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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.
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.
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 composed the Op. 111 in 1851, a few months after his appointment as Generalmusikdirektor of the Düsseldorf Orchestra. [3] In September, Clara Schumann wrote in her diary: "Robert has composed three piano pieces of a grave and passionate character which I like very much." [4]
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 ...
Schumann quoted some themes from Papillons in his later work, Carnaval, Op. 9, but none of them appear in section no. 9 of that work titled "Papillons".The main waltz theme from the first movement in Papillons was quoted in the section "Florestan", with an explicit acknowledgement written in the score, and again in the final section, "Marche des Davidsbündler contre les Philistins", but ...
The Schumann work has been edited and published several times since 1840, and all the current reliable music publishers [4] still use the original 1840 published title, Frauenliebe und Leben, as do a majority of secondary sources discussing Schumann's song cycle. [5]
For Schumann, 1850 followed an extremely productive year which saw the composition of piano music such as the Waldszenen; works for solo voice such as the Spanisches Liederspiel and the declamation Schön Hedwig; two concertante works, the Konzertstück for Four Horns and Orchestra and the Introduction and Allegro appassionato for Piano and ...