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Not only did this provide paid work, for a trip Bantock himself later calculated to have lasted days, but it gave him a wealth of practical music-making and experience, and it also allowed him to see the world at an impressionable age. However, all too soon reality intruded: back in England on 5 December work was still hard to find. Of these only William Wallace and Arthur Hinton are remembered at all today. Bantock prefaced the programme with a strongly worded manifesto, and while he was not rewarded with a good house, he stimulated a large critical coverage which went a long way towards putting him on the musical map.

Like Dan Godfrey at Bournemouth, Bantock soon expanded his modest resort orchestra and its repertoire, and made New Brighton a noted centre for new music and British music in particular. Bantock was married in to Helena von Schweizer, and the newly weds had Edward and Alice Elgar not yet Sir and Lady to stay in the summer of , for Elgar to conduct a very early performance of the Enigma Variations on 16 July.

Bantock still did not have a regular source of income. Later, in , Bantock succeeded Elgar as Peyton Professor of Music at the University of Birmingham, going on to hold the appointment for twenty-seven years. Later he became associated with the Trinity College of Music in London, and in the s he undertook several world examination tours, incidentally also conducting his own music along the way.

Bantock evolved his mature style at the turn of the century, and his most successful music was largely written in the first decade of the twentieth century. Later there came other big choral works including his two-and-a-half-hour setting of The Song of Songs and orchestral music such as the Hebridean and Pagan symphonies. He wrote to the end, though latterly in an idiom then regarded by commentators as increasingly out of date.

In it he turned to Shelley for his programme and paints a musical picture of another charismatic and seductive woman, whose portrait is evoked by an almost Mahlerian theme first presented at the beginning by a violin solo. Bantock later took the two most self-contained movements and published them as Two Orchestral Scenes, the first of which was the Processional originally called The Funeral heard here.

Later that year he wrote the first of his series of six tone poems, Thalaba the Destroyer , still inhabiting that earlier orchestral sound world, and especially influenced by the music of Tchaikovsky who was then all the rage. Bantock emerged as a significant composer in the early s, with a reputation that turned on his vocal music, both solo and choral.

As we have seen Bantock was given to vast musical epics which, envisioned in a moment, actually took years to complete. Although published in vocal score, this was not often performed. But from it came a favourite encore, often heard in orchestral and choral programmes until the s, the soprano solo The Wilderness and the Solitary Place , actually first heard in Its character as an exotic dance is marked by tambourine and idiosyncratic scoring for wind and harps.

The difficulties of programming even such a short piece illuminate the practical problems of such revivals. The full score of the aria was published in , but finding a copy was not easy. The original publisher no longer acknowledged having it. As a man of the popular theatre, Bantock had a dramatic feeling for the setting of words.

He always seems to have visualized a stage image when producing vocal music, whether choral or solo, especially when the orchestra was involved. The remarkable orchestral song cycle Sappho is a case in point. These vocal works were big in personality and required big voices to project them. Bantock was a Wagnerian by temperament and technique, though creating a sound world that was increasingly his own, if very much of its time.

Yet here is a major figure, whose music is an individual experience which once absorbed is unlikely to leave you. Sappho, too, was one of these. The Greek poetess Sappho lived two-and-a-half thousand years ago, and her poetry survives only as a collection of brief fragments reassembled by scholars from the texts of grammarians and classical lexicographers. It all works remarkably well.

The cycle really grips when Sappho is suffering owing to jealousy or loss. In the fifth song she sleeps and in a passionate troubled dream is tormented by longing. The beginning underlines the haunted atmosphere. Yet it was a literary work which took some time to become established, and although published privately in , Fitzgerald was not publicly identified as the translator until Yet by the turn of the century it was probably the most popular English poetry of its day.

The fifth edition consisted of quatrains, and it was this that Bantock set. The beginning evokes the desert, with far-off horns heralding the distant procession which slowly comes across the horizon, the male chorus humming a Turkomani melody. This is an epic vision in cinemascope. At this time he wrote his two most colourful and detailed scores: Pierrot of the Minute and Fifine at the Fair.

It was written and first performed in The programme is not something that could have been successful after —18, for in it he tells the story of Pierrot who. The piece ends with the awakening of Pierrot, his love-dream being but the illusion of a minute.

Not surprisingly it was soon taken up as a ballet. It was first heard at the Birmingham Festival of Eventually Elvire leaves him and he thinks of her and in the Epilogue they are reconciled. The Overture to a Greek Tragedy , first performed at Worcester in , is painted on a broader orchestral canvas and with a broader attention to the story.

Bantock, as we have seen, was a man of enthusiasms, and his love of Classical Greece, its literature and plays, is especially reflected in his later music, starting just before the First World War. Earlier, in the more familiar part of this cycle, the king had unwittingly killed his father and married his mother, had put out his own eyes in remorse and, after a long interlude, been exiled. In Oedipus at Colonus the blind and exiled Oedipus, now an old man looked after by his younger daughter Antigone, is troubled by the scheming of his feuding sons and his former subjects.

Oedipus dies having denounced his detractors and handed on to Theseus the knowledge of the place where he will die, which will provide a talisman for future security. During the First World War few British composers wrote symphonies and none of them was on a war theme as so many were between and Bantock came to know Kennedy-Fraser well. The symphony was in fact completed before the outbreak of the war, in , but was first heard in Glasgow in Bantock subsumes into one continuous structure the elements of four movements, each based on a familiar Hebridean song, all of which are heard in the coda.

Notable for its vivid use of the orchestra, especially the brass, the symphony is like nothing else of its time. Bantock set them together only for his revision of , and recorded here are the first versions. It was originally intended as the scherzo for A Hebridean Symphony. The gentler Caristiona from the same collection dates from November This was another ambitious Bantock project conceived in an afternoon but not to be completed for fifteen years.

After the extended orchestral Prelude, there are five scenes each with a choral interlude or interludes. Lattice Windows at the back. In the centre a large apple-tree in full Blossom. He came similarly to Biblical words and his response to them was very much in terms of incidental colour and the epic drama of the story. Here we have examples of both.

In the first vocal extract—the Second Day—the Shulamite, troubled by a dream, enters hurriedly from her sleeping chamber, and finding the apartment empty goes to the lattice window, which she throws wide open, revealing a starlit sky and the distant hills. This scene continues with the evocative orchestral music from the Third Day. The King has presented the Shulamite with extravagant gifts, depicted by Bantock at great length.

We hear the end of this passage. Realizing his suit has failed he leaves, and the Shulamite reflects on her shepherd-lover and sees him in a vision. By the time we reach the closing pages of this enormous work, in the Fifth Day, the music has been running for over two hours.

They are usually set in a respectful ecclesiastical idiom, but Bantock forgets religion—he sets them as a glorious love-duet. Early in the First World War Bantock completed his first extended work on a classical subject, The Great God Pan , a huge stage-work involving dance and mime, enormous choral and orchestral forces and four solo singing parts. Bantock completed the Pagan Symphony in piano score while in Canada, on 17 August However he was still working on The Song of Songs , and the orchestration was delayed, the orchestral full score actually being dated 3 September to 20 June The slow movement evokes in sensuous terms the goddess of love, Aphrodite, who would soon be the subject of his third symphony, finished in The finale is unexpectedly triumphant and confident, particularly for a work first heard in Possibly this golden Arcadian vision, a paean of praise for Aphrodite, did not find a sympathetic audience before the War, and it did not find a ready champion until long after.

It must be the only extended work by a British composer to be completed in Fiji on 12 January The music plays continuously, but consists of a variety of contrasted sections, and the feeling of a story or succession of images is striking. Bantock gives us no detailed programme, but from time to time he writes a classical quotation in English translation above the score, thus indicating the major milestones, and effectively marking four movements, each of several sections.

The first five minutes of the music can thus be regarded as an extended prelude, setting the scene, in which recurring motifs are introduced. Bantock marks the music liberamente and launches a long lyrical passage taken by violins in octaves; this rises to a climax, like waves breaking on a rock, and then falls quiet again.

This is sea-music in the tradition of his earlier Hebridean Symphony and leads to a passage of repeated fanfaring trumpets reminiscent of the climax of that work. Eventually the storm subsides and quiet music leads to a violin solo launching the third section. As his liner crosses the Pacific the final sunset glow is for the moment without any hint of the war or the horrors and deprivations so soon to come. During the Second World War, with few royalties and no job, Bantock found himself financially hard-pressed.

His saviour was Cyril Neil, one of the directors of the publisher Paxton, who commissioned various popular arrangements and a succession of mood-music pieces for issue on the Paxton series of 78rpm records. Among this music was A Celtic Symphony for strings and six harps, and the Two Heroic Ballads; these Ballads, dating from November , again take tunes from the Kennedy-Fraser Hebridean songs, and present them colourfully orchestrated.

However, even more than its predecessors, there appear various sections that more or less approximate to a traditional symphony, and this was particularly apparent when it was first recorded on 78rpm discs. He lived out of his time and was so thoroughly rejected by a later generation of musicians, that whatever the wider musical public might have thought, his music was rarely heard, and the few performances he received were generally half-hearted.

Even his centenary celebrations, in , only generated some specialized interest. 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. Papillons Op 2 is begun in this year. He studies composition fitfully with Heinrich Dorn — 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.

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. 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. 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 He suffers from depression and fear of madness, exacerbated by the death of his beloved sister-in-law Rosalie — , 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. This is published twice-weekly and immediately wins a readership.

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. This coincidence inspires him to compose Carnaval Op 9. In December the sudden death of his dear friend Ludwig Schunke — is a bitter blow.

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. Schumann meets Chopin for the first time, in September. On 13 December Schumann receives the last letter from his mother who dies on 4 February The biggest piano work of the year is the Concert sans orchestre Op A professorial man of the world can show understanding about such things, a prospective father-in-law is less likely to do so.

In January Wieck sends Clara to Dresden for three months in order to separate the couple. 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.

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. Chopin will later dedicate his fourth Ballade to Schumann. 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.

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. 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.

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 — 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. 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 before the couple see each other again.

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 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. 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. 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. 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.

From 4 September Robert is with Clara in Weimar. The young married couple begin a Marriage Diary where they can write down their feelings and impressions. They are happily ensconced in an apartment in Leipzig 3, Inselstrasse which will be their home for the following four years. 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. 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 Many of the songs composed in are published at this time Opp 36, 39, He agrees to teach at the Leipzig Konservatorium. He completes the work in May and it is given its first performance in December when he makes a successful debut as a conductor.

One can only imagine that his fears about the marriage have been placated by the birth of two healthy grandchildren. They are in Saint Petersburg by 4 March and stay there almost a month, becoming friendly with the brothers Nikolai and Anton Rubinstein. The couple are back in Leipzig by 24 May.

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 — 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.

He writes to Mendelssohn confessing the terrible state of his mental health and his ongoing anxiety attacks. 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. Later in the month he works on the sketch of the Symphony No 2 in C major Op 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 The Schumanns are offended by the frosty reception given to both his music and her playing in the Imperial city. April Robert begins work on the overture of a new projected opera, Genoveva.

He completes work on the Szenen aus Goethes Faust. It is offered as a birthday present to Clara Schumann on 13 September. He travels to Leipzig for the funeral on 6 November. He continues to work on the opera throughout the year until he completes it in August, and Clara prepares the piano score. There is a marked increase in his composition of choral music. February The outbreak of revolutionary unrest in Germany. These waves of insurrection will affect Schumann more directly in in Dresden.

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. They rent a new apartment. A period of continual ill-health. Schumann finds it increasingly difficult to conduct the choir and orchestra. August A visit to Antwerp where Schumann judges a vocal competition and Brussels.

The couple lived for many years in London. He complains constantly of illness and depression. Manfred is conducted by Liszt in Weimar. November Schumann experiences head-noises and strange singing in the ears. April Robert experiments with the latest craze for the paranormal and develops an enthusiasm for table-tapping.

Schumann plans to move to Berlin or Vienna. Visit to Holland. He suffers bouts of panic and hallucinations. This is a suicide attempt. Robert is put under the care of doctors and two male nurses. Clara leaves the house to live with friends.

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. He will stay there for two years. 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. In December Joachim visits the composer. As a Christmas present she sends him portraits of Brahms and Joachim. In January Schumann composes a fugue. When Brahms visits him in April he is unable to understand a word that Schumann says to him. 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. 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 and is buried at Endenich on the evening of 31 July. Clara Schumann dies almost forty years later on 20 May Of her seven children, two—Felix and Julie—predecease her. Her closest friend, Johannes Brahms, survives her by less than eleven months.

Le texte est du jeune Schumann en personne. Bonne nuit, Agnes. Il entreprend les Variations Abegg pour piano, op. En juin et juillet, il passe beaucoup de temps avec elle, et ses sentiments pour Ernestine se refroidissent. Il compose la Fantaisie en ut majeur, op.

Le verdict est attendu pour le Nouvel An. Les Dichterliebe op. Il termine les Szenen aus Goethes Faust. Il compose nettement plus de musique chorale. Ils louent un nouvel appartement.

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