The Cambridge companion to Schumann PDF
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TheCambridgeCompaniontoSchumann ThisCompanionisanaccessible,up-to-dateintroductionto Schumann:histime,histemperament,hisstyleandhisoeuvre.An internationalteamofscholarsexplorestheculturalcontext,musical andpoeticfabric,sourcesofinspiration,andinterpretativereachof keyworksfromtheSchumannrepertoire,rangingfromhisfamous Liederandpianopiecestochamber,orchestralanddramaticworks. AdditionalchaptersaddressSchumann’spresenceinnineteenth-and twentieth-centurycomposition,andthefascinatingreceptionhistory ofhislateworks.Tables,illustrations,adetailedchronologyand adviceonfurtherreadingmakeitanideallyinformativehandbook forboththeSchumannconnoisseurandthemusic-lover.An excellenttextbookfortheuniversitystudentofcoursesonkey composersofnineteenth-centuryWesternClassicalmusic,itisan invaluableguideforallwhoareinterestedinthethought,aesthetics andaffectivepowerofoneofthemostintriguingfiguresofa culturallyrichandformativeperiod. The Cambridge Companion to SCHUMANN ............ editedby BeatePerrey UniversityofLiverpool cambridge university press Cambridge,NewYork,Melbourne,Madrid,CapeTown,Singapore,Sa˜oPaulo CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521789509 (cid:2)C CambridgeUniversityPress2007 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithout thewrittenpermissionofCambridgeUniversityPress. Firstpublished2007 PrintedintheUnitedKingdomattheUniversityPress,Cambridge AcataloguerecordforthispublicationisavailablefromtheBritishLibrary ISBN 978-0-521-78341-5hardback ISBN 978-0-521-78950-9paperback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyofURLsfor externalorthird-partyinternetwebsitesreferredtointhispublication,anddoesnotguaranteethat anycontentonsuchwebsitesis,orwillremain,accurateorappropriate. Contents Listofillustrations[page vi] Notesonthecontributors [vii] Preface [ix] Acknowledgements [x] Chronology [xi] (cid:2) Part I Contexts 1 Schumann’slives,andafterlives:anintroduction BeatePerrey [3] 2 Lifeandliterature,poetryandphilosophy:RobertSchumann’saesthetics ofmusic UlrichTadday [38] 3 Schumann’sheroes:Schubert,Beethoven,Bach NicholasMarston [48] (cid:2) Part II Works 4 PianoworksI:aworldofimages JohnDaverio [65] 5 PianoworksII:afterimages LauraTunbridge [86] 6 Whysing?Liederandsongcycles JonathanDunsby [102] 7 Thechambermusic LindaCorrellRoesner [123] 8 Novelsymphoniesanddramaticovertures ScottBurnham [148] 9 Theconcertos JosephKerman [173] 10 Dramaticstageandchoralworks ElizabethPaley [195] (cid:2) Part III Reception 11 Schumanninhistimeandsince ReinhardKapp [223] 12 ThecompositionalreceptionofSchumann’smusicsince1950 Jo¨rnPeter Hiekel [252] 13 Songsofdawnanddusk:comingtotermswiththelatemusic John Daverio [268] Selectbibliography [292] Index [295] [v] Illustrations 1.1 Schumann’stravelnotebook.Reproducedwithkindpermissionofthe Robert-Schumann-HausZwickau,archive-nr.12336-B3. [9] 1.2 Logier’s‘Chiroplast’(lithographafterasketchbyEmileBeaufrom L’anatomiedelamain(Paris,1846)). [12] 1.3 RobertSchumann(lithographbyJosephKriehuber,Vienna,1839). ReproducedwithkindpermissionoftheRobert-Schumann-Haus Zwickau,archive-nr.96.65-B2. [15] 1.4 ClaraWieck,1838(lithographbyAndresStaubVienna,1838). ReproducedwithkindpermissionoftheRobert-Schumann-Haus Zwickau,archive-nr.10054-B2. [17] 1.5 RobertandClaraSchumann’schildren,1854.Reproducedwith kindpermissionoftheRobert-Schumann-HausZwickau, archive-nr.2713-B2. [20] 1.6 RobertSchumann,1850(daguerreotypebyAntonVo¨llner).Reproduced withkindpermissionoftheRobert-Schumann-HausZwickau,archive-nr. 12526-B2. [29] 1.7 JohannesBrahms(photograph,c.1855).Reproducedwithkindpermission oftheRobert-Schumann-HausZwickau,withoutarchive-nr. [32] [vi] Notesonthecontributors ScottBurnhamProfessorofMusicandChairoftheMusicDepartmentatPrinceton University,istheauthorofBeethovenHero(Princeton,1995);translatorofA.B. Marx,MusicalFormintheAgeofBeethoven(Cambridge,1997);andco-editorof BeethovenandHisWorld(Princeton,2000).Otherwritingsinclude‘Schubertand thesoundofmemory’(MusicalQuarterly,2001),‘OnthebeautifulinMozart’ (MusicandtheAestheticsofModernity,ed.K.BergerandA.Newcomb(Harvard, 2005))and‘Haydnandhumour’(TheCambridgeCompaniontoHaydn,ed.C. Clark(Cambridge,2005)). JohnDaveriowasProfessorofMusic,ChairmanoftheMusicologyDepartmentand Director ad interim of the School of Music at Boston University. A renowned specialistinGermanRomanticmusicandSchumanninparticular,heistheauthor of Crossing Paths: Schubert, Schumann, and Brahms (New York, 2002), Robert Schumann:Heraldofa‘NewPoeticAge’(NewYork,1997),Nineteenth-Century MusicandtheGermanRomanticIdeology(NewYork,1993)andmanyarticles, includingthecomprehensivearticleonthelifeandworksofRobertSchumann inthesecondeditionoftheNewGroveDictionaryofMusicandMusicians.John Daveriodiedin2003. JonathanDunsbyisSleeProfessorofMusicTheoryatSUNYBuffalo,aprize-winning pianistandanexperiencedprofessionalaccompanist.Hewasfoundingeditorof theinternationaljournalMusicAnalysisandhaspublishednumerousarticleson themusicofrecentdecades.HeisauthorofPerformingMusic:SharedConcerns (Oxford, 1995). In 2004, two books appeared: his translation from the French forOxfordUniversityPressofJean-JacquesNattiez’sTheBattleofChronosand Orpheus:EssaysinAppliedMusicalSemiology(Oxford,2004),andhisownstudy MakingWordsSing:Nineteenth-andTwentieth-CenturySong(Cambridge,2004). Jo¨rnPeterHiekel’swritingshavefocussedonthemusicofthetwentiethandtwenty- firstcenturies.BeforejoiningtheHochschulefu¨rMusikCarlMariavonWeber inDresden,hewaseditorforthemusicpublisherBreitkopf&Ha¨rtel, and has beendirectorofthecomposers’seminarsattheDarmsta¨dterFerienkursesince 2002aswellasco-directoroftheInstitutfu¨rNeueMusikundMusikerziehungin Darmstadt.HeisauthorofBerndAloisZimmermanns‘Requiemfu¨reinenjungen Dichter’(Stuttgart,1995),andeditorofHansZender,DieSinnedenken.Schriften zurMusik1965–2003(Wiesbaden,2004)andofforthcomingbooksonHelmut Lachenmann,WilfriedKra¨tzschmar,andSchumann’s‘Welten’(Dresden,2006). ReinhardKappis Professor of Music at the Vienna Hochschule fu¨r Musik und DarstellendeKu¨nste.HeformerlytaughtattheFreieUniversita¨tBerlinandthe GesamthochschuleKassel,andhasworkedfortheRichardWagnerGesamtaus- gabe.HeisauthorofStudienzumSp¨atwerkRobertSchumanns(Tutzing,1984) andco-editorofDarmstadt-Gespra¨che:DieInternationalenFerienkursefu¨rNeue [vii] MusikinWien(1998),aswellasDieLehrevonderMusikalischenAuffu¨hrungin viii Notesonthecontributors derWienerSchule(2002).HismaininterestsareSchumann,Wagner,theSecond VienneseSchoolandthehistoryandtheoryofperformance. JosephKermanisaprofessoremeritusattheUniversityofCaliforniaatBerkeley.He haswrittenontheconcertosofMozartandBeethovenandonthegenreasawhole, inConcertoConversations(1998).HeisnotanexpertonSchumann,butgained broadknowledgeofhisandothermusicofhistimeaseditoroftheinfluential journalNineteenthCenturyMusicfrom1977to1986. NicholasMarstonisUniversityReaderinMusicTheoryandAnalysisintheUniver- sityofCambridge,andconcurrentlyFellowandDirectorofStudiesinMusicat King’sCollege.HehaspublishedwidelyonthemusicofBeethovenandSchu- mann,includingtheCambridgeMusicHandbookonSchumann’sFantasie,Op. 17(Cambridge,1992).HechairstheEditorialBoardofMusicAnalysis,andtakes upthepositionofEditor-in-ChiefofBeethovenForumin2006.Hisnextbookwill beonHeinrichSchenkerandBeethoven’sHammerklavierSonata. ElizabethPaleyearnedadoctorateinmusictheoryfromtheUniversityofWisconsin- Madison and is currently an organist, pianist and freelance writer living in Durham,NorthCarolina.ShehasservedonthefacultyattheUniversityofKansas andDukeUniversity,whereherresearchfocussedonmusicnarratology,feminist theory,andintersectionsofmusicandthesupernaturalinmelodrama.Herpubli- cationshaveappearedinNineteenthCenturyMusic,SouthAtlanticQuarterlyand (underapseudonym)TheChronicleforHigherEducation. BeatePerreyisSeniorLecturerinCriticalMusicologyandAnalysisattheUniversity ofLiverpoolandco-directoroftheresearchprojectNewLanguagesforCriticism: Cross-Currents and Resistances at the Centre for Research in the Arts, Social SciencesandHumanities(CRASSH)attheUniversityofCambridge.Shestud- iedatMunich,HarvardandCambridgewheresheheldresearchfellowshipsat TrinityandChrist’sColleges,andwasVisitingProfessorinmusicologyattheEcole NormaleSupe´rieureinParisduring2003–4.SheisauthorofSchumann’s‘Dichter- liebe’andEarlyRomanticPoetics:FragmentationofDesire(Cambridge,2002). LindaCorrellRoesner’swritingshavefocussedonthesourcesforthemusicofSchu- mann and Brahms. She is the editor of Schumann’s Symphony No. 3 in E flat major,Op.97(RobertSchumann:NeueAusgabesa¨mtlicherWerke(Mainz,1995)) andco-editorofBrahms’sViolinConcertoinDMajor,Op.77(JohannesBrahms: NeueAusgabesa¨mtlicherWerke(Munich,2004)),andhasalsopreparedminiature- scoreeditionsofthefourSchumannsymphonies(London,1986–97).In1998she wasawardedtheRobertSchumannPreisderStadtZwickau. UlrichTadday,ProfessorofMusicHistoryandChairoftheMusicDepartmentatthe UniversityofBremeninGermany,istheauthorofDasScho¨neUnendliche,A¨sthetik, Kritik,GeschichtederromantischenMusikanschauung(Stuttgart–Weimar,1999). HeistheeditorofMusik-Konzepte(NeueFolge)andhaswrittenextensivelyon thehistoryandaestheticsofmusicintheeighteenthtotwentiethcenturies. LauraTunbridgeisLecturerinMusicAnalysisandCriticalTheoryattheUniversity ofManchester,havingpreviouslytaughtattheUniversityofReading.Shestudied at Oxford, Nottingham and Princeton. Her publications include ‘Schumann’s Manfredinthementaltheatre’(CambridgeOperaJournal,2003).Sheiscompleting abookaboutSchumann’slatestyle. Preface TheCambridgeCompaniontoSchumannisanaccessible,up-to-dateintroductionto Schumann’smusic,lifeandtimes.Itprovidesinformationforthegenerallistener– themusic-loverwho,whilehavinganauralfamiliaritywiththecanonicalworks,may wanttoexplorethehistoricalbackgroundandculturalcontextoftheworks–aswellas thespecialist.Itcanalsobeusedasanintroductorytextbookforuniversitystudents, providingthemwithsoundinformationabouttheSchumannrepertoireaswellas historicalandaestheticissuesnecessaryforunderstandingSchumann’soeuvre. Ateamoftopinternationalscholarsexploresthecontemporaryculturalcontext, themusicalandpoeticfabric,andthemultiplesourcesofinspirationandinterpretative reachofmasterpiecesfromtheSchumannrepertoire.Contributorsincludebothfirst- rankSchumannspecialistssuchasJohnDaverio,ReinhardKapp,NicolasMarston, LauraTunbridge,LindaRoesnerandUlrichTadday,aswellasscholarswho,while not Schumann specialists, are high-calibre scholars in their own fields, including ScottBurnham,JonathanDunsby,Jo¨rnPeterHiekelandJosephKerman.These‘non- specialists’ have been recruited in the belief that they will be able to contribute to thosechaptersthataddresstheessential,broadthemes,withoutgettingboggeddown inthedetailedproblemsthatcansometimesbesetSchumannscholarship.Ascanbe seeninthisvolume,theyhavenewandperceptivethingstosaypreciselybecausethe perspectivefromwhichtoviewSchumann’sworkisdifferentfromthesetofvalues withinwhichSchumannstudiesmaysometimeshavefoundthemselvesenclosed. Part I of the Companion explores Schumann’s personality, his time and tem- perament,aswellastheliterary,philosophicalandcompositionalinfluencesonthe composer.PartIIexploresthevariousdifferentgenresofSchumann’scompositional output,rangingfromhisfamousLiederandpianoworkstochamber,orchestraland dramaticrepertoire.Inaddition,PartIIIofferschaptersdiscussingSchumann’sinflu- enceonworksofsomeoftoday’sleadingcomposers,andtheproblemofSchumann’s lateworks.Tablesandillustrations,andguidanceonfurtherreadingintheEnglish language,makethisvolumeanideallyinformativehandbookforboththeSchumann connoisseurandthemusic-lover.Itisaninvaluableguideforallwhoareinterestedin thethought,aestheticsandaffectivepowerofthemostintriguingfigureofaculturally richandformativeperiod. [ix]
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