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Robert Schumann's Counterpoint and Fugue Study
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Contrapuntal and fugal writings, generally ascribed to German music tradition, are very conspicuous in the most works by Robert Schumann. However, concrete process of his absorption of that tradition, mainly resulted from his pursuit of Bach, has not been seriously investigated. In this essay, I trace the detailed process of Schumann's study of counterpoint and fugue based on the primary sources, and discuss the significance of the main sources of his study: Wilhelm Marpurg's Abhandlung von der Fuge and Luigi Cherubini's Cours de contrepoint et de fuge, Furthermore, I explore both sources relation to Robert Schumann's own writings designed for teaching: Lerhbuch von Kontrapunkt and Lerhbuch vom der Fuge. Two other materials―Fugengeschichte, 1837 manuscript on fugal writing, and his personal copy of Well-Tempered Clavier preserved in Robert Schumann Haus, Zwicau, Germany―are also discussed as the sources illuminating Schumann's study on counterpoint and fugue.
Abstract
Contrapuntal and fugal writings, generally ascribed to German music tradition, are very conspicuous in the most works by Robert Schumann. However, concrete process of his absorption of that tradition, mainly resulted from his pursuit of Bach, has not been seriously investigated. In this essay, I trace the detailed process of Schumann's study of counterpoint and fugue based on the primary sources, and discuss the significance of the main sources of his study: Wilhelm Marpurg's Abhandlung von der Fuge and Luigi Cherubini's Cours de contrepoint et de fuge, Furthermore, I explore both sources relation to Robert Schumann's own writings designed for teaching: Lerhbuch von Kontrapunkt and Lerhbuch vom der Fuge. Two other materials―Fugengeschichte, 1837 manuscript on fugal writing, and his personal copy of Well-Tempered Clavier preserved in Robert Schumann Haus, Zwicau, Germany―are also discussed as the sources illuminating Schumann's study on counterpoint and fugue.
참고문헌 (18)
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