Product Description
Originally published in 1888.This volume from the Cornell University Library's print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies.All titles scanned cover to cover and pages may include marks notations and other marginalia present in the original volume. ... Read more

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Robert Schumann was a unique personality in nineteenth century music. A celebrated music critic and champion of new composers, he was also a talented performer and composer who did much to modernize the literature and performance style for the piano. This book explores how the generation that came after Beethoven was central in reshaping and refining the conception of concerto style, and particularly the piano concerto, focusing on the key period of 1845-55. It relates Schumann's own compositional development to his musical environment, recreating the exciting milieu in which Schumann and his contemporaries lived and worked. Written by one of the leading new generation of scholars on nineteenth century music, and Schumann in particular, this book will be of great interest to college and conservatory teachers, and students as well as music connoisseurs. ... Read more

Customer Reviews (1)

Distinguished Insight On How Schumann Advocated Serious Change To The Piano Concerto Genre!
Claudia Macdonald's culmination of twenty years' work in bringing this magnificent book, "Robert Schumann and the Piano Concerto" to the world, will indeed become the definitive source of reference on the subject for generations to come.

It offers such scholarly insight on how the piano concerto begins from the 1820's, and Schumann's development as a composer of works for piano and orchestra. The book systematically follows the history and manifestation of the genre from around 1810-mid 1850's as seen through his eyes. The ideas about the concerto are superbly documented in his letters and diaries citing for example, an account of Schumann's personal development and interest in performing florid concertos by Hummel and Kalkbrener. As well, one finds that the reconciliation of the concerto was not unique to Schumann, but also appears in the two concertos of Chopin.

The second and largest study is devoted to Schumann's reviews of concertos from the score and as he heard them. When he realised that he would not be an accomplished pianist he devoted his time to supporting new music by a young generation of composers. There is documentation showing that Schumann found merit in concertos clinging to an older style, but also approving modern experiments in concerto form. His feelings for the older style of Beethoven concertos lead him to suggest a form that would bring together characteristics of both practices, involving above all connected movements and thematic transformations across movements.

These ideas are fully discussed and found to be best known in the Liszt concertos performed for large, diverse audiences. The final part of study reveals Schumann's essays about one-movement works for piano and orchestra which shows his impatience with the state of this new idiom. Schumann's own concerto in A minor makes clear his desire for a new direction. Composed for his wife Clara Schumann, the A minor Concerto became the staple of her concert repertoire as it still stands today.

The study goes on showing the contrasting nature between one-movement works and those of contrasting material displaying symphonic or more virtuosic output. At the same time, it conveys notions, still obvious today, that the concerto offers little more than entertainment. It is in its aesthetic, if not in its style and form, a direct ancestor of Brahm's First Concerto (1854-58). The book discusses Schumann's depth of his attachment to the concerto and music cultivated by an educated class of connoisseurs.

Today, when we are so familiar with the classical concertos of Mozart and Beethoven, and very little beyond these up to Schumann and Liszt, the book superbly describes and assess the virtuoso concertos Schumann knew in terms of their relationship to the Mozart-Beethoven legacy. In the detailed reviews by Schumann he specifically addresses the aspect of balance between orchestra and solo in the piano concerto. He confidently awaited a genius who would show a new, more brilliant way as to how the orchestra is able to develop the riches of his instrument and his art, at the same time the orchestra would have more to do than merely looking on and may interweave the scene more ingeniously with its varied character.

Schumann shows a new combination of orchestra and solo: the pianist should be able, "to develop the riches of his instrument and his art." Schumann is of course the genius who composed to fill this prescription.

Overall, Macdonald's formidable depth of knowledge and musical insight, offers immense educational and historical stimulation to all seriously involved in expanding their comprehension of concerted works and various aspects of their performance.

Let us pay attention to Schumann's own words: "As regards to the difficult question of how far instrumental music should go in the representation of thoughts and events, there are many who appear to be too apprehensive. It is certainly erroneous to suppose that composers avail themselves of pen and paper with the ignoble intention of expressing, describing, painting this or that. Amidst all the sounds and tones, certain outlines which can crystallise and assume definite form as the music itself takes shape..."

The requirement once made by the composer:..."there should really be something of Spring in every piece of music."

Author: Raymond Vacchino M.Mus. (Classical Music Critic)
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Product Description
Publisher: Berlin, J. Guttentag (D. Collin)Publication date: 1871Subjects: Schumann, Robert, 1810-1856Notes: This is an OCR reprint. There may be numerous typos or missing text. There are no illustrations or indexes.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. You can also preview the book there. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Publisher: London, G. BellPublication date: 1900Subjects: Schumann, Robert, 1810-1856Notes: This is an OCR reprint. There may be numerous typos or missing text. There are no illustrations or indexes.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. You can also preview the book there. ... Read more

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General Books publication date: 2009Original publication date: 1871Original Publisher: O. Ditson and companyDescription: "List of Robert Schumann's published works": p. 271-275.Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be typos or missing text.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free.Excerpt: APPENDIX.COMMUNICATIONS .By Dr. Richarz Of Endbnich, Near Bonn, Concerning Robert Schumann's Illness And Death.I Gladly consent, at your request, to tell what I know of Robert Schumann's illness and death. I shall begin with the results of the post-mortem examination as a fixed, objective basis; give a brief account of the chief symptoms of his last illness, and an explanation of its character and course. I shall speak of no abnormities but those of the brain; all others being unimportant, and irrelevant to your purpose. It may be interesting to know that the transverse folds marking the edge of the fourth cavity of the brain (the roots of the auditory nerves) were numerous, and finely fashioned. The following abnormities were revealed, in an ascending scale of importance, according to their genetic consequence: -- 1. Distended blood-vessels, especially at the base of the brain.2. Ossification of the base of the brain, and, abnormal development of the normal projections, as a new formation of irregular masses of bone, which partially pierced the external (hard) covering of the brain with their sharp points.3. Concretion and degeneration of the two inner (soft) coverings of the brain, and unnatural growth of the innermost (vascular) covering and the rear portion of the cerebrum.4. A considerable consumption (atrophy) of the whole bruin, Contributed to the biography at my express request. 17 257which weighed almost seven ounces (Prussian troy-weight) less than is usual in a ma... ... Read more

Product Description
General Books publication date: 2009Original publication date: 1871Original Publisher: O. Ditson and companyDescription: "List of Robert Schumann's published works": p. 271-275.Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be typos or missing text.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free.Excerpt: APPENDIX.COMMUNICATIONS .By Dr. Richarz Of Endbnich, Near Bonn, Concerning Robert Schumann's Illness And Death.I Gladly consent, at your request, to tell what I know of Robert Schumann's illness and death. I shall begin with the results of the post-mortem examination as a fixed, objective basis; give a brief account of the chief symptoms of his last illness, and an explanation of its character and course. I shall speak of no abnormities but those of the brain; all others being unimportant, and irrelevant to your purpose. It may be interesting to know that the transverse folds marking the edge of the fourth cavity of the brain (the roots of the auditory nerves) were numerous, and finely fashioned. The following abnormities were revealed, in an ascending scale of importance, according to their genetic consequence: -- 1. Distended blood-vessels, especially at the base of the brain.2. Ossification of the base of the brain, and, abnormal development of the normal projections, as a new formation of irregular masses of bone, which partially pierced the external (hard) covering of the brain with their sharp points.3. Concretion and degeneration of the two inner (soft) coverings of the brain, and unnatural growth of the innermost (vascular) covering and the rear portion of the cerebrum.4. A considerable consumption (atrophy) of the whole bruin, Contributed to the biography at my express request. 17 257which weighed almost seven ounces (Prussian troy-weight) less than is usual in a ma... ... Read more