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Beate Perrey (Editor) - The Cambridge Companion to Schumann

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The Cambridge Companion to Schumann
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Beate Perrey Editor
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Cambridge University Press
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2007
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This Companion is an accessible introduction to Schumann: his time, his temperament, his style and his uvre. An international team of scholars explores the cultural context, musical and poetic fabric, sources of inspiration and interpretative reach of key works from the Schumann repertoire ranging from his famous lieder and piano pieces to chamber, orchestral and dramatic works. Additional chapters address Schumanns presence in nineteenth- and twentieth-century composition and the fascinating reception history of his late works. Tables, illustrations, a detailed chronology and advice on further reading make it an ideally informative handbook for both the Schumann connoisseur and the music lover. An excellent textbook for the university student of courses on key composers of nineteenth-century Western Classical music, it is an invaluable guide for all who are interested in the thought, aesthetics and affective power of one of the most intriguing figures of a culturally rich and formative period.

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The Cambridge Companion to Schumann

This Companion is an accessible, up-to-date introduction to Schumann: his time, his temperament, his style and his uvre. An international team of scholars explores the cultural context, musical and poetic fabric, sources of inspiration, and interpretative reach of key works from the Schumann repertoire, ranging from his famous Lieder and piano pieces to chamber, orchestral and dramatic works. Additional chapters address Schumanns presence in nineteenth- and twentieth-century composition, and the fascinating reception history of his late works. Tables, illustrations, a detailed chronology and advice on further reading make it an ideally informative handbook for both the Schumann connoisseur and the music-lover. An excellent textbook for the university student of courses on key composers of nineteenth-century Western Classical music, it is an invaluable guide for all who are interested in the thought, aesthetics and affective power of one of the most intriguing figures of a culturally rich and formative period.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to Schumann

Edited by

Beate Perrey

University of Liverpool

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521789509

Cambridge University Press 2007

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2007

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

ISBN 978-0-521-78341-5 hardback

ISBN 978-0-521-78950-9 paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Contents

Beate Perrey

Ulrich Tadday

Nicholas Marston

John Daverio

Laura Tunbridge

Jonathan Dunsby

Linda Correll Roesner

Scott Burnham

Joseph Kerman

Elizabeth Paley

Reinhard Kapp

Jrn Peter Hiekel

John Daverio

Illustrations

Notes on the contributors

Scott Burnham Professor of Music and Chair of the Music Department at Princeton University, is the author of Beethoven Hero (Princeton, 1995); translator of A. B. Marx, Musical Form in the Age of Beethoven (Cambridge, 1997); and co-editor of Beethoven and His World (Princeton, 2000). Other writings include Schubert and the sound of memory ( Musical Quarterly , 2001), On the beautiful in Mozart ( Music and the Aesthetics of Modernity , ed. K. Berger and A. Newcomb (Harvard, 2005)) and Haydn and humour ( The Cambridge Companion to Haydn , ed. C. Clark (Cambridge, 2005)).

John Daverio was Professor of Music, Chairman of the Musicology Department and Director ad interim of the School of Music at Boston University. A renowned specialist in German Romantic music and Schumann in particular, he is the author of Crossing Paths: Schubert, Schumann, and Brahms (New York, 2002), Robert Schumann: Herald of a New Poetic Age (New York, 1997), Nineteenth-Century Music and the German Romantic Ideology (New York, 1993) and many articles, including the comprehensive article on the life and works of Robert Schumann in the second edition of the New Grove Dictionary of Music and Musicians . John Daverio died in 2003.

Jonathan Dunsby is Slee Professor of Music Theory at SUNY Buffalo, a prize-winning pianist and an experienced professional accompanist. He was founding editor of the international journal Music Analysis and has published numerous articles on the music of recent decades. He is author of Performing Music: Shared Concerns (Oxford, 1995). In 2004, two books appeared: his translation from the French for Oxford University Press of Jean-Jacques Nattiezs The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology (Oxford, 2004), and his own study Making Words Sing: Nineteenth- and Twentieth-Century Song (Cambridge, 2004).

Jrn Peter Hiekels writings have focussed on the music of the twentieth and twenty-first centuries. Before joining the Hochschule fr Musik Carl Maria von Weber in Dresden, he was editor for the music publisher Breitkopf & Hrtel, and has been director of the composers seminars at the Darmstdter Ferienkurse since 2002 as well as co-director of the Institut fr Neue Musik und Musikerziehung in Darmstadt. He is author of Bernd Alois Zimmermanns Requiem fr einen jungen Dichter (Stuttgart, 1995), and editor of Hans Zender, Die Sinne denken. Schriften zur Musik 19652003 (Wiesbaden, 2004) and of forthcoming books on Helmut Lachenmann, Wilfried Krtzschmar, and Schumanns Welten (Dresden, 2006).

Reinhard Kapp is Professor of Music at the Vienna Hochschule fr Musik und Darstellende Knste. He formerly taught at the Freie Universitt Berlin and the Gesamthochschule Kassel, and has worked for the Richard Wagner Gesamtausgabe. He is author of Studien zum Sptwerk Robert Schumanns (Tutzing, 1984) and co-editor of Darmstadt-Gesprche: Die Internationalen Ferienkurse fr Neue Musik in Wien (1998), as well as Die Lehre von der Musikalischen Auffhrung in der Wiener Schule (2002). His main interests are Schumann, Wagner, the Second Viennese School and the history and theory of performance.

Joseph Kerman is a professor emeritus at the University of California at Berkeley. He has written on the concertos of Mozart and Beethoven and on the genre as a whole, in Concerto Conversations (1998). He is not an expert on Schumann, but gained broad knowledge of his and other music of his time as editor of the influential journal Nineteenth Century Music from 1977 to 1986.

Nicholas Marston is University Reader in Music Theory and Analysis in the University of Cambridge, and concurrently Fellow and Director of Studies in Music at Kings College. He has published widely on the music of Beethoven and Schumann, including the Cambridge Music Handbook on Schumanns Fantasie , Op. 17 (Cambridge, 1992). He chairs the Editorial Board of Music Analysis , and takes up the position of Editor-in-Chief of Beethoven Forum in 2006. His next book will be on Heinrich Schenker and Beethovens Hammerklavier Sonata.

Elizabeth Paley earned a doctorate in music theory from the University of Wisconsin-Madison and is currently an organist, pianist and freelance writer living in Durham, North Carolina. She has served on the faculty at the University of Kansas and Duke University, where her research focussed on music narratology, feminist theory, and intersections of music and the supernatural in melodrama. Her publications have appeared in Nineteenth Century Music , South Atlantic Quarterly and (under a pseudonym) The Chronicle for Higher Education .

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