Robert Schumann (1810-1856)

The Romantic music school came to fruition in the hands of Robert Schumann. Schumann himself reflected various characteristics of the Romantic School. He was good at fantasy and introspection, and was spiritually consistent with the literary activities of the time. He is an innovator, a critic, a campaigner for new things, and a master songwriter. His early music abandoned almost all old institutions, and later he regained traditional symphonies and quartets. He was a pioneer who firmly opposed the classical music school. Even though he was an outstanding theoretical expert and his musical knowledge was by no means inferior to any musician at that time, the previously existing forms were meaningless to him. He clearly told the world: the so-called form does not exist to serve academic figures, but to serve the turbulent creative heart; pure joy can shape one's own unique form. Although the system is small, its structure is tight and complete, and it can capture and fully develop the form of ideas, which is its own aesthetic evaluation. The atmosphere, tone, suggestion, and association of music - these are more important to Schumann than creating fugues, rondos or sonatas that are not satisfying at all. No matter how his music changes, it always retains the mercurial temperament, kaleidoscope-like structure and mood, pure reflection of personality, and strong subjective consciousness. Although Schumann, who was also a music critic, was able to understand the ideas of other composers and explain them to the public, few people could understand his works. The message he wanted to convey had already exceeded traditional boundaries and was too personal. He is also aware of this; but other than following his natural tendency, his creations cannot be written in any other way. In any case, he is still a great melodist who can easily write beautiful and popular music. The idea of ??pleasing the world has never appeared in the mind of this idealist.

If the unconventional parts of Schumann's music are ignored, his music is still difficult to understand. The problem lies in the composer's personality hidden in the music, because all the music he wrote is autobiographical. Schumann himself often didn't know much about his music, and some of his works were even written in a state of near trance. Schumann first arranged the music, and then gave it a title after reading it. This was his consistent procedure. Almost all of his works were named after they were written. The so-called name only allows the audience to have clues to the composer's emotions, and does not hope that the audience will use it as a guide to the story in the song.

Schumann, like Chopin, also started by composing piano music. The first twenty-three works he wrote were entirely for piano solo. This series of works includes three sonatas and a three-movement Fantasy in C major, which can barely be regarded as a sonata, and most of the rest are pieces. In Schumann's piano music we find no showy phrases, nor the beautiful octaves and perfect fingering displays that are popular at the time, because he scorned the tricks of showing off. Schumann's piano music is sometimes hearty and graceful, sometimes full of poetry, sometimes noble and graceful, sometimes cordial and joyful. Schumann's unique musical charm is difficult to describe in words. Although there are many strange arrangements-such as syncopation, modified seventh chords, and dense structures-it does not harm the overall situation.

Schumann switched from piano music to singing, and in 1840 he wrote a series of successful joint song collections, as well as several individual songs. No. 24 "Heine's Poems and Songs", No. 39 "Eschendorf's Poems and Songs", "Celestial Flowers Songs", "Women's Love and Life", "Poet's Love". People have elevated the 16 songs of "Poet's Love" and Schubert's "Winterreise" to the highest status of suites. Schumann happened to make up for Schubert's shortcomings. He expanded the concept of art song, elevated the piano to a more considerate musical partner, and added piano overtures and finales before and after the music.

Although critics pointed out the flaws in the structure and orchestration of Schumann's Four Symphonies when they were first completed, their momentum has endured in the music world for a long time. The world believes that Schumann was suffocated by the shackles of the sonata form. His transitions were extremely difficult and stagnant, and his development was clumsy and broad, not very clever. Without further investigation, Schumann's symphonies can be said to be innovative, and his coherence of themes is also original. This advantage is shown to its extreme in the Symphony No. 4 in D minor, which has only one movement. Scholars may want to find fault with the various deficiencies in the score, and ignorant writers may want to place Schumann's and Beethoven's symphonies on both sides of the balance, thereby belittling Schumann's lifetime achievements, but if the audience is willing to accept Schumann's symphony calmly, If you look at the original appearance of the music, you will still feel that they are the most original creations of the 19th century.

There are so many forgotten works of Schumann that it is unbelievable. He is not a composer who will satisfy everyone's tastes. Schumann, a master of the Romantic school, was also the most personal and least objective composer. He happened to be diametrically opposed to and incompatible with the aesthetic trend that dominated the Western world after 1918. Although Schumann is rarely associated with the word "pure," everything about him is based on this - including his life, love, education, integrity, thoughts, and his music.

Schumann's main works include:

Piano solo: 3 sonatas, "Fantasia" and more than 70 etudes, impromptu pieces, romances, etc.

41 piano duets, Andantes and Variations for 2 pianos, 8 Polonaises; 6 etudes and 4 sketches for piano with pedal.

For organ or pedal piano: 4 fugues based on Bach’s names.

Orchestral music: 4 symphonies, "Piano Concerto in A minor", "Introduction and Passionate Allegro in G major", Concert Allegro in D major for piano and orchestra, Violin Concerto, violin and orchestra "Fantasia", Cello Concerto, and "Concert Music" for 4 horns and orchestra.

Chamber music: 3 quartets, 3 trios, 4 trios "Fantasia", piano quartet, piano quintet "Fairy Tale" for piano, clarinet (or violin) and viola, 2 violins Sonatas, "Fairy Scenes" for viola and piano, five folk-style ditties for cello and piano, three romances for oboe and piano, "Fantasia" for clarinet and piano, and "Adagio and Allegro" for horn and piano.

Vocal music: 33 suites and 14 single songs (with piano accompaniment) and more than 40 suites of various duets, choruses, and ballads.

Theatrical music: Opera "Gnolfeva", music by Byron's "Manfred".

Fantasy Ballade in F major (op.21no.1) Violin Concerto in D minor 1 2 3 Piano Concerto in A minor 1 2 3 Romance in A major