In response to failures, Schumann once again turned more to composing during his time in Düsseldorf. He wrote many new works – also ones for the piano for which he had only written a few pieces after his first years of composing. Bach’s music played an important role in the Schumanns’ house at the time; this is mirrored in the fact that Schumann turned to baroque forms again. However, he wanted his fugues to be understood as “character pieces, just in a stricter form”. The “Piano Pieces in Fughetta Form” op. 126, published in our catalogue for the first time, unite the strict formal demands with romantic expression in a masterly manner.
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- Seven Piano Pieces in Fughetta Form op. 126
It is often asserted that Robert Schumann’s years in Düsseldorf were not happy ones. This certainly applies to his activity as a conductor, despite some successes. As early as the end of his first season, in spring 1851, public criticism had appeared in the form of a newspaper article. Schumann was deeply hurt, and for the first time expressed an intention to leave … more
About the composer
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.|
About the authors
Zolang je deze uitgaven gebruikt, blijft het eigenlijk altijd Schumann-feest!