PROFILE - Robert Schumann (1810 - 1856)

A renowned German composer and pianist, Robert Schumann is a true figure of the Romantic era. Although his works were little known to the general public during his lifetime, the musician enjoyed major posthumous success.

Torment, music and passion are three words that sum up Robert Schumann's life. His exacerbated sensitivity marked an entire period in the history of Romantic classical music.

With Newzik, discover the life of the composer behind the masterpieces Papillons, Carnaval and Piano Concerto in A minor: the great Robert Schumann.

Robert Schumann: a dreamy artist with a passion for literature and philosophy

The birth of a composer, poet and philosopher

Robert Schumann was born on June 8, 1810 in Zwickau, Germany. One of five siblings, his father was a writer and publisher, and Robert Schumann was immersed in literature from an early age. Although the future pianist initially dreamed of becoming a poet, he soon began piano lessons with a cathedral organist, which would fuel his second passion: music.

Robert Schumann learned to play the piano at the age of 7, and as a young teenager was already beginning to compose. After the suicide of his sister Emilie in 1828 and the death of his father, the artist left to study law in Leipzig. But he had little interest in his studies, and spent most of his time in the city's musical and philosophical societies.

Daydreaming, literature and a passion for music have always animated the artist Robert Schumann.

Music lover, tormented and hypersensitive

A personality marked by great sensitivity, Schumann embodies all the duality of the Romantic musical period. He created two imaginary figures, Florestan and Eusebius. These two opposing personalities represent the complexity of his temperament: at once impetuous and passionate, but also dreamy and melancholy. These alter egos become the megaphones of his musical moods, and run through many of his compositions.

Hypersensitive, Robert Schumann was prone to depressive phases. The composer saw music as both an outlet and a mirror of his soul.

A career punctuated by piano, music criticism and conducting

Robert Schumann was trained as a pianist from an early age, and initially set his sights on a career as a soloist. But a hand injury put an abrupt end to his dreams of virtuosity. This incident forced him to concentrate entirely on composition, making the piano the terrain for expressing his inner imagination.

Passionate about literature, Schumann was also active as a music critic. In 1834, he founded Die Neue Zeitschrift für Musik(The New Musical Review), a journal in which he defended a demanding, poetic vision of music. In it, he celebrated young talents such as Chopin, Berlioz and Brahms, whom he was one of the first to recognize as a musical genius.

With his sharp pen, Robert Schumann opposed overly academic music, advocating sincere Romanticism. He signed some articles under the pseudonyms of Florestan and Eusebius, his two imaginary selves.

From the 1840s onwards, Schumann opened up to other musical forms: chamber music and the orchestra. He wrote four symphoniesseveral concertos, an oratorio, an opera and numerous choral works.

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Clara Schumann: a turning point in the composer's life

In Leipzig, Robert Schumann made a decisive encounter: Friedrich Wieck, a renowned piano teacher. Schumann moved in with him to perfect his piano playing, and discovered a young prodigy, Clara Wieck. Robert Schumann began an artistic and loving relationship, despite the fierce opposition of Clara's father.

They married in 1840, after a lawsuit against Clara's father. And Clara Schumann was not only Robert's wife: she was also one of the great pianists and composers of the XIXᵉ century. In fact, their year of marriage was a productive one for the composer: Schumann wrote over 130 short songs sung in German, also known as lieder. For her part, Clara Schumann was a lifelong supporter of her husband's music, playing it, broadcasting it and promoting it even after his death. Their love led to the creation of the Liebesfrühling song cycle, comprising three of Clara's own creations and nine by Robert Schumann.

From symphony writing to conducting

In the 1840s, Schumann took a break from the piano to devote himself to the symphony orchestra. He composed his Spring Symphony no. 1 and his Piano Concerto, which marked a new stage in his career. These works were conducted by Felix Mendelssohn at the Liepzig Opera. Schumann was fascinated by the talented Mendelssohn, even calling him the "Mozart of the XIXᵉ century".

In 1850, Robert Schumann was appointed music director of the city of Düsseldorf. But while Schumann shone on paper, his unstable mental health made conducting difficult. Uncomfortable in rehearsals, plagued by attention and mood disorders, he eventually lost the post in 1853. Nevertheless, his orchestral scores grew in maturity, revealing a wealth of invention.

A look back at the highlights of Robert Schumann's life

Focus on the composer's major works

1832 - Abegg-Variationen: Schumann's very first published work, this cycle of piano variations already reveals its originality. The theme is based on a real name - Abegg - which the composer transforms into notes. Humor and fantasy are already present.

1832 - Papillons: a set of short pieces inspired by a novel by Jean Paul, one of his favorite authors. This dance cycle imagines a masked ball, oscillating between dream and reality, in the image of romantic youth.

1835 - Carnaval: probably one of his masterpieces for piano. Each piece represents a character from the Commedia dell'arte, a figure from musical life or Schumann's imaginary double. They include Florestan, Eusebius, Chopin and Clara disguised as "Chiarina".

1841 - Symphony no. 1 "Spring" op. 38, Schumann's very first orchestral symphony. Inspired by a poem evoking the renewal of nature, this symphony was premiered by Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra.

1841-1845 - Piano Concerto in A minor. This piece is dedicated to Clara, who premiered it. This concerto is one of the most frequently performed in the musical repertoire of the Romantic era!

1850 - Cello concerto opus 129.

1853 - Concerto for violin and orchestra. The last major orchestral work, this concerto was written shortly before Robert Schumann's internment. Little-known during his lifetime, the work was rediscovered in the 20th century.

Robert Schumann's life in 8 important dates

1810 - Birth in Zwickau (Saxony): Robert Schumann was born on June 8 into a literary family. This cultural background would profoundly shape his artistic sensibility.

1830 - Beginning of his musical training in Leipzig. Robert Schumann becomes a pupil of Friedrich Wieck, moves in with him, meets his daughter Clara and devotes himself to piano composition.

1834 - Founding of La Nouvelle Revue musicale. Schumann launches an influential journal in which he defends his contemporaries, including Chopin and Berlioz, while laying the foundations for modern music criticism.

1840 - Year of the lieder and marriage to Clara Wieck. After a long legal battle with Clara's father, the couple marry. The year was also marked by a creative explosion, with over 130 Lieder composed.

1841 - First steps in orchestral writing. Robert Schumann composes his Symphony No. 1 and begins to move towards larger forms, while retaining his lyrical style.

1842 - The year of chamber music. Robert Schumann composes several major works, including the famous Piano Quintet, one of the richest pieces in the repertoire.

1854 - Internment at Endenich. Weakened by depression and auditory hallucinations, Schumann attempts to throw himself into the Rhine. At his own request, he is committed to a clinic near Bonn.

1856 - Death at the age of 46. The composer died in Endenich on July 29, 1856, two years after his internment, leaving behind a dense, expressive body of work.

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To your keyboards!