Robert Schumann and Issues of Intermediality: Toward an Application of Intermediality Discourses to Musicology

2021 ◽  
Vol 37 ◽  
pp. 65-100
Author(s):  
Meebae Lee
Keyword(s):  
Robert Schumann

Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism

2017 ◽  
Vol 70 (3) ◽  
pp. 697-765
Author(s):  
Alexander Stefaniak
Keyword(s):  
Cutting Edge ◽  
Critical Discourse ◽  
Robert Schumann ◽  
Piano Concerto ◽  
Sheet Music ◽  
Variation Sets ◽  
Music Market ◽  
Critical Responses ◽  
Drawing Room ◽  
Variations On A Theme

In her contemporaries’ imaginations Clara Schumann transcended aesthetic pitfalls endemic to virtuosity. Scholars have stressed her performance of canonic repertory as a practice through which she established this image. In this study I argue that her concerts of the 1830s and 1840s also staged an elevated form of virtuosity through showpieces that inhabited the flagship genres of popular pianism and that, for contemporary critics, possessed qualities of interiority that allowed them to transcend merely physical or “mechanical” engagement with virtuosity. They include Henselt's études and variation sets, Chopin's “Là ci darem” Variations, op. 2, and Clara's own Romance variée, op. 3, Piano Concerto, op. 7, and Pirate Variations, op. 8. Her 1830s and early 1840s programming offers a window onto a rich intertwining of critical discourse, her own and her peers’ compositions, and her strategies as a pianist-composer. This context reveals that aspirations about elevating virtuosity shaped a broader, more varied field of repertory, compositional strategies, and critical responses than we have recognized. It was a capacious, flexible ideology and category whose discourses pervaded the sheet music market, the stage, and the drawing room and embraced not only a venerated, canonic tradition but also the latest popularly styled virtuosic vehicles. In the final stages of the article I propose that Clara Schumann's 1853 Variations on a Theme by Robert Schumann, op. 20, alludes to her work of the 1830s and 1840s, evoking the range of guises this pianist-composer gave to her virtuosity in what was already a wide-ranging career.

The Complete Correspondence of Clara and Robert Schumann

1997 ◽  
Author(s):  
Ronald Crawford ◽  
Hildegard Fritsch
Keyword(s):  
Robert Schumann

CLARA und ROBERT SCHUMANN: Briefwechsel

1986 ◽  
Vol 189 (jg) ◽  
pp. 184-185
Author(s):  
Paul Kast
Keyword(s):  
Robert Schumann

scholarly journals Texts of the Vocal Works of Robert Schumann in English Translation

Notes ◽  
1947 ◽  
Vol 5 (1) ◽  
pp. 110
Author(s):  
Richard V. Lindabury ◽  
Henry S. Drinker ◽  
Robert Schumann
Keyword(s):  
English Translation ◽  
Robert Schumann ◽  
Vocal Works

Adieu Robert Schumann; For Voice and Orchestra

Notes ◽  
1984 ◽  
Vol 41 (1) ◽  
pp. 165
Author(s):  
David Cope ◽  
R. Murray Schafer
Keyword(s):  
Robert Schumann

Rückert-Kanon als Keimzelle zu Schumanns Klavierkonzert Op. 54

2021 ◽  
Vol 58 (1) ◽  
pp. 28-32
Author(s):  
Thomas Synofzik
Keyword(s):  
Robert Schumann

Im Januar 1841 komponierte Robert Schumann ein bisher unbeachtetes kanonisches Duett für seinen Rückert-Zyklus op. 37 <Ich bin dein Baum, o Gärtner>, das keine Parallelen zur späteren Vertonung op. 101/3 aufweist. Es wurde schließlich nicht in den gedruckten Zyklus übernommen, da daraus im Mai 1841 der erste Satz von Schumanns Klavierkonzert op. 54 entstand. Das Duett wurde wenig verändert als As-Dur-Mittelteil übernommen, darum herum bildet Schumann nach einer schon 1836 geäußerten Idee einen a-Moll-Konzertsatz, der eine Synthese aus dreisätzigem Konzertmodell und Sonatenhauptsatz bildet. Dessen monothematische Anlage hat ihren Ursprung somit nicht im Hauptthema, sondern im As-Dur-Mittelteil. Durch die vokale Prägung dieses Teils erscheint dessen gängige Aufführungspraxis in einem Tempo weit unterhalb der Metronomvorschrift mit oft falschen Betonungen als verfehlt.

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