Schuman biography

At the insistence of his mother, he was going to become a lawyer, but the music is increasingly addictive to the young man. He is attracted by the idea of ​​becoming a concert pianist. And in the year he receives permission from his mother to completely devote herself to music and returns to Leipzig, where he wants to find a suitable mentor. However, the desire to become a professional pianist has to be left, because Schumann develops paralysis of the middle finger and paresis of the index finger.

For several years, he has been the editor of the magazine, and also writes and publishes his articles. In these articles, Shuman represents the ideal of true art, which he sees in the works of Schubert and Mendelsson, Chopin and Berlioz, in the music of the Vienna classics, in the game of Paganini and the young pianist Clara Vic. He also struggled with the aged in art and philistines - those who, with their limitation and backwardness, slowed down the development of music and represented the stronghold of conservatism and burgherism.

Schuman himself often signed his reviews with the names of the fictional Davidsbundler of Florestan and Evesubia. Florean is inclined to violent ups of fantasy and paradoxes, while the judgments of a dreamy evesebium are softer. And in the suite of the characteristic plays “Carnival”, Shuman creates musical portraits of Davidsbundler - Chopin, Paganini, Clara under the name of Kiarina, Evsebia, Florethan.

In the year of marriage, Shuman creates near songs. The family life of Robert and Clara flowed happily, during the marriage they had eight children. Schumann accompanies his wife on concert trips, and she often performs her husband's music. In the year, Schumann and his wife go on a touring trip to St. Petersburg and Moscow, where they are accepted with great honor.

In the same year, Shuman moves from Leipzig to Dresden. There, for the first time, the composer manifests signs of a mental disorder, and only in the year Shuman is recovered so much that he is able to compose again. However, he soon begins the disagreement with the leadership, and in the fall of the year the contract does not resume. In November, Shuman and his wife went on a trip to Holland, where he and Clara are accepted "with joy and honors." But in the same year, symptoms of disorder again appear.

At the beginning of the year after the aggravation of a mental disorder, Schumann tries to commit suicide by rushing into the Rhine, but they save him. After that, the Schumann is placed in a psychiatric hospital in Endenikh near Bonn. He almost does not compose in the hospital, and the sketches of new works are lost. Occasionally he was allowed to see his wife. Robert Shuman died on July 29, was buried in Bonn.

The teacher of Schumann Friedrich Vick 2. The first issue of the “New Musical Journal” 3. Pianist Clara Vic 4. Robert Shuman and his wife Clara Vic 5. Grave Robert and Clara in Bonna 6. Monument to Shuman in Zvikkaau we met Robert Schumann's life and now we are gradually starting a conversation about his music. But first, it is worthwhile to touch on the theme of the musical environment in which there was noise.

And this was an interesting and difficult time - then a new romantic art was created, which was looking for exits beyond the classicism degenerated by that time. Mathematical and polyphonic constructions were diluted with simplicity, harmony and harmony of early classicism. This style, developing throughout the second half of the 19th century, paid great attention to the form, proportionality, the correct combination of contrasts.

The works were built as buildings - akin to the ancient temple or buildings of the era of classicism, where everything is regular, in proportion and balanced. If we listen to Haydn, Mozart, Beethoven, then, in addition to the formal rules of music that are also there, we primarily feel the deep content of their music. However, there is a creator, and there is a time in which he lives, as well as the spirit of time and ideas that have a walk.

And a series of revolutions, which began in France at the end of the 18th century, and in the 19th century thundered throughout Europe, led to the conversion of society. An illustrative example on this topic is the film "Leopard" Lukino Visconti, which is well shown what happened and what will happen to the aristocracy at the end and early 20th century. So, a variety of salons and concerts began to flourish.

By the time, when Schuman began his musical career, a technical music was popular. This means that the music is done well, but it is designed to hit with virtuoso effects and new technique, which became possible thanks to the development of piano as an instrument. Let's look at two examples of such music. He takes as the basis of the composition a melody from Rossini’s opera “Moses in Egypt”.

The topic itself is very beautiful, in it an amazing gift of Rossini is heard, the depth is felt. But in the paraphrase of Talberg, she was torn from the context of the entire opera, so the depth is quite visible - this is not an ocean, but only a mountain stream. The topic is presented, diversified, painted - and on this all but this topic and its content in the work there is nothing.

This is the story of a pianist who is crazy. Calcbrenner creates a musical sketch-impression.This sketch is spectacular, bright, but not aimed at an accurate display of psychological processes that occur with the lyrical hero of the play, but to impress and impress. But this music cannot saturate, in large quantities you are tired of it. The art, which dominated in the bourgeois world of Europe, often did not have genuine content, did not give food for the mind and heart.

So the formal perfection of the rules of the composition and the style of classicism, which gave the richest opportunities to stamp the equally spectacular music, and turned into full force. But those who were looking for something genuine, a certain poetic string in art did not satisfy such an approach.

Therefore, European musical romanticism was born in torment, struggle and polemic, it was closely connected with philosophy and literature, and these are just the connections that Schuman himself began to build in childhood. The music of space and machines, electronic sound and silence as a statement, the world's first large -scale sound performances, noise music - we will discover amazing music, which, perhaps, have never heard, we will highlight the most important areas, composer techniques and aesthetic patterns of a breakthrough century.