Translated by Paul Rosenfeld
With twenty black-and-white illustrations
Schumann’s literary gifts and interests almost equaled his musical ones. From boyhood on he was drawn to literary expression, and his writings on music belong to the best among the romantic literature of the 19th century. The same fire, poetry, directness of expression, the same inventiveness we love in his compositions, also animated his prose.
This edition for the first time groups his articles and observations according to subject matter and individual composers. It is complete as far as Schumann’s writings on the great composers are concerned. All his reviews of the works by the masters, from Beethoven to Brahms, are included, some of them translated for the first time into English.
From the Hardcover edition.
The book is divided into two parts. In Part One, Reich follows Clara Schumann's life from her early years as a child prodigy through her marriage to Robert Schumann and into the forty years after his death, when she established and maintained an extraordinary European career while supporting and supervising a household and seven children. Part Two covers four major themes in Schumann's life: her relationship with Johannes Brahms and other friends and contemporaries; her creative work; her life on the concert stage; and her success as a teacher.
Throughout, excerpts from diaries and letters in Reich's own translations clear up misconceptions about her life and achievements and her partnership with Robert Schumann. Highlighting aspects of Clara Schumann's personality and character that have been neglected by earlier biographers, this candid and eminently readable account adds appreciably to our understanding of a fascinating artist and woman.
For this revised edition, Reich has added several photographs and updated the text to include recent discoveries. She has also prepared a Catalogue of Works that includes all of Clara Schumann's known published and unpublished compositions and works she edited, as well as descriptions of the autographs, the first editions, the modern editions, and recent literature on each piece. The Catalogue also notes Schumann's performances of her own music and provides pertinent quotations from letters, diaries, and contemporary reviews.
Experiencing Schumann: A Listener’s Companion combines a concise biography of Robert Schumann with an analysis of works from the most important genres in which he worked. The music is discussed in the frame of Schumann’s eventful and ultimately tragic life, and the important influence of his brilliant and adoring—but strong-willed—wife, Clara Wieck Schumann, is also examined. A selected listening discography lists outstanding recorded performances of the featured compositions.
Delving into Schumann’s most famous pieces in engaging and accessible style, Donald Sanders provides insightful analysis for dedicated lovers of Schumann as well as newcomers to his musical innovations.
Who are the ten most important classical composers? Who in the world was Palestrina? Why did Stravinsky's "Rite of Spring" cause a riot? Which five of each important composer's works should you buy? What is a concerto and how does it differ from a sonata?
Maybe you don't know the answers to these questions; author Phil Goulding certainly didn't. When Goulding first tried to learn about classical music, he found himself buried in an avalanche of technical terms and complicated jargon--so he decided to write the book he couldn't find.
The result is a complete classical music education in one volume. Comprehensive, discriminating, and delightfully irreverent, Classical Music provides such essential information as:
* Rankings of the top 50 composers (Bach is #1. Borodin is #50)
* A detailed and anecdotal look at each composer's life and work
* The five primary works of each composer and specific recommended CDs for each.
* Further great works of each composer--if you really like him
* Concise explanations of musical terminology, forms, and periods
* A guide to the parts and history of the symphony orchestra
"This book uses every conceivable gimmick to immerse readers in the richness of classical music: lists, rankings, sidebars devoted to lively anecdotes, and catchy leads."
--The Washington Post
"One terrific music appreciation book...The information is surprisingly detailed but concisely presented. Goulding's writing style is breezy yet mature....[He] has raised music appreciation from a racket to a service."
--The Arizona Daily Star
From the Trade Paperback edition.
Michael Steen's 'Great Composers' was originally published in 2003. A lifetime's work and almost 1000 pages long, it has since become 'the' reference point and key read on the biographical backgrounds to classical music's biggest names.
Authoritative and hugely detailed - but nonetheless a joy to read - this new edition will expand its readership further and capitalise on a newfound popular interest in classical music.
Steen's book helps you explore the story of Bach, the respectable burgher much of whose vast output was composed amidst petty turf disputes in Lutheran Leipzig; or the ugly, argumentative Beethoven in French-occupied Vienna, obsessed by his laundry; or Mozart, the over-exploited infant prodigy whose untimely death was shrouded in rumour.
Read about Verdi, who composed against the background of the Italian Risorgimento; or about the family life of the Wagners; and, Brahms, who rose from the slums of Hamburg to become a devotee of beer and coffee in fin-de-siecle Vienna, a cultural capital bent on destroying Mahler...and much, much more.
The present work, translated and edited by noted critic Henry Pleasants, contains 61 of the most important critical pieces Schumann wrote for Neue Zeitschrift between 1834 and 1844. The articles are arranged in chronological order, with ample annotation, demonstrating not only Schumann's development as a writer and critic but also the evolution of music in Europe during a decisive decade.
In addition to such major set pieces as "Florestan's Shrovetide Oration," the essays on Berlioz's Symphonie Fantastique and Schubert's Symphony in C Major, and the imaginative and literate "The Editor's Ball," this volume offers discerning observations on Mendelssohn, Chopin, Beethoven, Liszt, Cherubini, and other giants. Also included are critical considerations of an ensemble of minor masters: Sphor, Hiller, Moscheles, Hummel, and Gade, among others. The result is a rich and representative picture of musical life in the mid-19th century.
Schumann's criticism has long been famous for its perceptiveness and literary style. Those qualities are in ample evidence in this treasury of his finest critical writings, now available to every music lover in this inexpensive, high-quality edition.
Much of that music is reproduced in this collection — comprising over 100 of Schumann’s greatest lieder. Selections include:
Liederkreis (Heine), Op. 24
Liederkreis (Eichendorff), Op. 39
Myrthen, Op. 25
Zwölf Gedichte von Justinus Kerner, Op. 35
Sechs Gedichte von Reinick, Op. 36
Frauenliebe und Leben, Op. 42
Dichterliebe, Op. 48
Individual Songs (17)
In his work, Schumann embodied a tradition of German musical romanticism, emphasizing self-expression, lyricism, and extra-musical (e.g., literary) association. Thus we find here songs set to the poetry of Heine, Goethe, Burns, Byron, Moore, J. von Eichendorff, Adelbert von Chamisso, Emanuel Geibel, and others. Those who would know Schumann’s work most intimately will be especially interested in Myrthen, a 26-song cycle (liederkreis) dedicated “to his beloved bride.” Of these songs Schumann remarked, “… the Myrthen certainly allow a deeper insight into my inner musical workings.” Of the songs in general, Grove’s Dictionary offers this comment: “… the songs are not only piano pieces with another dimension, an additional tone-color; they are explicit, whereas the piano pieces are reserved. The lyrical element is set free and its emotional content made precise.”
Complementing the music, this volume contains alphabetical listings of song titles, song openings and poets, and a glossary of German musical terms. New translations of the song texts have been specially prepared for this edition. The music has been reproduced directly from the authoritative Breitkopf and Härtel edition of 1882-87, edited by Clara Schumann.
As a composer of art songs, Schumann ranks among the greatest masters; this inexpensive collection makes the songs widely available to students, singers, musicians — any admirer of romanticism made manifest in exquisite matchings of words and music.
In Part I, Leon Botstein and Michael P. Steinberg assess Schumann's efforts to place music at the center of German culture, in public and private sectors. Bernhard R. Appel offers a probing source study of one of Schumann's most personal works, the Album für die Jugend, Op. 68, while John Daverio considers the generic identity of Das Paradies und die Peri, and Jon W. Finson reexamines the first version of the Eichendorff Liederkreis. Gerd Nauhaus investigates Schumann's approach to the symphonic finale, and R. Larry Todd considers the intractable issue of quotations and allusions in Schumann's music. Part II presents letters and memoirs, including unpublished correspondence between Clara Schumann and Felix and Paul Mendelssohn-Bartholdy. In Part III, conflicting critical views of Schumann are juxtaposed. Some of these sources are translated into English for the first time.
Originally published in 1994.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Do not confuse this with a piano rendering; it is a full orchestral score. In addition to its obvious uses for study, this score is also an indispensable associate for a listener who wishes to appreciate the full orchestral richness of these works.
There is no end to learning.
Originally published in1850, Advice to Young Musicians: Musical Rules for Home and in Life offered composer Robert Schumann’s (1810–56) combination of practical advice and poetic words of wisdom for young people beginning their musical education. Presented in aphorisms and short paragraphs, the book’s insights remain as valuable today as when it was written. Recognizing the continued resonance of Schumann’s words, world-renowned cellist Steven Isserlis, himself a writer of children’s books and many articles for young musicians, set out to rescue the work from history. Here, in this beautiful gift edition, he revisits Schumann’s work and contributes his own contemporary counsel for musicians and music lovers.
For this edition, Isserlis retranslated Schumann’s text and arranged it into four thematic sections: “On being a musician,” “Playing,” “Practicing,” and “Composing.” Each page is decoratively designed, and accompanying Schumann’s original quotation are Isserlis’s thoughtful and often humorous glosses. The book concludes with Isserlis’s own reflections on his life as a musician and performer: “My Own Bits of Advice (For What They’re Worth).” The result is a unique and thought-provoking book that will be treasured by aspiring musicians of any age.
The book includes a foreword (to the First Edition) by the legendary accompanist, Gerald Moore,
'So felicitous is the writing that one is hardly conscious of the erudition and profound thought that have gone into the making of it . . . Eric Sams has produced a work that will be read and read again as long as Robert Schumann's songs are loved.'
* About Strange Lands and People, Op. 15, No. 1
* Curious Story, Op. 15, No. 3
* Important Event, Op. 15, No. 6
* Reverie, Op. 15, No. 7
* Here On My Bosom, Here On My Heart
* Thou Ring Upon My Finger
* He, The Best of All, The Noblest
* Help Me, Oh Sisters
* I Can Not, Dare Not Believe It
* Now For The First Time Thou Hast Given me Pain
* Since Mine Eyes Have Seen Him
* Sweet My Friend, Thou Viewest