Posts in Schumann

Schumann - Symphony No. 1 - Music | History The Symphony No. 1 in B♭ major, Op. 38, also known as the Spring Symphony, is the first symphonic work composed by Robert Schumann. Although he had made some "symphonic attempts" in the autumn of 1840 soon after he married Clara Wieck, he did not compose his first symphony until early 1841. Until then, Schumann was largely known for his works for the piano and for voice. Clara encouraged him to write symphonic music, noting in her diary, "it would be best if he composed for orchestra; his imagination cannot find sufficient scope on the piano... His compositions are all orchestral in feeling... My highest wish is that he should compose for orchestra—that is his field! May I succeed in bringing him to it!" Schumann sketched the symphony in four days from 23 to 26 January and completed the orchestration by 20 February. The premiere took place under the baton of Felix Mendelssohn on 31 March 1841 in Leipzig, where the symphony was warmly received. According to Clara's diary, the title "Spring Symphony" was bestowed upon it due to Adolf Böttger's poem Frühlingsgedicht. The symphony's opening has traditionally been associated with the closing lines of Böttger's poem, "O wende, wende deinen Lauf/Im Thale blüht der Frühling auf!" (“O, turn, O turn and change your course/In the valley, Spring blooms forth!"). This view has been challenged, and the call of a Leipzig nightwatchman has been mentioned as an alternative source. In a letter to Wilhelm Taubert, Schumann wrote: Could you breathe a little of the longing for spring into your orchestra as they play? That was what was most in my mind when I wrote [the symphony] in January 1841. I should like the very first trumpet entrance to sound as if it came from on high, like a summons to awakening. Further on in the introduction, I would like the music to suggest the world’s turning green, perhaps with a butterfly hovering in the air, and then, in the Allegro, to show how everything to do with spring is coming alive... These, however, are ideas that came into my mind only after I had completed the piece. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Schumann

Schumann - Symphony No. 3 in E flat major - Music | History The Symphony No. 3 in E♭ major, Op. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. It was composed from 2 November to 9 December 1850, and comprises five movements: I. Lebhaft II. Scherzo: Sehr mäßig (in C major) III. Nicht schnell (in A♭ major) IV. Feierlich (in E♭ minor) V. Lebhaft The Third Symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, four French horns in E♭, two trumpets in E♭, three trombones, timpani and strings. It premiered on 6 February 1851 in Düsseldorf, conducted by Schumann himself, and was received with mixed reviews, "ranging from praise without qualification to bewilderment". However, according to Peter A. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting "hurrah!". Throughout his life, Schumann explored a diversity of musical genres, including chamber, vocal, and symphonic music. Although Schumann wrote an incomplete G minor symphony as early as 1832–33 (of which the first movement was performed on two occasions to an unenthusiastic reception), he only began seriously composing for the symphonic genre after receiving his wife's encouragement in 1839. Schumann gained quick success as a symphonic composer following his orchestral debut with his warmly-received First Symphony, composed in 1841 and premiered in Leipzig with Felix Mendelssohn conducting. The work which was later to be published as his Fourth Symphony was also finished in 1841. In 1845 he composed his C major Symphony, which was published in 1846 as No. 2, and, in 1850, his Third Symphony. By the end of his career Schumann had composed a total of four symphonies. The published numbering of the symphonies is not chronological because his Fourth Symphony of 1841 was not well received at its Leipzig premiere; Schumann withdrew the score and revised it ten years later in Düsseldorf. This final version was published in 1851 after the "Rhenish" Symphony was published. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Schumann

Schumann - Fantasiestücke, Op. 12 - Music | History Robert Schumann's Fantasiestücke, Op. 12, is a set of eight pieces for piano, written in 1837. The title was inspired by the 1814–15 collection of novellas, essays, treatises, letters, and writings about music, Fantasiestücke in Callots Manier (which also included the complete Kreisleriana, another source of inspiration for Schumann) by one of his favourite authors, E. T. A. Hoffmann. Schumann dedicated the pieces to Fräulein Anna Robena Laidlaw, an accomplished and attractive 18-year-old Scottish pianist with whom Schumann had become good friends. Schumann composed the pieces with the characters Florestan and Eusebius in mind, representing the duality of his personality. Eusebius depicts the dreamer in Schumann while Florestan represents his passionate side. These two characters parlay with one another throughout the collection, ending self-reflectively with Eusebius in "Ende vom Lied". We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Schumann

Schumann - Piano Sonata No. 1 The Piano Sonata No. 1 in F-sharp minor, Op. 11, was composed by Robert Schumann from 1833 to 1835. He published it anonymously as "Pianoforte Sonata, dedicated to Clara by Florestan and Eusebius". Eric Frederick Jensen describes the sonata as 'the most unconventional and the most intriguing' of Schumann's piano sonatas due to its unusual structure. The Aria is based on his earlier Lied setting, "An Anna" or "Nicht im Thale". 1. Un poco adagio - Allegro vivace (F-sharp minor) 2. Aria: Senza passione, ma espressivo (A major) 3. Scherzo: Allegrissimo (F-sharp minor) - Intermezzo: Lento. Alla burla, ma pomposo (D major) - Tempo I 4. Finale: Allegro un poco maestoso (F-sharp minor, ending in the tonic major) We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Schumann

Robert Schumann8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. In 1840, after a long and acrimonious legal battle with Wieck, who opposed the marriage, Schumann married Wieck's daughter Clara. Before their marriage, Clara—also a composer—had substantially supported her father through her considerable career as a pianist. Together, Clara and Robert encouraged, and maintained a close relationship with, German composer Johannes Brahms. Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded. Schumann suffered from a mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich near Bonn. Diagnosed with psychotic melancholia, he died two years later at the age of 46 without recovering from his mental illness. The Best of Schumann - Part I Tracklist: 1. Fantasy Pieces (In the Evening) 2. Piano Concerto Op. 54 3. Violin Sonata No. 1 Op. 105 4. Waldszenen - Forest Scenes (Eintritt) Hello! Welcome to Top Classical Music, the most comprehensive channel specializing in classical music. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Schumann

The violin sonata no. 1 in A minor, opus 105 of Robert Schumann was written the week of September 12– 16 September 1851. Schumann was reported to have expressed displeasure with the work ("I did not like the first Sonata for Violin and Piano; so I wrote a second one, which I hope has turned out better"). This was also the year of the premiere of the Rhenish symphony , and among compositions the substantial revision of the fourth symphony, the third piano trio, the oratorio Der Rose Pilgerfahrt, a number of piano works and two of his concert overtures, Julius Caesar (after Shakespeare) and Hermann und Dorothea after Goethe. It was given its official premiere by Clara Schumann and Ferdinand David in March 1852 . The sonata has three movements: 1. Mit leidenschaftlichem Ausdruck (dotted quarter = 68, or, 68 dotted quarter notes in each minute), 6 8 time, 209 bars in A minor 2. Allegretto (eighth note = 96), 2 4 time, 79 bars in F major 3. Lebhaft (quarter note = 94), 2 4 time, 213 bars in A minor Robert Schumann Violin Sonata No. 1 Op. 105 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Schumann

Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. It was written in only four days in April 1838 and a revised version appeared in 1850. The work was dedicated to Frédéric Chopin, but when a copy was sent to the Polish composer, "he commented favorably only on the design of the title page". Kreisleriana is a very dramatic work and is viewed by some critics as one of Schumann's finest compositions. In 1839, soon after publishing it, Schumann called it in a letter "my favourite work," remarking that "The title conveys nothing to any but Germans. Kreisler is one of E. T. A. Hoffmann's creations, an eccentric, wild, and witty conductor." In 1843, when he had moved from writing for solo piano to much larger works, in particular Paradise and the Peri, he still listed it as one of his best piano works. The work's title was inspired by the character of Johannes Kreisler from works of E. T. A. Hoffmann. Like the kaleidoscopic Kreisler, each number has multiple contrasting sections, resembling the imaginary musician's manic depression, and recalling Schumann's own "Florestan" and "Eusebius," the two characters Schumann used to indicate his own contrasting impulsive and dreamy sides. Johannes Kreisler appears in several books by Hoffmann, including Kater Murr and most notably in the Kreisleriana section of Fantasiestücke in Callots Manier, published in 1814. In a letter to his wife Clara, Schumann reveals that she has figured largely in the composition of Kreisleriana: I'm overflowing with music and beautiful melodies now – imagine, since my last letter I've finished another whole notebook of new pieces. I intend to call it Kreisleriana. You and one of your ideas play the main role in it, and I want to dedicate it to you – yes, to you and nobody else – and then you will smile so sweetly when you discover yourself in it. Robert Schumann Kreisleriana Op. 16 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Schumann

The Cello Concerto in A minor, Op. 129, by Robert Schumann was completed in a period of only two weeks, between 10 October and 24 October 1850, shortly after Schumann became the music director at Düsseldorf. The concerto was never played in Schumann's lifetime. It was premiered on 23 April 1860, four years after his death, in Oldenburg, with Ludwig Ebert as soloist. The length of a typical performance is about 25 minutes. The piece is in three movements, which follow on from each other without a pause: 1. Nicht zu schnell (A minor – A major) 2. Langsam (F major) 3. Sehr lebhaft (A minor – A major) The work is scored for solo cello, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Robert Schumann Cello Concerto in Am Op. 129 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Schumann

Robert Schumann - Fantasy Pieces Op. 73 Three Fantasy Pieces (Drei Fantasiestücke) for clarinet and piano, Op. 73, were written in 1849 by Robert Schumann. Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on viola or cello. Robert Schumann wrote the pieces over just two days in February 1849, and originally entitled them "Soirée Pieces" before settling on the title "Fantasy Pieces." The title is one Schumann was fond of, since he used it in several works. This poetic title promotes the fundamental Romantic notion that creative expression is the product of the artist's unrestricted imagination. In addition, the connotations of "fantasy" justify the sudden mood changes. The three individual pieces are: • I. Zart und mit Ausdruck (Tender and with expression) • II. Lebhaft, leicht (Lively, light) • III. Rasch und mit Feuer (Quick and with fire) The first piece is in A minor and begins dreamily with hints of melancholy, but concludes with a resolution and hope in A major, looking forward to the next movement. The second piece is in A major and is playful, upbeat, energetic and positive, with a central section modulating to F major with chromatic triplets in dialogue with the piano. The final piece is again in A major. The pace suddenly drives into a frenzy of passion and fiery energy, bordering on the irrational. The movement pushes the players to their limits as Schumann writes "schneller und schneller" (faster and faster). The movement ends exuberantly with a triumphant close. For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Schumann

Robert Schumann - Piano Quartet Op. 47 The Piano Quartet in E flat major, Op. 47, by Robert Schumann was written in 1842. It has been described as the "creative double" of Schumann's Piano Quintet, also in E-flat major. It is one of the most frequently performed and recorded piano quartets in the standard repertoire. The work was composed in 1842, during Schumann's "Chamber Music Year." Prior to that year Schumann had completed no chamber music at all with the exception of an early piano quartet (in 1829). However, during his year-long concentration on the genre he wrote three string quartets and a piano quintet in addition to the piano quartet. According to John Daverio, the work shows the influence of Franz Schubert's second piano trio, also in E-flat Major. The piece is in four movements: 1. Sostenuto assai - Allegro ma non troppo 2. Scherzo: Molto vivace - Trio I - Trio II 3. Andante cantabile 4. Finale: Vivace For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Schumann