maintain any contact with her. For a year and a half they were separated by a blank wall. The lovers went through secret correspondence, long separations, a secret engagement, and finally an open trial. They married only in August 1840.

The 30s were also a heyday musical-critical And literary activity Schumann. At its center is the fight against philistinism, philistinism in life and art, as well as the defense of advanced art and the education of public taste. The remarkable quality of Schumann as a critic is his impeccable musical taste, a keen sense of everything talented and advanced, regardless of who the author of the work is - a world celebrity or a beginner, unknown composer.

Schumann's debut as a critic was a review of Chopin's variations on a theme from Mozart's Don Giovanni. This article, dated 1831, contains the famous phrase: “Hats off, gentlemen, before you is a genius!” Schumann also unmistakably assessed the talent of the young Brahms, predicting the then unknown musician the role of the greatest composer XIX century. The article on Brahms (New Paths) was written in 1853, after a long break from Schumann's critical activity, once again confirming his prophetic instincts.

In total, Schumann created about 200 amazingly interesting articles about music and musicians. They are often presented in the form of entertaining stories or letters. Some articles remind diary entries, others are live scenes with the participation of many characters. The main participants in these dialogues invented by Schumann are Frorestan and Eusebius, as well as Maestro Raro. Florestan And Eusebius - these are not only literary characters, they are the personification of two different sides of the composer’s personality. He endowed Florestan with an active, passionate, impetuous temperament and irony. He is hot and quick-tempered, impressionable. Eusebius, on the contrary, is a silent dreamer, a poet. Both were equally inherent in Schumann’s contradictory nature. In a broad sense, these autobiographical images embodied two opposite versions of romantic discord with reality - violent protest and peace in a dream.

Florestan and Eusebius became the most active participants in Schumanov's "Davidsbünda" (“The League of David”), named after the legendary biblical king. This "more than a secret alliance" existed only in the mind of its creator, who defined it as "spiritual community" artists who united in the fight against philistinism for true art.

Introductory article to Schumann's songs. M., 1933.

For example, just like the creators of the romantic story in literature, Schumann was important to the effect of the twist at the end, the suddenness of its emotional impact.

A tribute to admiration for the playing of the brilliant violinist was the creation of piano studies based on the caprices of Paganini (1832-33).

In 1831, both Schumann and Chopin were only 21 years old.

12. Piano music by Schumann.

Schumann dedicated the first 10 years of his composing career to piano music - ardent young years full of creative enthusiasm and hope (30s). In this area, Schumann's individual world was revealed first and the most characteristic works of his style appeared. These are “Carnival”, “Symphonic Etudes”, “Kreisleriana”, Fantasia in C major, “Dances of the Davidsbündlers”, Novellettes, “Fantastic Pieces”, “Children’s Scenes”, “Night Pieces”, etc. It is striking that many of these masterpieces appeared literally 3-4 years after Schumann began composing - in 1834-35. The composer's biographers call these years “the time of struggle for Clara,” when he defended his love. It is not surprising that many of Schumann’s piano works reveal his personal experiences and are autobiographical in nature (like those of other romantics). For example, the composer dedicated the First Piano Sonata to Clara Wieck on behalf of Florestan and Eusebius.

Schumann's piano music was often born under the influence literary images and stories. The cycle “Butterflies” (op. 2, 1831) is associated with Jean Paul’s novel “The Mischievous Years” (about the life of two brothers - Vult and Valt, prototypes of Florestan and Eusebius); "Kreisleriana" and "Fantastic Pieces" reflected impressions of Hoffmann's works. But the main thing is not only this: in Schumann’s music we are faced with a deep penetration into music literary patterns. In his piano compositions, he often acts as a storyteller, unfolding before the listener a motley string of contrasting images, which together make up a complete musical “narration.” That is why, from the very beginning of his career, Schumann’s favorite form of piano works was suite cycle of miniatures.

Robert Schumann was a German composer, born in 1810, died in 1856. Despite a strong desire to devote himself to music, after the death of his father, at the request of his mother, Schumann entered (1828) the University of Leipzig to study legal sciences. In 1829 he moved to the University of Heidelberg; but both here and there he was primarily involved in music, so that finally, in 1830, his mother gave her consent for her son to become a professional pianist.

Portrait of Robert Schumann based on a daguerreotype from 1850

Returning to Leipzig, Schumann began to study under the guidance of pianist Fr. Vetch; but soon paralysis of one of the fingers right hand forced him to abandon his career as a virtuoso and, devoting himself exclusively to composing, he began to study composition under the guidance of Dorn. In the following years, Schumann wrote several large pieces for piano and at the same time acted as a writer about music. In 1834, he founded the magazine “New Musical Newspaper,” which he edited until 1844. In his articles, Schumann, on the one hand, attacked empty virtuosity, on the other, he encouraged young musicians inspired by the highest aspirations.

Robert Schumann. Best works

In 1840 Schumann married his daughter former teacher, Clara Wieck and at the same time there was a turn in his activity, since he, who had previously written only for piano, began to write for singing, and also took up instrumental composition. When the Leipzig Conservatory was founded (1843), Schumann became its professor. That year, his composition for choir and orchestra, “Paradise and Peri,” was performed, which helped spread his fame.

In 1844, Schumann embarked on an artistic journey with his wife, a remarkable pianist, which brought great fame to both. During it they also visited Russia; Their joint concerts in Mitau, Riga, St. Petersburg and Moscow were a great success. After returning to Leipzig, Schumann left the editorial office of the magazine and moved with his wife to Dresden, where in 1847 he took over the management of the Liedertafel and the choral singing society. Having staged his opera Genoveva in Leipzig in 1850, Schumann and his family moved to Düsseldorf, where he received a position city ​​music director.

However, a chronic brain disease, the first signs of which appeared back in 1833, began to develop very quickly. In Düsseldorf, Schumann wrote the “Rhine Symphony”, overtures to “The Bride of Messina” and “Hermann and Dorothea”, several ballads, masses and a Requiem. All these works already bear the stamp of his mental disorder, which was also reflected in his bandmastership. In 1853 he was given to understand that he should leave his post. Very upset by this, Schumann went to travel around Holland, where he experienced great success. The brilliant success of this artistic trip with his wife was the last joyful event of his life. Due to intensive training, the composer’s illness began to progress. He began to suffer from auditory hallucinations and a speech disorder. Late one evening, Schumann ran out into the street and threw himself into the Rhine (1854). He was saved, but his mind was gone forever. He lived after that for another two years in a mental hospital near Bonn, where he died.