Pub Date : 2023-05-16DOI: 10.1017/s1479409823000034
J. Davies, Nicole Grimes
In the course of the last two hundred years, different facets of Clara Schumann's artistic, creative and performative persona have been highlighted and different narratives have been produced. As the articles to follow demonstrate, these facets include Clara Schumann as a performer, an improviser, a virtuoso, a priestess, a prophetess, a celebrity, a composer and a curator of flowers and photographs. The Introduction and four research articles in this issue devoted to Schumann suggest in multifaceted ways that her creative identities and legacies are open to new ways of being contextualized in both historical and contemporary contexts. This journal issue initiates important conversations and provides some constructive starting points for considering the nature of Clara Schumann's identities and their legacies, and for pondering how Clara Schumann can help us to think afresh about identity and legacy as concepts. Grappling with a range of sources in both German and English, this Introduction to the issue embraces the fluid intersections in Clara Schumann's creative world between the visual and the tactile, the sonic and the corporeal. It explores the changing images of Schumann from her lifetime to the present day and reconsiders her creativity from our current perspective.
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Pub Date : 2023-05-02DOI: 10.1017/s1479409823000137
A. L. Prince
Musicologists often consider Clara Schumann to be one of the most influential figures in the establishment of the solo piano recital – a musical experience that encouraged the dominance of the serious music aesthetic. Schumann's connection to this ideal is perhaps most evident in her enshrinement as the priestess, a nineteenth-century title that honoured the interpretive power of her virtuosic performances. While her commitment to canonical values cannot be questioned, Schumann's piano virtuosity was also undeniably popular, incredibly physical and acutely tied to the century's rapidly changing musical and visual technologies. Attention to the analytical and imaginative connections between these transformative technologies actively complicates the divine, dehumanized and mythological stature that has come to centre Schumann's historiography. Her mass-produced photographs, and especially her cartes-de-visite, could both compound her priestessness and stimulate unresolvable fissures within it. Aligned with recent scholarship that expands Schumann's virtuosity into the realms of the popular, photographs and other forms of mass media reveal the inherent flexibility of the priestess ideology and this mythology's (seemingly) easy inclusion of various ambiguous and sometimes contradictory ideals. In effect, photographs of Schumann could instigate a kind of exhilarating, cognitive dissonance in their viewers: seeing was not necessarily believing her as only priestess. Seeing could, in fact, mean imagining and reimagining Clara Schumann in all kinds of fantastical ways: ways that aligned her piano virtuosity with the commodified visual technology in an increasingly mechanized world, or ways that underscored her feminine sexuality and virtuosity as socially destabilizing or democratizing.
{"title":"The Technological Priestess: The Piano Recital, Photography, and Clara Schumann","authors":"A. L. Prince","doi":"10.1017/s1479409823000137","DOIUrl":"https://doi.org/10.1017/s1479409823000137","url":null,"abstract":"Musicologists often consider Clara Schumann to be one of the most influential figures in the establishment of the solo piano recital – a musical experience that encouraged the dominance of the serious music aesthetic. Schumann's connection to this ideal is perhaps most evident in her enshrinement as the priestess, a nineteenth-century title that honoured the interpretive power of her virtuosic performances. While her commitment to canonical values cannot be questioned, Schumann's piano virtuosity was also undeniably popular, incredibly physical and acutely tied to the century's rapidly changing musical and visual technologies.\u0000 Attention to the analytical and imaginative connections between these transformative technologies actively complicates the divine, dehumanized and mythological stature that has come to centre Schumann's historiography. Her mass-produced photographs, and especially her cartes-de-visite, could both compound her priestessness and stimulate unresolvable fissures within it. Aligned with recent scholarship that expands Schumann's virtuosity into the realms of the popular, photographs and other forms of mass media reveal the inherent flexibility of the priestess ideology and this mythology's (seemingly) easy inclusion of various ambiguous and sometimes contradictory ideals. In effect, photographs of Schumann could instigate a kind of exhilarating, cognitive dissonance in their viewers: seeing was not necessarily believing her as only priestess. Seeing could, in fact, mean imagining and reimagining Clara Schumann in all kinds of fantastical ways: ways that aligned her piano virtuosity with the commodified visual technology in an increasingly mechanized world, or ways that underscored her feminine sexuality and virtuosity as socially destabilizing or democratizing.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41561367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-24DOI: 10.1017/s147940982300006x
Nicole Grimes
Filmic portrayals of Clara Schumann from World War II to the present provide a fascinating insight into changing conceptions of her professional and domestic roles. Just as fictional reshapings of her biography from the late-nineteenth century to the present can be understood to relate to changing social and political contexts, filmic portrayals of this great musical figure over the past 80 years speak to both constancy and change. The image that remains constant, the depiction of a loyal wife in the service of her husband's art, takes on different guises as it is reflected in the mirror of each film's historical, social, and political moment. In Träumerei (1943/44) Clara Schumann provides an idealized depiction of the German woman in the context of war, one who sacrifices her performance career for love of husband, children and domesticity. Song of Love (1947) reflects the revered role of the mother of a large family in post-war America. Limiting its narrative frame to the years leading up to Robert Schumann's death, Frühlingssinfonie (1974) casts a new light on the domestic strands explored in Träumerei, reflecting then recent developments in research in the Neue Schumann-Gesamtausgabe. In Geliebte Clara (2008), whereas the titular focus shifts explicitly to Clara herself, this passionate retelling is based on the familiar narrative that informs all four films. Building on the historiographical work of Beatrix Borchard, Matthias Wendt, and Yael Braunschweig, this article provides a rich cultural context for each film, and explores how that context relates to source materials including letters and diaries. Reaching beyond that scholarship, this article challenges the familiar narrative found in these movies by re-reading passages of Clara's letters and diaries that can be understood to express regret and frustration at the limitations that her domestic life imposed on her artistic career.
{"title":"The Socio-Political Faces of Clara Schumann on German Film","authors":"Nicole Grimes","doi":"10.1017/s147940982300006x","DOIUrl":"https://doi.org/10.1017/s147940982300006x","url":null,"abstract":"Filmic portrayals of Clara Schumann from World War II to the present provide a fascinating insight into changing conceptions of her professional and domestic roles. Just as fictional reshapings of her biography from the late-nineteenth century to the present can be understood to relate to changing social and political contexts, filmic portrayals of this great musical figure over the past 80 years speak to both constancy and change. The image that remains constant, the depiction of a loyal wife in the service of her husband's art, takes on different guises as it is reflected in the mirror of each film's historical, social, and political moment. In Träumerei (1943/44) Clara Schumann provides an idealized depiction of the German woman in the context of war, one who sacrifices her performance career for love of husband, children and domesticity. Song of Love (1947) reflects the revered role of the mother of a large family in post-war America. Limiting its narrative frame to the years leading up to Robert Schumann's death, Frühlingssinfonie (1974) casts a new light on the domestic strands explored in Träumerei, reflecting then recent developments in research in the Neue Schumann-Gesamtausgabe. In Geliebte Clara (2008), whereas the titular focus shifts explicitly to Clara herself, this passionate retelling is based on the familiar narrative that informs all four films. Building on the historiographical work of Beatrix Borchard, Matthias Wendt, and Yael Braunschweig, this article provides a rich cultural context for each film, and explores how that context relates to source materials including letters and diaries. Reaching beyond that scholarship, this article challenges the familiar narrative found in these movies by re-reading passages of Clara's letters and diaries that can be understood to express regret and frustration at the limitations that her domestic life imposed on her artistic career.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57068552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-14DOI: 10.1017/s1479409823000010
Theodor Constantiniu
This article aims to explain the rise of Western art forms in the musical creation of the Romanian Principalities in the first half of the nineteenth century, as dictated by a particular European political and economic dynamic. I analyse the spread of Western music – usually described as a consequence of the gradual modernization of Romanian society – in terms of the power relations between the European core and a newly integrated periphery at the Eastern border of the continent. To illustrate this change, I discuss Edward Said's concept of orientalism which helps describe the early interactions between Western musicians and professionals and the local music traditions and customs. I then show how these interactions gave the former access to a distinctive musical material used in compositions targeting an expanding European music market. In an age of national struggle in the Romanian Principalities, national music was both a concept and a practice in demand by the local intelligentsia and fostered by composers. However, in addition to this agreement, the concept of national music signalled some significant societal changes that I elucidate by looking at class stratification and the evolution of musical taste. In the final part of the analysis, I draw on dependency theory authors such as Samir Amin and Daniel Chirot to argue that musical life in the first half of the nineteenth century in Wallachia and Moldavia was closely mirroring the economic development of these countries. Thus, I demonstrate that the emergence of the Romanian school of composition must be understood not only at a national level but also within a broader political, economic and social context, defined by the gradual transition to capitalist modes of production and consumption that happened in the first decades of the nineteenth century.
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Pub Date : 2023-04-13DOI: 10.1017/s1479409823000058
Christopher Parton
Around a third of Clara Schumann's vocal compositions include references to flowers, whether as passing metaphors or as the principal addressee of her chosen text. At first glance this may seem unremarkable given the central place flowers held in the symbology of Romantic literature. But the survival of documents such as the Blumenbuch für Robert (1854–56), in which she collected flowers from her travels around Europe, demonstrate a personal and distinctly feminine engagement with nineteenth-century floral practices beyond the vegetative poetics of male-authored poetry. This article examines the ways in which Clara Schumann engages with the overlapping floral discourses and media of the nineteenth century in four of her flower-centric lieder: ‘Die stille Lotosblume’, ‘An einem lichten Morgen’, ‘Was weinst du, Blümlein’ and ‘Das Veilchen’. In these songs, flowers are explicitly gendered through their material conflation with women's bodies and relationship to a (typically male) lyric persona. I show how Schumann often uses her piano accompaniments to undermine the male construction of passive flowers by granting flowers an emergent agency in her settings. In so doing, Schumann is able to protect the stubborn silences of flowers or reify their secret desires. Flowers in these lieder thus emerge as radically polysemic and multimodal symbols, not only hinting at a myriad of possible meanings, but also reflecting a mode of feminine authorship that can be recalcitrant, revealing and tactfully mutable.
克拉拉·舒曼的声乐作品中约有三分之一提到了花朵，无论是作为传递的隐喻，还是作为她选择的文本的主要收件人。乍一看，考虑到花朵在浪漫主义文学象征中的中心地位，这似乎并不起眼。但是，像布鲁门布赫·für·罗伯特（1854–56）这样的文件的幸存，证明了她个人和明显的女性参与了十九世纪的花卉实践，超越了男性创作诗歌的植物人诗学。这篇文章探讨了克拉拉·舒曼在她的四篇以花为中心的文章中与19世纪重叠的花话语和媒体的互动方式：“Die stille Lotosblume”、“An einem lichten Morgen”、“Was weinst du，Blümlein”和“Das Veilchen”。在这些歌曲中，花朵通过与女性身体的物质融合以及与（典型的男性）抒情人物的关系而被明确地性别化。我展示了舒曼如何经常利用她的钢琴伴奏来破坏被动花朵的男性结构，在她的环境中赋予花朵一个紧急的代理权。通过这样做，舒曼能够保护花朵顽固的沉默或具体化它们的秘密欲望。因此，这些谎言中的花朵呈现出一种极端的多义性和多模态符号，不仅暗示了无数可能的含义，而且反映了一种女性作者的模式，这种模式可能是顽固的、揭示的和巧妙的可变的。
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Pub Date : 2023-04-12DOI: 10.1017/s1479409823000046
In memoriam Manfred Hermann Schmid (1947–2021), Mozartian extraordinaire The cadenzas to the Piano concerto in D minor, K466 that Clara Schumann published for the Mozart centenary year raise intriguing questions about authorship: Upon correcting the proofs, she identified an uncanny overlap with a cadenza by Brahms. Following an ambivalent response from the latter, she went on publishing the work under her name regardless, and even left a note on her papers claiming that Brahms had made use of a cadenza by her. Rather than answering the author attribution either way, the article unpicks the conflicting evidence of the sources in light of the broader contexts within which they are situated. It demonstrates that conventional tools of music philology alone are inadequate for solving this issue (as they had been for Schumann in 1891). Notated sources are but one manifestation of a rich and complex creative process that operate within a multi-sensory, multi-modal and co-creative framework. As such, a close reading of the cadenzas to K466 by Schumann and Brahms interrogate false ontologies of the ‘work concept’ that may have mired our understanding of nineteenth-century music in general.
{"title":"Creativity, Performance and Problems of Authorship: Clara Schumann's Cadenzas for Mozart's D minor Concerto, K466","authors":"","doi":"10.1017/s1479409823000046","DOIUrl":"https://doi.org/10.1017/s1479409823000046","url":null,"abstract":"In memoriam Manfred Hermann Schmid (1947–2021), Mozartian extraordinaire\u0000 The cadenzas to the Piano concerto in D minor, K466 that Clara Schumann published for the Mozart centenary year raise intriguing questions about authorship: Upon correcting the proofs, she identified an uncanny overlap with a cadenza by Brahms. Following an ambivalent response from the latter, she went on publishing the work under her name regardless, and even left a note on her papers claiming that Brahms had made use of a cadenza by her.\u0000 Rather than answering the author attribution either way, the article unpicks the conflicting evidence of the sources in light of the broader contexts within which they are situated. It demonstrates that conventional tools of music philology alone are inadequate for solving this issue (as they had been for Schumann in 1891). Notated sources are but one manifestation of a rich and complex creative process that operate within a multi-sensory, multi-modal and co-creative framework. As such, a close reading of the cadenzas to K466 by Schumann and Brahms interrogate false ontologies of the ‘work concept’ that may have mired our understanding of nineteenth-century music in general.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46735315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1017/s1479409823000101
Richard Langham Smith
Gabriel Fauré, Pavane op. 50 (N 100c) piano version, Urtext, edited by Jean-Pierre Bartoli. (Kassel: Bärenreiter, 2022). Critical Commentary, BA 11832 vii+8pp. - César Franck, Mélodies complètes, introduction and critical edition by Jean-Philippe Navarre. (Lamath: Les Presses du Collège Musical, 2020). Ad Usum Peritorum in Musica, AVPIM26 xli+126pp. - César Franck, Quatre Mélodies for piano, first edition by Heribert Koch (Köln: Edition Dohr, 2018). ED10151, 34pp. - Jean Cras, The Early Songs 1892–1901, presented by Paul-André Bempéchat (Westland, Michigan: Ayotte Custom Musical Engravings, 2021). x+233pp.
加布里埃尔-福雷，《帕凡舞曲》作品 50（N 100c50（N 100c）钢琴版，Urtext，让-皮埃尔-巴托利编。(卡塞尔：Bärenreiter，2022 年）。评论》，BA 11832 vii+8pp.- 塞萨尔-弗兰克：《旋律全集》，让-菲利普-纳瓦尔的介绍和评论版。(拉马特：音乐学院出版社，2020 年）。Ad Usum Peritorum in Musica, AVPIM26 xli+126pp.- 塞萨尔-弗兰克：《四首钢琴旋律》，赫里伯特-科赫初版（科隆：多尔版社，2018年）。ED10151，34页。- 让-克拉斯：《1892-1901 年早期歌曲》，保罗-安德烈-班佩查特（Paul-André Bempéchat）译（密歇根州韦斯特兰：阿约特定制音乐雕刻，2021 年）。x+233pp.
{"title":"Gabriel Fauré, Pavane op. 50 (N 100c) piano version, Urtext, edited by Jean-Pierre Bartoli. (Kassel: Bärenreiter, 2022). Critical Commentary, BA 11832 vii+8pp. - César Franck, Mélodies complètes, introduction and critical edition by Jean-Philippe Navarre. (Lamath: Les Presses du Collège Musical, 2020). Ad Usum Peritorum in Musica, AVPIM26 xli+126pp. - César Franck, Quatre Mélodies for piano, first edition by Heribert Koch (Köln: Edition Dohr, 2018). ED10151, 34pp. - Jean Cras, <i>The Early …","authors":"Richard Langham Smith","doi":"10.1017/s1479409823000101","DOIUrl":"https://doi.org/10.1017/s1479409823000101","url":null,"abstract":"Gabriel Fauré, Pavane op. 50 (N 100c) piano version, Urtext, edited by Jean-Pierre Bartoli. (Kassel: Bärenreiter, 2022). Critical Commentary, BA 11832 vii+8pp. - César Franck, Mélodies complètes, introduction and critical edition by Jean-Philippe Navarre. (Lamath: Les Presses du Collège Musical, 2020). Ad Usum Peritorum in Musica, AVPIM26 xli+126pp. - César Franck, Quatre Mélodies for piano, first edition by Heribert Koch (Köln: Edition Dohr, 2018). ED10151, 34pp. - Jean Cras, The Early Songs 1892–1901, presented by Paul-André Bempéchat (Westland, Michigan: Ayotte Custom Musical Engravings, 2021). x+233pp.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135417784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/s1479409823000150
{"title":"NCM volume 20 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1479409823000150","DOIUrl":"https://doi.org/10.1017/s1479409823000150","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41451800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/s1479409823000162
{"title":"Notes on Article Contributors","authors":"","doi":"10.1017/s1479409823000162","DOIUrl":"https://doi.org/10.1017/s1479409823000162","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57068566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1017/s1479409823000149
{"title":"NCM volume 20 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1479409823000149","DOIUrl":"https://doi.org/10.1017/s1479409823000149","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48346501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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