“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

— Burkard Schliessmann

Talkings about Chopin and Schumann

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from S…" by Burkard Schliessmann?

Burkard Schliessmann 33

classical pianist

Related quotes

“To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“Yes, I’m profoundly a representative of the great hypervirtuosic Romantic epoch. But as already mentioned, my roots also go back to Bach and this special style of interpretation, where I’m also at home. In this special field of tension I also see many of the major composers and works in the Romantic tradition. It was no less than Schumann himself who said that great music finds all its combinations in Bach. Indeed, Schumann also builds up his works in polyphonic style, and even in his orchestral scores and symphonic movements he is a counterpointer. As Romantic and modern his work must have seemed to people of his era and lifetime, in main he was a classicist. That means that - and only to name one typical Romantic composer - Schumann cannot be understood without Bach.”

Burkard Schliessmann classical pianist

Talkings on Bach

“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

“The most sensitive musical instrument is the human soul. The next is the human voice. One must purify the soul until it begins to sound. A composer is a musical instrument and at the same time, a performer on that instrument. The instrument has to be in order to produce sound. One must start with that, not with the music. Through the music the composer can check whether his instrument is tuned and to what key it is tuned.”

Arvo Pärt (1935) Estonian composer

Read from his musical diaries while speaking at St. Vladimir’s Seminary https://vimeo.com/221011528/

“The bleak and yet so intimate nature of the mountains has had an enormous impact on the painter. It has deepened his love for his subjects and at the same time purged his vision of everything that is secondary. Nothing inessential appears in the paintings, but how delicately every detail is worked out! The creative thought emerges strongly and nakedly from the finished work. Kirchner is now so taken up with entirely new problems that one cannot apply the old criteria to him if one is to do justice to his work. Those who wish to classify him on the strength of his German paintings will be both disappointed and surprised. Far from destroying him, his serious illness has matured him. Besides his work on visible life, creativity stemming solely from the imagination has opened up its vast potential to him – for this the brief span of his life will probably be far from sufficient.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote from the 'Preface' of the catalog of Kirchner's Frankfurt exhibition in 1922, (written by Kirchner, about Kirchner under his pseudonym de:Louis de Marsalle); as quoted in the biography-pdf http://www.kirchnermuseum.ch/data/media/downloads/Biography.pdf of the Kirchner museum, Davos
1920's

“PRIMACY The general notion here is that a person scans and interprets a sequence of information until he attains an attribution from it and then disregards later information or assimilates it to his earlier impression.”

Harold Kelley (1921–2003) American psychologist & academic

Source: "Attribution theory and research." 1980, p. 467

“By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs…Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.”

George Perle (1915–2009) American composer

Pages 46-47
The Listening Composer

“From a town known as Wheeling, West Virginia
Rode a boy with a six-gun in his hand
And his daring life of crime made him a legend in his time
East and west of the Rio Grande.
Well, he started with a bank in Colorado
In the pocket of his vest a Colt he hid.
And his age and his size took the teller by surprise,
And the word spread of Billy the Kid.”

Billy Joel (1949) American singer-songwriter and pianist

The Ballad of Billy the Kid.
Song lyrics, Piano Man (1973)

“Analysis of the mathematical form and underlying principles of games was made by von Neumann " as early as 1928. In this early work von Neumann was not so much interested in executive-type problems as he was in the logical foundations of quantum mechanics. It was not until 1944, when von Neumann and Morgenstern published their now well known Theory of Games and Economic Behavior, that the mathematical treatment of games "took fire."”

C. West Churchman (1913–2004) American philosopher and systems scientist

Source: 1940s - 1950s, Introduction to Operations Research (1957), p. 519: Partly cited in: E. Roy Weintraub (1992) Toward a history of game theory. p. 235

“By the late eighteenth century, there is a sad and permanent decline in the quality of music written for young performers or beginners: one has only to compare Bach's Album for Anna Magdalena Bach and the Two-Part Inventions with anything that came later. No composer of importance between Bach and Schumann turned his hand to writing for children, and Schumann's essays came after his years of greatest inspiration for piano writing had gone. (Mozart is the odd exception, but then he was, in fact, almost incapable of writing really easy pieces: he no doubt believed that his Sonata in D Major, K.576, was easy, perhaps because all the hard passages in the first movement were in simple two-part counterpoint, one voice in each hand, but he was wrong.)”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Help us to complete the source, original and additional information

Burkard Schliessmann 33

Related quotes

Related topics