Download PDF Kinderszehen, Op. 15, No. 13, Der Dichter Spricht (the poet speaks), violin part

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Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway. Set up a giveaway. Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book? Click here Would you like to report this content as inappropriate?

Click here Do you believe that this item violates a copyright? There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. English Choose a language for shopping. Quietly, gently, the many moods and feelings that Schumann touched upon over the course of this remarkable minute work are lovingly recalled, and the composition concludes, contentedly, in the same key of G major in which it began.

It is a depiction of childhood innocence, vulnerability and gentleness. Many pianists have interpreted this piece in a sentimental, almost saccharine way, while others Horowitz notably have insisted on a more objective approach.

The League of David: Progressive Romanticism in the Works of Robert Schumann

The main theme is sweetly innocent and sentimental, clearly representing the adult Schumann's fond view of aspects of his own childhood. The melody is unforgettable, the harmonies simple, but distinctive, and the overall mood dreamy and soothing. The whole piece lasts under three minutes, but is the longest in the Kinderszenen set.

The Piano Sonata No. Adagio sostenuto Movement 2: Ludwig van Beethoven Performer: This video contains piano music by Claude Debussy published in This video is shared freely with online viewers. Any claim of copyright violation by Music Agencies on the content of this video is unlawful and reinstated copyright violation claims by Music Agencies are forwarded to legal representation. Daniil Trifonov performs Chopin - 12 Etudes op. Schumann - Kinderszenen Nr. Seong-jin Cho He was 17 years old, 3rd Prize Conductor: Stealth banning and comment ghosting is despicable. Robert Schumann Kinderszenen op.

These music are great for relaxing, meditation, yoga, massage, learning, studying, reading, thinking, sleeping, working, dreaming, traveling, etc. Original, calming and peaceful tunes created and uploaded to YouTube. Opus 2 - Piano Version Publisher: If you want to license these tracks for use in your own projects, then please visit: Special for my German fans! List of info for upcoming concerts in Deutschland in the next couple of weeks below.

For Beethoven and more: Robert Schumann Kinderszenen, op. Eric Zuber performs Chopin - Etudes op. Conducted by Avner Biron. Nocturne in E-flat major, Op.

Robert Schumann - Kinderszenen, Op. 15 Dreaming [ Daniel Barenboim ]

The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo without tempo. Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills.

The nocturne also includes a subordinate melody, which is played with rubato. YellowBrickCinema - Relaxing Music. Our instrumental music can be used for relaxation, study, meditation and stress relief. This relaxing music can be used as study, background music, meditation music, relaxation music or as music for stress relief. Let the peaceful, calming and soothing sounds help you relax! Though not a biography in the usual sense, these aspects highlight influences and events that simply cannot be ignored when looking at the composer's music.

Robert Schumann's lifelong interest and proven ability in the literary world of German Romanticism is easily traced to his familial influence. He spent his childhood in a cultured environment, and greatly admired his father, who established a very successful publishing business, specializing in both reference books of Saxony and in pocket editions of modern classics, many of which he translated. Schumann showed early interest in both music and literature and specifically poetry , and he was given piano lessons as a young child.

Schumann - Kinderszenen, op. 15 - Eric Zuber - Most Popular Videos

Yet when the time came to enroll at the University, it was his mother's wish his father died suddenly when Robert was 16 that he study law. By all accounts, as a law student, Schumann was a prime candidate for the intervention of a modern-day college retention committee, and after one year each at the universities in Leipzig and Heidelberg, he informed his family that he wished to study music.

The long period of time dominated by a triangle of personalities began in the year Schumann returned to Leipzig in that year, hoping to pursue a career as both a pianist and composer, and became a pupil of Friedrich Wieck. Clara Wieck, the daughter, was already a seasoned performer, having given her first important public concert at age 9 at the Gewandhaus, the most prestigious concert venue in Leipzig. Friedrich was ambitious, difficult, driven, and obsessed with the training of Clara as a virtuoso pianist.

By the time of Clara's first extended tour in , concluding with a long stay in Paris, there is clear evidence of a mutual attraction between Robert and Clara. Early in , Wieck forbade any relationship to continue, formally beginning a process not ending until August of , when at the end of a long lawsuit, the court granted the couple permission to marry. Based on letters, diaries, and many contemporary sources, there is no question that the marriage of Robert and Clara was based on love, but the marriage was certainly not free of tension. Friedrich Wieck had in fact done what he set out to do: Clara was a virtuoso pianist.

His bitter opposition to the marriage was certainly both personal and financial. Through Clara's triumphs on the stages of Europe he also gained a measure of fame, not to mention the large sums Clara was earning. At the height of her career at the time of her marriage, she was at 21 already a strong, determined woman. Robert's hope was more likely for a wife who would provide him with domestic peace - one whom he might persuade to forget the concert stage. Clara never did completely abandon her career, sometimes touring alone leaving Robert lonely and depressed or with him often resenting the back seat he was forced to take.

During and after one of Clara's tours, this time in to Russia, Robert became both physically weak and severely depressed. Robert had already suffered a nervous breakdown in , but this time the situation was far more serious, and Clara was forced to take over the care of the household, the children, and Robert. Drastic measures needed to be taken, but the family's move to Dresden proved rather unsuitable in the long term.

Despite continuing illnesses and financial worries over the next ten years, Schumann managed to produce an amazing list of compositions, though not a list free of criticism.


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Many authors have written about Schumann's final decline, suicide attempt, and institutionalization during his last two and a half years of life. No single diagnosis seems to fit all of the symptoms - severe depression, bipolar disorder, schizophrenia, latent effects of syphilis? Should Schumann have remained at the asylum in Endenich, or was he well enough at one point to leave? Each new biography offers new insights, but questions will likely remain. In the summer of , a small group of writers and musicians began to envision a journal devoted primarily to new music, one more concerned with high artistic standards than the typical publications of the day.

Eric Frederick Jensen describes the state of affairs as follows:. Nearly all of the leading music journals of the day were produced by music publishers. Works that they published were given priority and invariably received favorable reviews. The musical taste exhibited in the journals generally ranged from the innocuous to the deplorable.

Vapid, salon music was assured of praise, there being a consistent market for it. The reviewers displayed a markedly conservative taste, and found little to recommend in the compositions of Chopin, Schumann, and others. From the beginning of the Neue Zeitschrift, Schumann was one of the central figures.

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The first issue appeared on April 3, , and by the end of that year, following a series of problems with publishers and some of the original members of the group, Schumann was completely in charge. Schumann was ideally suited for the task of running the journal. He was skilled as a writer, idealistic in his zeal to hold up only the highest of musical standards before his readers, and seemed to possess an uncanny sense of judgment about both new works and performers.

Ronald Taylor, in his biography of Schumann, provides the amazing list of features mentioned in the editorial introduction to the first issue. Not only could one expect reviews of concerts and new music, but articles on all aspects of music, poems and other literary pieces, news from the musical centers of Europe, remarks from composers themselves about their works, and even the possibility of prizes for the best scores. During his ten years as editor of the Neue Zeitschrift , Schumann did appear to maintain these high standards, all the more surprising when one realizes that he began the job at the age of He was especially known for promoting talented young composers, and two of his published pieces most frequently quoted because of the new composers they champion, are the first and the last.

The first actually appeared in in the Allgemeine musikalische Zeitung and gave a review of Chopin's op. The late one, written in , hails the appearance of the new composer Johannes Brahms.

Obviously, Schumann did not err in his predictions of fame for these two composers! The journal was not reticent, on the other hand, to publish harshly critical reviews. This is the first substantial work by the young hero of the piano whom the papers speak so much of. Unfortunately, we are obliged to confess that it has been a long time since we have encountered a work so insipid. What poverty of imagination and melody, what expenditure in attempting to impose lack of talent upon us, what affectation over hackneyed platitudes!

Did the young virtuoso have no friend near to tell him the truth, no one who, overlooking his facility at the keyboard, could draw his attention to the barren emptiness of the music? This might be expressed more mildly; but impotence steps forth so pretentiously, it is impossible to stand by quietly. Schumann's work and influence with the journal would be perhaps interesting enough by itself. The addition of the Davidsbund makes everything - his writing and his music of this period - fascinating. Davidsbund - the League of David, and hence the connection to the title of my paper - very likely had some origin in the circle of musician and writer friends of Schumann who gathered regularly in coffeehouses and homes to discuss the state of music and the arts in general in Germany.

The League of the Neue Zeitung , however, existed only in Schumann's mind.

Annotation

The purpose of the Davidsbund , whose name refers to King David of the Bible, was to combat the Philistines of that day - in other words, those with mediocre or narrow-minded taste. Two imaginary members of the League play the most prominent role - Florestan and Eusebius. The characters were first mentioned in Schumann's diary in and made their public appearance in that same year in Schumann's first published review of the Chopin Variations mentioned earlier.

Not long ago Eusebius stole quietly in through the door.