Sigma Alpha Iota

PAN PIPES • WINTER 2018 • sai-national.org 20 By Jayne I. Hanlin W hat I am in reality I cannot see clearly at the moment. If I am to be a poet, posterity will decide." ese two thought- provoking remarks by Robert Schumann appear in large letters high on the walls of his birthplace, now the Robert-Schumann-Haus, located at Hauptmarkt 5 in Zwickau, Germany. e museum opened in this location on June 8, 1956, the 100th anniversary of the composer's death. e building houses the most extensive archives of original Schumann documents in the world. In 1967, using the resources at the Robert-Schumann-Haus, my late brother, concert pianist Malcolm Frager, was able to locate not only the original metronome markings of the Schumann Piano Concerto in A Minor, Opus 54 but amazingly to find the Fantasia for Piano and Orchestra (a one-movement work from 1841) with its orchestration, upon which the first movement of the concerto had been superimposed on the autograph. Whenever conductors agreed, Malcolm played the Fantasia (which he thought more symphonic and brilliant) when he performed the concerto. e first time was with the Boston Symphony Orchestra under the baton of Erich Leinsdorf in Tanglewood, Massachusetts in August 1968. On the ground level of the building is a 140- seat concert hall, a reception desk, and a small gi shop. A temporary exhibit about metronomes was nearby during my visit. Upstairs in the first floor foyer is a room entitled "Do you know Schumann?" with posters and multi-media presentations. Adjacent to this area are the eight rooms that are the heart of the museum. Walking through them, I followed Schumann's life chronologically—his adolescent years, bachelor years, time of courtship and engagement, and married life. On display, there are more than 350 original documents, diaries, pieces of furniture, portraits (including one of Clara formerly belonging to Johannes Brahms) and paintings — as well as musical instruments of the period. Early on, Robert Schumann (1810-1856), the youngest of five children, was more interested in literature than in music. is is not surprising since his father August (renowned for "pocket editions" of books) and three brothers were book publishers. When Robert was only 14, his father bought him a grand piano. ree years later, Robert began composing by setting his own poems to music. A WORLD OF MUSIC Robert-Schumann-Haus in Zwickau, Germany An injury to his right hand thwarted Robert's plans to become a concert pianist, and for a time, he was a music critic. In 1831, he published his first piano compositions as well as his first musical criticism in which he recognized Chopin's talent: "is is a musical genius." Not only did the publication's editor misread Robert's initial "R" and instead put "K" in the byline, but he also deleted part of the original article itself, questioning Schumann's judgment of this unknown Polish composer. Parenthetically, one of Schumann's "House Rules and Maxims for Young Musicians" published years later is "Perhaps only a genius truly understands genius." In 1834, Schumann began Die Neue Zeitschri fùr Musik, his own magazine, and for ten years wrote articles for and edited it. Supplements even included first editions of Bach manuscripts. I learned this New Journal of Music still continues today. Robert first heard Clara Wieck perform in Leipzig when she was a nine-year-old child prodigy. At the time, he was a pupil of her father, Friedrich Wieck, and was also studying law and philosophy at the university. In 1830, he discontinued these studies. A Romantic composer, Schumann was also romantic, and aer he and Clara first kissed when she was sixteen, she gave him the lock of her hair on display beside the gold pocket watch Schumann and friends gave her for a birthday present that year. Aer their second kiss a few days later in Zwickau, they agreed on a secret engagement, but this was soon broken by Clara's father who forbade them ever to meet again. Finally in 1837, aer eighteen months of this forced separation, the couple secretly exchanged letters, finally reunited, and aer intervention by the court, wed on the day before her 21st birthday. He was nine years older. e couple first lived in Leipzig from 1840- 1844 (see article on page 19) and then later in Dresden and Düsseldorf where he held various musical positions. During their marriage, they had eight children. Robert was more than just a good father in general; he also composed music to his children's poems. At that time and for quite a while, he was unique as a composer, writing pieces especially for children, including four-hand piano pieces for young people and his Album of Songs for the Young. As a souvenir, I purchased a postcard with Ludwig Richter's illustrated cover of this music. At the Robert-Schumann-Haus, the main descriptions are in both German and English. Headsets with an audioguide in both languages are available as well as guided tours in five languages. I was privileged to have Director omas Synofzik graciously lead me on a private tour. He played a hymn on a reed organ and then part of a Schumann pedalboard composition on the pedal piano. Robert was especially interested in this instrument, which has a pedalboard for the feet to play the bass register. I'll never forget these two short performances. Part of the museum is especially devoted to Clara née Wieck Schumann (1819-1896) who outlived her husband by four decades. As a 19th- century woman, she herself led a remarkable life, combining her family responsibilities with her The room in which Schumann was born in Zwickau.

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