Description
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Robert Schumann (1810-1856) hat sich neue Kompositionsbereiche oftmals durch eine schöpferische Konzentration auf Werke einer Gattung erschlossen, zu deren Ergebnissen er in einem 'sinfonischen Jahr', einem 'kammermusikalischen Jahr' oder einem 'Liederjahr' gelangte. Der Gattung der Ouvertüre hat sich der Komponist nicht derart geschlossen zugewendet. Bei den acht von Schumann komponierten Ouvertüren handelt es sich um eine Reihe höchst individuell geformter Einzelwerke, die zwischen 1841 und 1853, also innerhalb von 13 Jahren entstanden sind. In den Zeitraum fällt auch die Entstehung der von Schumann in die Werkzählung aufgenommenen Sinfonien (1840/41-1851). Dieser Tatbestand wirft die Frage auf, ob Schumann bei seinen sinfonischen Arbeiten mit der Sonatenhauptsatzform auf dem Feld der Ouvertürenkomposition andere strukturelle Entscheidungen getroffen hat, als bei der Gestaltung des Kopfsatzes einer Sinfonie. Von besonderer Bedeutung ist in diesem Zusammenhang, dass mit Ausnahmeeines Werkes (Ouvertüre, Scherzo und Finale op. 52) alle Ouvertüren in Beziehung zu einer literarischen Vorlage stehen. Die Untersuchung geht der Frage nach, ob Schumanns Ouvertüren in ihrer musikalischen Gestaltung neben ihrer funktionalen Bestimmung als Opern-, Schauspiel- oder Konzertouvertüren von ihren literarischen Vorlagen inspiriert und kompositorisch geprägt worden sind.Robert Schumann (1810-1856) often mastered new areas of composition by concentrating his creative energies on works in a single genre, the results of which were achieved in a 'symphonic year', a 'chamber music year' or a 'Lieder year'. The Overture was a genre to which the composer did not dedicate himself exclusively in this way. The eight overtures composed by Schumann are a series of independently composed single works, written over a 13-year period between 1841 and 1853. This coincides with the period when the symphonies numbered by Schumann among his works were written (1840/41-1851). This fact raises the question of whether Schumann, working with the sonata form exposition in his symphonies, made different structural decisions in composing overtures than he did in the shaping of a symphony's opening movement.Significant in this context is the fact that, with a single exception (Overture, Scherzo and Finale, op. 52), all the overtures relate to a literary model. This study investigates whether Schumann's overtures in their composition, apart from their set function as opera, theatre or concert overtures, were inspired and influenced by their literary models.
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Robert Schumann (1810-1856) often mastered new areas of composition by concentrating his creative energies on works in a single genre, the results of which were achieved in a symphonic year , a chamber music year or a Lieder year . The Overture was a genre to which the composer did not dedicate himself exclusively in this way. The eight overtures composed by Schumann are a series of independently composed single works, written over a 13-year period between 1841 and 1853. This coincides with the period when the symphonies numbered by Schumann among his works were written (1840/41-1851). This fact raises the question of whether Schumann, working with the sonata form exposition in his symphonies, made different structural decisions in composing overtures than he did in the shaping of a symphony s opening movement.
Significant in this context is the fact that, with a single exception (Overture, Scherzo and Finale, op. 52), all the overtures relate to a literary model. This study investigates whether Schumann s overtures in their composition, apart from their set function as opera, theatre or concert overtures, were inspired and influenced by their literary models.
