Robert Schumann was a German composer, pianist, and influential music critic of the Romantic era, born on June 8, 1810, in Zwickau, Saxony, Germany. He passed away on July 29, 1856, in Endenich, near Bonn, Prussia, Germany. Schumann is renowned particularly for his piano music, songs (lieder), and orchestral music. Many of his best-known piano pieces were written for his wife, the pianist Clara Schumann.
Schumann’s early years were marked by his father’s influence, who was a bookseller and publisher. He began his musical education at the age of six, studying the piano. In 1827, he came under the musical influence of Austrian composer Franz Schubert and the literary influence of German poet Jean Paul Richter. In the same year, he composed some songs.
Despite initially studying law at the University of Leipzig, Schumann’s passion for music prevailed. He studied the piano seriously with Friedrich Wieck, Clara’s father, and eventually married Clara despite Wieck’s opposition2. Schumann’s early works were mainly piano pieces, including the large-scale “Carnaval” (1834–1835). He co-founded the “Neue Zeitschrift für Musik” (New Musical Journal) in 1834 and edited it for ten years, contributing significantly to music criticism.
His compositions include the “Piano Concerto in A Minor, Op. 54,” “Symphony No. 1 in B-flat Major,” and song cycles such as “Frauenliebe und -leben” and “Dichterliebe.” Schumann turned to orchestral music in 1841, chamber music and choral works in the following years, and his wife Clara premiered many of his works, including the Piano Concerto.
Schumann’s life was troubled by mental health issues, which led to his attempted suicide in 1854 and subsequent confinement in a sanatorium, where he died two years later. His legacy remains significant, as he was one of the most important Romantic composers and a highly regarded music critic, whose deeply personal music reflects the nature of Romanticism.
Robert Schumann, a church musician? His two sacred works, the Mass in C minor op. 147 and the Requiem in D flat major op. 148,…
Robert Schumann, a church musician? His two sacred works, the Mass in C minor op. 147 and the Requiem in D flat major op. 148, are a revelation. While Schumann had made a name for himself as a composer of songs and piano music in his younger years, the sudden turn to church music in his later works is surprising. Schumann was not a church-going Christian, but his position as music director in Düsseldorf required him to perform major works in the Catholic Church two or three times a year. During this period, which was increasingly marked by professional and health difficulties, Schumann composed his Mass in C minor and the Requiem in D flat major. The Requiem was never performed in Schumann’s lifetime. It was thanks to Clara Schumann that the Requiem was premiered (1862) and published (1864) a few years after Robert Schumann’s death.
The roles of soloists and choir are almost equally ranked in the nine-part Requiem. While the choir is primarily assigned exclamatory and narrative passages, the expression of the solos is mostly more intimate. Schumann demonstrates particular skill in writing for choir. Here in the Requiem op. 148, it ranges from homophonic blocks to elaborate fugues such as in the second movement a kind of triple fugue, in the Offertory or in the Sanctus. Schumann took considerable liberties with the liturgical text, which contains several shortenings and alterations. The Requiem is suitable for both the liturgy and the concert hall. The piano vocal score was made by the composer; the corresponding performance material is available on hire from Breitkopf & Härtel.
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