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LEADER 07048cam 2200349I 4500
001
ocm01328955
005
20141212151023.0
008
750513_1903_______ ____ __eng u
035
a| (Sirsi) o01328955
035
a| (OCoLC)1328955
040
c| ORL
d| ERE
d| m.c.
d| UtOrBLW
049
a| EREM
090
a| ML410.S4
b| P3
092
a| Music 780.92
b| Schumann
100
1
a| Patterson, Annie W.
q| (Annie Wilson),
d| 1868-1934.
=| ^A1410075
245
1
0
a| Schumann /
c| by Anne W. Patterson.
260
a| London :
b| J. M. Dent & Co. ;
a| New York :
b| E. P. Dutton & Co.,
c| 1903.
300
a| 232 pages :
b| frontispiece illustrations, portraits ;
c| 19 cm
336
a| text
2| rdacontent
337
a| unmediated
2| rdamedia
338
a| volume
2| rdacarrier
490
1
a| The master musicians
500
a| "Catalogue of Schumann's published compositions" pages 217-221.
504
a| Includes bibliographical references (pages 222-223) and index.
505
0
0
g| Birth and parentage --
g| Inherited characteristics --
g| Early musical training --
t| Hearing Moscheles play --
g| Literary culture --
g| The mystic nonade --
g| The poetry period --
g| First literary attempts --
t| Friendship with Rosen --
t| First year at Leipzig University --
t| At Heidelberg with Thibaut --
g| Music versus law --
t| His mother's letter to Wieck --
g| A peep into Wieck's house --
g| Enthusiasm as a pianist --
g| A fortunate calamity --
t| From piano to composition --
t| Early impressions of Clara Wieck --
t| Musical and social life at Leipzig --
t| The origin of the Neue Zeitschrift --
g| Its nature and raison d'etre --
t| The "Davidsbündler" --
g| The musician as editor --
g| The writer as composer --
t| Admiration of Mendelssohn --
t| Mendelssohn's attitude to Schumann --
g| Different traits of the two musicians --
t| Schumann in love --
t| Ernestine von Fricken --
g| A broken engagement --
g| "From old dreams to new" --
g| The love that lived --
g| Early love letters --
t| Clara Wieck as composer --
g| Parental opposition --
g| A move to Vienna --
g| The paper and "red tape" --
t| Devotion to Schubert --
g| A steel pen --
t| Composition in Vienna --
g| Aspiration to a title --
g| The newly-fledged "Doctor" --
g| Wieck's persistent opposition --
g| A wedding day at last --
g| A piano presentation --
t| Song, symphony and chamber music --
t| Longing for an opera text --
t| Composition of "Paradise and the Peri" --
t| Mendelssohn and the "Peri" --
t| "Paradise and the Peri", a unique work --
g| The climax of exertion --
t| Letter from Russia to "Papa Wieck" --
g| A trip to England contemplated --
t| Professorship at Leipzig Conservatoire --
g| A move to Dresden --
t| Contrapuntal work --
t| Looking for a libretto --
t| The writing of "Genoveva" --
t| The composer and his opera --
g| Delays and postponements --
t| "Genoveva" performed at last --
t| The "Faust" music --
t| Conducting choral societies --
g| Retrospective --
t| The composer as conductor --
g| The apathy of Vienna --
g| The shadow of the end --
g| From Dresden to Düsseldorf --
g| A pleasant start in the new sphere --
g| Congenial occupation --
g| As conductor --
g| Failing health --
t| Compositions of the time --
t| Sacred music --
t| The composer's scheme for "Luther" --
t| Librettist and musician --
g| Further compositions of the time --
t| Meeting with Brahms --
g| A last yearning Viennawards --
g| In the valley of the shadow --
g| Release at last --
g| "The end is not yet" --
g| The man.
g| Circumstances and the man --
g| The short-lived melodists --
g| The musician as letter-writer --
g| Published letters --
t| Classification of the Schumann letters --
g| To his mother --
g| Hypersensitiveness to trouble --
g| Maternal letters --
g| Letter reference to early compositions --
g| Correspondence with college friends --
t| Madame Henriette Voigt --
t| Ernestine von Fricken --
g| Susceptibility to feminine grace and sympathy --
g| The poet-musician and beauty --
t| Friendship for Robena Laidlaw --
g| First meeting with Schumann --
t| A stroll in the Rosenthal --
g| Subjects of conversation --
t| Jansen's and Wenzel's tributes to the composer's early conversational powers --
g| Youthful sociability --
g| The attainments and personal charm of Robena Laidlaw --
g| Two hitherto unpublished letters --
t| Clara Josephine Wieck --
g| A contemporary opinion upon Madame Schumann's playing --
g| Madame Schumann as composer --
g| Early admiration --
g| A musician's love-letters --
g| Madame Schumann as an interpretative artist --
g| The musician and his children --
g| Attitude to professional friends --
g| Able and generous criticism of fellow musicians --
g| Appreciation of, and affection for, Mendelssohn --
g| An "affectionate visit" and mutual friendliness --
t| Opinion of Meyerbeer --
t| Wagner and his music --
g| Kindliness towards young students, etc. --
g| Miscellaneous correspondence --
g| Sense of detail, courtesy and consideration --
g| Pathetically humorous even to the end --
g| A significant letter --
g| The man as seen in his letters --
g| Personal aspects --
g| Appearance and build --
g| Taciturnity of latter years --
g| A silent repast and interview --
t| Meeting with Wagner --
g| Alleged vehemence --
g| The composer's reserve --
g| Importunacy quietly repressed --
g| The musician at home --
g| The Leipzig music-room --
t| At the Kaffeebaum --
g| Evening routine --
t| Schumann's religion --
t| Opinion of Berlioz --
t| Moscheles and Mendelssohn --
t| Abbé Liszt --
g| Resumé --
t| The musician and writer.
g| Pianoforte playing ;
g| Manner of performance ;
t| Dörffel's testimony --
g| Improvising at twilight --
g| Other authorities --
g| A liberal education --
g| Regarding talent and genius --
g| The inexpressible ego --
g| Music and metaphor --
t| Essays from the Neue Zeitschrift --
g| Adverse comments --
g| Defense of the editor-musician --
g| Literary versus musical work --
g| Forging ahead with "full steam" on --
g| The musician as critic --
g| Sensitiveness to criticism --
g| Style as a writer --
g| Some remarkable essays --
t| Mendelssohn versus Meyerbeer --
g| Interesting miscellaneous topics --
g| Valuable musical advice and opinions --
g| The writer as poet --
g| Piano compositions --
t| Music for young people --
t| Pianoforte sonatas --
t| Variations on the name "Abegg" --
t| "Papillons" --
t| "Carnaval" --
t| "Davidsbündlertänze --
g| Shorter pieces --
g| Piece groups --
t| "Fantasiestücke" (op. 12) --
t| The concertos --
g| "Variation" work --
g| Compositions in all forms --
t| Symphonies --
t| Overtures --
t| Chamber music --
t| "Paradise and the Peri" --
t| The choral ballads, etc. --
g| Wanted, an ideal grand opera --
t| "Genoveva" brought out under difficulties --
g| Faith of the composer in his work --
g| A plea for the libretto --
g| Has "Genoveva" had a fair hearing? --
t| The "Genoveva" music --
t| Sacred music --
t| Well-known songs --
g| Other vocal favorites --
g| Poetic numbers --
t| Love songs --
t| Nature of the song music --
g| Artistic accompaniments --
g| Concluding remarks.
600
1
0
a| Schumann, Robert,
d| 1810-1856.
=| ^A32201
650
0
a| Composers
z| Germany
v| Biography.
=| ^A412636
830
0
a| Master musicians series.
=| ^A260201
919
a| BOOK
596
a| 3
998
a| 80229
999
a| ML410.S4 P3
w| LC
c| 1
i| 30372012476096
d| 6/22/2016
e| 11/21/2005
f| 6/22/2016
g| 2
l| MCS
m| JMUSIC
n| 2
r| Y
s| Y
t| MCSSBK
u| 3/24/1986
x| BOOK
z| MCIRC
o| .STAFF. enhanced 12/14/21 -jjab