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- Forest Scenes op. 82
Robert Schumann’s Waldszenen op. 82, are a typical example of German romanticism, an age that expressed itself in a great many images and showed a multitude of facets, many of them contradictory. Mystery was no less part of its preferred expressive universe than obscurity, the sacred no less than the ominous, unrestrained merriment no less than escapism and the remembrance … 계속
Connected with his oeuvre is the term he coined, Poetic Music, with which he strove for a fusion of literature and music, a paradigm particularly seen in his lyric piano pieces prior to 1839. Thereafter he devoted himself to other genres (song, symphony, chamber music, among others).
|1810||Born in Zwickau on June 8, the son of a bookdealer.|
|from 1828||Studies law in Leipzig, piano with Friedrich Wieck. Decision to pursue a career in music.|
|1830–39||He exclusively composes piano works, mostly cycles, including “Papillons,” Op. 2 (1829–32); “Carnaval,” Op 9 (1834/35); “Davidsbündlertänze,” Op. 6 (1837); “Kinderszenen” (“Scenes from Childhood”), Op. 15 (1837/38); “Kreisleriana,” Op. 16 (1838); “Noveletten,” Op. 21 (1838).|
|1832||A paralysis of a finger in his right hand makes a career as a pianist impossible. Founding in 1833 of the fantasy brotherhood the “Davidsbund” (“League of David”).|
|1835–44||Editor of the Neue Zeitschrift für Musik (New Journal of Music).|
|1840||Marriage to Clara Wieck; 138 songs, including the Eichendorff Liederkreis, Op. 39; the song cycle “Dichterliebe,” Op. 48|
|1841||Symphony No. 1 in B-flat major (“Spring” Symphony), Op. 38, and Symphony No. 4 in D minor, Op. 120.|
|1842||Three string quartets, Op. 41; further chamber music.|
|1843||Teacher of composition at the Leipzig Conservatory. Oratorio “Paradise and the Peri,” Op. 50.|
|1845||He settles in Dresden. Journey to Russia.|
|1845||Piano Concerto in A minor, Op. 54, Symphony No. 2 in C major, Op. 61.|
|1850||City music director in Düsseldorf. Premiere in Leipzig of his opera “Genoveva,” Op. 81. Symphony in E-flat major (“Rhenish”), Op. 97; Cello Concerto in A minor, Op. 129.|
|1853||Beginning of his friendship with Brahms. Completion of the Scenes from Faust. Violin Concerto in D minor for Joseph Joachim.|
|1854||Suicide attempt and admission to the psychiatric institution in Endenich, near Bonn.|
|1856||Death in Endenich on July 29.|
Particulièrement représentatives du sentiment poétique du temps, ces neuf admirables pièces brèves furent populaires dès leur première publication, en 1850; leur difficulté relativement limitée contribua naturellement à ce succès. Pour cette précieuse nouvelle édition Urtext, Ernst Herttrich a consulté – entre autres documents – le manuscrit autographe (BnF, Paris: Ms. 344) et l'exemplaire personnel de Schumann (Maison de Schumann, Zwickau: 4501/Bd).
Impeccably laid-out, all compromises are noted and justified in the commentary. As in the Beethoven concertos, there is a most readable yet scholarly introduction that does far more than set the scene – it positively inspires intellectual curiosity and musical fastidiousness. Strongly recommended.