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Album Für Die Jugend, Op.68
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Browse piano sheets by Robert Schumann on Zen Virtual Piano. Schumann’s hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, a growing paralysis in at least one finger whose early symptoms came while he was still a student at Heidelberg, and he concentrated on composition. A hand whose growing paralysis frustrated virtuoso hopes, and a turn to composition, suggest ambition finding another channel. He was born in Zwickau, Saxony, and was initially unsure whether to pursue a career as a lawyer or to make a living as a pianist-composer. At six he went to a private preparatory school, where he remained for four years. He studied law at the universities of Leipzig and Heidelberg but his main interests were music and Romantic literature, and from 1829 he was a student of the piano teacher Friedrich Wieck. Law studies pursued with music and Romantic literature at the centre suggest a young man whose real education was happening alongside his official one. His early works were mainly piano pieces, including Carnaval, Davidsbündlertänze, Fantasiestücke, Kreisleriana and Kinderszenen (1834–1838). He co-founded the Neue Zeitschrift für Musik in 1834 and edited it for ten years, and in his writing and in his music he distinguished two aspects of his personality, dubbing these alter egos “Florestan” for his impetuous self and “Eusebius” for his gentle poetic side. Naming his impetuous and gentle sides in both his criticism and his music suggests a habit of letting the two arts speak to each other. In 1840 he turned his attention to song, producing more than half his total output of Lieder, including the cycles Myrthen, Frauenliebe und Leben and Dichterliebe. Producing more than half his songs in a single year shows a composer who could give a form his whole attention. Album für die Jugend, Op. 68, was composed in 1848, a collection of 43 short works for the piano. A title meaning “for the young” on a set of 43 short pieces suggests music pitched at young players. In 1853 he met the twenty-year-old Johannes Brahms and praised him in print. He had considerable influence in the nineteenth century and beyond, reaching Mahler, Strauss and Schoenberg on one side and Bizet, Fauré, Debussy and Ravel on the other.
Browse piano sheets by Robert Schumann on Zen Virtual Piano.
Schumann’s hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, a growing paralysis in at least one finger whose early symptoms came while he was still a student at Heidelberg, and he concentrated on composition. A hand whose growing paralysis frustrated virtuoso hopes, and a turn to composition, suggest ambition finding another channel.
He was born in Zwickau, Saxony, and was initially unsure whether to pursue a career as a lawyer or to make a living as a pianist-composer. At six he went to a private preparatory school, where he remained for four years. He studied law at the universities of Leipzig and Heidelberg but his main interests were music and Romantic literature, and from 1829 he was a student of the piano teacher Friedrich Wieck. Law studies pursued with music and Romantic literature at the centre suggest a young man whose real education was happening alongside his official one.
His early works were mainly piano pieces, including Carnaval, Davidsbündlertänze, Fantasiestücke, Kreisleriana and Kinderszenen (1834–1838). He co-founded the Neue Zeitschrift für Musik in 1834 and edited it for ten years, and in his writing and in his music he distinguished two aspects of his personality, dubbing these alter egos “Florestan” for his impetuous self and “Eusebius” for his gentle poetic side. Naming his impetuous and gentle sides in both his criticism and his music suggests a habit of letting the two arts speak to each other.
In 1840 he turned his attention to song, producing more than half his total output of Lieder, including the cycles Myrthen, Frauenliebe und Leben and Dichterliebe. Producing more than half his songs in a single year shows a composer who could give a form his whole attention. Album für die Jugend, Op. 68, was composed in 1848, a collection of 43 short works for the piano. A title meaning “for the young” on a set of 43 short pieces suggests music pitched at young players. In 1853 he met the twenty-year-old Johannes Brahms and praised him in print. He had considerable influence in the nineteenth century and beyond, reaching Mahler, Strauss and Schoenberg on one side and Bizet, Fauré, Debussy and Ravel on the other.
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His hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, and he concentrated on composition.
Op. 68, composed by Robert Schumann in 1848: a collection of 43 short works for the piano.
More than half his total output of Lieder, including the cycles Myrthen, Frauenliebe und Leben and Dichterliebe.