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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 ...
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 Faschingsschwank aus Wien has been recorded many times, including outstanding live performances by Arturo Benedetti Michelangeli in 1957, Annie Fischer in 1960 and Sviatoslav Richter in 1962. The Intermezzo serves as the theme music of the Lawfare podcast, performed by journalist Sophia Yan .
Gerard Schurmann (19 January 1924 – 24 March 2020) was a Dutch-born British composer and conductor. He lived in the United States from 1981 until his death. He composed music for many film soundtracks.
Schumann in a Josef Kriehuber etching from 1839, the year preceding his marriage to Clara. It was at this time that he began to compose vocal music prolifically. The following is a list of the complete vocal output of Robert Schumann (8 June 1810 – 29 July 1856). Schumann was one of the most prolific composers of the nineteenth century.
Clara Schumann, Robert's widow, later claimed on the first page of the score to the symphony—as published in 1882 as part of her husband's complete works (Robert Schumanns Werke, Herausgegeben von Clara Schumann, published by Breitkopf & Härtel)—that the symphony had merely been sketched in 1841 but was only fully orchestrated ...
From the work's dark and tense overture, to its elegant and tranquil conclusion, Schumann opens wide "a manifold musical world" that coherently draws together elements of "lied, horror opera, grand opera, oratorio, and church music." [1] Schumann's music suggests the struggle between good and evil at the heart of Goethe's work, as well as Faust ...
Schumann was known to be interested in musical cryptograms, best demonstrated in his piano suite Carnaval, Op. 9. Eric Sams suggests there are many other clues throughout Schumann's works, including a cipher for "C-A-E-S-A-R" in the opening chords of the Julius Caesar overture. [12]