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Clara Schumann: Changing Identities and Legacies 克拉拉·舒曼:改变身份和遗产
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-05-16 DOI: 10.1017/s1479409823000034
J. Davies, Nicole Grimes
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引用次数: 0
The Technological Priestess: The Piano Recital, Photography, and Clara Schumann 技术女祭司:钢琴独奏会，摄影和克拉拉·舒曼
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-05-02 DOI: 10.1017/s1479409823000137
A. L. Prince
{"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}
引用次数: 0
The Socio-Political Faces of Clara Schumann on German Film 克拉拉·舒曼在德国电影中的社会政治形象
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-24 DOI: 10.1017/s147940982300006x
Nicole Grimes
{"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}
引用次数: 0
The Emergence of the Romanian National School of Composition in the First Half of the Nineteenth Century: Between the Western Canon and the Resources of the Local Music 19世纪上半叶罗马尼亚国立作曲学派的兴起：在西方经典与本土音乐资源之间
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-14 DOI: 10.1017/s1479409823000010
Theodor Constantiniu
{"title":"The Emergence of the Romanian National School of Composition in the First Half of the Nineteenth Century: Between the Western Canon and the Resources of the Local Music","authors":"Theodor Constantiniu","doi":"10.1017/s1479409823000010","DOIUrl":"https://doi.org/10.1017/s1479409823000010","url":null,"abstract":"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.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45771237","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}
引用次数: 0
Speech and Silence: Encountering Flowers in the Lieder of Clara Schumann 言语与沉默:克拉拉·舒曼歌曲中的花
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-13 DOI: 10.1017/s1479409823000058
Christopher Parton
{"title":"Speech and Silence: Encountering Flowers in the Lieder of Clara Schumann","authors":"Christopher Parton","doi":"10.1017/s1479409823000058","DOIUrl":"https://doi.org/10.1017/s1479409823000058","url":null,"abstract":"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.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45067353","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}
引用次数: 0
Creativity, Performance and Problems of Authorship: Clara Schumann's Cadenzas for Mozart's D minor Concerto, K466 创作、表现和作者问题:克拉拉·舒曼为莫扎特D小调协奏曲谱写的装饰曲，K466
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-12 DOI: 10.1017/s1479409823000046
{"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}
引用次数: 0
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 … 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（Jean Cras）：《早期钢琴曲》（The Early ...
3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-03 DOI: 10.1017/s1479409823000101
Richard Langham Smith
{"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}
引用次数: 0
NCM volume 20 issue 1 Cover and Back matter NCM第20卷第1期封面和封底
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-01 DOI: 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}
引用次数: 0
Notes on Article Contributors 文章投稿人须知
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-01 DOI: 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}
引用次数: 0
NCM volume 20 issue 1 Cover and Front matter NCM第20卷第1期封面和封面
IF 0.3 3区 艺术学
Nineteenth-Century Music Review Pub Date : 2023-04-01 DOI: 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}
引用次数: 0
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