SCHUMANN, Robert (1810-56)

Schumann, Robert Alexander, German composer, a principal figure of the early romantic movement in 19th-century music.

Schumann was born on June 8, 1810, in Zwickau, Saxony, and educated at the universities of Leipzig and Heidelberg. The son of a bookseller, he early became absorbed in literature, particularly that of romanticism. In 1830 he abandoned the study of law in order to devote himself to music. He studied piano with the German teacher Friedrich Wieck (1785-1873), but a permanent injury to one of his fingers forced him to abandon the career of pianist. He then turned to composition and the writing of musical essays. In 1834, he founded the music journal Neue Zeitschrift für Musik, which he edited until 1844. Schumann married the pianist Clara Josephine Wieck, the daughter of his former teacher, in 1840. In 1843 Schumann was appointed to the faculty of the newly founded Leipzig Conservatory, but finding himself emotionally unfit for teaching, he soon resigned. In 1850 he was named town music director at Düsseldorf; advancing mental illness, which had threatened him since adolescence, forced him to resign in 1854. That same year Schumann attempted suicide and was confined to an asylum near Bonn, where he died on July 29, 1856.


Piano Concerto in A minor, Op. 54

In September 1840, Schumann married his beloved Clara, the daughter of his piano teacher Wieck. Up to that time he had done little more than try his prentice hand at orchestral music ; the piano and song had provided his characteristic and most ready medium. But now, and that quickly, he struck out on new paths. Two symphonies, the B flat and D minor and the Overture, Scherzo and Finale appeared in 1841, together with a Fantasia in A minor for piano and orchestra. This sudden incursion into the realms of orchestral music, while expressing an upsurge of happy and vigorous emotion, led the composer into technical difficulties with which, at that time, he was unable, successfully, to cope. Only the B flat symphony escaped drastic later revision. The A minor Fantasia was put aside until 1845 when an Intermezzo and a Finale were added. From Clara Schumann's first performance in 1846, the popularity of the work, now known as the Piano Concerto, has never waned. Of it, Sir Donald Tovey uses the word " irresistible".

There is no full scale orchestral introductory tutti ; an opening flourish by the soloist is followed by a plaintive theme on the orchestra and this is transferred immediately to the piano. A quaver pattern in the succeeding transitional tune assumes an important role later in the movement. Then appears the broad flowing second theme in C major. On this material the whole of the movement is built. Of particular beauty is the variant of the C major tune in the key of A flat (Andante espressivo). The recapitulation leads through an eloquent cadenza to a quick stepping coda ; a march which comes quietly out of the far distance approaches, recedes and with a final piano flourish ends the movement with a dominant -tonic stamp.

The gentle, the tender, the romantic Schumann is nowhere better exemplified than in the charming Intermezzo with its happy discourse between soloist and orchestra and the warm, affectionate 'cello tune which succeeds it. After soloist and orchestra have again exchanged confidences, allusion is made to the beginning of the first movement and, without pause, comes the lilt and gaiety of the finale.

Nothing could be more spontaneously happy than this Allegro vivace movement. The principal theme, in which graciousness tempers the impetuous and flamboyant, leads directly into the well-known two against three rhythm of the second subject. Announced by the orchestra alone, the soloist continues with a running commentary on this pattern until the music turns towards the key of F major. Here, in the course of much development, a new and soaring melody makes its appearance. The recapitulation is rounded off by a coda in which appears yet another melody flowing and limpid ; it is a graceful exfoliation of the accompaniment to the syncopated second subject. Mounting octaves and sweeping arrpeggios bring the movementt to a vigorous conclusion. Note by J McKay Martin

Piano Concerto in A minor, Op. 54 Soloist: Andrew West
   
The concerto was finished in 1845 and presented for the first time in December of the same year in Dresden, under the direction of Ferdinand Hliller, and with Clara Schumann as soloist. The first movement already existed in 1841 under the title Rhapsody for piano and orchestra but no publisher would print it at that time. Schumann added the last two movements four years afterwards, and he
made some more minor changes for a performance in Vienna in 1847. This is no virtuoso bravura concerto but a romantic poetical work, and it has a special place among piano concertos.
   
The work gained little recognition at first. The piano part seemed insufficienily brilliant, and Liszt removed it from his repertoire - an act which he later regretted. When Clara Schumann played it in London in 1856, a critic remarked that she had made a praiseworthy effort to pass off her husband's curious rhapsody as music."

Robert H. Schaussler (ROBERT H. WHO?) wrote:
"To be so woefully misjudged by contemporaries as Schumann was is sometimes an indication of true greatness. We of today have come to see that its demonstration blending ofpiano and orchestra is chiefamong the A m in or's glories and virtues And we are not sorry to miss that wallowing slough of mere technique which wa s the vice of most of the older concertos."

i) Allegro affetuoso: Like Beethoven's last two concertos this breaks with classical tradition by making the piano begin at once, without having to wait until an orchestral introduction has presented the thematic material.

ii) Intermezzo, Andantino grazioso: This begins with a dialogue betw een piano and strings. The middle section contains a striking melody on the cello. After a repetition of the dialogue, soloist and orchestra pass abruptly over to the lively
third movement.

iii) Allegro vi vace : Here the piano spins a glittering web round the orchestra's melodies.

There is same suggestion that this concerto served as the prototype of Griegs famous piano concerto in A minor. There are certainly external points of resemblance. Bath works begin with a succession of chords on the piano, and the main theme is presented alternately by the orchestra and the soloist; there is also a certain kinship bath in the structure and mood. The fact that both are in the same key may be only accidental. In fact all Schumann's concertos are in the minor key despite the fact that he once observed that Four-fifths of the latest concertos are in the minor. ..it must be feared that the great triad will completely vanish from our tonal system."

Quotable quote: Schumann often suffered when Clara's reputation put him in the shade During one concert tour, while Clara was playing, he was asked by a listener: 'Are you musical too, Herr Schumann?"