Just a quick update on Nigel because you’re all hearing this all the time. He’s still walking with a walker. He has asked me not to “encourage” him anymore so I’m going to abide by his wishes. I keep trying to get him to look at this like the engineer he is. I know this is so much harder on him than it ever has been on me. My daughter says she sees a huge improvement in him so maybe there is. I see him everyday. I’m still clinging to that year of recovery from the surgeon who we see next week. Anyway, welcome to the last Monday in July (can you believe it) and another edition of Songful Style! Suzy and Shelbee decided to riff (see what I did there) on Style Imitating Art only with music! Shelbee of Shelbee on the Edge, Suzy of Suzy Turner, and I make up the bloggers in this group. You can find all of us on our blogs and Instagram. Our ensembles (pun intended) may be inspired by the lyrics of a song, the artwork of the album cover, maybe the MTV video, or even a memory the song evokes. Shelbee chose this month’s “song”. Last time, I selected “Rock Me Amadeus” by Falco (sorry for the earworm). Oh, and there’s a link party, too!
The artist…
Robert Schumann was born in in the Saxon town of Zwickau on June 8,1810. His family were prosperous book publishers. From childhood, Schumann was immersed in literature, but he received very little musical education. He attended a private school, but after four years, he entered the Zwickau Gymnasium in 1820. He remained there for eight years. He was largely self-taught, improvising at the piano which revealed a gift for capturing characterization in music. In 1827, his influences were the Austrian composer, Franz Schubert, as well as the German poet, Jean Paul Richter. In that same year, Schumann composed his first songs. When he left school in 1828, his family persuaded him to enter the University of Leipzig as a law student. In addition, Schumann began studying song composition, improvisation at the piano (that is tough), and attempted to write novels, all while studying law occasionally. He studied piano under the celebrated teacher, Friedrich Wieck, and came to know Wieck’s nine-year-old daughter, Clara. She was a brilliant pianist just beginning a successful concert career.
A little more…
This quote seems to sum up Schumann quite well:
“A quirky, problematic genius, he wrote some of the greatest music of the Romantic era, and also some of the weakest. Severely affected by what was most likely bipolar disorder, he achieved almost superhuman productivity during his manic periods.”
When Schumann left Leipzig, he traveled to Heidelberg and composed waltzes in the style of Franz Schubert and practiced “industriously” in order to quit law and become a “virtuoso pianist.” His mother agreed, in October 1830, to allow Schumann to study with Wieck for a trial period. Wieck believed Schumann had quite a lot of talent but doubted he had the tenacity for the hard work of composing and performing. One of Schumann’s problems was his right hand which led him away from being a pianist to becoming a composer. This numbness in the middle finger of his right hand may have resulted from “his use, over Wieck’s objection, of a splint contraption to strengthen the hand, or from mercury poisoning related to the treatment of syphilis, which he probably contracted in his teens. Fortunately, he would not need to be a virtuosos – because he married one.” His early works were primarily for the piano. He was a cofounder of the Neue Zeitscrhrift fur Musik (New Musical Journal) in 1834. He edited this for ten years. Between his writing for the journal and his music, he “distinguished between two contrasting aspects of his personality, dubbing these alter egos ‘Florestan’ for his impetuous self and ‘Eusebius’ for his gentle poetic side.”
Still more…
In 1834, Schumann became engaged to Ernestine von Fricken. The engagement was formally broken off on January 1, 1836 due to his love for 16 year-old Clara Wieck (remember her?) Clara “returned his kisses” but when ordered to break off the relationship by her father, Clara obeyed her father. Poor Schumann found himself alone and abandoned for about 16 months. It was during this time, he wrote Fantasy in C Major for the piano. In 1837, Schumann formally asked for Clara’s hand in marriage. Wieck, however, evaded the request. The couple did finally marry in 1840 because Schumann had actually gone to court to “set aside Wieck’s legal objection to the marriage.”
Even more…
During the 1830s, Schuman fought with Wieck over his piano training, drank and smoked heavily, and suffered his first bouts of depression. This aspect of his mental health had been present since his teens. As he let go of the idea of being a keyboard virtuoso, Schumann became a critic. He became as well known for this as for his music. It was during this time he became a very capable composer. His works during this time were Carnaval, the Davidsbündler Tänze, the Symphonic Etudes, the Fantasy in C, Kinderszenen (Scenes from Childhood) , Kreisleriana, and others. He also befriended Chopin and Mendelssohn.
Marriage and work…
In the meantime, Clara became a distinguished pianist and had been so for more than ten years. Their marriage resulted in “an enormous creative outpouring. First came the ‘year of song.’ Anticipating marriage in a decidedly lyrical state of mind, Schumann focused his pent-up emotion on vocal music, composing nearly 140 songs in 1840, most of them in the anxious months before August, when the marriage permission suit he and Clara had filed against her father was decided in their favor. The following year, in a mood of celebration, he turned to the orchestra. His works included two symphonies — No. 1 in B-flat and No. 4 in D minor — as well as Overture, Scherzo and Finale, and a Fantasie in A minor for piano and orchestra. In 1842 Schumann focused on chamber music, composing three string quartets, the often heard Piano Quintet in E-flat, and the wonderful Piano Quartet in E-flat.”
Trouble ahead…
This agitated and intense concentration on a “single genre at a time can be seen as typical manic behavior. The other side of the coin — phobias and terrifying slides into depression — turned up as the 1840s wore on, leaving the composer incapacitated. At the end of 1844 Schumann and Clara moved to Dresden, at one of the lowest of his low points. During his next few years, he completed the Piano Concerto in A minor, his Symphony No. 2 in C, his one opera, Genoveva, and an extraordinary dramatic poem based on Byron’s Manfred.”
A new venture…
By 1841, Clara had been trying to get him to “launch out in other media,” specifically, the orchestra. In January-February 1841, he composed the Symphony No. 1 in B-flat Major. This was immediately performed by Felix Mendelssohn at Leipzig; an Overture, Scherzo and Finale (April-May); a Phantasie for piano and orchestra (May), which was “expanded into the famous Piano Concerto in A Minor by the addition of two more movements in 1845; another symphony, in D minor (June–September); and sketches for an uncompleted third symphony, in C minor.” Shew…I’m exhausted just reading that. Can you imagine composing such things in that short amount of time? After this, Schumann took a break from orchestral music. In 1843, he made his debut as a conductor…which did not go well. In 1844, he and Clara journeyed to Russia for a concert tour, starring Clara. This depressed Schumann even more as he was forced into a minor role. By the autumn of 1844, he suffered a “serious nervous collapse.” From 1844-1850, he and Clara lived in Dresden where he gradually regained his health. He began a new symphony, No.2 in C Major, but aural nerve trouble kept him from completing it for ten months.
Beginning of the end…
In 1850, Schumann became the municipal music director in Düsseldorf. He held the position for three seasons, but during that time, he experienced “difficulties with city administrators.” Because of his erratic behavior on the podium, Schumann lost the respect of the orchestra and chorus. He was fired in the fall of 1853. One bright spot during this time was his association with Joseph Joaquim and the 20 year old Johannes Brahms. Schumann immediately recognized the budding genius of the young Brahms.
Finally…
By the winter of 1854, Schuman’s insanity became quite dramatic. He heard “angelic” voices which then became bestial noises of “tigers and hyenas.” In February, he attempted suicide by throwing himself off a bridge into the Rhine River. He was rescued by a fisherman. On March 4, he was placed in a private asylum for both his and Clara’s protection. Located near Endenich, near Bonn, he lived there for nearly two and a half years. Although he was able to correspond with her, Schumann would not see Clara for more than two years…until days before his death on July 29, 1856.
Praise…
“Schumann’s early music—and much of the later—is full of enigmas, musical quotations (usually in subtle disguises), and veiled allusions. In the field of the piano miniature and the pianistic song, he is a supreme master; in the simpler kind of lyrical inspiration and in the invention of musical aphorisms, he has seldom been surpassed.”
“Schumann completely transformed piano repertory with titled works capturing scenes and personalities of his own imagining which are totally distinctive when compared to the standard genre titles of most contemporaneous piano music. They came to be regarded as expressive of a new “domesticated” Romanticism, one of a very personal kind, that would flourish with increasingly wide publication. Schumann’s songs also gave an entirely more important role to the piano in capturing the expressive meaning of the poetry he selected, much of which was written by his contemporaries, some of whom he knew personally. The style of his orchestral and chamber music is often termed “Classical Romantic” because of the ease with which he blends traditional forms with Romantic feeling, yet always there is something special in the form.”
The lyrics…
German version…
Es war, als hätt’ der Himmel,
Die Erde still geküßt,
Daß sie im Blütenschimmer
Von ihm nun träumen müßt’.
Die Luft ging durch die Felder,
Die Ähren wogten sacht,
Es rauschten leis die Wälder,
So sternklar war die Nacht.
Und meine Seele spannte
Weit ihre Flügel aus,
Flog durch die stillen Lande,
Als flöge sie nach Haus.
English translation (by Richard Stokes)
It was as though Heaven
Had softly kissed the Earth,
So that she in a gleam of blossom
Had only to dream of him.
The breeze passed through the fields,
The corn swayed gently to and fro,
The forests murmured softly,
The night was so clear with stars.
And my soul spread
Her wings out wide,
Flew across the silent land,
As though flying home.
A bit about lieder…
I wasn’t sure what a lieder was. Well, it turns out, grammatically, I am wrong. I should say I wasn’t sure what lieder were/are. Simply, a lied is a song. Lieder is the plural (Cat, I hope I’m right on that!) Here is what I found about lieder:
“All songs have lyrics, but in many cases the tune comes first. With Lieder the opposite is true: the poet is often more than the composer’s equal and the poem is often a great work of art in its own right, known and loved without music. The composer’s task is to give this poem a heightened existence through their own vision and imaginative skill. The song’s melody and text are the singer’s responsibility, but it is the addition of a piano accompaniment, subtle and sometimes highly complex, that adds harmony and character to the whole. The greatest Lieder composers conjure an astonishing variety of narratives, moods and atmospheres, a synthesis of word and tone employing almost minimalist means that can take the listener’s breath away. Performers have to be very word-aware when presenting a poem through this musical prism – a great Lied may be first and foremost an unforgettable piece of music, but the poem that breathes within the structure is its life-force (Source).”
What does it mean…
Well, I couldn’t put it any better than this:
“Written in 1840 while he was in Berlin, the piece is considered one of the world’s loveliest nocturnes and is believed to have been first sung by Mendelssohn. The ambience of this slow, sustained, strophic song, is based on a few of the poet’s delicate words that describe the tender rapture of twilight. It is built almost entirely on one simple melodic eight-bar phrase that is repeated twice to form each verse, except the last, in which the phrase is preceded by eight measures of new material. The prelude reappears between the verses to provide separation and cohesion, making the work’s structure comparable to medieval barform. Schumann brought the poem to life in a number of ways.
First, he attempted to give the work’s phrases endless depth by adding short breaks for breath and by employing suspended fifths. Secondly, he emphasized the union of the earth and sky by repeatedly spelling out the word ‘ehe’ (marriage) in the piano part with the notes E, B, E, creating an intense fusion between music and meaning. Thirdly, between phrases, he used the piano to imitate the rustling of the wings of his soul as it ‘flew over the countryside (source).'”
I don’t believe Schumann wrote the words to “Mondnacht.” From what I can gather, he was the composer of the music and used the poem written by Joseph von Eichendorff. He then set them to music which circles back to the meaning of lieder! I must admit I think this is a lovely piece of music, but I am really confused!
The video…
Covers…
This man has a beautiful voice, and I find the background so vastly different from the one we’re using!
I’ll admit it…I’m vastly ignorant of music like this. I think this is good.
OK, I picked this one solely for her dress!
And, the inimitable Barbra Streisand…
Sources…
My interpretation…
This was a bit of a difficult challenge in that there were so many ways to go. You may have noticed I also had a Style Imitating Art post today. I jokingly told Shelbee and Suzy I wish I could use the same outfit for both. I briefly considered that. But, ultimately, I decided to go with a completely different outfit. Instead of using anything specific from the video, this time I went with my feelings. Yes, I took German for four years, but that was five decades ago. I can read the English version, but it doesn’t exactly speak to me. So, I just went with the feelings the music (not the words) evoked in me. And, the overwhelming feeling I have is one of beauty so I went for a beautiful dress! This is a vintage April Cornell dress. You can’t really tell, but it has two layers. The outer printed layer is a thin georgette with a plain ivory layer underneath. The bodice is pintucked. I used to have the coordinating skirt which was really cool. It had two layers, too, but the under layer was a different version of the print. The top layer was also slit up to the waistline on both sides. I loved it, but it didn’t work in my retirement life (I thought). I probably donated it during one of my Lenten purges.
The Lewk!
These Jambu sandals aren’t quite vintage yet, but they have appeared on the blog several times. They are probably at least 15 years old. I then added my Michael Michaud Blue Violet necklace and earrings purchased at the museum gift shop. They’re more blue than the dress, but they’re also beautiful. That means they go with the theme, right?
Wrap it up, Marsha!
And, now you can see how ignorant I am of classical music! I was completely confused by much of what I read. For that reason, I left a lot out (I know…doesn’t seem like it). I encourage you to click through the links about Schumann if you’re interested in reading more. So, can we talk? What do you think about Schumann’s life? How do you think his inability to play the music changed the way he wrote music? Can you explain the difference between lieder and songs? I promise to respond as quickly as I can.
Thank you!
Thank you so very much for reading today’s post. I hope you enjoyed it. I also very much appreciate those of you who comment, email and/or subscribe. It’s what keeps me going! If you’d like to follow me on Instagram, you can find me here.
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Where you can find me:
Linking up with Nancy’s Fashion Style, Fine-Whatever, Is This Mutton, Shelbee on the Edge, Chez Mireile, Suzy Turner, and Away from the Blue as well as Deb’s World . I also link up with I do deClaire, Mummabstylish, Style Splash and Elegantly Dressed and Stylish as well as the Senior Salon Pit Stop and Slices of Life. Please check out these wonderful ladies and their blogs! I also am a co-host for Ageless Style on the third Thursday of the month and Songful Style on the last Monday of the month as well as the Global Writing Challenge on the second Thursday. I now co-host Fashion Files with Amy at Coffee and Cocktails at the Casa every Tuesday. I co-host Traffic Jam Weekend every Thursday with Melynda, Lisa, Cat, and Rena. I also host 10 on the 10th on the 10th of the month! I do hope you’ll check out all of these blogs and link parties!
And, now, it’s your turn!
Please link up your favorite posts, DIY, baking, gardening, fashion…you name it…as long as it’s family friendly! Link up with me, visit a couple of others, and leave a comment or two! No worries if you don’t have a blog, just look around! You may find a new blog just waiting for you!