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 THE NEW GROVE

DICTIONARY OF MUSIC AND MUSICIANS®

Volume Sixteen
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The New
G R 0 VB
Dictionary
of Music and
Musicians®

EDITED BY

Stanley Sadie

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GROVE
 MACMILLAN PUBLISHERS LIMITED, LONDON
GROVE’S DICTIONARIES OF MUSIC INC., NEW YORK, NY
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© Macmillan Publishers Limited 1980
All rights reserved. No part of this publication may be
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First Edition of A Dictionary of Music and Musicians, planned and edited by SIR GEORGE GROVE, DCL, in
four volumes, with an Appendix edited by J. A. Fuller Maitland, and an Index by Mrs Edmond
Wodehouse, 1878, 1880, 1883, 1890.

M M, Reprinted 1890, 1900

.0»

9
Second Edition, edited by J. A. FULLER MAITLAND, in five volumes, 1904—10
M
a,“

Third Edition, edited by H. C. COLLEs, m' five volumes, 1927

II”
:3 I Fourth Edition, edited by H. C. COLLES, in five volumes, with Supplementary Volume, 1940
I!Qt"? 50‘.“

Ma
4‘ Q
Fifth Edition, edited by ERIC BLOM, in nine volumes, 1954; with Supplementary Volume, 1961
Reprm'ted 1961, 1973, 1975

American Supplement, edited by WALDO SELDEN PRATT, in one volume, 1920

WW”. Reprinted with new material, 1928; many later repn’nts

/ «Mi The New Grove Dictionary of Music and Musicians?

edited by STANLEY SADIE, in twenty volumes, 1980
I l
a" .
V! f t) The New Grove and The New Grove Dictionary of Music and Musicians are registered trademarks
in the United States of Macmillan Publishers Limited, London.

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First published 1980 in hardback edition.

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The New Grove dictionary of music and
musicians.® The New Grove dictionary of music and musicians.®
Includes bibliographies.
A catalogue record for this book is available
1. Music-Dictionaries.
from the British Library.
2. Music-Bio—bibliography.
ISBN 0—333—231 1 1—2 (hardback) I. Grove, George, Sir, 1820—1900.
ISBN 1—56159—174—2 (paperback) II. Sadie, Stanley.
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Also heilig ist der Tag, 10W, 2 vn, 2 va, bn, 2 cometts, 3 trbn, bc, le
Bessre dich Jerusalem, 5W, 4 insts, be, Bds
Das Blut Jesu Christi, 2W, 3 insts, bc, Eds
Das ist meine Freude, 3W, 6 insts, be, Bds
Das Wort ward Fleisch, 6W, 2 vn, 3 va, 2 ob, bn, be, LUC
Der Gott Abraham, 5vv, chorus 5W, 2 vn, 2 va, bn, 2 cornettinos, 3
trbn, bc, F-Ssp
Der Tod ist vuerschlungen in den Sieg, 1v, chorus 5W, 2 ob, 2 t insts, bn,
bc, D-MUG
Es sei denn, dass jemand geboren werde, va, chorus 5w, 2 vn, 2 va, bn,
bc, F
Habt nicht lieb die Welt, 6vv, chorus 6w, 2 vn, 2 va, bn, be, F
Herr Jesu Christ, du ho"chstes Gut, 5vv, chorus 5W, 2 vn, 2 va, bn, bc,
F-Ssp
Heut triumphieret Gottes Sohn, lv, 2 vn, 2 va, bn, 2 cornettinos, 2 trbn,
vle, be, D-DIb
Ich schreie mit einer Stimme zu Gott (Ps lxxvii), 5w, 2 vn, 2 va, bn, bc,
F-Ssp
Kommt all’ herzu, ihr Engelein, 2W, 2 vn, be, DIb
Meine Lieben und Freunde stehen gegen mir, 5w, 2 vn, 2 va, bn/vle, bc,
le
Schaffe in mir, Gott, 1v, 2 vn, bn, be, LUC, inc.
Seid bo"se ihr Vo"lker, 5vv, chorus 8W, 2 vn, 2 va, bn, 2 piffari, 3 trbn,
bn, timp, bc, le
Siehe, eine Jungfrau, lv, 2 vn, be, LUC, inc.
Singet um einander, 5vv, chorus 5W, 2 vn, 2 va, bn, bc, 8
So wahr ich lebe, 5vv, chorus 5W, 5 insts, bc, F, inc.
Warum sollt’ ich mich denn gra”men, 5vv, chorus 5w, 2 vn, 2 va, bn, be,
F-Ssp
Was du tust, so bedenke das Ende, 5vv, chorus 5W, 2 vn, 2 va, bn, bc,
D-DIb, inc.
Wer mich liebet, 5vv, chorus 5w, 2 vn, 2 va, bn, be, F
Wie der Hirsch schreiet, 1v, 4 insts, bc, Bds
DOST WORKS
1 Magnificat, 2W, 2 vn, vle, bc; 5 concertos, l—lOvv, 2—10 insts, be:
cited in 1696 inventory D-Lm
18 works, 1—10vv, 3—10 insts, be; cited in inventory c1680—90,
Ffirstenschule, Gn’mma
1 work, 9vv/insts: cited in 1718 inventory, Ulrichskirche, Halle
l concerto, 1v, 2 vn, 3 va, be, cited in Gerber
3 occasional secular works, 1683—95, texts in Dla, authenticity doubtful
BIBLIOGRAPHY
EitnerQ; GerberNL; WaltherML
J. F. Lobstein: Beitra"ge zur Gesehichte der Musik im Elsass
(Strasbourg, 1840), 68f
H. Kreyssig: ‘Verzeichnis der Lehrer an der Lateinschule zu Meissen
von 1539 his 1800’, Mitteilungen des Vereins fu"r Geschichte der
Stadt Mels'sen, i/4 (1884), 45
H. Wittich: ‘Die Erbhuldigung zu Meissen im Jahre 1692’, Mitteilungen
des Vereinsfu"r Geschichte der Stadt Meissen, iv (1897), 235
M. Seiffert: ‘Die Chorbibliothek der St. Michaelisschule in Lu"neburg’,
SIMG, ix (1907—8), 593
M. Seiffert: introduction to DTB, xxx, Jg.xviii (1917), p.xiii
K. Paulke: ‘Musikpflege in Luckau’, Niederlausitzer Mitteilungen, xiv
(1918), 145
E. Noack: ‘Die Bibliothek der Michaeliskirche zu Erfurt’, AMw, vii
(1925), 65
C. Sfiss: Stadtbibliothek Frankfurt am Main: kirchliche Musikhand—
schrzft'en des XVII. und XVIII. Jahrhunderts: Katalog (Berlin and
Frankfurt, 1926), 58
W. Serauky: Musikgeschichte der Stadt Halle: music examples and
notes to ii/l (Halle and Berlin, 1940/R1970), 70ff
F. Krummacher: ‘Zur Sammlung Jacobi der ehemaligen Fu"rstenschule
Gr1'mma’,_Mf, xvi (1963), 324
—: Die Uberlieferung der Choralbearbeitungen in der fru"hen evan-
gelts’chen Kantate (Berlin, 1965)
B. Baselt: ‘Actus musicus und Historic um 1700 in Mitteldeutschland’,
Kongressbericht: Leipzig 1966, 230
H. Ku"mmerling: Katalog der Sammlung Bokemeyer (Kassel, 1970)
PETER KRAUSE
Schulze, Hans-Joachim (b Leipzig, 3 Dec 1934). Ger-
man musicologist. He studied musicology in Leipzig at
the Hochschule fu"r Musik (1952—4) and with Eller,
Serauky and Besseler at the university (1954—7), where
he took a diploma. Subsequently he became a research
assistant (1957) and acting director (from 1974) at the
Leipzig Bach Archive. His research has been entirely
concerned with J. S. Bach; he has concentrated on
biography and sources, and besides writing many
articles on individual works has produced a documen-
Schuman, William 825
tary biography. He was appointed co-editor of the Bach-
Jahrbuch (1975) and also edited the fifth volume of
Bach-Studien (1975). His editions of Bach’s works in-
clude several facsimiles.
WRITINGS
‘Bemerkungen zu einigen Kantatentexten Johann Sebastian Bachs’,
BJb, xlvi (1959), 168
‘Marginalien zu einigen Bach-Dokumenten’, BJb, xlviii (1961), 79
‘Zur Identifizierung der anonymen Missa BWV anh. 24’, Mf, xiv (1961),
328
‘Fru"he Schn‘ftzeugnisse der beiden ju"ngsten Bach-So"hne’, BJb, 1 (1963—
4), 61
ed.: Bach-Dokumeme (Leipzig and Kassel, 1963—72) [i—ii with W.
Neumann]
‘Randnotizen zu zwei kleinen Bach—Beitra"gen’, Mf, xvii (1964), 401
‘Beitra"ge zur Bach-Quellenforschung’, GfMKB, Leipzig 1966, 269
‘Wer intavolierte Johann Sebastian Bachs Lautenkompositionen?’, Mf,
xix (1966), 32
‘Johann Sebastian Bachs Kanonwidmungen’, BJb, liii (1967), 82
‘Das “Kleine Magnificat" BWV Anh.21 und sein Komponist’, Mf, xxi
(1968), 44
‘Ein unbekannter Bn’ef von Silvius Leopold Weiss‘, Mf, xxi (1968), 203
‘Johann Sebastian Bach und Chn'stian Gottlob Meissner’, BJb, liv
(1968), 80
‘Neuerkenntnisse zu einigen Kantatentexten Bachs auf Grund neuer
biographiSCher Daten’, Bach-Inlerpretationen.‘ Walter Blankenburg
zum 65. Geburtstag (Go"ttingen, 1969), 22
‘Das c-Moll-Trio BWV 585: cine Orgeltranskription Johann Sebastian
Bachs?’, DJbM, xvi (1971), 150
‘Der Schreiber “Anonymus 400”: ein Schu"ler Johann Sebastian
Bachs’, BJb, lviii (1972), 104
‘J. S. Bach’s Concerto-arrangements for Organ: Studies or
Commissioned Works?’, Organ Yearbook, iii (1972), 4
‘Vier unbekannte Quittungen J. S. Bachs und ein Briefauszug Jacob von
Sta"h1ins’, BJb, lix (1973), 88
‘Johann Sebastian Bachs Konzertu'bertragungen nach Vivaldi und
anderen Studien- oder Auftragswerke?’, DJbM, xviii (1973—4)
‘Wie entstand die Bach-Sammlung Mempell-Preller".’, BJb, IX (1974),
104
n
“. . . da man nun die besten nicht bekommen ko"nne": Kontroversen
und Kompromisse vor Bachs Leipziger Amtsantn‘tt’,
Wissenschaftliche Bach-Konferenz: Leipzig 1975
“Die Bach-Uberlieferung: Pla"doyer fu"r ein notwendiges Buch’, BMW,
xvii (1975), 45
‘Ein “Drama per musica” als Kirchenmusik: zu Wilhelm Friedemann
Bachs Auffu"hrungen der Huldigungskantate BWV 205a’, BJb, lxi
(1975), 133
Johann Sebastian Bach: Leben and Werk in Dokumenten (Leipzig,
1975)
‘Johann Sebastian Bach und Georg Gottfried Wagner: neue
Dokumente’, Bach-Studien, v (1975), 147
‘Melodiezitate und Mehrtextigkeit in der Bauemkantate und in den
Goldberg-Variationen’, BJb, lxii (1976), 58
Katalog der Sammlung Manfred Gorke: Bachiana and andere
Handschrlf'ten and Drucke des I8. and fruh"en I9. Jahrhunderts
(Leipzig, in preparation)
Schuman, William (Howard) (b New York, 4 Aug
1910). American composer and teacher. After two
years of study at the School of Commerce of New York
University, he entered the Malkin Conservatory, New
York, in 1930 to study harmony with Max Persin and
counterpoint and composition with Charles Haubiel.
While still a high school student he had organized and
performed in jazz bands, and by 1935 he had written
more than 150 popular songs, some of them in collabor-
ation with Edwin B. Marks jr and Frank Loesser.
Schuman’s studies were continued at Teachers College,
Columbia University (1933—7), where he received the
BS in 1935 and the MA in 1937; during the summer of
1935 he earned a certificate in conducting at the
Salzburg Mozarteum. In 1936 he began two years of
study with Roy Ham's at the Juilliard School; Harris
proved to be a dominant and enduring influence on
Schuman’s music, and he was responsible for bringing
Schuman to the attention of Copland and Koussevitzky.
The latter performed the Second Symphony with the
Boston SO, and conducted the first performances of the
826 Schuman, William
American Festival Overture (1939), the Symphony no.3
(1941, awarded the first New York Critics’ Circle
Award), A Free Song (1943, awarded the first Pulitzer
Prize in music) and the Symphony for Strings (1943).
The public and critical success of the Third
Symphony established Schuman as one of the leading
composers of the USA, and since that time his music
has been widely performed. Almost as important as his
compositional career has been his work as a teacher and
administrator, first at Sarah Lawrence College (1935—
45), where he was responsible for introducing the study
of music of all periods in theory courses. After serving
for four months as director of publications for G. Schir-
mer, he was appointed president of the Juilliard School
in 1945, and by 1948 he had fused the usual theory
curriculum into a course on the ‘Literature and
Materials of Music’. He appointed a number of promin-
ent American composers to the staff, among them
Bergsma, Mennin, Persichetti and Weisgall, and an ex-
position of his approach to music education appeared as
The Juilliard Report (1953). Another of Schuman’s
innovations was the formation of the Juilliard Quartet,
which became the model for many quartets-in-residence
at American colleges.
In 1962 Schuman was made president of the Lincoln
Center in New York, a position which gave him great
power in the administration of the arts, and which he
continued to hold until 1969. He encouraged the com-
nn'ssioning and performance of American works, and
the importance he placed on the Center’s service to
urban communities led to the Lincoln Center Student
Program, which instituted concerts in schools and
opened the Center’s halls for students’ concerts. Other
new projects were the Lincoln Center Chamber Music
Society, the New York PO summer promenade concerts
and the summer series of performances by visiting opera
companies. Schuman left his post at the Lincoln Center
to become chairman of the board of the Videorecord
Corporation of America in 1970.
The core of Schuman’s output is formed by his orches-
tral music, of which the symphonies are the most
significant part. From Harris he inherited a broad non-
repetitive cantilena, non-functional triadic and polytonal
harmony, and expansive gestures. But there are also
individual features in the vigorous drive, febrile rhythm
and bonhomie of the symphonies and the American
Festival Overture. Schuman writes for a large orchestra,
which he generally uses in homogeneous groups, with
similar material tossed from one choir to another. He is
also inclined to superimpose up to three distinct layers
moving at different speeds. For example, his slow
movements often present rich successions of triads in
the lower register with one or more weaving melodic
strands above. In fast sections, principal melodies are
frequently accompanied by sharp, rhythmically ir-
regular ideas, and this — like the layered scoring —
appears to have been suggested by The Rite of Spring
and other of Stravinsky’s works. Schuman often uses
Baroque-like ostinato or fugato procedures, and the
subjects of his fugues or passacaglias may undergo
substantial change during the course of a movement.
Sections frequently begin with canonic statements of
characteristic long, legato melodies, as in the Third and
Ninth Symphonies. Other typical elements are the tim—
pani solos and the almost apocalyptic finales.
In the Third Symphony the harmonic foundation is
the major triad, and in the compact Symphony for
Strings it is a polytonal chord, appearing most con.
spicuously in the second movement. The Sixth Sym.
phony (1948), perhaps Schuman’s best achievement, is
permeated by the major—minor chord, a sound that has
since become the hallmark of Schuman’s harmony. 12
years separated the Seventh from the Sixth Symphony,
and during this period Schuman composed in diverse
styles and for various forces; more probing pieces alter-
nated with the ‘baseball opera’ The Mighty Casey
(1951—3) and the popular New England Triptych
(1956), works that represent his last ventures in
Americana. Credendum (1955) was the first musical
composition commissioned by the US government. In
the Seventh Symphony (1960), Schuman continued the
new directions first explored in the Carols of Death
(1958). There are long stretches of harmonic stasis, and
dense sonorities are insistently reiterated. Slow,
melancholy music predominates, and the march-like
dotted rhythms and string adagios recall the later
Mahler symphonies. Also like Mahler, Schuman became
fascinated by bell sounds. During the 19603 he
produced two small concertante works: A Song of
Orpheus, based on a song Schuman wrote in 1944,
formed a reticent bridge to the massive Eighth
Symphony; and To Thee Old Cause is a bleak ‘evoca-
tion’ in memory of Martin Luther King and Robert
Kennedy. The moving Symphony no.9 ‘Le fosse
ardeatine’ is the finest of the later works; its dark and
solemn mood, unity of form and detail, and slow-fast-
slow plan recall the Sixth Symphony.
WORKS
STAGE
Undertow, ballet, 1945; cond. Dorati, New York, 10 April 1945
Night Journey, ballet, 1947; Martha Graham, cond. L. Horst,
Cambridge, Mass, 3 May 1947
Judith, ballet, 1949; Graham, cond. R. Whitney, Louisville, 4Jan 1950
The Mighty Casey (opera, 3 scenes, J . Gury), 1951—3; cond. M. Par-
anov, Hartford, Conn., 4 May 1953; rev. as cantata, 1976
Voyage for a Theater, ballet, 1953; Graham, cond. S. Sadoff, New
York, 17 May 1953
The Witch of Endor, ballet, 1965; Graham, cond. R. Irving, New York,
2 Nov 1965
ORCHBTRAL
Symphony no.1, 18 insts, 1935; cond. J. Werner, New York, 21 Oct
1936; unpubd, withdrawn
Prelude and Fugue, 1937; unpubd, withdrawn
Symphony no.2, 1937; cond. E. Schenkman, New York, 25 May 1938;
withdrawn
American Festival Ov., 1939; cond. Koussevitzky, Boston, 6 Oct 1939
Symphony no.3, 1941; cond. Koussevitzky, Boston, 17 Oct 1941
Symphony no.4, 1941; cond. A. Rodzinsky, Cleveland, 22 Jan 1942
Newsreel, in Five Shots, band, 1941; cond. G. Howard, Pennsylvania
State College, 1942; version for orch, 1942; cond. A. Smallens, New
York, 15 July 1942
Piano Concerto, 1942; R. Tureck, cond. D. Saidenberg, New York, 13
Jan 1943
Prayer in Time of War, 1943; cond. Reiner, Pittsburgh, 26 Feb 1943
Symphony for Strings (Symphony no.5), 1943; cond. Koussevitzky,
Boston, 12 Nov 1943
Circus Overture: Side Show, small orch/full orch, 1944; small orch,
cond. Abravanel, Philadelphia, 17 Dec 1944; full orch, cond. Reiner,
Pittsburgh, 7 Jan 1945
Undertow, choreographic episodes [from ballet], 1945; cond. A. Wal-
lenstein, Los Angeles, 29 Nov 1945
Violin Concerto, 1947; Stem, cond. Munch, Boston, 10 Feb 1950:1'0‘1-
1954, Stem, cond. J. Morel, New York, 26 Feb 1956; rev. 1958-9,
R. Totenberg, cond. 1. Solomon, Aspen, Colorado, 9 Aug '959
Symphony no.6, 1948; cond. Dorati, Dallas, 27 Feb 1949
George Washington Bridge, band, 1950; Interlocken, Mich., 30 July
1950
Credendum, Article of Faith, 1955; cond. T. Johnson, Cincinnati, 4
Nov 1955
New England Triptych, 1956; cond. Kostelanetz, Miami. 28 OCt 1956
Chester [from New England Triptych], band, 1956; Louisville U» 13“
1957
When Jesus Wept [from New England Triptych], band, 1958: Cond' R’

"
F. Goldman, summer 1958
Symphony no.7, 1960; cond. C. Munch, Boston, 21 Oct 1960
A Song of Orpheus, fantasy, vc, orch, 1961; L. Rose, cond. 1. Solomon,
Indianapolis, 17 Feb 1962 .
Symphony no.8, 1962; cond. Bernstein, New York, 4 Oct 1962
Van'ations on America [am of Ives], orch/band, 1963; orch, cond.
Kostelanetz, New York, 20 May 1964
The Orchestra Song, 1963; cond. Kostelanetz, Minneapolis, 1] Apn‘]
1964; arr. band as The Band Song, 1963
Philharmonic Fanfare, 1965; cond. Steinberg, New York, 10 Aug
1965; withdrawn
Dedication Fanfare, band, 1968; St Louis, 4 July 1968
To Thee Old Cause, evocation, ob, brass, timp, pf, str, 1968; H.
Gomberg, cond. Bemstein, New York, 3 Oct 1968
Symphony no.9 ‘Le fosse ardeatine’, 1968; cond. Ormandy,
Philadelphia, 10 Jan 1969
In Praise of Shahn, 1969; cond. Bemstein, New York, 29 Jan 1970
Voyage, cycle of 5 pieces, 1972; cond. G. Meier, Rochester, New York,
27 Oct 1972
Concerto on old English rounds, va, female chorus, orch, 1974; D.
McGinnes, cond. M. T. Thomas, Boston, 29 Nov 1974
Symphony no.10 ‘American Muse’, 1976; Washington, DC, 6 April
1976
VOCAL
God’s World, 1v, pf, 1932
4 Canonic Choruses (Chorale Canons) (Millay, Cullen, Sandburg,
Tennyson), SATB, 1932—3; cond. C. Gutekunst, New York, 3 May
1935
Pioneers! (Whitman), SSAATTBB, 1937; cond. H. Switten, Pn'nceton,
23 May 1938
Choral Etude, SATB, 1937; cond. L. Engel, New York, 16 March 1938
Prologue (G. Taggard), SATB, orch, 1939; cond. A. Richter, New
York, 7 May 1939
The Orchestra Song (Austrian trad., trans. M. Farquhar), 1939
prelude (Wolfe), female chorus/SATB, 1939; cond. Schuman, New
York, 24 Apn'l 1940
This is Our Time (Taggard) (Secular Cantata no.1), SATB, orch, 1940;
cond. A. Smallens, New York, 4 July 1940
Requiescat, female chorus/SATB, pf, 1942; cond. Schuman, New York,
4 April 1942
Holiday Song (Taggard), SATB, pf, 1942; cond. R. Shaw, New York,
13 Jan 1943
A Free Song (Whitman) (Secular Cantata no.2), 1942; SATB, orch,
1942; cond. Koussevitzky, Boston, 26 March 1943
Orpheus and his Lute (Shakespeare), 1v, pf, 1944
Te Deum, SATB, 1944,: cond. G. Wallace Woodworth, Cambridge,
Mass, Apn'l 1945
Truth Shall Deliver (Chaucer, adapted M. Farquhar), male chorus,
1946; cond. M. Bartholomew, New Haven, 7 Dec 1946
The Lord Has a Child (L. Hughes), SATB, pf, 1956
Four Rounds on Famous Words, 1956
Carols ofDeath (Whitman), SATB, 1958; Canton, NY, St Lawrence U.,
20 March 1959
Deo ac ven'tati, male chorus, 1963; cond. W. Skelton, Hamilton, NY,
Colgate U., 19 Apn'l 1963
Declaration Chorale (Whitman), SATB, 1971; cond. R. Shaw, New
York, 30 Apn'l 1972
Mail Order Madn‘gals (Sears, Roebuck 1897 catalogue), SATB, 1971;
cond. W. D. Pritchard, Ames, Iowa State U., 12 March 1972
To Thy Love, choral fantasy on old English rounds, SSSA, 1973
Casey at the Bak, cantata, S, chorus, orch, 1976 [rev. version of
opera]; Washington, DC, 6 April 1976
The Young Dead Soldiers (A. MacLeish), S, hn, ww, str;
Washington, DC, 6 April 1976
CHAMBER AND INSTRUMENTAL
Canon and Fugue, pf trio, 1934; unpubd, withdrawn
Choreographic Poem, 7 insts, 1934; unpubd, withdrawn
Str Qt no.1, 1936; New Str Qt, New York, 21 Oct 1936; unpubd,
withdrawn
Str Qt no.2, 1937; Forum Str Qt, New York, spring 1938
Quartettino, 4 bn, 1939
Str Qt no.3, 1939; Coolidge Str Qt, New York, 27 Feb 1940
Three-Score Set, pf, 1943; J. de Menasce, 29 Aug 1943
Str Qt no.4, 1950; Hungan'an Str Qt, Washington, 28 Oct 1950
Voyage, pf, 1953; L. Steuber, Chicago, 18 Aug 1953
Three Piano Moods, 1958; J. Rosen, Athens, 2 Dec 1958
Amaryllis Variations, str trio, 1964; New York Str Trio, Washington,
31 Oct 1964
Anniversary Fanfare, brass, perc, 1969; cond. Prausnitz, New York, 13
Apn'l 1970 . life posed numerous obstacles to Clara’s playing and
Prelude for a Great Occasion, brass, perc, 1974; cond. Doratr,
Washington, 1 Oct 1974
Pn'ncipal publishers: G. Schirmer, Presser
WRITINGS
‘Unconventional Case History’, MM, xv (1938), 222
Schumann, Clara 827
‘On Teaching the Literature and Maten'als of Music’, MQ, xxxiv ( l 948),
155
Introduction to The Jur'lh'ard Report on Teaching the Literature and
Materials of Music, ed. R. F. Goldman (New York, 1953), 7
‘The Compleat Musician: Vincent Persichetti and Twentieth Century
Harmony’, MQ, xlvii (1961), 379
BIBLIOGRAPHY
L. Bemstein: ‘William Schuman', MM, xix (1942), 97
N. Broder: ‘The Music of William Schuman’, MQ, xxxi (1945), 17
R. F. Goldman, ed.: The Juilliard Report (New York, 1953)
F. R. Schreiber and V. Persichetti: William Schuman (New York, 1954)
[inc]. bibliography]
J. Edmunds and G. Boelzner: Some Twentieth-century American
Composers (New York, 1959—60), ii, 42ff
R. F. Goldman: ‘Current Chronicle’, MQ, xlix (1963), 91
R. Evett: ‘Current Chronicle’, MQ, 1i (1965), 408
H. Weisgall: ‘Schuman, William’, Dictionary of Contemporary Music,
ed. J. Vinton (New York, 1974) BRUCE SAYLOR
Schumann [ne'e Wieck], Clara (Josephine) (b Leipzig,
13 Sept 1819; d Frankfurt am Main, 20 May 1896).
German pianist and composer. The eldest child of
Friedrich and Man‘anne WIECK, she began to study the
piano at the age of five with her father; he had resolved
even before her birth to develop the child into a
musician of consummate artistry. After several private
concerts she made her first public appearance at a con-
cert in the Leipzig Gewandhaus (20 October 1828),
where she also gave her first complete recital (8
November 1830). During the concert season 1831—2
her father took her on her first extended concert tour,
travelling as far as Paris. After her return to Leipzig she
continued to perform extensively, and studied - in addi-
tion to the piano — singing, the violin, instrumentation,
score reading, counterpoint and composition; during
these years she published a number of compositions for
piano solo. By 1835 she was acclaimed throughout
Europe as a phenomenally talented child prodigy; her
admirers included Goethe, Mendelssohn, Chopin,
Paganini and Schumann.
In the next few years Clara continued to perform
throughout Europe with dazzling success. Liszt con-
sidered that she had ‘complete technical mastery, depth
and sincerity of feeling’; Grillparzer honoured her with
a poem, Clara Wieck und Beethoven (F-moII-Sonate)
(1838). In 1838 she was appointed k.k. Kammer—
virtuosin to the Austrian court, an honour rarely be-
stowed on a foreigner, particularly one so young; later
the same year she was elected to the Gesellschaft der
Musikfreunde.
These triumphs, however, were embittered by a
prolonged conflict with her father. Robert Schumann,
who had come to live with the Wiecks in 1830, formally
asked Wieck in 1837 for permission to marry Clara,
touching off a fierce three-year battle between Wieck
and the two lovers. After Wieck’s initial efforts to
prevent communication between the two and to dampen
their devotion proved unsuccessful, his behaviour
became more and more irrational, extending to the most
spiteful attempts at slander and sabotage, both profes-
sional and personal. Clara and Robert were eventually
obliged to take their case to court, and after a favourable
ruling were eventually married on 12 September 1840.
The Schumanns settled first in Leipzig, moving to
Dresden in 1844 and to Dusseldorf in 1850. Married
composing, to her great dismay. Robert could not be
disturbed while composing, and her time was now ad-
ditionally occupied with household cares and maternal
duties: Marie (b 1841), Elise (b 1843), Julie (b 1845),