Music of Robert Schumann as a New Stage in the Development of Romanticism

1023 Words Feb 4th, 2018 4 Pages
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…

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