Robert Schumann: Paganini of Piano

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Thursday, May 16, 2013

For many, Robert Schumann is the most intimate of the Romantic troubadours and lived only 46 years. He was born three months after Chopin in 1810 and died in an insane asylum in 1856.

Schumann began his schooling including rather un-serious piano lessons at age six. At nine, he was stunned when his father took him to hear pianist Ignaz Moscheles. He loved literature and music equally and he immersed himself in the novels of Jean Paul Richter, that was his favorite, and often the morbid German poetry of the day.

On his own, Schumann began dabbling in composition and poetry as early as age 12. He entered the University of Leipzig to study law and seldom went to any classes, devoting much time to reading and sitting at the piano, dreamily improvising.

Schumann's music often has literary implications and, in his case, a fierce autobiographical content.



Romance for Piano, Op. 28: no 2 in F sharp major / Van Cliburn

Theme and Variations for Piano on the name ABEGG, Op. 1 / Clara Haskil

Phantasiestücke for Piano, Op. 12: no 7, Traumes Wirren / Alfred Brendel

Sonata for Piano no 1 in F sharp minor, Op. 11: Aria / Emil Gilels

Posthumous Variation No 2: Symphonic Etude / Claudio Arrau

Sonata for Piano no 3 in F minor, Op. 14 "Concert sans orchestre": First Movement / Vladimir Horowitz

Waldszenen, Op. 82: no 7, Vogel als Prophet / Samuel Feinberg

Clara Wieck Schumann: Soirées musicales, Op. 6: Mazurka / Joseph Kalichstein

Davidsbündlertänze for Piano, Op. 6 / Joseph Kalichstein

Faschingsschwank aus Wien, Op. 26 / Magda Tagliaferro 

Faschingsschwank aus Wien, Op. 26 / Alicia De Larrocha

Carnaval, Op. 9: Preambule / Arturo Benedetti Michelangeli

Comments [1]

Kenneth Bennett Lane, Lake Hiawatha, NJ from Richard Wagner Music Drama Institute, Boonton, NJ

Chopin was undoubtedly heads and shoulders above all of his contemporaries as a pianist but CLARA WIECK SCHUMANN was the ideal, though suffering woman who as talented a pianist as she was permitted her husband's career objectives to squash her own. Only after Robert Schumann's death did she reclaim her career and devoted much of her concertizng to furthering the promulgation of Robert's compositions. Schumann, like Donizetti had problems with self-deprecation, in Schumann's case it ended in a mental institution, in Donizetti's case it ended in paralysis. Chopin had mental breakdowns and a weak constitution combined with heavy drinking. Tschaikowsky also suffered from melancholia. It is amazing how many masterpieces Moussorgsky, who also shared their mental problems, composed, despite their mental or physiological problems.

May. 23 2013 09:24 AM

May. 23 2013 09:36 AM

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