“Schumann’s Kreisleriana: No other cycle among Schumann’s great works so perfectly expresses the sensation of dark nocturnal things, of chaos, lurking in the background. The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost - like into night and mystery. Looking into the first volume of Schumann’s diaries we find ‘Midnight Piece,’ a prose passage which provides moving, indeed alarming evidence of his perilously depressive mental state. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set.”

Talkings about Chopin and Schumann

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Burkard Schliessmann 33
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“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 classical pianist

Talkings about Chopin and Schumann

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“Like a flame in the night
Like a ghost in the dark
There's a ray, there's a light
There's a hope, there's a spark”

Eminem (1972) American rapper and actor

"Stimulate" (from 8 Mile, 2002)
2000s

Pablo Picasso photo

“Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms, well then think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affects us more or less intensely.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
Richard Friedenthal, (1963, pp. 257-258).
Quotes, 1930's, "Conversations avec Picasso," 1934–35

Anton Rubinstein photo

“I think that with the death of Schumann and Chopin—‘finis musicae'.”

Anton Rubinstein (1829–1894) Russian pianist, composer and conductor

Quoted in A Conversation on Music (1892)

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