Ich benutze jetzt seit ca. 2 Monaten rekordbox mit einem DDJ-400. mir ist aufgefallen, dass ich beim BPM-Matching zwei Tracks nie auf die exakt gleiche bpm bekomme (also immer nur 126,3 zu 126bpm). Gibt es bei rekordbox eine Einstellung, dass man beim Tempo einstellen immer auf volle Zahlen kommt? Ich weiß, dass 0,3 bpm nicht ausschlaggebend sind, aber
bin zahlenmäßig ziemlich empfindlich und das lenkt mich ab 😅
 Community-Experte Musik, DJ Eine Funktion, dass immer volle BPM gepitcht werden, gibt es nicht. Gepitcht wird immer in prozentualer Relation zum ursprünglichen BPM-Wert. Auch wenn ich eine Steinigung dadurch riskiere: Eine exakte Anpassung der BPM-Werte lässt sich im Detail (oder generell) über die Sync-Funktion realisieren. Woher ich das weiß:Beruf – Seit 2002 DJ. -> www.plus1dj.de / www.dj-lexikon.info
0,3 BPM sind durchaus ausschlaggebend, immer abhängig von der Länge des Übergangs. Das kann dann schon mal schnell sehr auseinanderlaufen. Du kannst im Normalfall den Pitchbereich einstellen. Probier mal aus, diesen auf 3-5% zu stellen, dann kannst du feiner pitchen. https://youtu.be/jqVSSKIk8hw hier gibts eine Anleitung dazu.
Was möchtest Du wissen?hallo ich hab ein problem und zwar habe ich 2 Lieder. eins ist mit gesang und das andere ist intrumental. mein problem ist dass sie Verschiedene BPM´s haben gibt es ein Programm womit ich das ändern kann ?
4 Antworten
Das ist ganz normal den eswurden bei der aufnahme beide mit anderem Bpm aufgenommen/aufgezeichnet du kannst nur den geschwindigkeit der einzelnen Audio dateien ändern und nicht den Bpm. Mit einer Profi
Programm wie Cubase/Logic/Pro Tools kannst du Bpm ändern aber a verändert sich nichts bei der Audio Datei. Woher ich das weiß:Berufserfahrung
Fruity loops zum Beispiel. Die kostenlose Testversion reicht. Musst es nur als mp3 oder wav speichern. Ist natürlich als Anfänger nicht einfach zu verwenden, weil das Programm an sich so viel mehr bietet
Die meisten DJ Programme können das.
Vielleicht können wir dir besser helfen, wenn du uns sagst warum die 3 Zehntel Unterschied so schlimm sind? Das hörte man nur auf die Dauer, wenn man beide gleichzeitig laufen ließe.
Was möchtest Du wissen?1810 8 June At 9.30 pm Robert, fifth and last child of August Schumann (1773–1826)—author, book dealer and publisher—and his wife Christiane, née Schnabel (1767–1836), is born in Zwickau, Saxony, on the top floor of the house at the corner of the Marktplatz. This substantial and roomy dwelling doubles as home and business premises, and is rented by the Schumanns between 1807 and 1817. 14 June Robert is baptized in the house of his birth; since being rebuilt in 1956 this has become the Robert Schumann Museum in Zwickau. 1813 (aged 3) Robert goes to live with his godmother, Frau Ruppius. She looks after him for two and a half years before he returns to his parental home in 1816. 1816 (aged 6) Robert begins his schooling in Zwickau, and receives his first music theory lessons from August Vollert. 1817 (aged 7) Robert receives his first piano lessons from Johann Gottfried Kuntsch (1775–1855). Owing to the success of the family business it is now possible for August Schumann to buy a house of his own: the family moves into a new dwelling in the Amtgasse, the home of the young Robert for eleven years, where his talents in both literature and music develop side by side. This dwelling is razed to the ground in March 1945. 1818 (aged 8) Robert develops his talent at the piano, particularly as an improviser able to portray the characteristics of friends in musical terms—Chopin in Carnaval is prefigured in these youthful musical games. He begins Greek and French lessons. In August he goes to Karlsbad with his mother, where he encounters for the first time Ignaz Moscheles (1794–1870). This great pianist becomes his idol and Robert decides to emulate him—he intensifies his piano studies. He falls in love for the first time—with Emilie Lorenz who ten years later will marry his older brother Julius and become his sister-in-law. 1819 (aged 9) During a visit to Leipzig, Robert hears his first opera (Die Zauberflöte) and is overcome with enthusiasm. He begins to compose poetry and writes and produces a small play with school friends. 1820 (aged 10) Robert enters the Zwickau Lyzeum (later renamed Gymnasium) where he is far ahead of his contemporaries in German studies as well as in Latin and Greek. It is probably in this year that he visits Dresden for the first time. He falls in love with Ida Stölzel, daughter of a Zwickau landlord. He later records that his love of music at this age and his longing to be a pianist were almost in the order of a sickness. 1821 (aged 11) Robert’s musical life begins to intensify with the establishment of evening performances (‘Abendunterhaltungen’) at the Zwickau Lyzeum—between 1821 and 1828 he appears at these as pianist, poet and speaker. With a school friend—Friedrich August Pilzing—he plays a huge amount of music arranged for piano duet: Weber, Hummel, Czerny, symphonies by Haydn and Mozart, and Beethoven’s Eroica arranged for four hands. 1822 (aged 12) Robert composes his first musical works—small pieces with grand titles: Psalm 150 for solo voices, piano and orchestra, and an Ouvertüre with chorus. In order to perform these works he establishes a school orchestra and takes over its direction. A new piano from the Viennese firm of Streicher is purchased for the Schumann household—in his will of 1826 August Schumann leaves this instrument to his youngest son Robert. 1823 (aged 13) Schumann, writing much later, dates his passion for works of the lyric stage to the years between 1823 and 1827. He broadens his knowledge of opera with Weber’s Freischütz performed in the Zwickau Gewandhaus. Works by Mozart and Rossini are also heard, and other pieces are studied in piano scores. From this year dates an anthology of verses—his own and others’—entitled Leaves and Flowers from the Golden Meadow. Gathered and assembled by Robert Schumann, writing under the name of Skülander. This collection, the first of many such home-made anthologies, is a kind of preparation for the writing of a projected tragedy to be entitled Der Geist. He also reads an eighteenth-century musicological treatise which begins to shape his ideas on tonality—this is by Christian Friedrich Daniel Schubart (the poet of Schubert’s Die Forelle) and is entitled Ideen zu einer Ästhetik der Tonkunst. 1824 (aged 14) The young Schumann begins to make a name for himself as a pianist and conductor of his own small school orchestra. At this time literary activities exceed the musical. Robert is permitted to contribute to some of the many articles for encyclopaedias and yearbooks written by his father. Such figures as Lord Byron and Hölderlin, hardly admired by right-wing opinion, are already the subjects of the young composer’s fervent admiration. 1825 (aged 15) To his later regret Robert stops taking piano lessons—as it happens, both Chopin and Liszt dispense with teachers from the age of fifteen—and he begins to study the cello and flute. He gathers together a volume of the poetry he has written between 1822 and 1825 (Allerley aus der Feder Roberts an der Mulde) and he pens a short autobiography as well as numerous translations from the Greek and Latin classics. He show early signs of his left-of-centre sympathies by founding a secret student organization; he also establishes a literary society at his school which will meet over thirty times. Robert’s eighteen-year-old sister, Emilie, depressive by nature, commits suicide. August Schumann asks Carl Maria von Weber (1786–1826) to take Robert as a pupil—this never happens because of Weber’s English visit and his death in London in 1826. 1826 (aged 16) In the home of the well-to-do music-lover Karl Erdmann Carus, managing director of a chemical factory in Zwickau, Schumann hears quartets by Mozart, Haydn and Beethoven. In March and April Robert falls in love with two girls from his home town: Nanni Petsch and, shortly afterwards, Liddy Hempel. These relationships arouse passionate feelings, but the friendships remain platonic (there is no reciprocation from Liddy). He is eventually disillusioned and disappointed in both girls. 10 August Death of August Schumann—his demise has been hastened by his devastated reaction to the tragic death of his daughter, Robert’s sister. The young composer goes on a walking tour encompassing Gera, Jena, Weimar (where there is no attempt to visit Goethe), Gotha, Schnepfenthal and the Haydn town of Eisenstadt. He embarks on writing a novel entitled Selene. 1827 (aged 17) 16 January After attending a ball where Liddy Hempel touches him twice on the hand, Robert writes an enthusiastic 128-line poem. 28 January Sehnsucht (text by Schumann himself) Anhang M2 No 5 (WoO121/1 — disc 1 track 1) is almost certainly his first song although it remains an unfinished fragment. Die Wienende Anhang M2 No 1 (WoO121/2 — disc 1 track 2), a song to a poem by his much-admired Lord Byron, dates from more or less the same time. These excursions into Lieder composition are tentative—at this point poetry, not music, remains Robert’s favoured form of expression. In April he writes a poem in celebration of his brother’s wedding. In May he conceives a passion for the complex and allusion-rich writing of Jean Paul (1763–1825, the James Joyce of his time), an enthusiasm that will last a lifetime. By June Robert is already writing autobiographical reminiscences (Juniusabende und Julitage) in the style of this writer. By the end of the year he has come to consider Jean Paul’s Flegeljahre as ‘a kind of bible’. In July Robert encounters for the first time the gifted amateur soprano Agnes Carus, married to Ernst August Carus, a doctor from Colditz, and the brother of Schumann’s friend Karl Erdmann Carus. Agnes sings the songs of Franz Schubert very prettily, and thus another of Robert’s lifelong devotions is awakened—for the music of a composer, thirteen years older, and still very much alive in Vienna in the year of the composition of his Winterreise. For a while Robert is in love with three women (Nanni, Liddy and Agnes) simultaneously. The song Lied für XXX Anhang M1 No 2, disc 1 track 3, is probably thus discreetly entitled because it refers to Agnes, a married and, so far as we know, respectable woman. The text is by young Schumann himself. In August the composer visits Prague and Teplitz where Liddy is taking a cure; the relationship with her, such as it is, comes to a definitive end. 1828 (aged 18) Robert continues his musical life in Zwickau. He plays a Kalkbrenner Concerto with the orchestra in January. 31 March Robert’s first meeting in Leipzig with the nine-year-old Clara Wieck, daughter of the piano teacher Friedrich Wieck, famous pedagogue and friend of Beethoven. Clara is already a well-known child prodigy. Her superior pianistic abilities make Robert despair. 24 April Accompanied by his friend Gisbert Rosen (1808–1876), Robert sets off on a pilgrimage to Bayreuth where they visit sites associated with Jean Paul. On 27 April the pair sight-see in Nuremberg, and on 29 April they reach Augsburg where they visit Dr Kurrer (a friend of Schumann’s late father) whose daughter Clara momentarily turns Robert’s head. 5–9 May Rosen and Schumann are in Munich; they meet Heinrich Heine (1797–1856) on 8 May, and spend the day with the already celebrated poet; they are fortunate to encounter him in a surprisingly agreeable and hospitable mood. On 9 May they begin their return journey via Landshut and Regensburg, returning to Bayreuth on 12–13 May where they visit Jean Paul’s widow. On Robert’s return from this holiday he moves to Leipzig to begin his law studies. In early June he once again encounters Agnes Carus with whom he has fallen in love. An entry in his diary for 14 June reads: ‘I will go to bed and dream of her, of her. Good night, Agnes’. In June and July Schumann composes the following six songs (the exact order is not known). They all seem to have been composed for Agnes Carus, and some of the texts reflect the composer’s one-sided emotional involvement with the singer. Schumann’s attraction to the first published volume of Justinus Kerner’s verse (Gedichte, 1826) shows an enviable knowledge of contemporary literature and that he has is already a literary talent-spotter; the eroticism behind the Goethe text about the seduced fisherman speaks for itself. 15 July Schumann sends his Kerner settings to the composition teacher Gottlieb Wiedebein and asks for his opinion. By the beginning of August he receives a critical but encouraging reply. Two further songs belong to this early period of Schumann’s vocal output. The composer now resolves to work on his piano-playing under the tutelage of Friedrich Wieck (1785–1873) in Leipzig. His notebook entitled Hottentottiana contains aphorisms and literary entries written almost daily. The end of the year finds him accompanying Agnes Carus in songs by Heinrich Marschner and studying piano concertos by Hummel (in A minor) and Kalkbrenner. In this year he writes a number of pieces for piano (both solo and duet and an unfinished piano concerto) as well as chamber music—none of which are published. 1829 (aged 19) Schumann plays a good deal of chamber music, including trios by Schubert and Beethoven. He practises the piano diligently, sometimes five hours a day, but he finds it very hard to settle down and he neglects his university studies. This turns out to be a year of travel: Frankfurt and a Rhine journey (May), Karlsruhe and Baden-Baden (June), Switzerland and Italy—including visits to Milan and Venice (August to October) and thence back to Heidelberg where it had originally been his aim to continue his legal studies. The Abegg Variations for piano Op 1 and the Toccata Op 7 have their beginnings in this year. 1830 (aged 20) Hearing the playing of Nicolò Paganini (1782–1840) in April is a high point in a year where Schumann practises the piano with enormous zeal under Friedrich Wieck’s tutelage and obtains his mother’s permission (in July) to abandon his legal studies in order to devote his life to music for a trial period. In August Frau Schumann writes asking for Wieck’s verdict on her son; the famous teacher duly provides her with a long and mostly encouraging reply. Robert’s mood vacillates between desperation—above all on financial matters where he still needs his mother’s support—and optimism; he feels that after studying with Hummel in Weimar he will equal Moscheles’s pianistic achievements in a matter of three or four years. Papillons Op 2 is begun in this year. 1831 (aged 21) Schumann lives in Leipzig under poverty-stricken conditions, selling his books, and even his watch, in order to buy food. He studies composition fitfully with Heinrich Dorn (1804–1892). In May he embarks on a sexual relationship with a working-class girl named Christel (we do not know her surname) and contracts syphilis from her. His diary is fairly explicit on the symptoms (‘biting pains, eating away’). At the same time he discovers to his great delight the Études of Frédéric Chopin (1810– 1849), and writes an enthusiastic review (‘Hats off gentlemen, a genius!’) for Chopin’s Variations on ‘Là ci darem la mano’ from Mozart’s Don Giovanni. This article, his debut as a critic, appears in the Allgemeine musikalische Zeitung in December of that year. In October he is unable to continue with his intensive piano studies because of an injury to his right hand. Whether this ‘injury’ is caused by an apparatus (‘Fingertrainingsgerät’) recommended by the pianist Thalberg to strengthen pianists’ hands, whether it is simply a weakening of the fingers due to Schumann over-practising, or whether the composer is handicapped by mercury poisoning, an after-effect of the treatment prescribed for syphilis, remains open to question. In November the Abegg Variations are published by Kistner Verlag. 1832 (aged 22) This year sees the beginning of Schumann’s nationwide reputation as a composer with positive reviews for the Abegg Variations. He discovers the greatness of Johann Sebastian Bach’s fugues—no doubt the result of a Bach revival that is fostered by Felix Mendelssohn (1809–1847), first in Berlin, and subsequently in Leipzig. He composes the Paganini Études Op 3 and the Intermezzos Op 4, both for solo piano. By November he writes that he is at last resigned to not being a concert pianist, on account of his hand, although in the following year he seeks out electrical treatment and homeopathy for this ongoing complaint. An unfinished G minor symphony is performed in Zwickau at the end of the year. 1833 (aged 23) The composition in March of Schumann’s Impromptus über eine Romanze von Clara Wieck Op 5 is a sign that Wieck’s fourteen-year-old daughter, a brilliant pianist, is beginning to play a role in Schumann’s life. Many years later he discovers that she has had a soft spot for him right from the beginning. He works on two piano sonatas, in F sharp minor (Op 11) and G minor (Op 22). He suffers from depression and fear of madness, exacerbated by the death of his beloved sister-in-law Rosalie (1808– 1833), followed by the death of his twenty-seven-year-old brother Julius. He begins to gather a group of friends around him—Stegmayer, Ortlepp, Schunke and others—who become known as the Davidsbund, a group of artists which takes its name from the biblical story of David who slays Goliath: this band of youthful creators is united in their hatred for the ways of the Philistines, a code word for those who espouse the blinkered and cosy Biedermeier values of the time. For this circle of young men allusive nicknames are the order of the day: the revered Friedrich Wieck is ‘Meister Raro’ and Schumann himself is a double character of his own invention, both activist and poetic dreamer, thus simultaneously ‘Florestan’ and ‘Eusebius’. 1834 (aged 24) Schumann himself notes 1834 to be a turning point in his life, and the following year to be even more important. He founds a new musical newspaper—the Neue Zeitschrift für Musik (abbreviated as NZfM). This is published twice-weekly and immediately wins a readership. In April he meets Ernestine von Fricken (1816–1844), a piano pupil of Friedrich Wieck. The pair become secretly engaged and the composer receives permission in November from Ernestine’s guardian to marry her. Although weighed down by work with the newspaper, and too busy to compose, he plays Schubert piano duets with friends and is generally happy. He is much taken up with Ernestine, in a passionate correspondence that has not survived. In September Ernestine visits the town of Asch. The same four letters in the town’s name are contained in his own surname (cryptography and word-games of this kind are always important to Schumann, and even play a significant role in his compositional life). This coincidence inspires him to compose Carnaval Op 9. He also works on his Études symphoniques Op 13. In December the sudden death of his dear friend Ludwig Schunke (1801–1834) is a bitter blow. 1835 (aged 25) Still in love with Ernestine at the beginning of the year, Schumann is overwhelmed with work on his newspaper where he undertakes the roles of both managing editor and contributing critic. In January Clara and her father depart for a concert tour of North Germany. In April they return and it seems that Robert suddenly sees the sixteen-year-old Clara in a new and magical light. He has always admired and liked the gifted child and adolescent, but the vibrant young woman suddenly attracts him deeply. By June and July he is spending a great deal of time with her and his feelings for Ernestine begin to cool. Clara departs on another tour in July leaving the composer with a great deal to think about—he eventually breaks off his engagement with Ernestine in the early autumn. Clara studies the F sharp minor Sonata from the manuscript and plays it for Mendelssohn when he visits Leipzig and meets Schumann for the first time on 30 August. The younger composer regards Mendelssohn with the deepest reverence. In September Schumann writes a review of the Symphonie fantastique by Hector Berlioz (1803–1869), a work he has heard only in Franz Liszt’s transcription for piano. Schumann meets Chopin for the first time, in September. Once again Clara plays the F sharp minor Sonata and on 20 October he writes her an intimate letter of enthusiastic admiration, his first to her in this vein (she is named ‘Chiara’ in the special language of the Davidsbund). The first kiss is exchanged on 25 November and by December the couple are in each others’ arms—although certainly chastely—following Clara’s recital in Zwickau. On 13 December Schumann receives the last letter from his mother who dies on 4 February 1836. The biggest piano work of the year is the Concert sans orchestre Op 14. 1836 (aged 26) Friedrich Wieck is aware of the developing relationship between Robert and Clara and heartily disapproves; it has been five years since Robert’s sexual illness and it is possible that the young student confided in his teacher at the time about this problem. A professorial man of the world can show understanding about such things, a prospective father-in-law is less likely to do so. This might offer a more rational explanation of Wieck’s almost hysterical subsequent behaviour than mere bloody-minded parental jealousy (it is significant that the aristocratic guardian of Ernestine von Fricken had given his permission for marriage without any difficulty, despite Schumann’s uncertain finances). In January Wieck sends Clara to Dresden for three months in order to separate the couple. The composer’s friend Becker secretly gives Clara a letter from Robert. Robert meets Clara secretly in Dresden and Zwickau and misses his mother’s funeral. Wieck discovers this ‘treachery’ and forbids further meetings (the couple do not see each other again until September 1837). Robert, lonely and depressed, renews his contact with Christel—or ‘Charitas’ as she is known in Davidsbund parlance. He sends Clara a copy of the printed F sharp minor Sonata, dedicated to her. Clara writes back, under duress from her father, sending back all his letters. Robert is in a state of shock and desperation. He composes the Fantasie in C major Op 17 (finished in December) but otherwise this is not a year rich in composition: a number of projects—a piano sonata and chamber music—are begun but not finished. Schumann is reduced to attending concerts and seeing Clara from afar—it is no surprise that the Fantasie incorporates musical quotations from Beethoven’s song cycle to the distant beloved, An die ferne Geliebte. His work as a critic continues apace, and he develops his professional friendships with a wide range of musical figures in Leipzig, including Ferdinand David, Mendelssohn of course, and Sterndale Bennett visiting from London. A high-point of the year is Chopin’s visit to Leipzig in September, when the Polish composer plays for Schumann ‘a large number of études, nocturnes, mazurkas—all incomparable’. Chopin will later dedicate his fourth Ballade to Schumann. 1837 (aged 27) Schumann calls this his ‘darkest time’. There is inevitable tension between the would-be lovers: Clara is constantly away on tours and Robert is jealous about the amount of time that Clara is spending with the composer and critic Carl Banck, whom he regards as a rival. Clara on the other hand is offended by the inadequate review in the NZfM of her Piano Concerto Op 7. Schumann’s fame as a critic and musical personality is growing; his generous and enthusiastic nature, and his lack of envy for the achievements of others, engenders fruitful contact with all the great musicians of the age—either in person or by letter. In October of this year a laudatory article on Schumann and his music by Liszt appears in the Gazette musicale—so important an evaluation that Schumann was later to lay it before the court during his legal battle to gain Clara’s hand. A famous soprano enters his ken, Wilhelmine Schröder-Devrient (1804–1860, incidentally the first to have sung Schubert’s Erlkönig to Goethe) and Robert’s admiration for her will eventually lead to the dedication of Dichterliebe in 1844. In the middle of August Robert and Clara exchange letters of definitive devotion via Schumann’s friend Becker; Clara says ‘Yes’ and promises to stand up to her overbearing father. The couple are blissfully happy and actually meet on 9 September for the first time in seventeen months. Ruptures in the correspondence due to the clandestine nature of their relationship (as in October of this year) are bound to occur and always reduce Schumann to a state of desperation. In this year the two main works to be written are the Davidsbündlertänze Op 6 and Fantasiestücke Op 12. 1838 (aged 28) There is a significant exchange of letters between Robert and Clara in a year that is also hugely productive in terms of piano music—Kinderszenen Op 15, Kreisleriana Op 16, Arabeske Op 18, Blumenstück Op 19, Humoreske Op 20, Noveletten Op 21. Schubert’s three posthumous piano sonatas D958, D959 and D960 are published in Vienna and dedicated to Schumann by the publisher Haslinger. Vienna plays a large part in the plans and hopes of this year because in March Wieck announces that he would perhaps be willing to countenance a marriage on the condition that Robert and Clara leave Leipzig and live elsewhere. Even if this is merely a delaying tactic on Wieck’s part, or an attempt to place an impossible hurdle in the way of the marriage, the couple are undaunted and lay plans to live and work in Vienna. Robert celebrates his twenty-eighth birthday in June in a peaceful and happy mood. Later in the month he is delighted and moved to hear the mezzo-soprano Pauline Viardot (1821–1910) for the first time. He decides he can publish his musical newspaper in Austria, and plans to find accommodation in Vienna for a married couple. Robert and Clara meet secretly, believing that they are soon to be together permanently. Wieck changes his mind in August and is once again virulently opposed to the marriage. Nevertheless, Schumann visits Vienna as planned and arrives there on 5 October; he stays there for six months and is in touch with such musical figures as Thalberg, Vesque von Püttlingen (a close friend of Schubert’s last years) and Mozart’s son, Franz Xaver. As a critic he is able to attend many concerts—there is a famous review of a Liszt recital. Negotiations with Haslinger concerning the potential publication of the NZfM in Vienna quickly break down. Much that seemed hopeful earlier in the year now seems to have reverted to its former pessimistic position. It will be the middle of August 1839 before the couple see each other again. 1839 (aged 29) There are some hundred letters exchanged between Robert and Clara in this year alone. In January Schumann discovers the manuscript of Schubert’s C major Symphony in Vienna and hastens its publication; it will receive its first performance in Leipzig on 22 March, conducted by Mendelssohn. Clara, now alienated from her father, travels to Paris, accompanied only by a lady’s maid. Schumann experiences a spasm of jealousy concerning the musicologist Gustav Schilling (who will publish a major musical encyclopaedia) whom he believes is in love with Clara. In March Robert definitively decides that neither he nor his newspaper will fit into Viennese life; by 8 April he is back in Leipzig. There is little enduring that has come from this Viennese excursion apart from Faschingsschwank aus Wien Op 26 and the Drei Romanzen Op 28. At the end of May Clara plays Carnaval, the Études symphoniques and Kinderszenen in Paris; she also plays the Fantasie there in June. On 2 July Schumann sends a lawyer to Wieck with a request for his permission for the pair to marry (Clara’s mother, whom Wieck had divorced years earlier, willingly grants her assent); when this is brusquely refused the only way of solving the situation is through the courts. Robert initiates this long process on 16 July, something of a Rubicon. In late August the couple are able to see each other again at last. Clara lives in Berlin at this time, and Schumann visits her there whenever he is able. The first court appearance scheduled for 31 August is cancelled due to Wieck’s non appearance—a delaying tactic he employs more than once. He makes a long deposition, the first of a series, accusing Schumann of everything from unreliability to drunkenness and the composer refutes these allegations with character references of his own. It is a sordid and protracted business. On 2 October Wieck once more fails to appear before the court. In November Robert suffers nervous exhaustion and a swelling of the left arm. Clara and Robert, as well as Wieck, make a court appearance on 18 December. The verdict of the court is awaited in the New Year. 1840 (aged 30) 4 January The court finds in Schumann’s favour, although Wieck immediately lodges an appeal and accuses Schumann of increasingly terrible things—with no word, however, regarding the nature of the composer’s illness of 1831. Robert believes that if he were to have a doctoral degree it would help his case, and this is duly awarded him, honoris causa, by the University of Jena on 24 February. It may be too early to celebrate, but he clearly feels that victory is in the air. As a result, surely, from the beginning of February there is a veritable outbreak, perhaps the greatest of its kind in the history of song, of new and inspired compositions for voice and piano. Schumann now writes that solo piano-writing is ‘too narrow to express my thoughts’. It soon becomes clear that the composer wants to assemble a substantial song anthology, something that he has done all his life with his notebook-collections of quotations, literature, aphorisms and suchlike, that can express his overwhelming love for his bride-to-be; it also seems that he wishes to stake a claim for Robert and Clara’s own place among the legendary lovers—those who have battled and triumphed against all the odds. There will be twenty-six songs, as many as there are letters in the alphabet, and the aim is to suggest an international world of song, akin to the series of international authors in many languages issued by the publishing firm in Zwickau owned by Schumann’s father and uncle. February While Clara is in Hamburg giving concerts in February, and suffering from the greatest nervousness and disquiet, Schumann gives himself over to song composing, not only in assembling the numbers for Myrthen but writing so many other songs that they seem part of an unstoppable flood of creativity—some of them planned to be parts of bigger works or cycles, others offshoots and shavings from the bench, but of a very superior kind. 21 June Schumann is now considered an important enough composer to receive a biographical article in the Gazette musicale. 7 July Schumann receives the joyful news that Wieck, unable to find witnesses to back him up, withdraws his accusations of drunkenness against Schumann. 1 August Schumann wins his case and consent for marriage is judicially obtained. 16 August Wieck fails to appeal the court’s verdict in ten days, and the first marriage banns are read. From 4 September Robert is with Clara in Weimar. 12 September The marriage of Robert Schumann and Clara Wieck takes place in Schönefeld near Leipzig. The young married couple begin a Marriage Diary where they can write down their feelings and impressions. Bach’s Well-tempered Clavier is their shared daily musical nourishment. They are happily ensconced in an apartment in Leipzig (3, Inselstrasse) which will be their home for the following four years. 1841 (aged 31) 31 March The first Symphony is given its first performance in the Leipzig Gewandhaus, conducted by Mendelssohn. Clara plays a Chopin Piano Concerto in the same concert. May–July Having already written the Phantasie in A minor for piano and orchestra (that will later become the first movement of the Piano Concerto) Schumann works on a second Symphony in D minor. He later sketches a C minor Symphony. Neither work is completed. 1 September Birth of Marie Schumann (1841–1929), the couple’s first child. 1842 (aged 32) March The Schumanns are separated by a concert tour which Clara undertakes on her own. The composer Schumann suffers pangs of loneliness and studies the string quartets of Haydn, Mozart and Beethoven. This will become a pattern of the marriage—the composer soon realizes that he has far less of a public profile than his famous piano-playing wife. June Schumann works on his three string quartets Op 41. Many of the songs composed in 1840 are published at this time (Opp 36, 39, 40). August Schumann accompanies Clara on a concert tour through Germany. September–October Composition of the Piano Quintet in E flat major Op 44 and the Piano Quartet in E flat major Op 47. November Despite Clara’s tender devotion (expressed in the Marriage Diary) and many visits from distinguished artists (composers and writers) Schumann suffers from the symptoms of depression. December Schumann begins work on the Fantasiestücke for piano, violin and cello (published as Op 88). He agrees to teach at the Leipzig Konservatorium. 1843 (aged 33) February Hector Berlioz visits the Schumanns. Robert begins a choral work, Das Paradies und der Peri, to a text derived from Thomas Moore’s Lalla Rookhe. He completes the work in May and it is given its first performance in December when he makes a successful debut as a conductor. 25 April Birth of the second Schumann daughter, Elise (1843–1928). July Publication of Frauenliebe und -leben Op 42. NovemberMendelssohn leaves Leipzig to take up a position in Berlin. 24 December Reconciled with Friedrich Wieck, the Schumanns celebrate Christmas with Clara’s father in Dresden. One can only imagine that his fears about the marriage have been placated by the birth of two healthy grandchildren. 1844 (aged 34) January–May Robert and Clara undertake a concert tour together that proceeds via Berlin (visits to Mendelssohn and Rückert) to Königsberg and then (February) to Tilsit, Mitau and Riga and from thence to Dorpat where Robert falls ill and has the idea for the first time of composing music to Goethe’s Faust. They are in Saint Petersburg by 4 March and stay there almost a month, becoming friendly with the brothers Nikolai and Anton Rubinstein. 10 April to 8 May are spent in Moscow. The couple are back in Leipzig by 24 May. June Robert decides to retire from his position as editor of the NZfM. July Robert plans an opera on Byron’s The Corsair. Hans Christian Andersen visits the composer in Leipzig. August Clara now also joins the teaching staff of the Conservatorium. Dichterliebe Op 48 is published and Robert continues with work on his Faust-Szenen. September–October Despite a holiday in the Harz mountains Robert feels unwell and he suffers a number of anguished and sleepless nights. November First meeting with the thirteen-year-old violinist Joseph Joachim (1831–1907). December The Schumanns take their leave of Leipzig with a farewell concert at which the Piano Quartet in E flat major is given its first performance. On 15 December they move to Dresden and take up residence there at Waisenhausstrasse No 6. 1845 (aged 35) February Schumann meets Richard Wagner for the first time. 11 March The birth of the Schumanns’ third daughter, Julie (1845–1872). He plans to write an opera on Goethe’s Hermann und Dorothea (the overture is completed) and works particularly hard on the cultivation of his fugal technique. June–July Schumann continues work on his Piano Concerto Op 54. He writes to Mendelssohn confessing the terrible state of his mental health and his ongoing anxiety attacks. October Robert fails to attend the premiere of Wagner’s Tannhäuser in Dresden because he has been disappointed by a read-through of the vocal score. When hearing the opera for the first time in November he favourably revises his opinion as to its worth. He initiates a new series of subscription concerts in Dresden with Ferdinand Hiller as conductor. December First performance of Schumann’s Piano Concerto in A minor Op 54. Later in the month he works on the sketch of the Symphony No 2 in C major Op 61. 1846 (aged 36) 8 February The birth of Emil Schumann, the Schumanns’ first son (1846–1847). October–November Completion of the instrumentation of Symphony No 2, and its first performance in the Gewandhaus (5 November) conducted by Mendelssohn. With their two elder daughters, Robert and Clara set off by coach to Prague and thence by train to Vienna where they stay until January 1847. The Schumanns are offended by the frosty reception given to both his music and her playing in the Imperial city. 1847 (aged 37) 1 January The year gets off to a bad start in Vienna with a badly received concert featuring the new C major Symphony and the Piano Concerto. 10 January Clara accompanies the great and popular singer Jenny Lind at a Viennese recital and wins an impressive audience including the poets Joseph von Eichendorff and Franz Grillparzer. Clara thus meets for the first and only time one of Robert’s most revered poets. Clara plays in Brno in late January and Schumann encounters there Bedrvich Smetana ‘who composes à la Berlioz’. February–March In Berlin where the Schumanns visit both Mendelssohn and his sister, Fanny Hensel, Alexander von Humboldt and Pauline Viardot. In Berlin Robert conducts a disastrous performance of Das Paradies und die Peri. April Robert begins work on the overture of a new projected opera, Genoveva. He completes work on the Szenen aus Goethes Faust. June Work on the first Piano Trio in D minor Op 63. It is offered as a birthday present to Clara Schumann on 13 September. 22 June Death of Emil Schumann, aged sixteen months. July Schumann bathes daily in the Elbe, believing it to be good for his health. August–October Composition of the second Piano Trio in F major Op 80. 4 November The sudden death of Felix Mendelssohn from a heart attack shakes Schumann to the core. He travels to Leipzig for the funeral on 6 November. 1848 (aged 38) January Schumann finishes his sketches for the first act of his opera Genoveva. (He continues to work on the opera throughout the year until he completes it in August, and Clara prepares the piano score.) On account of Ferdinand Hiller leaving Dresden for Düsseldorf Robert is delighted to be named director of the Dresdner Vereins für Chorgesang (later named the Schumannsche Singakademie) with weekly meetings and rehearsals. There is a marked increase in his composition of choral music. 20 January Ludwig Schumann is born, the first surviving Schumann son (1848–1899) and certainly the unluckiest: he is fated to spend most of his adult life in the asylum at Colditz, due to mental illness. February The outbreak of revolutionary unrest in Germany. These waves of insurrection will affect Schumann more directly in 1849 in Dresden. August Schumann reads his libretto for Genoveva to Wagner, and sketches the music for Byron’s Manfred. September Schumann begins writing the Album für die Jugend Op 68 for his daughter Marie. 14 October Wilhelmine Schröder-Devrient sings Frauenliebe und -leben at a soirée at the home of Doctor Carus. November–December Schumann finishes orchestrating Manfred Op 115 and composes Waldszenen for piano, Op 82. 1849 (aged 39) Schumann later describes 1849 as his ‘most fruitful year’—not least in terms of songs. 13–15 April The composition of Fünf Stücke im Volkston Op 102 for cello and piano. May Uprising in Dresden—the so called ‘Maiaufstand’. The politically active Wagner flees Dresden and takes refuge with Liszt in Weimar. The Schumann family retreats to neighbouring Maxen, and then Kreischa, to avoid any danger. Not a particularly glorious moment for Robert, who had once imagined himself fit and able to man the barricades. Parts of Op 79 are composed in Kreischa. 12 July The birth of Ferdinand, the Schumann’s fifth surviving child (1849–1891), their second son. 17 October Death of Frédéric Chopin. 1850 (aged 40) April Publication of the Liederkreis Op 39 (in its definitive second version). 25 June The long-delayed premiere in Leipzig of Schumann’s opera Genoveva—only moderately successful. 2 September Robert and Clara arrive in Düsseldorf where Robert takes up a new appointment as conductor of the orchestra and choir. They rent a new apartment. October–December Schumann composes the Cello Concerto Op 129, the Symphony No 3 in E flat major Op 97, Bunte Blätter for piano, and the overture to Die Braut von Messina. 1851 (aged 41) January Schumann plans a visit to London (that never takes place). January–February Composition of Overture to Julius Caesar. March Composition of Märchenbilder for piano and viola Op 113. A period of continual ill-health. Schumann finds it increasingly difficult to conduct the choir and orchestra. He considers leaving Düsseldorf. March–May Composition of Der Rose Pilgerfahrt (Moritz Horn) for soloists, chorus and orchestra Op 112. April Composition of Der Königssohn (Uhland) Op 116 for soloists, chorus and orchestra, the first of Schumann’s four so-called ‘Chor-Balladen’. July–August A holiday in Heidelberg, Baden-Baden, Basel and Lake Geneva. August A visit to Antwerp (where Schumann judges a vocal competition) and Brussels. Back in Düsseldorf, Liszt visits for the last time and plays ‘as always, with a truly demonic bravura’. 2–9 October Piano Trio No 3 in G minor Op 110. 26 October–2 November Violin Sonata No 2 in D minor Op 121. 1 December Birth of Eugenie (1851–1938), the Schumanns’ fourth and youngest daughter, and sixth surviving child. Of the Schumann children, three were to marry—Elise, Ferdinand and Julie—with children of their own, Clara’s grandchildren. Eugenie’s partner and lifelong companion would be the soprano Marie Fillunger, much admired by Brahms. The couple lived for many years in London. 1852 (aged 42) April A move to a new apartment in the Herzogstrasse causes Schumann distress due to street works and the piano practice of neighbours’ children. He complains constantly of illness and depression. April–May Composition of the Requiem Op 148 for chorus and orchestra. June Composition of the third of Schumann’s ballade-like works for soloists, chorus and orchestra—Vom Pagen und der Königstochter (Geibel) Op 140. Manfred is conducted by Liszt in Weimar. Unhappy in the Düsseldorf position, Schumann experiences sleeplessness, depression, difficulty with speech, and being unable to handle fast musical tempi. June–July A holiday in Bad Godesberg and a significant worsening of the composer’s health. 9 September Clara suffers a miscarriage. 19 September Change of accommodation to the BilkerStrasse. November Schumann experiences head-noises and strange singing in the ears. Looking back on 1852 Schumann writes: ‘For almost half of this year I was struck down with a serious nervous affliction.’ 1853 (aged 43) January Schumann works on writing piano accompaniments to the unaccompanied violin sonatas and partitas of J S Bach. In February he does the same for the cello suites and he also writes accompaniments for Paganini’s solo Caprices. February Composition of the last of the choral ballads, Das Glück von Edenhall Op 143. April Robert experiments with the latest craze for the paranormal and develops an enthusiasm for table-tapping. July Robert suffers what is probably a slight stroke. 2–8 September Composition of Violinphantasie Op 131, no doubt inspired by a visit from Joachim in August. September–October Composition of Violin Concerto in D minor. It will be published in 1937 when the Nazi regime claim it had been unfairly suppressed (in favour of the ‘worthless’ Mendelssohn violin concerto) by the scheming of Joachim and the Jewish musical establishment. 30 September The first visit of Johannes Brahms to the Schumann household; he visits almost daily thereafter in early October. October Composition of Märchenerzählungen Op 132 for clarinet, viola and piano, Gesänge der Frühe Op 133 for piano, and the Violin Sonata No 3 in A minor (published 1956). November Composition of Fünf Romanzen for cello and piano, later destroyed by Clara Schumann. Schumann plans to move to Berlin or Vienna. Visit to Holland. 1854 (aged 44) 17 February Schumann writes down a theme that he claims the angels have sung to him. He suffers bouts of panic and hallucinations. 27 February Robert throws himself into the Rhine from the old Schiffsbrücke, the bridge that crosses the river at Düsseldorf. This is a suicide attempt. The composer’s life was saved by Harbourmaster Jungermann who receives a medal. Robert is put under the care of doctors and two male nurses. Clara leaves the house to live with friends. 4 March At his own request Robert is transferred to the asylum in Endenich, near Bonn. There he is placed under the care of Dr Franz Richarz (1812–1887) whose almost daily medical reports on Schumann’s condition will be published only in 2006, thanks to the composer Aribert Reimann who inherited these confidential family papers and decided, after much soul-searching, to publish them. These reports settle once and for all, and despite various theories to the contrary over many years, that Schumann was indeed suffering from tertiary syphilis. The composer is forbidden to see his wife. She is desperately unhappy about this, but doctors advise her that Robert’s health will be endangered. Brahms moves to Düsseldorf, largely to be of help to Clara and her family. He will stay there for two years. 11 June Birth of Felix Schumann (1854–1879), the youngest son and last child. July Robert sends a bouquet of flowers to Clara. He is permitted to receive a letter from her in August and replies in September. He writes more often to Clara, heartbreaking letters for the reader. She finds that these communications ‘tear open my wounds’. In December Joachim visits the composer. 1855 (aged 45) and 1856 (aged 46) In the last years of the composer’s life Robert sends Clara a succession of increasingly sad and disoriented letters, although his communications with Brahms, Joachim and Simrock (who are permitted to visit him from time to time) are a great deal clearer. In September 1855 Clara is told by Dr Richarz that her husband’s condition is incurable. As a Christmas present she sends him portraits of Brahms and Joachim. In January 1856 Schumann composes a fugue. When Brahms visits him in April he is unable to understand a word that Schumann says to him. For Schumann’s birthday on 8 June Brahms takes the composer the present of a giant Atlas (the composer likes to plan imaginary journeys in his head from place to place in alphabetical order). On that visit Brahms is completely devastated by what he sees. Clara, long forbidden by Dr Richarz to visit her afflicted husband, sees him for the last time on 27 June between 6 and 7 in the evening. He smiles at her and with the greatest difficulty puts his arm around her—he can no longer easily move his limbs. Looking at her with the greatest tenderness he says ‘My’, but cannot manage to say ‘Clara’. He says ‘I know’ but cannot say ‘you’. For the next two days Clara is by his side. He is never still and is in constant, writhing torment. He has not eaten for days, but is able to suck drops of wine from her finger. Robert Schumann dies on 29 July 1856 and is buried at Endenich on the evening of 31 July. Only Clara, Brahms, Joachim and Ferdinand Hiller are at the funeral. Clara Schumann dies almost forty years later on 20 May 1896. Of her seven children, two—Felix and Julie—predecease her. Her closest friend, Johannes Brahms, survives her by less than eleven months. Graham Johnson © 2010 |
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