Made available in DSpace on 2016-04-28T20:40:15Z (GMT). No. of bitstreams: 1 Andre Luiz Iorio.pdf: 21607129 bytes, checksum: bc5704eede7b59e10ef459de07dc5a27 (MD5) Previous issue date: 2010-05-12 / The author tries to approach the relation between Robert Schumann‟s life, his musical works and his psychosis. An extensive phenomenological analysis has been developed involving the letters from his youth to maturity, his personal diary and wedding diary and his musical scores. In methodological terms, the author relates the phenomenology of music and an existential phenomenological analysis. Concerning the phenomenology of music, the text is focused on the tradition of phenomenological aesthetics which includes authors as Merleau-Ponty, Mikel Dufrenne and Thomas Clifton. Concerning the existential phenomenological approach, the author tries to build a dialogue with early twentieth century phenomenological psychiatric tradition involving Karl Jaspers, Eugene Minkowski and Ludwig Binswanger. Musical analysis starts from objective analysis and culminates in the development of a phenomenological approach with special emphasis to corporality, materiality, time, space and pathos. The author concludes that Schumann‟s music expresses the hidden forces that were always present in his tormented life / O autor tenta abordar a relação entre a vida de Robert Schumann, suas obras musicais e sua psicose. Uma extensa análise fenomenológica foi realizada envolvendo as correspondências (cartas) desde sua juventude até a maturidade, seu diário pessoal e de casamento e suas partituras. Em termos metodológicos, o autor relaciona a fenomenologia da música com uma análise fenomenológico existencial. No que diz respeito à fenomenologia da música, o texto está focado na tradição da estética fenomenológica que inclui autores como Merleau-Ponty, Mikel Dufrenne e Thomas Clifton. No que diz respeito à abordagem existencial fenomenológica, o autor tenta construir um diálogo com a tradição da fenomenologia psiquiátrica do início do século XX envolvendo Karl Jaspers, Eugene Minkowski e Ludwig Binswanger. A análise musical começa a partir da análise objetiva e culmina com o desenvolvimento de uma abordagem fenomenológica, com ênfase especial à corporalidade, materialidade, tempo, espaço e pathos. O autor conclui que a música de Schumann expressa as forças escondidas que estavam sempre presentes em sua vida atormentada

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.

Die Musikbibliothek Bautzen widmet sich jedes Jahr einem Jubilar. Das Jahr 2010 steht ganz im Zeichen des 200. Geburtstages von Robert Schumann. Es werden Ausstellungen gestaltet und Neuerscheinungen seiner Werke präsentiert. Höhepunkt ist eine gemeinsame Lesung mit Musik mit der Kreismusikschule Bautzen.

Stefanie Reinhold befasst sich in ihrem Artikel mit Robert und Clara Schumann und gibt hier auf Grundlage des von beiden geführten Tagebuches Einblicke in das gemeinsame Leben eines Künstlerehepaars am Ende des 19. Jahrhunderts.

My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states. To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music. These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.

The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.

The poems of Mignon have inspired song writers for almost two centuries. They have served as the texts for more composers than almost any other single set of poetry. The Romantic composers were especially fond of the words. The poems are full of sadness and yearning and composers found they could be set in different moods. Some settings are in major tonalities while other settings of the same poem can be found in minor. Simple harmonies are used in some settings while others contain more complex harmonies. There are those composers who would have Mignon appear as a lost soul throughout all the poems with each song quietly sung, while others use a variety of dynamics adding drama to the setting and picturing Mignon as full of optimism at the end.

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.

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.

“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle. / “A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” defends Adorno’s aesthetics as a theory of advanced, or avant-garde, artworks. Its seven chapters show that aesthetic experience implies liberation from illusion (Schein). Chapter I engages a dialectic of viewpoints to explain how different dialectical thinkers (Marx, Lukács, Hegel, Horkheimer, Adorno) have contributed to a criterion of truth adequate to today’s total delusional context of reification—determinate negation of illusion. Chapter II introduces the concept of artistic aesthetic illusion—a reversible illusion opposed to the social illusions of mechanical musical reproduction and of the culture industry. Chapter III examines the question of whether truth in philosophy is a different kind of truth than truth in art. Chapter IV considers whether truth in twentieth-century Expressionism is a new truth based on immediate expression, in light of an important precedent for Expressionism in Robert Schumann’s “Der Dichter spricht.” Chapter V determines whether inorganic montage is more advanced than Expressionism. Chapter VI takes up a parting suggestion of Peter Bürger: to treat artworks after Dada and Surrealism on the model of “prose” in Hegel’s aesthetics. Chapter VII pursues the idea that Dichterliebe, op. 48, (1840) by Robert Schumann is a true artwork. Three results emerge from this close musical analysis: (1) exploiting, on occasion, an ambiguity in the rules for figuration that permits all twelve tones in the harmony, Schumann anticipates Schoenberg; (2) Op. 48, No. 1 is in a hidden key: to all appearances, its key is either A major or F-sharp minor, but its secret key is the Neapolitan region applied to C-sharp major; (3) the other “half” of the cadence with which Op. 48, No. 1 breaks off suddenly may be found in a brief applied-Neapolitan passage in No. 12. The thesis argued is that the antiorganicity in such a work is advanced with regard to the false reality of 1930s Germany and the place of organicity therein. According to Adorno, the only life-praxis afforded by art is remembrance. But the social effect of remembering social suffering is considerable when the Here-and-Now is its own justification.