Robert schumann how many lieder

He cut it from that collection, however, and it was not published until after his death — hence the high opus number. It brings together several of the themes of the Eichendorff Liederkreis — woods and nature, reflection on love, and enigmatic weirdness. That last element is picked up by the piano, which has the second half of the song to itself. All Rights Reserved. To this end he began a study of music theory under Heinrich Dorn, a German composer six years his senior and, at that time, conductor of the Leipzig Opera.

About this time Schumann considered composing an opera on the subject of Hamlet. The fusion of literary ideas with musical ones — known as program music — may be said to have first taken shape in Papillons , Op.

A third, Meister Raro, is called upon for his opinion. In Zwickau, the music was performed at a concert given by Clara Wieck, who was then just 13 years old.

On this occasion Clara played bravura Variations by Henri Herz, a composer whom Schumann was already deriding as a philistine. The composer made his first apparent attempt at suicide.

Schumann published most of his critical writings in the journal, and often lambasted the popular taste for flashy technical displays from figures whom Schumann perceived as inferior composers. A genius! They made mutual declarations of love in December in Zwickau, where Clara appeared in concert.

His budding romance with Clara was soon brought to an end when her father learned of their trysts during the Christmas holidays; he summarily forbade them further meetings and ordered all correspondence between them burnt. Carnaval , Op. Eusebius and Florestan, the imaginary figures appearing so often in his critical writings, also appear, alongside brilliant imitations of Chopin and Paganini.

The work ends in joy and a degree of mock-triumph. In Carnaval , Schumann went further than in Papillons , by conceiving the story as well as the musical representation and also displaying a maturation of compositional resource. After he had written the latter of these two, he detected in the music the fanciful suggestion of a series of episodes from the myth of Hero and Leander. These variations were based on a theme by the adoptive father of Ernestine von Fricken.

Schumann credited the two sides of his character with the composition of the work the more passionate numbers are signed F. Florestan and the more dreamy signed E.

Kinderszenen , Op. It has been the favourite encore of several great pianists, including Vladimir Horowitz. Kreisleriana , Op. Johannes Kreisler was the fictional poet created by poet E. He never surpassed the searching beauty of the slow movements Nos. The Fantasie in C , Op. Schumann intended to use proceeds from sales of the work toward the construction of a monument to Beethoven who had died in The festive mood does not preclude moments of melancholic introspection in the Intermezzo.

Their marriage proved a remarkable business partnership, with Clara acting as an inspiration, critic, and confidant to her husband. Despite her delicate appearance, she was an extremely strong-willed and energetic woman, who kept up a demanding schedule of concert tours in between bearing multiple children. Two years after they married, Friedrich Wieck at last reconciled himself with the couple, eager to see his grandchildren. In the years —, Schumann had written almost exclusively for the piano, but in alone he wrote songs.

Prior to the legal case and subsequent marriage, the lovers exchanged love letters and rendezvoused in secret. Robert would often wait in a cafe for hours in a nearby city just to see Clara for a few minutes after one of her concerts. Bilder aus Osten Op. Bin ein armes Waisenkind Op. Bist du im Wald gewandelt Op.

Blondels Lied Op. Botschaft Op. Carnaval Op. Chiarina: Passionato Op. Chopin: Agitato Op. Coquette: Vivo Op. Da liegt der Feinde gestreckte Schar Op. Dem Helden Op. Der Abendschlummer Op. Der Abendstern Op. Der arme Peter Op. Der arme Peter wankt vorbei Op. Der Contrabandiste Op. Der Einsiedler Op. Der frohe Wandersmann Op. Der Handschuh Op. Der Hans und die Grete tanzen herum Op. Der Hidalgo Op. Der Husar, trara! Der Knabe mit dem Wunderhorn Op.

Der leidige Frieden Op. Der Nussbaum Op. Der Page Op. Der Reiter und der Bodensee WoO11 no. Der Rose Pilgerfahrt I Op. Der Sandmann Op. Der schwere Abend Op. Der Soldat Op. Der Spielmann Op. Der weisse Hirsch [sketches]. Der Zeisig Op. Des Abends Op. Des Knaben Berglied Op. Des Sennen Abschied Op. Deutscher Blumengarten. Dichterliebe Op. Dichters Genesung Op. Die beiden Grenadiere Op. Die Blume der Ergebung Op.

Die Fensterscheibe Op. Die Kartenlegerin Op. Die letze Scholl' hinunter rollt Op. Die letzten Blumen starben Op. Die Lotosblume Op. Die Meerfee Op. Die rote Hanne Op. Die Schwalben Op. Die Sennin Op. Die Soldatenbraut Op. Die Spinnerin Op. Die Stille Op. Die Tochter Jephthas Op. Die Waise Op. Die wandelnde Glocke Op. Die Weinende WoO no. Drei Duette Op. Drei Gedichte Op. Drei Gedichte von Emanuel Geibel Op. Drei Lieder, 3 female vv Op. Du bist wie eine Blume Op.

Du Ring an meinem Finger Op. Dunkler Lichtglanz, blinder Blick Op. Durchaus phantastisch und leidenschaftlich vorzutragen Op. Ein Gedanke WoO26 no. Einsame Blumen Op. Einsamkeit Op. Eintritt Op. Elfenreigen: Wir tanzen, wir tanzen Op. Ende vom Lied Op.

Er und Sie Op. Er, der Herrlichste von allen Op. Erinnerung WoO no. Erinnerung Op. Erste Begegnung Op. Es ist verraten Op. Es leuchtet meine Liebe Op. Es treibt mich hin Op. Es war der Rose erster Schmerz! Estrella: Con affetto Op.

Eusebius: Adagio Op. Fantasie in C Op. Faschingsschwank aus Wien Op. Finale: Allegro brillante Op. Florestan: Passionato Op. He studies composition fitfully with Heinrich Dorn — In May he embarks on a sexual relationship with a working-class girl named Christel we do not know her surname and contracts syphilis from her.

This article, his debut as a critic, appears in the Allgemeine musikalische Zeitung in December of that year. In October he is unable to continue with his intensive piano studies because of an injury to his right hand. By November he writes that he is at last resigned to not being a concert pianist, on account of his hand, although in the following year he seeks out electrical treatment and homeopathy for this ongoing complaint. An unfinished G minor symphony is performed in Zwickau at the end of the year.

Many years later he discovers that she has had a soft spot for him right from the beginning. He works on two piano sonatas, in F sharp minor Op 11 and G minor Op He suffers from depression and fear of madness, exacerbated by the death of his beloved sister-in-law Rosalie — , followed by the death of his twenty-seven-year-old brother Julius.

He begins to gather a group of friends around him—Stegmayer, Ortlepp, Schunke and others—who become known as the Davidsbund , a group of artists which takes its name from the biblical story of David who slays Goliath: this band of youthful creators is united in their hatred for the ways of the Philistines, a code word for those who espouse the blinkered and cosy Biedermeier values of the time. This is published twice-weekly and immediately wins a readership.

Although weighed down by work with the newspaper, and too busy to compose, he plays Schubert piano duets with friends and is generally happy. He is much taken up with Ernestine, in a passionate correspondence that has not survived. In September Ernestine visits the town of Asch. This coincidence inspires him to compose Carnaval Op 9.

In December the sudden death of his dear friend Ludwig Schunke — is a bitter blow. In January Clara and her father depart for a concert tour of North Germany. In April they return and it seems that Robert suddenly sees the sixteen-year-old Clara in a new and magical light.

He has always admired and liked the gifted child and adolescent, but the vibrant young woman suddenly attracts him deeply.

By June and July he is spending a great deal of time with her and his feelings for Ernestine begin to cool. Clara departs on another tour in July leaving the composer with a great deal to think about—he eventually breaks off his engagement with Ernestine in the early autumn.

Clara studies the F sharp minor Sonata from the manuscript and plays it for Mendelssohn when he visits Leipzig and meets Schumann for the first time on 30 August. The younger composer regards Mendelssohn with the deepest reverence.

Schumann meets Chopin for the first time, in September. On 13 December Schumann receives the last letter from his mother who dies on 4 February The biggest piano work of the year is the Concert sans orchestre Op A professorial man of the world can show understanding about such things, a prospective father-in-law is less likely to do so. In January Wieck sends Clara to Dresden for three months in order to separate the couple. He sends Clara a copy of the printed F sharp minor Sonata, dedicated to her.

Clara writes back, under duress from her father, sending back all his letters. Robert is in a state of shock and desperation.

He composes the Fantasie in C major Op 17 finished in December but otherwise this is not a year rich in composition: a number of projects—a piano sonata and chamber music—are begun but not finished.

His work as a critic continues apace, and he develops his professional friendships with a wide range of musical figures in Leipzig, including Ferdinand David, Mendelssohn of course, and Sterndale Bennett visiting from London.

Chopin will later dedicate his fourth Ballade to Schumann. There is inevitable tension between the would-be lovers: Clara is constantly away on tours and Robert is jealous about the amount of time that Clara is spending with the composer and critic Carl Banck, whom he regards as a rival.

The couple are blissfully happy and actually meet on 9 September for the first time in seventeen months. Ruptures in the correspondence due to the clandestine nature of their relationship as in October of this year are bound to occur and always reduce Schumann to a state of desperation.

Vienna plays a large part in the plans and hopes of this year because in March Wieck announces that he would perhaps be willing to countenance a marriage on the condition that Robert and Clara leave Leipzig and live elsewhere.

Robert celebrates his twenty-eighth birthday in June in a peaceful and happy mood. Later in the month he is delighted and moved to hear the mezzo-soprano Pauline Viardot — for the first time. He decides he can publish his musical newspaper in Austria, and plans to find accommodation in Vienna for a married couple. Robert and Clara meet secretly, believing that they are soon to be together permanently.

Wieck changes his mind in August and is once again virulently opposed to the marriage. As a critic he is able to attend many concerts—there is a famous review of a Liszt recital. Negotiations with Haslinger concerning the potential publication of the NZfM in Vienna quickly break down. Much that seemed hopeful earlier in the year now seems to have reverted to its former pessimistic position.

It will be the middle of August before the couple see each other again. Schumann experiences a spasm of jealousy concerning the musicologist Gustav Schilling who will publish a major musical encyclopaedia whom he believes is in love with Clara. In March Robert definitively decides that neither he nor his newspaper will fit into Viennese life; by 8 April he is back in Leipzig. There is little enduring that has come from this Viennese excursion apart from Faschingsschwank aus Wien Op 26 and the Drei Romanzen Op Robert initiates this long process on 16 July, something of a Rubicon.

In late August the couple are able to see each other again at last. Clara lives in Berlin at this time, and Schumann visits her there whenever he is able.

He makes a long deposition, the first of a series, accusing Schumann of everything from unreliability to drunkenness and the composer refutes these allegations with character references of his own. It is a sordid and protracted business. On 2 October Wieck once more fails to appear before the court. In November Robert suffers nervous exhaustion and a swelling of the left arm. Clara and Robert, as well as Wieck, make a court appearance on 18 December. The verdict of the court is awaited in the New Year.

Robert believes that if he were to have a doctoral degree it would help his case, and this is duly awarded him, honoris causa, by the University of Jena on 24 February. It may be too early to celebrate, but he clearly feels that victory is in the air. As a result, surely, from the beginning of February there is a veritable outbreak, perhaps the greatest of its kind in the history of song, of new and inspired compositions for voice and piano. February While Clara is in Hamburg giving concerts in February, and suffering from the greatest nervousness and disquiet, Schumann gives himself over to song composing, not only in assembling the numbers for Myrthen but writing so many other songs that they seem part of an unstoppable flood of creativity—some of them planned to be parts of bigger works or cycles, others offshoots and shavings from the bench, but of a very superior kind.

From 4 September Robert is with Clara in Weimar. The young married couple begin a Marriage Diary where they can write down their feelings and impressions. They are happily ensconced in an apartment in Leipzig 3, Inselstrasse which will be their home for the following four years.

Clara plays a Chopin Piano Concerto in the same concert. May—July Having already written the Phantasie in A minor for piano and orchestra that will later become the first movement of the Piano Concerto Schumann works on a second Symphony in D minor. He later sketches a C minor Symphony. Neither work is completed. The composer Schumann suffers pangs of loneliness and studies the string quartets of Haydn, Mozart and Beethoven.

This will become a pattern of the marriage—the composer soon realizes that he has far less of a public profile than his famous piano-playing wife. June Schumann works on his three string quartets Op Many of the songs composed in are published at this time Opp 36, 39, He agrees to teach at the Leipzig Konservatorium. He completes the work in May and it is given its first performance in December when he makes a successful debut as a conductor.