Robert Schumann 18101856

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Robert Schumann (1810-1856
(hes the one on the right)
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Biography

• Born in 1810 in Saxony, Schumann was well
  educated as a result of his familys success.
• Encouraged to study law, but pursued music
  instead, specifically composition after damaging
  his right hand.
• Dissatisfaction with music criticism led him to
  found his own musical journal in 1834.
• Married the pianist Clara Weick in 1939.
• Compositional output included piano cycles,
  chamber music, hundred of songs, an opera and
  several symphonies.
• Liked Brahms. A lot.
• Went mad in 1854, died in 1856. The end.

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Musical Criticism in 19th Century

• Increasing availability and popularity of music
  led to the development of criticism
• Move from artists criticising artists to first
  professional critics throughout the 19th century.
  
• Two competing journals, Allgemeine Musikalische
  Zeitung, and Iris Im Gebeirt der Tonkhurst both
  of debatable quality and objectivity
• Schumann objected to the way that flashy new
  composers were glorified, whilst genuine talent
  and the German Masters were ignored

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Die Neue Zeitschrift für Musik

• Founded in 1834 and published by a society of
  artists and friends of art
• However it was largely written by Schumann alone,
  who created characters in his writing to voice
  other viewpoints
• Schumann admitted to his editorship in 1835,
  after the journal became successful
• Schumanns great skill was in praising and
  supporting composers like Chopin and Berlioz
• Objective criticism was also important for
  example in the case of Liszt
• In 1844 Schumanns other commitments forced him
  to give up editorship. The journal suffered as a
  result

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Summary of Article

• Praises Chopin
• Discusses a performance of Beethoven
• Discusses music scene in Germany
• Lengthy technical dissection of A major symphony
• Imminent success of Brahms

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Schumanns Critical Purpose

• Selection of extracts
• Trying to summon recognition for new artists e.g.
  Chopin
• Portrayal of contemporary music issues was the
  purpose of the journal

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Need to know Points

• Eusebius and Florestan are imaginary musicians.
• Eusebius dreamy and introspective. Extracts
  have longer sentences and are more detailed,
  descriptive and poetic.
• Florestan passionate. Shorter sentences and
  concise.

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Romanticism

• Schumann hated the term yet was one of the key
  figures of the Romantic period
• Use of nature and sublime to portray emotions
• Following on from Wackenroder

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Sublime

• Casper Friedrich
• Wanderer above
• A Sea of Fog
• 1817.

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Romanticism/Sublime

• Keats one of 5 major Romantic poets
• Fascination with the transcendental
• Ode on a Grecian Urn
• beauty is truth, truth beauty, that is all/ Ye
  know on earth, and all ye need to know

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Nature and Poetic Imagery

• Used to evoke a sense of transcendentalism
• Connection to truth and divinity
• blossomed into a flower
• Nature vs. pain vs. beauty Rose
• blissful smile

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Chauvinism Critique

• Aphorism in writing authoritative and guiding
  critic.
• National chauvinism German music under any
  sky encouragement of German youth.
• Superiority of those with intellectual
  understanding of music.
• Genius used subjectively
• But later critics show objectivity

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Writing Style

• Familiarisms
• Made up characters
• Passion for subject
• Alliteration
• References to the sublime

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Hierarchy Of Musicians

• Conductor given a prominent role in bringing
  together all components of performance.
• German performers must show passion in
  performance but not as much as Italians
• Concept of criticism is to evaluate compositions.
  Composers create these compositions-integral to
  music.
• Critics are learned and experienced musicians
  Ancient Greeks informed listener.

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Links To Other Aesthetes

• Plato Aristotle - Education important for true
  understanding of music
• Wackenroder - Romantic ideals and use of imagery
  in writing
• Hoffmann - Critical style

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Conclusion

• Key figure in musical romanticism, in both
  composition and criticism
• This is reflected in his belief in higher ideals
  and in his poetic writing style
• Not the first music critic, but possibly the most
  important of his time

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Further Reading and Bibliography

• Schumann As Critic, Leon B Plantinga
• The Great Composers Schumann, Alan Walker
• The Musical World of Robert Schumann, Henry
  Pleasants
• Schumann, Joan Chissell