How Do You Style A Magazine Title Per Chicago Style Schumann’s "Davidsbund"

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Schumann’s "Davidsbund"

Founded the “Neue Zeitschrift für Musik” (new magazine for music) in 1834, and set to work, with a sharp and poetic pen, to criticize and report the negative, oppressive, and required the wisdom of his day. , Schumann gathered his men as collaborators, who shared his thoughts, and gave them the name of “Davidsbündler” (Confederates of David), their products, against the Philistines), against ignorance and pride. .

Writing to Dorn in 1836, he said: “Davidsbündler” is nothing more than a genius, a common interest…Mozart is only an entity like Berlioz is now.” Bündler” (confederate) signed his cipher; and Schumann himself, – who, as we know, divides his music into two parts: one example is the soft, gentle, sensitive nature and the letter of a Eusebius, another, that of the power, fiery Florestan, – write his offensive and defensive letters of music, sign them Florestan or Eusebius, according to their tenor. “”Florestan and Euseb” represent to me two natures, which like Raro, I should love to mold and mix into one man.”

The mystification of the public by Schumann’s author, was continued by him as an author. Strictly speaking, most of his piano-compositions up to the Faschingsschwank (op. 26) of 1839 may be called Davidsbündler-music; for, in these, Schumann renounced the technique and language of the music, bound by the rules and supported by the medium skills of those days; he created a kind of romantic music for the piano, at first, not fully understood. In 1836 he published the grand, revolutionizing F minor sonata op. 11, with an obscure title: “Dedicated to Clara by Florestan and Eusebius”, the same as “Davidsbündler Dances” op. 6 (1837), which, according to the documents, are not “Bündler-Contests”, but nuptial-eve and wedding-day-desired music sets. Allusions, sent directly or indirectly to the ideal object of his efforts, like those into musical quotations or in poetic mottoes, are added in his “Symphonic Etudes” , Op. 13 (1838), in his “Faschingsschwank” (Carnival Prank), op. 26, introduces the “Grossvatertanz” (Grandfather Dance), which already appeared as a quotation in the final part of “Papillons” (Butterflies) op. 2 (1829/31).

To this day, we consider the effect and impact of these collections to be “Davidsbündler” – music, in the sense and spirit breathed into them by their composer: the courage and strength of their character, the freshness and freshness of their content; Last, but not least, Schumann’s style of romantic piano-music blending extreme contrasts with a wonderful, perfect art, in a manner peculiarly his own.

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