Rufus Hallmark's book explores Robert Schumann's beloved yet controversial song cycle Frauenliebe und Leben and the poems of Adelbert von Chamisso on which it is based, setting them in the context of the challenges and social expectations faced by women in early nineteenth-century Germany. Hallmark provides the most extensive English-language study of Chamisso, a poet little known today outside Germany, including a biographical sketch and excerpts from his other poetry. He examines a range of poems about women, by Chamisso and others, and discusses the reception of the poetic and musical cycles, including illustrated editions, contemporary reviews, and other musical settings. Based on new studies of Schumann's manuscript sources and on comparative analyses of his songs and settings by Carl Loewe, Heinrich Marschner, Franz Lachner and others, Hallmark provides fresh musical and interpretive insights into each song.
The semiotic elements of a multiplanar discourse : John Harbison's setting of Michael Fried's "depths" / Claudia Stanger -- Whose life? : the gendered self in Schumann's Frauenliebe songs / Ruth A. Solie -- Operatic madness : a challenge to convention / Ellen Rosand -- Commentary : form, reference, and ideology in musical discourse / Hayden White.
Singing Schumann is likely to become the standard introduction to some of the best-loved songs in the singer's repertoire. Written by a distinguished performer and internationally known teacher, the book offers astute, practical advice for bringing Robert Schumann's Lieder to life in performance. Richard Miller guides the reader through the interpretation of all of Schumann's solo and duet songs, drawing thoroughly on Schumann's compositional style and its historical background. In addition to covering the "familiar forty"--the much-performed songs Schumann composed in and around 1840 while trying to win the hand of Clara Wieck--Miller takes an in-depth look at the lesser known early and later songs. In particular, he focuses on the rich and varied repertoire of Schumann's later years, challenging the conventional view that these works reflect a decline in the composer's creative powers. Singing Schumann begins with an overview of Schumann as a song composer and then proceeds to survey the entire repertoire, song by song. It features the well-known cycles, including the Eichendorff Liederkreis, Frauenliebe und -leben, and Dichterliebe, as well as the Liederalbum für die Jugend and settings of texts by Goethe, Burns, Rückert, and Kulmann. Using numerous musical examples, Miller uncovers Schumann's characteristic compositional devices and describes his novel and experimental approaches to the interpretation of texts, often achieved through exceptionally colorful keyboard accompaniments. Musically sensitive and eminently readable, Singing Schumann is an invaluable guide for teachers, coaches, pianists, and singers.
From the introductory. ....In many songs, Schumann uses the piano to provide beautiful and expressive preludes and postludes. In some songs the eloquence of the piano in the postlude is so great as to make this the most important part of the lyric. For an example of this let the reader examine the exquisite instrumental coda to Die alten, bösen Lieder (The Songs of Bitter Sorrow) , p. 131. This is, indeed, the coda of the entire cycle, and it is the most fragrant blossoming of this branch of Schumann's art. But Schumann also knew when to subordinate the piano so much as to make it a mere background. Note the wonderful effect of the soft chords in Ich hab' im 'Traum geweinet (In Dreams my Tears were falling) , p. 125. In short, as Dr.Spitta has admirably said in his fine article in Grove's Dictionary of Music, in "Schumann's songs the proper function of the pianoforte is to reveal some deep and secret meaning which it is beyond the power of words, even of sung words, to express." That Schumann found the true mission of the song may readily be learned by an examination of the texts which he chose for setting. He never failed to select words embodying the true lyric spirit, the voicing of nature and love. The field of human emotion and thought as viewed through the eyes of youth was the theatre of his fancy, and he found abundant material for his inspiration in the splendid outpour of lyric poetry from the young romanticists of Germany. EichendorfFs contemplations of nature touched his mind no less than Heine's marvellous analyses of feeling; and when he came to the setting of Chamisso's persuasive verses in the cycle entitled Frauenliebe und Leben, opus 42, he unquestionably opened up a wealth of emotion not altogether disclosed by the poet. When it was necessary to be humorous, Schumann had a fund of humor quite irresistible. Note the genuine humor of Ein Jüngling liebt ein Mädchen (A Youth oft Loves a Maiden) , p. 123, and the bewitching archness of Aufträge, p. 150. Such things are the conceptions of a true master laboring in a most congenial field, and all contentions that Schumann was merely a follower of Schubert must fail in the presence of such convincing demonstrations of power and originality. Schumann was always a romanticist, and he was unceasingly introspective. He looked into his own heart and wrote, and this is the great secret of the universal appeal of his songs....
Against a backcloth of early 19th century Europe in cultural and political turmoil, this vivid account of the love of the composer Robert Schumann for pianist Clara Wieck unfolds.
Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul S?sier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.
