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Show download edition. Description The edition Schumann for Guitar is an interesting attempt to transfer Robert Schumann's romantic, lyrical music to the guitar. For some reason it took me a while to get used to the sound of the chamber orchestra. The overall sound is cool and clear, and a slightly warmer bloom would have provided the ideal atmosphere. Some minor volume adjustment was occasionally needed in the louder passages and I felt the recording would have benefited from additional depth.

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The booklet notes are adequate. Nevertheless further information about the specific works would have been beneficial.

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Full texts are provided in German but disappointingly there are no English translations. All those concerned with this Wanderer project are to be heartily congratulated. Romances and Ballades i, Op. Waldszenen, Op. Numerous earlier writers have argued that Dichterliebe is an organically unified cycle, and have used their analyses of this cycle as the basis for a model of unity and coherence, which, they imply, is applicable to the Romantic song cycle in general.

Ferris has deliberately chosen to emphasize a cycle to which such a model cannot easily be applied although previous writers have, in accordance with established views of what constitutes a cycle, sought to explain even op. Ferris attempts instead to approach the work without preconceptions about unity and coherence, and in a manner consistent with the aesthetics of the period in which it originated.

The result is an interpretation of op.

The adherents of one trend, including Arthur Komar, David Neumeyer, and Patrick McCreless, consider cycles in theoretical terms, and attempt to discover unity and coherence within them. Ferris contends that neither Daverio nor Rosen goes far enough in the exploration of the Schlegel connection; one of the purposes of his book is further to pursue that avenue. For instance, Schenker notates the dominant harmony of the penultimate bar as a half note, and the final tonic that resolves it as a quarter note.

He states page 43 that Schenker analyses the same cadence in different ways—in measure 4, as an authentic cadence, and in measure 8 as a half-cadence. The dominant in measure 8, which Schenker attaches to a beam, is not the one that begins that bar the V within the authentic cadence , but the one that follows the authentic cadence the dominant harmony that begins the middle section. His own Schenkerian sketches are, for the most part, well prepared; I have located only a few errors.

In Example 4. Because Ferris delays the melodic motion to E, the voice leading in the sketch is faulty; there are parallel fifths in the treble voices between the first two bars of Example 4. In Example 6. In any case, the bass notes of measures 55 and 59 are bass notes of first-inversion harmonies, and thus do not logically connect to the earlier bass notes, which are roots within a circle-of-fifths progression.

He demonstrates that Friedrich and August Schlegel, whose theories of literature deeply influenced Schumann, conceived of the Romantic artwork as being imperfect and fragmentary, groping for a new, as yet unachieved Utopian unity page He approaches these writings with care, in the awareness that they are often written with a lay public in mind, and that they may therefore lack precision and depth. He also cautions that to avoid misinterpretations, we must not bring to these writings any current preconceptions about the nature of a song cycle.


Schumann Cello Concerto and Works for Cello & Piano

Since she assumes that song cycles must be coherent works, and that tonal structure is the most significant aspect of their coherence, she places undue weight on any mention of key relationships, with the result that her assessment of the historical significance of certain reviews is slanted.

Where the issue does arise, it is linked with the degree in which individual songs could stand alone. Frequent typographical errors in transcriptions of German texts are merely slight irritants, 7 but there are also some serious errors in translation. Ferris presents the following translation of an excerpt from a three-part essay on Lieder by Carl Banck page —emphases from the original essay :.

One feels the contrivance, the experience, the craft in these compositions; they are the lieder of those practiced composers, who have the greatest ease in handling the ordinary methods as well as their own characteristic methods for rendering the truth of feeling in music. The concern here is not the rebirth of poetry into the more beautiful and glowing life of song; rather, the composer has interpreted the words in his musical language, whose fluency provides his eloquence.

He shrouds the radiant glances of his spirit with the fog of serenity, and expresses poetic language instead of literary ideas. Here, Ferris has actually turned a negative, or at best lukewarm, statement into a positive one. The context of the admittedly somewhat confusing excerpt clarifies its intent.

Dietrich Fischer-Dieskau "Mondnacht" Schumann

This fact emerges most clearly in an annotated list of relevant songs that follows the review; the annotations consist of a mixture of positive and negative remarks. During his analysis of the cycle, Ferris does not discuss the songs in order, but instead opts for a more imaginative organization based in part on relationships between pairs of songs. Ferris discusses the remaining seven songs of the cycle in much less detail, or not at all. From the fact that he does not mention Songs 7 and 8 at all, one might deduce that these songs somehow do not fit into his interpretation of the cycle.

Whereas earlier writers about op.

I believe, however, that Ferris misinterprets the last line of the first poem of op. There is no shift in time or in tense between the seventh and the final lines. But the music actually has none of the character of a returning A section; there is no hint at the harmonic progression of the opening, and the melodic reference to the opening is subtle rather than overt.