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The global electromagnetic resonance phenomenon is named after physicist Winfried Otto Schumann who predicted it mathematically in 1952. Schumann resonances are the principal background in the part of the electromagnetic spectrum [2] from 3 Hz through 60 Hz [3] and appear as distinct peaks at extremely low frequencies around 7.83 Hz (fundamental), 14.3, 20.8, 27.3, and 33.8 Hz.
The first two spell the German name for the town of Asch (now Aš in the Czech Republic), in which Schumann's then fiancée, Ernestine von Fricken, was born. [4] The sequence of letters also appears in the German word Fasching, meaning carnival. In addition, Asch is German for "Ash", as in Ash Wednesday, the first day of Lent.
Schumann may also have borrowed a melody that appears in the first and fourth movements from the continuous string accompaniment for "Siehe! wir preisen selig" ("Happy and blest are they"), the final chorus in scene one of Felix Mendelssohn's oratorio "St. Paul," a work which Schumann praised in a letter dated March 2, 1839.
Waldszenen (Forest Scenes), Op. 82, is a set of nine short solo piano pieces composed by Robert Schumann in 1848–1849, first published in 1850–1851 in Leipzig by Bartholf Senff. [ 1 ] On the set, Schumann wrote: "The titles for pieces of music, since they again have come into favor in our day, have been censured here and there, and it has ...
Kreisleriana is a very dramatic work and is viewed by some critics as one of Schumann's finest compositions. [3] [4] [5] In 1839, soon after publishing it, Schumann called it in a letter "my favourite work," remarking that "The title conveys nothing to any but Germans.
Paradise and the Peri, in German Das Paradies und die Peri, is a secular oratorio for soloists, choir, and orchestra by Robert Schumann. Completed in 1843, the work was published as Schumann's Op. 50. The work is based on a German translation (by Schumann and his friend Emil Flechsig) of a tale from Lalla-Rookh by Irish poet and lyricist Thomas ...
The Davidsbündler (League of David) [1] was a music society created by German Romantic composer Robert Schumann in his writings. [2] It was inspired by literary societies, real and imagined ones, such as the Serapionsbrüder (The Serapion Brethren) of ETA Hoffmann, [3] however as Richard Taruskin noted, the concept was most realized in Schumann's reviews of his fellow composers and their ...
Schumann is often criticized for using structure merely as a framework on which to spread the themes. The resultant ‘incoherency’ is often attributed to the composer's declining mental health. The fact though remains that Schumann's predilection for allusions has rendered many relationships too subtle for the (non artistic) analyst's senses.