John Brahms Ein Deutsches Requiem

John Brahms Ein Deutsches Requiem
In 1853, a young composer, Johannes Brahms had a fateful meeting with Robert and Clara Schumann at DГјsseldorf. After the first meeting with them,
Brahms retained intimate relationship with their family. In the Schumann's archive, Brahms examined the previous musical styles: Renaissance and
Baroque style. In addition, Brahms' sacred works clearly expose these manners, affected by J. S. Bach and Palestrina revivals. In this regard, his
well–known choral work, Ein deutsches Requiem also comprises its influences of his early–music study. This short paper attempts to examine how
Brahms adapted the early–music techniques to the Romantic style in his Ein deutsches Requiem.
Firstly, Brahms' Ein deutsches Requiem originated on North German Lutheran ... Show more content on Helpwriting.net ...
The first one is a Baroque chorale–prelude style which is a liturgical works for organ with chorale tune. This style generally includes polyphonic
setting with chorale melody, and obbligato is occasionally appeared at above or below of the melody line. For example, Brahms sets low strings, two
horns and organ (ad lib.) at the short orchestral introduction of the first movement of Ein deutsches Requiem. From first measure, double basses, and
the third cellos continuously play quarter notes as the pedal of organ. At above of these, the second cellos play obbligato line, and the first cellos start
chorale melody at the third measure. After the first entrance of chorale melody, the second violas enter same chorale line at the fifth measure, and the
first violas play the chorale line at the seventh measure. These short introduction shows that Brahms effectively reformed the Baroque chorale–prelude
style for orchestra. The second one is a fugal style which is overt striking feature to show his choral style, connected with the style of J. S. Bach. For
instance, from bar 206 of the second movement of this work, Brahms composed with fugue for the last section of this movement and set fugue subject,
'Die ErlГ¶seten des Herrn...' with basses. Although this section shows J. S. Bach choral style, it also shows Beethoven's choral writing too. Another
example is Brahms'
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Romantic Antics during the Romantic Period of Music
What makes you think of the Romantic Period in music? The music period deemed the "Romantic Period" was brought into place by the major
social and political stresses following the French Revolution, having the outcome of trends worldwide. The Romantic Period itself, outside of
music, was a dramatic movement that was caused by rebelling everything that the Classical Period held as far as standards in music, art, and
societal living. This rebellion against the cultural norm caused differing standpoints between logic and emotion, science and faith, freedom and
oppression, capitalism and socialism, and also the difference between structured music and expressive music. The composers during this period
were interesting in that they were able to construct such a stylistic way of writing, and preforming music, in such a short time. Some artists in this
time that were crucial to this development of music were Chopin, and Schumann, who will be later discussed. Frederic Chopin was given an early
start in music. He was born on March 1, 1879 in Zelazowa Wola, Poland. The young boy had not but aged 7 years when he wrote his first
composition. Imagine that, a second grader who knew how to write his own compositions. Personally I think that is amazing because sometimes it
seems nearly impossible to write anything that is original. This young boy was soon after sent to the Warsaw Conservatory of Music, where he studied
under the Polish Josef Elsner. His early beginnings in music did

Robert Schumann, ?Grillen? from Fantasiestucke, Opus 12
Music in the nineteenth century saw the creation and evolution of new music genres such as the piano miniature, short expressive piano pieces. During
this time raw emotion and expressionism prevailed as the focus of music during this described "Romantic" movement. Robert Schumann's "Grillen",
from Fantasiestucke, Opus 12 was written in July 1837 contains several virtues of music during his time period. Schumann's uses various qualities in
his music such as form, pitch, rhythm and meter, and texture so express different attitudes within his music. These qualities convey music that
characterizes romanticism as very emotional, expressional, and dramatic. Schumann's piano miniature remains a supreme example of the Romantic
style in its uses ... Show more content on Helpwriting.net ...
This transition creates a large contrast in not only meter and rhythm, but also emotion. Section C is different in that its meter is the least definite. Its
meter starts out very slow, clearly slower than all other sections. Slowing the meter here feeds to a more solemn expression, which is a stark contrast
from the faster, fuller, and more excited state of section A. A conveys a forceful, strong expression with its fast meter and strong harmonic chords
whereas B has a softer tone and slower, patient rhythm. Contrasting rhythm and meter changes help lead to an emotionally charged piece, typifying
music during the Romantic Era.
Composers use varied pitch ranges to clearly show changes in emotion, whether it be higher pitches to depict an excited state or low pitches to
possible depict a somber, sullen state. In the first section of "Grillen," the first sub–section has a very low and small pitch range and in the second
sub–section the higher line moves to a higher octave. Most notable, in the phrases of section A the pitch continually moves up, whether starting at a
lower or higher octave. This rise in pitch is also accompanied by a sleek rise in volume as the phrase moves to the final chord. These dynamics greatly
reinforce the expression in section A as the forceful accents on theending chords of these phrases add to the excited state of the section. As the piece
moves to section B and C the mood and emotion is lightened by the more

Essay on Music Appreciate Study Guide
Romantic вЂЁDates: 1800–1900вЂЁ вЂЁ1. What was going on historically during this era? What was life like? Profound Political and Social changes
going on; many moving into cities for work. Renewed interested in expressing emotion through music. вЂЁ2. Does romantic music continue to use the
same forms used in the classical era? NoвЂЁ3. Explain the Individuality of style. Composers wanted their music to be uniquely identifiable to them.
They worked hard on self–expression.вЂЁ4. What are the expressive aims and subjects of the pieces? How is this different than in the classical era?
Flamboyance, Intimacy, Unpredictability, Melancholy, Rapture, Longing etc..., Classical Era did not experiment with so many aims.в
ЂЁ5. What is
musical nationalism? ... Show more content on Helpwriting.net ...
15. What is a nocturne? French for "night piece" usually slow and intimate in character.
16. What is a music drama? Large, Full Blown musical affairs. вЂЁ17. What is a leitmotif? short musical idea associated with person, object or thought.
18. What is verismo? Type of Italian opera.
Composers: Please include the following for each (I need to be able to tell that you read about them and did not just google them or use wikiepedia,
etc. and copied and pasted–read your textbook please)
Dates
Nationality
Importance/major contribution
Types of compositions
Extra little tidbit
19. Franz Schubert. Born in 1797, died in 1828 from Vienna. Wrote well over 600 works. Was the Master of the Art Song. He wasn't financially
successful and his symphonies were performed after he died. вЂЁ20. Robert Schumann. Born in 1810, died in 1856 from Germany. Wrote piano pieces
and symphonies. Known for his gift of melody. Eventually was committed and later died. вЂЁ21. Clara Schumann. Born in 1819, died in 1896 from
Germany. First well known female composer. Married to Robert Schumann. Stop composing at age 36. Mainly wrote piano pieces. After husbands
death she dedicated the rest of her career to promoting her husbands work. вЂЁ22. Frederic Chopin. Born in 1811, died in 1849 from Poland. Came to
Paris at age 21, wrote exclusively for piano. Wrote free form preludes, nocturnes etudes and impromptus. Composed mainly chamber music. Had and
affair

Robert Schumann Essay
Robert Alexander Schumann was born in the small riverside town of
Zwickau, Saxony, in 1810.The youngest of five children, Robert Schumann was brought up in comfortable, middle–class respectability. As a child, he
apparently exhibited no remarkable abilities.
At the age of six, Robert was sent to the local preparatory school, run by Archdeacon Dohner. He had in fact already begun his education, with the
young tutor who gave lessons in exchange for board and lodging at the
Schumann home.
At the age of seven Robert received his first piano lessons, from
Johann Gottfried Kuntzsch, organist at St. Mary's Church, and schoolmaster at the Zwickau Lyceum. ... Show more content on Helpwriting.net ...
After secret discussions, the engagement was broken off by mutual agreement. Possibly
Robert had been kept in the dark about Ernestine's origins.
In any event, the affair had a catalytic effect on Robert's music. He had the idea of writing a series of piano pieces based on the letters ASCH; these
he later turned into Carnival. He also composed some piano variations on a theme provided by Baron von Fricken.
But Robert's friend Schunke had fallen seriously ill. Unable to bear the sight, Robert went back to Zwickau again, only returning to Leipzig in
December to negotiate a change of publisher for the Zeitschrift. From the beginning of 1835 the journal was published by the Leipzig firm of JA Barth.
Late in 1835 Mendelsson arrived in Leipzig to take over as music director of the Gewandhaus. Still only twenty–six, Mendelsson was the director of the
age, and Schumann felt an immediate attraction when they met at Wieck's house. Following the newcomer's debut in Leipzig, Schumann wrote
praising him in the "Letters of an Enthusiast" column of his Zeitzcrift.
Schumann did however venture to criticise Mendelssohn's use of the baton; he believed that an orchestra should function as a "republic"
and that ridgity should be avoided. At about this time, too, Robert met both

Schumann and the Kinderszenen
Schumann and the Kinderszenen Robert Schumann, composer throughout the early– to mid–nineteenth century, is probably best known for his songs
and piano works. Before injuring his finger most likely through the use of a chiroplast (an instrument that guides the hands while playing; highly
controversial), Schumann was an avid piano player, if not a proper concert pianist and virtuoso[1]. But due to this ailing finger, Schumann had to
eventually find other means to support his life. Thankfully for us, he eventually turned to composition, and furthermore, to piano composition. His
affinity for piano led to some of the best character pieces for piano ever created, including the piano cycles Papillon, Carnaval, and Kreisleriana. But
these... Show more content on Helpwriting.net ...
KoГџmaly continues by saying that through the "truth of description, [and] the naturalness of the coloration" Kinderszenen achieves cohesiveness.[7]
But also, it is worth noting that the repetition of certain themes, including the melody in the opening line of the cycle from Von fremden Landern
und Menschen (Figure 2), also play a role in connecting individual movements despite the stylistic differences between them.[8] [pic] It is this
cohesiveness that plays a vital role in the immersion of the listener into the music, and therefore ultimately determined the public success of the
piece. Unlike many of Schumann 's earlier piano cycles, Kinderszenen received quite a favorable public reception. In fact, it was Schumann 's most
financially successful collection to date, which was especially important since at that time he was attempting to prove himself both professionally
and financially to Friedrich Wieck, Clara 's father, so he could marry Clara. This success may have been a result of the differences made between the
Kinderszenen and his previous works as outlined above, but perhaps also the favorable reception may have been a result of Schumann 's return to
simplistic forms and ideas instead of over–complicating his

Robert Machumann Research Paper
Robert Schumann was a famous German composer in the Romantic era. When he was young, his talents revealed from poetry to music. In 1830, he
decided to be a musician, although he was learning laws. Since he anxiously wanted to be successful in music, his hands got hurt. However, he still had
enthusiastic and sensitive depositions. Then he changed to be engaged in creating and commenting on music. Later on, he married Clara Wieck and
wrote over hundred outstanding music. Thus, Robert Schumann's experiences had a huge impact on his music.
Robert Schumann was born in Zwickau, Germany, on June 8, 1810, at 10:30 p.m., who was also the fifth and youngest child in the Schumann. His
father, August Schumann, was an "author of chivalric romances and an indefatigable lexicographer." This evoked and cultivated Robert's capabilities
of music and literature. After he was about seven, he started piano classes with Gottfried Kuntsch at Saint Mary's. About four years later, Schumann
had performances in abendunterhaltungen (semi–private evening entertainments), which was organized by Kuntsh. This entertainment gave him
opportunities to spread his repertoires in Schumann's early compositional efforts (Daverio).
On March 29, 1828, Schumann went to the University of Leipzig and was studying law. Since his mother, Johanna Christiana, worried about
Schumann's future career and believed that being a lawyer could have a safe and relaxing life instead of being a musician, she squelched Schumann to

Hector Berlioz : French Romantic Music
Hector Berlioz was a French Romantic composer, born 11 December 1803. Surprisingly, as was and is standard for anyone studying music, he
never formally studied the piano, but started on flute and guitar, on which he became rather virtuosic. His sensitivity for music came at an early
age from attending mass with his father and hearing the inspired beauty in sacred music. Berlioz grew to be extremely obsessed with free
expression through art and believed that it was more important than anything else in the world. He imagined his ideal city, Euphonia, in Les
soirГ©es de l'orchestre, where "everything is arranged to the service of art and where commerce has no place" (Macdonald). His great passion for
expression led him to great frustration with anyone who didn't agree, however his other defining characteristic was his ridiculous sense of humor,
largely based on the ironic. Because of this he had some balance, but was a large personality. His father wanted him to follow his footsteps and
work in medicine, and he decided reluctantly that he would follow through with this at the age of 17. He earned a bachelor's degree from the
Ecole de MГ©decine in Paris and grew to completely detest what would be his future career. Around this time, he fell in love with Gluck (who
would later become his largest influence, along with Beethoven) after seeing his opera IphigГ©nie en Tauride (Macdonald). To his father's
disapproval he abandoned his medical studies and started at the Paris Conservatoire in 1826, studying composition under Le Sueur. Berlioz
composed Grande Ouverture de Waverley in 1828 and it was his first independent orchestral work that did not rely on previously composed music.
Most likely because of this reason, he affixed the label Opus 1 to the piece (Bloom, 70). He had written major works previously, most notably the
opera Les Francs–Juges. However, the opera was never performed aside from the overture, Grande Ouverture des Francs–Juges, which was published
after Waverley and labelled Opus 3. The piece was first performed at the Paris Salle du Conservatoire on 26 May 1828, conducted by Nathan Bloc as
part of an all Berlioz concert (a novelty at the time), organized by Berlioz himself, which also included the

Clara Schumann and Fanny Mendelssohn-Hensel
INTRODUCTION
BIOGRAPHY
Clara Schumann and Fanny Mendelssohn–Hensel are considered possibly the most important female figures of the Romantic Era. Both women were
friends living with the struggles of trying to make a name for themselves as musicians and composers while living in the shadows of their famous male
family members: Robert Schumann and Felix Mendelssohn.
Clara Schumann
Clara Josephine Wieck was born on September 13, 1819 in Leipzig, Germany into a musical family. Her father,Friedrich Wieck, was "a first–rate piano
teacher." Her mother, Marianne Tromlitz, was a soprano and one of Wieck's piano students. Clara Wieck's parents divorced when she was five years
old, leaving her and her four brothers in her father's custody. Tromlitz married Adolf Bargiel and moved to Berlin, but she still kept in contact with
Clara through letters. In 1824, rather than learning the alphabet or her numbers, Clara started studying piano, violin, singing, music theory, harmony,
composition, and counterpoint primarily under the instruction of her father.
There was no subduing his determination to give a full trial to his method of teaching–to apply it at long range, reaching down into the infancy of his
pupil, building thoroughly, broadly, greatly. He would mold the daughter of his own blood, step by step, without fear of interference. The success of
the plan could make him the first teacher in Europe.
She soon became her father's star pupil. Although it was a rarity for women to

Franz Schubert: A Biography and Musical Analysis Essay
Franz Peter Schubert, born January 31, 1797, is accredited as one of the most gifted musicians of the 19th century ("SCHUBERT"), and is
considered to be the last composer of the classical era and one of the first romantic composers (The Biography). His relentlessly impoverished life was
short in comparison to many people of the era – his death was on November 19, 1828 (two months shy of his 32nd birthday) – and his music was
generally unrecognized and unappreciated during his time, but his exemplification of romantic lyricism and immense amount of composing, which
encompasses approximately 600 liturgical music scores and lieder (lyric songs); nine symphonies that truly represent the era of classicism; several
pieces for the stage; choral... Show more content on Helpwriting.net ...
Salieri acclaimed Schubert as a "musical genius," and the two would continue working together until separating in 1817 (The Biography). While in the
seminary, Schubert attended choir practices, practiced chamber music and piano, and performed as a violinist in the students' orchestra. He was soon
given a leadership role and sometimes conducted when Ruzicka was absent. While Schubert was in the seminary, he wrote his first songs, including
"Hagars Klage" (Hagar's Lament, 1811) and "Der VatermГ¶rder" (The Patricide, 1811), which captivated many of his teachers, with one teacher noting
that Schubert "had learned everything from God" (Forney 273). As with most men, puberty altered Schubert's voice. Unfortunately for Schubert, this
meant the end of his early success, as he was required to leave the seminary in 1813 ("SCHUBERT"). Soon after his dismissal from the university,
Schubert wrote his first symphony (1813). He was then pressured by his parents into studying at Normalhauptschule, a teacher's training college in
Vienna, as they wanted him to pursue a career of education rather than music (Forney 273). He then began working as an

Analysis Of Helft Mir Ihr Schwestern
"Helft mir, ihr Schwestern" is song number five from Robert Schumann's song cycle Frauenliebe und –leben. The song cycle was set to the text of a
poem cycle of the same name by Adelbert von Chamisso. Each poem in the cycle provides a glimpse into the story of a woman falling in love with a
man, getting engaged and married to him, getting pregnant and having a child, becoming a widow and finally sharing her life story with her
granddaughter. At the time that Schumann wrote this song cycle, he was going through a legal battle with his future wife's father over the right to
marry her. This poem cycle contains themes of love, devotion, and longing that Schumann could personally relate with his feelings for Clara Wieck,
who would soon become Clara Schumann. In this essay, I will demonstrate how Frauenliebe und–leben is directly reflective of Robert Schumann's own
life experiences. In so doing, I will be analyzing the ways in which Schumann set the music in a fashion that emphasized the structure and
emotional content of the poetry. In order to better understand the context of Robert Schuman's setting of "Helft mir, ihr Schwestern," I will first
provide a general analysis of the song cycle as a whole. As Schumann set music to the various poems, he shifted the tonality to closely related keys,
such as a fourth or fifth away, or shifting the relative or parallel major and minor keys. These shifts in tonality help emphasis the emotional
development of the main character of the poems. The song cycle begins with a relatively slow and reflective song in the key of Bb major, where
the main subject of the poem cycle first describes her feelings of intense, blind love for a man. The next song shifts the tonal center up a fourth to
the key of Eb. In this song, the woman raises the man of her affection up on a pedestal of high praise, while she demeans herself to a lowly maid.
Song three, moves the tonality to the relative minor of the previous song, C minor. This song is about the woman's disbelief that the man she adored
so highly has fallen in love with her, and Schumann reflects that disbelief by making the music more erratic in tempo. He also emphasizes the disbelief
by repeating the complete last stanza and then the

Who Is Robert Schumann?
Robert Schumann is one of the best composer of his time! Robert was born June 8, 1810 and died July 29, 1856. He was born in Zwickau, in the
Kingdom of Saxony. He was the youngest of five kids. His parents were Johanna Schumann and August Schumann. His father was a bookseller,
publisher, and a novelist. Robert's siblings are Carl, Emilie, Julius, and Eduard. Robert married Clara Schumann and had 8 children. His children are
Emil, Marie, Elise, Julie, Ludwig, Ferdinand, and Felix. Robert died in Endenich. Robert had a big family who were all interested in music. Robert was
a talented pianist. His teacher, Baccalaureus Kuntzsch, taught him everything he knew. By the age of six Robert was composing mini pieces!
Roberts wife's father was also one of Roberts teachers. Robert's mother wanted him to go to law school, but Robert did not want to. Robert played
the piano. Unfortunately, as Robert grew older he developed and injury in the hand and was unable to play. Thankfully, Robert married Clara, who
was a master pianist. Robert was a composer as well as a novelist. Robert could only play piano as a young child, but he wrote pieces till he was very
old.
Robert had an interesting life, it was like a rollercoaster, with ups and downs. Sometimes it was scary but mostly fun. When Robert was older, he
failed as a pianist but was a very successful composer. Until Robert was about twenty, he was leaning toward becoming a professional author, not a
composer. He was probably glad he

Poetry In Poetry
Poetry has played an important role during wartimes, whether it be to inspire and unify a nation or to memorialise and remember those who fought.
Australian poets throughout history such as Banjo Paterson have responded to the events and consequences of war in order to engage their audience to
consider the themes of honour and sacrifice which can be seen in his patriotic 1915 poem We're all Australians now. In contrast,John Schumann and
Eric Bogle evoke not only the theme of sacrifice but also the horror and waste of war in their poems I was only 19 and Lost Soul respectively. All
three poets effectively employ poetic techniques to highlight their key themes.
To begin, some poets highlight the heroism and honour of war while others consider its cruelty. Paterson in We're all Australians now, describes the
"Australian son(s)" who "stand straighter up today", illustrating the pride felt by many across the nation. He also emphasises the persistence and
strength of those who fought, in the line "fight on, fight on, unflinchingly", in which Paterson echoes a military–like rhythm as well the forward
momentum of the brave soldiers. In contrast, Schumann evokes the horror of the Vietnam war in I was only 19 by showing the lasting effects of
conflict, which are portrayed through the persona's current mental health as well as recollections of the war. For example, the persona questions why
he "still can't get to sleep" and highlights "it was a war within yourself". Schumann also

Clara Machumann If You Love For Beauty's Sake Analysis
The composer I chose is Clara Wieck Schumann. The piece that I chose to be analyzed is called "If You Love for Beauty's Sake". Clara Schumann
was born in 1819, she is also known as one of the most talented musicians in the Romantic era. Being a skilled pianist at such a young age, she
excelled throughout her career. Some people only know her as the wife of Robert Schumann, who was also a famous composer in this era. Like Robert,
she composed her own music. Clara went through tough obstacles in order to obtain her status. There are many aspects of her life that influenced her
and the person she became.
To continue, Clara's husband Robert Schumann was unable to compose music after a few years. This is the time that she stepped to make both of their
music. Eventually, Robert was diagnosed with depression and had to be taken to a mental asylum. This specific event was very heartbreaking to her
and her family. Clara Schumann ... Show more content on Helpwriting.net ...
Clara being young at the time certainly did not persuade society that she was as skilled and determined as she was. During this era, women had to
prove their quality of music was extraordinary. Women were expected to raise a family, not compose music. It was certainly not common at the time to
see a woman being a musician. Society was trying to tell her that she was not important enough to go through with her passion. Clara got well–known
musicians to take her seriously and persuaded them that women could be gifted in music. Clara fought through many assumptions of her and rose to
the top. After she became known for being an appreciable pianist, society and male musicians during the period started to see her as an equal. Clara
was in a musical society that was entirely conquered by men, getting their praise was a very great point in her life. In the end, she raised any
expectations that were ever given, becoming one of the first women to go on an international tour for her

Confessions Of A Key Board Dabbler
Confessions of a Key Board Dabbler
On September 9th I attended my first SWIC Music Faculty Preview Recital at the Schmidt Art Center. The venue for the afternoon recital was held in
the gallery room, a room set up for an audience of about 50 music majors. In the front of the hall sat a white grand piano on parquet floors; the walls of
the room were adorned with art of varying mediums. Having mucked around on the piano as a child, I sat enthusiastically as a musical amateur in
great awe of anyone with talent of the keyboard or gift of music of any kind.
The first two pieces in the program were by Austrian composer Franz Schubert 1797–1828. In 1808, through a competitive examination, the
eleven–year–old Schubert was accepted into the choir of the Imperial Court Chapel as well as the Royal Seminary. He was a shy youth, and spent
most of his spare time practicing and composing alone. When Shubert was fifteen his voice changed and he left the choir but continued to study at the
seminary. As discussed in lecture, each period of music has a chain reaction between artists who are affected by the events of their environment. Post
war 1950's America had the progression of Jazz with artists such as Charlie "Bird" Parker pushing the limits of the saxophone to create the bebop
sound, echoed in the rhythm of prose of writer Jack Kerouac and Jackson Pollock's abstract of the brush. Franz Schubert's fellow artists were no
different at the turn of the eighteenth century as the

Paganini Essay
Paganini
"This man with the long black hair and the pale countenance, opens to us with his violin a world which we had never imagined, except perhaps in
dreams. There is in his appearance something so supernatural that one looks for a glimpse of a cloven hoof or an angel's wing"
Paganini remains one of the most famous virtuosos in the history of music. His concerts were not only astonishing, but controversial. People could not
believe what Paganini was able to do; consequently, they explained such virtuosity with diabolic myths, finding in the musician the protagonist of a
bizarre tale. However, Paganini was far from being just a myth. He was one of the most famous virtuosos of the fist half of nineteenth ... Show more
content on Helpwriting.net ...
Thus an incredulous public accounted for the breath–taking magic of a great violinist performance on a single string (364).
This was not the only myth surrounding his G string performances. It was also said that Paganini had committed murder, and in his prison cell, he
was allowed to play his violin with only one string, so he could not hang himself with the aid of several ones (Istel 102). It is alleged that such
allowance led him to the mastering of the G string.
However, the real story unveils more interesting facts that those stated in the legends. The idea of the G string concerto was conceived by Paganini
while he was a chamber virtuoso and court conductor to Princess Maria Anna Elise, the sister of Napoleon I (Saussine 31). Paganini wanted to
impress a lady, with whom he was "much attached". He promised to write a musical fantasy of love for her, and he carried out his word with the
composition ScГЁne Amoureuse (Love Scene), in which he presented a dialogue between the G and E strings from his violin, removing the other two
from the instrument (Pulver 55). After finishing his presentation, not only his lady was pleased, but all the audience. In fact, the Princess cleverly lit a
bulb in Paganini's mind by asking

The Leid in the Romantic Era
Franz Schubert, the name defines an era and a genre. A rare composer who's symphonic works represent the best legacy of the classical tradition, while
his songs define German lied and exemplify the height of romantic lyricism.
Schubert's success with lied began with his masterpiece, Gretchen im Spinnrade. Written in the early romantic era, the year 1814. It is based on a text by
Johann Wolfgang von Goethe, a poet whose works would become the most associated with the romantic music of the era due in part to Schubert's well
loved settings. It was Schubert's first successful foray into lied. Indeed, this was his 30th vocal and piano pairing and it was in this masterpiece that he
created at one stroke, the Romantic German lied. This success emboldened him and in the following year brought about the composition of more than
one–hundred and forty more lied.
We can surmise from Schubert's drafts and sketches that the initial influence was melodic.
The words of a poem engendered a tune. Harmony (chordal structure of a composition) and modulation (change of key) were then suggested by the
contours of the melody. But the external details of the poet's scene–natural, domestic, or mythical–prompted such wonderfully graphic images in the
accompaniments as the spinning wheel, the ripple of water, or the "shimmering robe" of spring
The German lied, an art song for voice and accompaniment, quickly came into vogue because of the of using instrumental music to convey what

How Robert Schumann Revolutionized Music
How Robert Schumann Revolutionized Music
There are only a few activities that exist that utilizes the entire brain, and music is one of those things. When we listen to music our whole brain in
reacting to it and this is in a good way. When we listen to music dopamine is released into our bodies making us happy.Music is and has been part of
our culture for a long time. But if we go back to the Romantic era in music we can find a musician with the name of Robert Schumann. Robert was a
musician who was part of a love story, a real one not like a fairy tale. But he put these emotions into his music making it amazing. By doing this Robert
Schumann revolutionized the romantic era, changing music forever.
Some might already know who Robert Schumann is but why was he so important to the romantic era of music? Robert Schumann was a composer
who wrote lots songs for his wife that consisted of piano, voice, and orchestral music. At the age of six Schumann started taking piano lessons from a
teacher named Franz Schubert. (Abraham 1–2) Robert started out his music career early and this was helpful in making him such a great composer.
According to Gerald E.H. Abraham, Robert got piano education from famous musician Friedrich Wieck when he went to college to get a law degree.
He wasn't very interested in going into law but he was interested in Friedrich's daughter, Clara. (Abraham 4) Clara started to play piano under the
instruction of her father at a very young age and went on tour

Film Analysis :'samson ( Hwv 57 )
Samson (HWV 57) is a three–act oratorio by George Frideric Handel. It was the first oratorio he wrote after the Messiah. The oratorio deals with the
biblical figure Samson and it is also based on "Samson Agonistes" by John Milton. The aria happens at the end of the Oratorio to serve as a happy
ending with its joyous flare. The instrumentation has a trumpet doubling the voice throughout the piece as it is eluded in the text of Angel–trumpets.
Le Nozze di Figaro is one of Mozart's most popular operas, with the libretto written by Lorenzo Da Ponte. Act 2 begins in the bedroom of Countess
Rosina Almaviva, where she laments her husband's perceived infidelity with Susana, her maid, in the aria "Porgi Amour".
Franz Schubert was one of the most ... Show more content on Helpwriting.net ...
This example of lieder is a great example of Romantic poetry dealing with nature and the human condition with emotion. The poetry is by poet Ludwig
Heinrich Christoph HГ¶lty.
Clara Schumann paved the way for women composers and was a finer musician than many of her contemporaries. Clara Schumann was renowned in
her time, for her outstanding piano skills and her performances as a child prodigy. She composed "Lorelei" in 1843; it is towards the end of her
lieder output from the years 1831 to 1853. The text is by German Poet Heinrich Heine, a favorite author among Robert Schumann and Franz Schubert.
"Die Lorelei" is one of his most popular poems and was set to music by other composers, but Clara's musical setting has been lovingly referred to as the
'Female equivalent to "Der ErlkГ¶nig."
Hugo Wolf was another nineteenth–century composer who specialized in lieder. He wrote hundreds of lieder and composed other works, including two
operas. His style is linked to the Second Viennese School of Arnold Schoenberg, Alan Berg, and Anton Webern. Wolf's lieder continually have grand
moments of expressiveness. His lieder and compositions have complex harmonic motions; Verschwiegene Liebe especially is harmonically thick all
while maintaining its sweetness.
Richard Strauss was a leading German composer that spanned the late nineteenth century into the twentieth century. He is best known for his numerous
operas, like Salome and Der

Clara Schuman Impact On Society
In an era where only men got to do things that weren't housework and motherhood women's rights were practically nonexistent, Clara Schuman
performed in public and composed, something that women in her time never did. She was the main interpreter of her husband's work, but she also
played an important role in reintroducing eighteenth–century music to the public. Unfortunately, her compositions remained unknown until the second
half of the twentieth century. Many are still unpublished and owned by private collectors. Clara was born into a very musical family in 1819. From
an early age, her father planned Clara's career and life down to the smallest detail. She daily received a one–hour lesson and two hours of practice. In
March 1828, at the

Song Cycles Of Schumann
I have chosen these two cycles to analyse because they represent the two side of one story, the masculine and feminine points of views of love.
These two song cycles were composed shortly after one another. Frauenliebe und Leben was described by Gerhard Kaiser as: Her daughters of
citizenry could find their womanly role in life sketched out for them, from first love, through wedding, motherhood and widowhood, to old age and
death. Like Gretchen's song at the spinning wheel, these poems too involve role play. They portray a man's wishful image of women, prescribing to the
point of embarrassment her path to exemplary status through subjugation to man. She finds fulfilment in self–sacrificing service to him and in
glorifying him. (Muxfeldt, p.28)
Some points to conceder when performing Schumann's setting of Chamisso's texts are addressed in an article by Ruth Solie. She summarizes the text
of each of the eight movements as:
She has seen him ... Show more content on Helpwriting.net ...
In the first song the text is reminiscent of earlier days in May, and the protagonist declares his love for a particular woman. Schumann's ambiguous key
structure gives the listener a feel that the piece never settles. Aus meinen TrГ¤uen spiressen the protagonist continues to profess his love and shows a
little frustration in the phrase und meine Seufzwer warden ein Nachtigallenchor (And my sighs will be a nightingale choir). Schumann's tonality begins
to stabilize during this movement, provided by a simple chordal accompaniment allowing the vocal line to show and express the feelings of the text.
The third movement relates the woman figure to beautiful images in nature such as the rose, the lily, the dove and the sun and finally professes that she
is the one. The first three movements of this cycle set the initial tone and illustrate the protagonist's love for this

Essay on LACMA Concert
The Los Angeles County Museum of Art has a website that announces its programs. Anyone can easily find and choose a concert. I chose a concert
for Sunday July 25, 2010. This concert was emerging artists from Ipalpiti Festibal 2010. It included the four pieces of music that are described
below. One of these was Fantasiestucke, Opus 88, both Romanze and Duet were preformed. This concerto was performed by pianist Luiza Borac,
violinist Vladimir Dyo, and cellist Yves Dharamraj. The second piece was Ahnung, a new discovery piece from Kinderszenen. This piece was U.S.
Premiere, played solo by the pianist Luiza Borac. The third piece was Piano Quartet in E–flat major, Opus 47. This piece was an Andante cantabile
piece. This concerto was ... Show more content on Helpwriting.net ...
I discovered that an "Ahnung" is a German word, Which had many similar meaning in the translation; it means inkling, notion, hunch, apprehension
and etc. After I went home, I want to listen to this piece deeply. Unfortunately, I couldn't find a full piece about this song.
I also enjoyed listening to this piece Fantasiestucke, Opus 88. This piece was played in Romanze and duet, and was performed by the pianist Luiza
Borac, violinist Vladimir Dyo, and cellist Yves Dharamraj. After a deep sesearch about this piece I find out that the work was came at a happy time in
the composer's life: Schumann had married his beloved Clara Wieck in 1840 after her father had made many attempts to thwart their matrimonial plans.
The four pieces, or movements, comprising the trio are "Romanze," "Humoreske," "Duett," and Finale. During this program I feel that the "Romanze"
opens in a tentative, mysterious mood, but then turns warmly Romantic, the piano dominating throughout. The "Duett" that follows, marked Slowly
and with feeling, is for cello and violin, the piano providing a soft, running accompaniment to their passionate singing. The Finale, designated in March
tempo, exhibits a heroic character at the outset, but turns lighter and more playful in succeeding variations. The main theme returns and the subdued,
lively ending are sheer magic in its feathery nonchalance, its graceful instrumental exchanges,

Johannes Brahms : Music Theory, Harmony, And Counterpoint
Chapter ONE – Johannes Brahms Biography
Johannes Brahms was born in Hamburg, Germany. His birthdate is May7, 1833. He died on April 3, 1897. He died in Vienna, Austria. He studied
piano at the age of seven under F.W. Cossel. He then became a student to Eduard Marxsen. At his teenage years he helped his family earn money by
playing in inns. Every once in awhile he would give recitals.
Johannes Brahms played many instruments. The instruments he played were the piano and bass. Brahms also played the flute and violin. When
Marxsen was teaching him he was taught musical theory, harmony and counterpoint. After his career started, Johannes played in lots of solo piano
recitals. Brahms met a violinist named Joseph Joachim. Joachim told him to go to Robert Schumann. They became great friends.
Johannes Brahms wasn't married to anybody, but he fell in love with Clara Schumann while he took care of her family. He also fell in love with
Agathe Von Siebold. His dad was Johann Jakob. His mom was Johanna Henrika Christiane Nissen. Friedrich and Elise Brahms were his siblings.
Robert Schumann gave Johannes lots of publicity. It took Brahms 22 years to complete one of his symphonies because he wanted it to be really good.
Brahms traveled across Europe a lot to do concerts.
Chapter TWO – Hungarian Dance No. 5
Johannes Brahms wrote a song called Hungarian Dance No. 5. I think it represents a victory or some sort of reward. In his music he has lots ups and
downs,

Clara Schumann : A Modern Artist Named Carly Simon
Lyndsay Riley
Music 101
Professor Fewtrell
5 August 2015
Clara Schumann A modern artist named Carly Simon once said "A really strong woman accepts the war she went through and is ennobled by her
scars" (Brainyguote, 1). This is a great description of the strong and talented Clara Schumann. Her story is full of achievements, love and tragedy and
throughout all of it she carries herself with poise and strength that really is not seen much in the present generations. Although Clara Schumann
accepted her war and came out proud and confident in herself and her success. This talented composer was born in Leipzig on September 13, 1819
to her parents Friedrich and Marianne Wieck. Her mother was a very talented singer and pianist and her father, though he studied Theology in
school, was also a great pianist and musical teacher. Friedrich was a very prideful man. He pushed his wife and daughter to succeed with the
zealous attempt to receive musically inclined high stature from their work and to gain more attention towards his teaching abilities. This Dangerous
desire for fame and recognition soon led to Marianne's resentment towards him and progressed to a divorce when Clara was only five years old
(Mitchell, 1). With Clara left to be raised by her father she was introduced to music rather early on. Friedrich, still striving for more recognition, made
sure that Clara became well educated in the musical field. However, he neglected the other lessons in life like proper English and

Romanticism During The Romantic Period
The Romantic Period
Romanticism (1820–1900) in music was brought to the world during the early nineteenth century. This music stressed emotion, imagination, and
individualism. The Romantic period was about freedom of expression and breaking away from time–honored conventions.
This period in time had influenced many, or even all of the arts. Painters used bolder and more brilliant colors in their works. Also, they had preferred
dynamic motion to gracefully balanced poses. Poetry was also changed during the Romantic Period. Emotional subjectivity was a basic quality in every
type of art during this time. Many artists had become "romantics" and had become drawn to the realm of fantasy: the unconscious, the irrational, and
the world of dreams. Romantics were fascinated with the Middle Ages, the time of chivalry and romance. What neoclassicists had thought of to be the
"dark ages", the romantics had cherished.
The ... Show more content on Helpwriting.net ...
None of these were entirely to replace the Romantic impulse. Hard–bitten naturalism in fiction and film coexists today with sweeping romanticism;
there are large audiences for both. The contemporary vogue for "Victorian" designs is just one of many examples of the frequent revivals of Romantic
tastes and styles that have recurred throughout the twentieth century.
Looking back over the list of characteristics discussed above one can readily see that despite the fact that Romanticism was not nearly as coherent a
movement as the Enlightenment, and lacked the sort of programmatic aims the latter professed, it was even more successful in changing
history––changing the definition of what it means to be human.
Romanticism
The romantic period emphasised the self, creativity, imagination and the value of art. This is in contrast to the Enlightenment emphasis on Rationalism
and

I Was Only Nineteen By John Schumann
Many Australian war poems and songs represent or contradict an aspect of the nation's identity and views. The ballad 'I was Only Nineteen' by John
Schumann follows the journey of Mick Storen in the Vietnam War, and the atrocities witnessed while there. The theme portrays the continual struggle
to cope with the post–effects of war, which provides the nation a new perspective of heroism and hardship (Marshall 2016).
The poem overall conveys a sense of reflection that creates the emotions of grief and regret, which is evident in the sixth stanza. There are 3 main poetic
techniques that are used to emphasise the theme. Repetition of "God help me, I was only nineteen" reinforces the innocence of the soldier's age.
Furthermore, colloquialism such

The Most Important Composers Of The Nineteenth Century
Johannes Brahms was one of the most important composers of the nineteenth century. Although he is forever enshrined in music history as one of the
three B's (Along with Beethoven, and Bach), Brahms' contribution to the musical world is far greater than just the letter B. ("Self Confidence" par. 9)
From his works in orchestral music (such as his four symphonies, and concertos) to his piano, chamber, and choral music, all of these have had a
meaningful impact the world of music, both in the nineteenth century, and today. (Sandberger par. 1)Johannes Brahms was born in Hamburg, Germany
on May 7, 1833, to Johanna Nissen and Johann Brahms. ("Museum" par. 1)At the age of 7, Brahms began studying Piano under Otto Marxsen, and
Eduard Maxsen. ... Show more content on Helpwriting.net ...
In 1864, these words came to life in Brahms' first piece, German Requiem. Inspired by the death of his mother in 1865, he selected bible verses
himself for the piece, (Forney 244) and it would be the piece that launched him into stardom. Clara Schumann even remarked: "Seeing Johannes
standing there with the wand in hand, I had to think over and over of my dear Robert's prophecy, 'let him wave his magic wand and have his way with
chorus and orchestra' that today came to fulfillment." (Sandberger par. 5) In 1871, Brahms moved into an apartment in Vienna, Austria, and soon
became very successful (in part due to his status as heir to Robert Schumann who passed away in 1856, and the relative fame of his composition
German Requiem). (Forney 244) A year later Brahms would become the director of the Viennese choral society Singakademie. ("Museum" par.15)
Brahms also traveled widely during this period. He would regularly visit various cities in Germany, Italy, and Austria, and these would serve as the
composing sights for many of his most famous works. In 1889 Brahms became an honorary citizen of the city of Hamburg, and was inducted into the
Leopold Order by Austrian Emperor Franz Josef I that same year. ("Museum" par. 29) By 1895, Brahms had conducted his last concert, and one year
later his lifelong friend Clara Schumann passed away. ("Museum" par. 36). Not too

Melissa Morelli Lacroix's A Most Beautiful Deception
Melissa Morelli Lacroix's first book, A Most Beautiful Deception, is compiled of three collections of multiple poems. Each collection represents a
piece of music by a composer: Frederic Chopin, Clara and Robert Schumann, and Claude Debussy. It is written in a form that reflects the nature (intro,
coda, movements, etc.) of each piece. She wrote in the notes of her book that, "the poems quote quite freely from the composers who have inspired
them" (Lacroix 105). The touching personality of her poetry comes from the musical quality and realism of each poem. The story, emotion, and
simplicity that is demonstrated is striking and captivating. Her use of one form of art to create another reflects her method of interweaving sadness
and beauty; instruments and words; death and life; past and present; musical form and poetic form. The first section of poems is titled "Chopin for the
Dying", and tells the story ... Show more content on Helpwriting.net ...
The poem is poignant as it causes readers to think of those things that revive melancholy experiences. Lacroix interweaves "the irreplaceable
moments of life and the sweet sting of memories" (canlit) into a poem describing the difficulty in acknowledging the departure of a better time.
The line breaks that that occur place emphasis on the words at the beginnings and the ends of lines; an important element is that every three lines
(besides one exception of four), either "you", "we", or "I" begin the line. The first half of the poem speaks of "you", "I", and "we", but the last half
is all "I". The change from two people to one is a striking representation of how even though the husband is still alive, he is already gone in the mind
of the wife. She is resigned to being alone now, and finds it unbearable to look at the "books/ the photo albums and flowered shirts" (Lacroix 52)
because they remind her that the one thing she wants (her husband) is no longer beside

Literary Romanticism Essay
Literary Romanticism
Literary Romanticism is a movement in literature present in the history of virtually every European country, the USA, and Latin America. It lasted
from approximately 1750 to about 1870 and was characterized by reliance on the imagination and emotional subjectivity of approach, freedom of
thought and expression, and an idealization of nature. The term 'romantic' first appeared in 18th–century English and originally meant
"romancelike"—that is, resembling the fanciful character of medieval romances. Romanticism was merely a product of bygone ages as are all
works of literature.
Heinrich Heine is an example of a German romantic poet. He is best renowned for his early lyrical poems and ballads, which are ... Show more content
on Helpwriting.net ...
Because the profession of law was prohibited to Jews in Germany at that time, Heine, who was born Jewish, converted to Christianity in 1825 in
order to obtain a law degree. He received his degree but never practiced law. In 1826 Die Harzreise (The Harz Journey 1887), a prose account of a
trip he had taken to the Harz, a mountain range in central Germany, was published. This work, with its wit and grace of style, won success
immediately and established Heine's literary reputation. In 1827 his Buch der Lieder (Book of Songs, 1846) was published. Many noted composers,
including Franz Schubert of Austria and Robert Schumann of Germany, wrote music to accompany these verses.
From 1827 to 1831 Heine lived in England and Italy as well as in various parts of Germany. During that period he wrote the three volumes of travel
stories that, with Die Harzreise, make up the four volumes of his Reisebilder (1826–1831; Travel Pictures, 1887). He also wrote a number of prose
works in which he displayed sympathy with the democratic ideas of the French Revolution (1789–1799) and bitterly satirized the feudal regimes of the
German kingdoms and duchies (see Feudalism).
In the 1830s Heine became a prominent member of a literary group known as Junges Deutschland (Young Germany), which attacked the German school
of Romanticism for having come under the domination of the monarchy and the church. He had hoped to obtain a position as a professor of German
literature, but his

Instant Crush Poem Analysis
Vocal Styles Expressive sincerity, authenticity, and intimacy in vocal music require a significant connection between the voice, vocal music and the
text itself. This analytical essay will investigate this statement using Franz Schubert's Erlkronig and a contemporary song: Instant Crush by Daft
Punk. A Lied is a type of German song of the Romantic period, typically for the solo voice with piano accompaniment. Erlkronig is a Lied written for
piano and voice by the Austrian composer Franz Schubert in 1815. One of the special features of this piece includes one singer using his/her voice to
depict the 4 different characters of the song: The narrator, the father, the son and the Erlkronig. The time signature is in common time (4/4) and starts...
Show more content on Helpwriting.net ...
The rise in pitch conveys the boy's heightened fears of the Erlkronig and his children. The dynamics are forte however they slowly decrescendo,
indicating the boy's spirit dying away. During the father's lyrics, the right hand of the piano uses unison octaves and block chords. In contrary, the left
hand plays single semibreves. (Bars 112–130) The key then modulates to a new key – D minor. The context of the lyrics state that if the boy won't go
willingly with the Erlkronig, he will have to take him by force. The boy who is terrified, screams out loud and shortly passes away. During the
Erlkronig's part, the melody moves in chromatic steps which expresses the idea that Erlkronig has lost patience and will take the boy by force. This is
the climax of the song from pianissimo (pp) to fortississimo (fff). (Bars 130–147) The key returns to the original key signature of G minor. Also, the
narrator returns and states the father riding like the wind on his horse and finally reaching the safety he was seeking. His son is dead in his arms.
This final section has the largest range starting at D below the staff rising the G above the staff then moving back to D below the staff which is the
dominant of the current key signature, G minor. The piece ends with a decrescendo and

Clara Wieck Research Paper
"In an era when women, apart from singers, almost never performed in public or composed, Clara Schumann did both." In the 19th Century, Clara
Schumann, wife of Robert Schumann, was considered one of the best pianist and composers, even earning the nickname, "Eurpoes Queen . She is an
inspiration to female composers fro they were often discouraged and often looked down upon. INTERESTING INTRO Clara Josephine Wieck was
born on September 13, 1819 into a middle–class family. She was born in the town of Leipzig, Germany. Her father, Friedrich (Friedrick) Wieck was a
well known music teacher in the area and her mother, Marianne Wieck , was a well known pianist as well. When she was born, her father had planned
and predicted

The Fallen Poem
Comparing For the Fallen and I Was Only Nineteen
In today's modern world, the use of poetry to communicate and express oneself has become quite rare. One of the main reasons is due to the fact that
with such an old style of writing, it is very often hard to understand properly. poetry is indeed difficult to read and hard to understand, but given time, it
is a rewarding challenge. Poetry is not only written verse but is used in songs as well. Taken the time to listen to the words of modern songs, you will
realise that the lyrics of the song are actually a poem linking modern day music to poetry.
To help Year Twelve students that are studying poetry appreciate it's value, this pamphlet's aim is to discuss a classic poem and a... Show more content
on Helpwriting.net ...
God help me, I was only nineteen.
9 From Vung Tau riding Chinooks to the dust at Nui dat, IВЎВ¦d been in and out of choppers now for months we made our tents a home, VB, and
pinups on the lockers, and an Asian orange sunset through the scrub.
13 And can you tell me, doctor, why I still canВЎВ¦t get to sleep? And night–timeВЎВ¦s just a jungle dark and a barking M–16? And whats this rash
that comes and goes, can you tell me what it means? God help me, I was only nineteen.
17 After a four week operation, when each step can mean your last one on two legs It was a war within yourself. But you wouldnВЎВ¦t let your mates
down ВЎВҐtil they had you dusted off, so you closed your eyes and thought about something else.
21 Then someone yelled out ВЎВ§Contact!ВЎВЁ, and the bloke behind me swore. We hooked in there for hours, then a god–almighty roar. Frankie
kicked a mine the day that mankind kicked the moon. God help me, he was going home in June.
25 I can still see Frankie, drinking tinnies in the Grand Hotel On a thirty–six hour rec. leave in Bing Tau. And I can still hear Frankie, lying screamimg
in the jungle, ВЎВҐTill the morphine came and killed the bloody row.
29 And the Anzac legends didnВЎВ¦t mention mud and blood and teaars. And the stories that my father told me never seemed quite real. I caught some

pieces in my back that I didnВЎВ¦t even feel. God help me, I was only nineteen.
33

Summary Of An Den Mond No 116
Franz Schubert's An den Mond no. 176 starts with flowing chords in the piano, a five–measure piano introduction and then a soft entry of the vocal
line. An den Mond no. 116 starts with no piano introduction, rather the vocalist has the downbeat with the pianists left hand and the piece has
started. The two renditions of the An den Mond each hold very individual techniques for conveying the lieder as well as the notes at the same time
with an equally relatable tone. An de Mond No. 116 starts off with two measure phrase pattern that continues throughout the whole piece. From the
very start the piece visually defines phrase endings as they are marked by a half note. This naturally shows a cadence as it slows down the line
and then continues with a change of thought. However, only one out of all eight of the half note phrase endings ends up. The phrases are
therefore quick but also give a solemn downwards feel. The lieder captures this as well. The text is very calm and reflective and for the only
phrase that ends up it puts emphasis on the words "at last" (Measure 6). These two words so the accomplishment of a desire that has just been filled.
The words also show that there is a sadness that comes with the lieder. An de Mond No. 116 also develops moments of romance. The romance
appears to be between the performer and a friend as the text that starts in measure nine suggests. "You cast your soothing gaze over my fields; with a
friend's gentle eye, you watch over my fate.

Music of Robert Schumann as a New Stage in the Development...
Music of Robert Schumann as a New Stage in the Development of Romanticism
Music of Robert Schumann embodies many of the most characteristic features of German Romanticism – deep psychological insight, aspiration for the
ideal, intimacy, irony and bitterness. Advanced aesthetic tendencies of German culture in the period of 1820–40s found vivid expression in his music.
In contradictions, which are inherent in Schumann's music, reflected the complex contradictions of the social life from his time. His music is filled
with a restless, rebellious spirit that puts him in the same line with Byron, Heine, Goethe, Wagner and others. However, the theme of rebellion in the
music of Schumann has a psychological, but very lyrical representation. Compared to Heinrich Heine, Victor Hugo, and Ludwig Van Beethoven who
viewed the world through the prism of social injustice, Schumann did not aim towards social revolt. The greatest part of his diverse heritage was his
personal "confession" in music. Schumann's piano music, for instance, Kreisleriana, Op.16 and the Symphonic Etudes, op.13, are truly a musical
encyclopedia of the human soul with many nuances and tones, with shades of colors of joy, sorrow, anguish, doubt and struggle, dreams and anxieties,
rush, despair, faith and courage.
E.T.A. Hoffmann in his writing "Dichtungen und Schriften" defined genius as a person who is able "to touch us, to move us mightily, the artist
himself must be deeply affected in his own heart. Effective

Analysis Of Liberty Charter High School Music...
Liberty Charter High School Music Appreciation
By Quintin Richardson
CC Music Appreciation student
Writer, composer, critic, and a man that tried his best. Born June 8th 1810 he was set in a time of expression and potential. Even at the early age of 6
he started his studies of music specifically the piano. About the same time as when he entered a private school. After four years there he was sent to
Zwickau Gymnasium (a high school) in 1820 and spent the next 8 years there. "When he was 14, Schumann wrote an essay on the aesthetics of
music. He also contributed to a volume titled "Portraits of Famous Men", which was edited by his father. During his school days in Zwickau". ("Robert
Schumann Biography." – Childhood, Life

Music In The Romantic Era
Following the Pre–Classical and Classical periods, a new, very distinctive style of music emerged. The Romantic Era Lasted from the year 1820 up
until the year 1900. The Romantic Era consisted of composers taking a more unique and expressive style of music. Hector Berlioz, Fryderyck Chopin,
and Robert Schumann are considered to be the most influential composers of the Romantic Era. Nationalism and Exoticism played a very big part of
music expression during this period. Both, Art song and German Lieder music styles were invented and told stories in a musical form. These three
composers helped shape this era through the use of the piano and the use of a more supernatural realm style of music.
Hector Berlioz was born in the year 1803 in France. At the age of twenty–two he left his career to pursue his musical career. He went on to composing
his first symphony at the age of twenty–seven. Hector was highly criticized in his homeland France for his music. It was very painful for hector to be
rejected from the musical community and deemed as a laughing stock. After receiving the negative reviews of his music, he stated, "I belong to a
nation which has ceased to be interested in the nobler manifestations of intelligence, and whose only deity is the golden calf. The Parisians have
become a barbarous people" (Berlioz, 2016). He had to work very hard to be able to afford all of the costs for his performances and was pretty much
ignored throughout his musical career. He was later

Analysis Of 'Helft Mir, Ihr Schwestern'
Analysis of "Helft mir, ihr Schwestern" "Helft mir, ihr Schwestern" is song number five from Robert Schumann's song cycle Frauenliebe und–leben.
The song cycle was set to the text of a poem cycle of the same name by Adelbert von Chamisso. Each poem in the cycle provides a glimpse into the
story of a woman falling in love with a man, getting engaged and married to him, getting pregnant and having a child, becoming a widow and finally
sharing her life story with her granddaughter. At the time that Schumann wrote this song cycle, he was going through a legal battle with his future
wife's father over the right to marry her. This poem cycle contains themes of unending love, devotion, and longing that Schumann could personally
relate to with his feelings for Clara Wieck, who would soon become Clara Schumann. In this essay, I will demonstrate how Frauenliebe und–leben is
directly reflective of Robert Schumann's own life experiences. In so doing, I will be analyzing the ways in which Schumann set the music in a fashion
that emphasized the structure and emotional content of the poetry.
Robert Schumann used a variety of musical elements to support the text of "Helft mir, ihr Schwestern" in both structurally and emotionally impactful
ways. Each stanza of the poem has six lines, where the third and sixth lines rhyme. With the setting of music to the poetry, three lines of text constitute
a phrase, and each stanza, in turn, has two phrases. This ultimately aligns the rhyme and phrase

Who Is Verborgenheit An Example Of The German Lied?
Verborgenheit is based on a poem written by the romantic poet Eduard Moerike. Hugo Wolf took Moerike's poem and set it to music. Verborgenheit
is an example of a German Lied. A Lied is written for only solo voice and piano, both the piano and voice have equal roles in telling the story. This
particular piece this is clearly evident, as both instruments have independent parts and do not double each other's melodies. Verborgenheit is written for
a baritone singer.
The composer of this piece was Hugo Wolf, who was an Austrian composer who lived from the year 1860 to the year 1903. Wolf is widely regarded is
one of the best composers of the German Lied. One of the reasons for this is because when he composes his Lieder he uses concentrated amounts

John Brahms Ein Deutsches Requiem

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