Tag: Robert Schumann

  • Schumanns’ Forbidden Love Story & Musical Legacy

    Schumanns’ Forbidden Love Story & Musical Legacy

    On this date in 1840, the Schumanns finally got hitched. The couple had wanted to marry for years, but Clara’s father – Robert’s former teacher, Friedrich Wieck – bitterly opposed the match, so violently in fact that the matter landed everyone in court.

    At the time of their first meeting, Robert was 20 years-old and a live-in student at the Wiecks’. Clara was 11. Clearly circumstances were problematic. The minute Clara turned 18, she accepted Robert’s proposal of marriage. The elder Wieck declined to grant his permission, and the young couple was compelled to bring suit against him. In the end, the judge ruled in the lovers’ favor, and the two were at last able to wed – one day before Clara’s 21st birthday, at which point she would no longer have needed her father’s consent!

    Ah well. In the interim, after he had been tossed out of the house, Robert’s passion for Clara was sublimated into ardent love letters and bursts of creative energy. He composed reams of piano music at white heat up until the year of their marriage. Thereafter, he wrote for piano and orchestra, always with Clara in mind.

    The two maintained a joint diary, and the entries are frequently touching. The Schumanns, like any married couple, had their issues, but they clearly loved one another very much. They became one of the great power couples of their time, with Robert a composing dynamo and Clara one of the great concert pianists of her day. More than 20 years after Robert’s death, she became a professor at the Hoch Conservatory in Frankfurt. Her 61 year concert career played a huge role in molding public taste in so far as what we have come to expect, down to the present day, from a piano recital.

    Happy anniversary to the happy couple.


    Schumann’s “Widmung” (“Dedication”), written as a wedding present for Clara:

    Schumann’s love letters, read by Sting!

  • E.T.A. Hoffmann: Madness & the Birth of Dark Fantasy

    E.T.A. Hoffmann: Madness & the Birth of Dark Fantasy

    Today is the birthday of E.T.A. Hoffman (1776-1822), and what a good day for it! Mid-winter is the perfect time to enjoy Hoffmann’s tales of madness and obsession.

    Not only was Hoffmann a seminal author of dark fantasy and horror, he was also a jurist, a draftsman, a caricaturist, and of course a composer and music critic.

    Well, perhaps I shouldn’t say “of course.” Hoffmann is most famous for his writings, and justifiably so. None of his musical compositions have attained anything like repertoire status. However he did manage to turn out a lovely Harp Quintet, and his opera, about the water spirit “Undine,” certainly shows promise, though given the source – after all, he was the author of “The Sandman” and “Mademoiselle de Scuderi” – it is a mite disappointing.

    Perhaps that is the viewpoint of someone looking back from a more jaded era, when the fantastic is routinely hammered home in all its CGI vulgarity. By contrast, Hoffmann’s tales are dream-like and insinuating in ways that still have the power to haunt across the centuries.

    Musically, from our perspective, Hoffmann is perhaps more important for having inspired other, more enduring composers, who wrote works like “Coppelia” (Delibes), “The Nutcracker” (Tchaikovsky) and of course “The Tales of Hoffmann” (Offenbach). Even so, these works seldom reflect the spirit of Hoffmann’s originals.

    Of the Romantics, surprisingly, only Robert Schumann seems to have really got it. You can really hear how Hoffmann got into his head in works like “Kreisleriana” and the “Nachtstücke.” But Schumann was perhaps one step away from “Sandman” material anyway.

    Hoffmann’s tales have had a more palpable influence on 19th century literature, firing the creative imagination of writers from Dostoyevsky to Dumas to (least surprisingly) Edgar Allan Poe.

    If all you know is “The Nutcracker” or the Offenbach opera, you don’t really know Hoffmann. Though Tchaikovsky had an intuitive grasp of the idiom, he was working from a watered down adaptation by Dumas. It took Maurice Sendak to bring the story back to its roots.

    Sadly, I just learned via Google that Pacific Northwest Ballet has just concluded its final run of this gutsy production. Apparently, it was too freaky for audiences expecting to be spoon-fed sugar plums, so next season the company will take up the insipid Balanchine version, which inexplicably thrives like fungus on a fruitcake. Is this really the same artist who choreographed “Agon?”

    http://seattletimes.com/html/thearts/2022886565_pnbseasonannouncementxml.html

    Fortunately, the PNB Sendak version was made into a feature film in 1986.

    This is a “Nutcracker” that will put hair on your chest.

    Anyway, “The Nutcracker, “The Tales of Hoffmann,” and especially “Coppelia” are almost like children’s book versions of the originals. If you have a taste for such things, you owe it to yourself to at least read “The Sandman.” Here it is, though it’s really not the kind of story you should read off of a computer:

    http://www.gutenberg.org/files/32046/32046-h/32046-h.htm#sandman

    Happy birthday, E.T.A. Hoffmann!

    PHOTO: One of Hoffmann’s most famous creations, Kapellmeister Kreisler, sporting a rad haircut and blowing bubbles

  • Robert Schumann’s June Birthday & Romantic Music

    Robert Schumann’s June Birthday & Romantic Music

    There is no shortage of interesting June birthdays, musically speaking.

    A case in point is that of arch-Romantic Robert Schumann, whose life story sports many colorful incidents – his ardent courtship of the under-aged Clara Wieck, which led to a spectacular court case against her father, who ultimately lost the suit (the matter was settled one day before the relationship would have been deemed legal); his mentorship of that young lion of German music, Johannes Brahms, who harbored a semi-disguised affection for Clara; and his bouts with mental instability, which led to his hurling himself into the Rhine and subsequent placement in an asylum.

    Is it any surprise that such an overheated personality would write such emotionally turbulent music? Whether tender (the “Kinderszenen,” his reminiscences of childhood) or troubled (the “Nachtstücke,” a premonition of his brother’s death), Schumann was the ne plus ultra of Romantics.

    Happy Birthday, Robert Schumann!

    Kinderszenen (Scenes from Childhood), Op. 15, performed by Clara Haskil:

    Nachtstücke, Op. 23, performed by Emil Gilels:

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