In this study, the life and work of Robert Schumann was examined, with the purpose of from a source critical point of view discovering new perspectives on the composer's mental health and creative tools used in his compositions and writings. Furthermore, the study aimed to debunk common misconceptions about Robert Schumann's fate.

The purpose if this study is to make an analysis of the structural elements and stylistic characteristics in the Concerto in A Minor for Piano by the nineteenth century German composer, Robert Schumann. These elements include the composer's treatment of melody, rhythm, form, and piano idiom. This problem has been limited to a stylistic analysis of Schumann's only concerto in A minor for piano and orchestra, Op. 54. Its purpose is to make an analysis of the structural and stylistic elements in the Concerto. These include the composer's treatment of melody, rhythm, form and the piano idiom. Since the matter of harmony is not of primary importance in this work, it is not discussed here. The present study does not include a consideration of the orchestral score and its relationship to the piano; however mention of it is made in the chapter on piano idiom.

No description available.

Anlässlich des 200. Geburtstages Robert Schumanns wird über seine Aktivitäten im sächsischen Verlags- und Bibliothekswesen berichtet. Im Jahre 1834 veröffentlichte Schumann seine eigene Zeitschrift, mit dem Titel „Neue Zeitschrift für Musik“, die damals zweimal wöchentlich erschien und einen Umfang von gerade mal vier Seiten hatte. Bis zum Jahr 1846 leitet Schumann die Redaktion mehr oder weniger im Ein-Mann-Betrieb. In der Bibliotheca Albertina gab es im Rahmen einer kleinen Ausstellung bedeutende Dokumente die das Leben und Wirken des Komponisten veranschaulichen.

Anlässlich des 200. Geburtstages Robert Schumanns wird über seine Aktivitäten im sächsischen Verlags- und Bibliothekswesen berichtet. Im Jahre 1834 veröffentlichte Schumann seine eigene Zeitschrift, mit dem Titel „Neue Zeitschrift für Musik“, die damals zweimal wöchentlich erschien und einen Umfang von gerade mal vier Seiten hatte. Bis zum Jahr 1846 leitet Schumann die Redaktion mehr oder weniger im Ein-Mann-Betrieb. In der Bibliotheca Albertina gab es im Rahmen einer kleinen Ausstellung bedeutende Dokumente die das Leben und Wirken des Komponisten veranschaulichen.

No description available.

The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en question. / In France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question.

Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works. / School of Music

Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.