13 no.4)ĭiary entry upon meeting Brahms (October 1853)Įr ist gekommen in Sturm und Regen (Op. 23 no.5)ĭer Mond kommt still gegangen (Op. A complete edition of her songs appeared in 1990 and there are numerous recordings.ĭas ist ein Tag, der klingen mag (Op. Perhaps more than any other woman composer, Clara Schumann is established in the song repertoire. For instance, her favoured song poets, Heinrich Heine, Emanuel Geibel, and Friedrich Rückert, were all important contemporaries whose verses were frequently set. Her ‘Geheimes Flüstern’ from op.23 is one of the finest 19th-century Lieder ever composed.Ĭlara Schumann’s taste in song poetry heavily overlapped with that of her husband and many other contemporaries. Formally, she was innovative, experimenting with phrase lengths and layers of texture. Her melodies often display great elegance alongside an innate understanding of the voice. Her accompaniment textures are varied and can be virtuosic, such as in ‘Walzer’ and the magnificent ‘Loreley’. Although not numerous, her Lieder are expressive and powerful contributions to the genre, ranging from lyric to dramatic in style. These were followed by four songs, three of which were incorporated in a joint collection (published as Robert Schumann’s op.37 and her op.12) and several independent opuses. She eventually settled in Frankfurt.Ĭlara Schumann gave three songs (‘Am Strande’, ‘Volkslied’, and ‘Ich stand in dunkeln Träumen’) to her husband on their first Christmas together. After Robert’s death in 1856, she threw herself back into her performing career for several reasons: firstly, her own playing was largely stifled during her marriage secondly, she could reliably generate much-needed income and finally, she could most effectively establish her husband’s legacy. During sixteen years of marriage, she bore eight children while also being pressed into Robert’s service, preparing keyboard arrangements of orchestral works, playing for rehearsals and much else. However, she struggled with the pressure to be a perfect housewife and mother. After strong opposition from her father, they married in 1840 and embarked on a period of musical and literary study which transformed her style. Her relationship with Robert Schumann signalled a turning point. In the use of bold harmonies, adventurous modulations, and rhythmic freedom, her compositions share qualities with her contemporaries from the new Romantic school such as Robert Schumann, Felix and Fanny Mendelssohn, and Frederic Chopin. She gave her first performance at the Gewandhaus when she was nine years old.Ĭlara Schumann typically incorporated her own compositions into her concerts throughout the 1830s. Friedrich Wieck gave his daughter an exceptional musical education, including taking her to every important concert, opera, and drama in her native Leipzig, and training her in the complex business arrangements of a musical career. The marriage collapsed when Clara was a child, and only as an adult could she re-establish a relationship with her mother. Her mother Mariane Tromlitz was a professional-standard pianist. She also transformed the reputation of her initially unsuccessful husband Robert Schumann through her determined championing.Īs a girl, Clara Wieck was taught by her father Friedrich. Apart from being a tremendously successful pianist and pedagogue, she wrote numerous songs alongside other works in various genres. Clara Schumann (1819-96) née Wieck is one of the most significant women in musical history.
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