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Abstract(s)
Resumo - Robert Schumann (1810-1856) desempenhou um papel significativo na interação alemã do século XIX entre o virtuosismo, a estética romântica e a ideologia da música séria. Após a morte de Beethoven e Schubert, Schumann assumiu o papel transcendental de liderar o desenvolvimento da estética e dos ideais românticos, expressando a sua profundidade emocional não só na sua música, mas também nos seus diários pessoais, correspondência, notas autobiográficas e críticas musicais. Os seus documentos escritos são, atualmente, uma das contribuições mais importantes para a literatura musical.
O estilo de composição inovador de Schumann estava enraizado na tradição musical alemã e fortemente influenciado pelo amor que tinha pelas obras literárias dos escritores e poetas alemães, especialmente pelos romances de Jean Paul Richter e E.T.A. Hoffmann, dos quais adotou muitas estratégias narrativas e estruturais nas suas obras de piano. A nova abordagem de Schumann na composição para piano e a sua conceção inovadora da forma musical serão exploradas neste projeto artístico. O ciclo do piano, a contribuição mais marcante de Schumann na literatura pianística, e a sua reinterpretação da variação e sonata para piano, os tipos formais mais convencionais usados pelos compositores clássicos e pós-clássicos, serão explorados e analisados nas peças seguintes: Kinderszenen op.15 e Waldszenen op.82 e as Variações sobre o nome Abegg op.1 e Faschingswank aus Wien op.26.
Abstract - Robert Schumann (1810-1856) played a significant role in the nineteenth-century German interaction between the ideology of serious music, virtuosity and Romantic aesthetics. After the death of Beethoven and Schubert, Schumann assumed the transcendental role of leading the development of Romantic aesthetics and ideals, expressing his emotional depth not only in his music, but also in his personal diaries, correspondence, autobiographic notes and music critic reviews and essays. His writings remain today among the most important contributions to the literature of music. Schumann´s innovative compositional style was rooted in German musical tradition and strongly influenced by his love for the literary works of the German writers and poets, especially by the novels of Jean Paul Richter and E.T.A. Hoffmann, from whom he adopted many narrative and structural strategies in his piano works. Schumann´s new approach to piano composition and his innovative conception of musical form will be explored in this performance project. The piano cycle, Schumann´s most distinctive contribution to piano literature, and his reinterpretation of the piano variation and the piano sonata, the most conventional formal types used by postclassical composers, will be explored and analyzed in the following works: Kinderszenen op.15 and Waldszenen op.82 and the Variations on the name Abegg op.1 and Faschingswank aus Wien op.26.
Abstract - Robert Schumann (1810-1856) played a significant role in the nineteenth-century German interaction between the ideology of serious music, virtuosity and Romantic aesthetics. After the death of Beethoven and Schubert, Schumann assumed the transcendental role of leading the development of Romantic aesthetics and ideals, expressing his emotional depth not only in his music, but also in his personal diaries, correspondence, autobiographic notes and music critic reviews and essays. His writings remain today among the most important contributions to the literature of music. Schumann´s innovative compositional style was rooted in German musical tradition and strongly influenced by his love for the literary works of the German writers and poets, especially by the novels of Jean Paul Richter and E.T.A. Hoffmann, from whom he adopted many narrative and structural strategies in his piano works. Schumann´s new approach to piano composition and his innovative conception of musical form will be explored in this performance project. The piano cycle, Schumann´s most distinctive contribution to piano literature, and his reinterpretation of the piano variation and the piano sonata, the most conventional formal types used by postclassical composers, will be explored and analyzed in the following works: Kinderszenen op.15 and Waldszenen op.82 and the Variations on the name Abegg op.1 and Faschingswank aus Wien op.26.
Description
Artistic Project - Masters in Music
Keywords
Schumann Ciclo pianístico Formas cíclicas Peças de carater Virtuosismo Kinderszenen Waldszenen Abegg variations Faschingswank aus Wien Piano cycle Cyclic forms Character piece Virtuosity
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa