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.

Mit Freude verkündet die SLUB Dresden den Erwerb der Skizzen zu Robert Schumanns Klaviertrio Nr. 1, op. 63. 25 mit Bleistift und Tinte fein beschriebene Seiten erlauben es, sich dem Werk neu zu nähern.

Clara Wieck Schumann sits at a particularly thorny juncture in musicological scholarship, as her career mirrors a period of nineteenth-century transformative social and musical change. The concept of public and private spaces came to be codified, and women's musical interactions, somewhat unsurprisingly, followed suit. In accordance with the now bourgeois concerns for social cultivation and primacy, concert structures were destabilized, programs moved away from an emphasis on miscellany, virtuosity was soundly rejected, and serious musical efforts came to dominate critical inquiry and commentary. The philosophy of Romantic listening hinged on the primacy of absolute, "serious" musics and, similar to the morals of the public bourgeoisie, privileged "masculine" expression. Within these strictures, a female pianist developed into the preeminent symbol for all that was ideal in the public piano recital. Clara Schumann has, for scholars of nineteenth-century music, come to embody the serious music aesthetic: whether it be through her role as interpreter, more homogeneous recital structuring, or allegiance to the goals of transcendental listening, she remains a figure who performed out of duty to her higher, artistic "calling." Nevertheless, scholars have rarely attempted to consider how, in a restrictive gender society, Clara was able to maintain such a successful and highly respected public career. My dissertation seeks to tease out the dynamics of Clara Schumann's reception, in order to elucidate ways she, as a woman, was able to perform in this preeminent public space, and, in fact, embolden (rather than degrade) the ascendancy of the masculine. With a career spanning some 60 years, Clara's 794 German concerts allow us a window into the complex negotiations that permeated her public performances and celebrated personality. For the first time in English translation, Appendix I gives a complete listing of Clara's programming in Germany and Vienna. By considering a wide range of sources--visual images, concert reviews, and programs--I hope to unearth ways that Clara, while challenging the hegemony of the male pianist, nonetheless continued to entrench the mores of the musical masculine to an even greater degree. / text

Student Number : 0009509E - MA research report - School of Arts - Faculty of Humanities / This research report examines the phenomenon of Ossianic poetry and its widespread, if not always palpable, impact on the cultural life of Europe. This ‘trace’ of Ossian extends to several piano compositions of Robert Schumann. Divided into three sections, the first of these describes and explains the genesis of the poems, their possible political background and their wide-ranging influence throughout Europe and even North America, despite the scathing exposé of James Macpherson written by Dr. Samuel Johnson. For one-and a-half centuries the poems continued to kindle the imaginations of artists, writers and musicians in works that either directly cite Ossian or Ossianic characters in their titles or texts or are virtual clones of this spurious but popular body of literature. Section B, ‘Interlude’, deals specifically with aspects of the life of Robert Schumann and engages in a hermeneutic reading of many of his musical compositions. Referring to the Derridean concept of arche-writing and ‘the trace’ as well as the Foucauldian theory of polysemia (1969: 123), the report offers a number of alternative interpretations of standard repertoire. Section C highlights four works; Exercices (Variationen über einem thema von Beethoven), Op. Post, Phantasie in C major, Op. 17, Waldszenen, Op. 82 and Gesänge der Frühe, Op. 133. It also touches on a number of other works that reveal his conscious and unconscious awareness of Ossianic imagery and narrative.

Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning. / <p>För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast <em>Adagio und Allegro </em>op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.</p>

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

Diss.--Regensburg, 1999. / Bibliogr. p. 355-382.

Not available / text

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.