Schwestern des Mondes - Die Hexe: Roman (Die Schwestern des Mondes) (German Edition)

Schwestern des Mondes - Die Hexe & Die Katze: Zwei Romane in einem Band ( Die Schwestern des Mondes) (German Edition) eBook: Yasmine Galenorn.
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The examinations had gone extremely well and culminated in his being chosen to declaim one of his own poems entitled Tassos Tod to the assembled students of the Gymnasium. As a reward for his industry his mother allowed him to take his first substantial journey away from home. Perhaps she hoped that this experience would help focus the ambitions of her son who seemed uncertain what he should do with his life — a side of Schumann wanted to be a poet, another a musician, another a writer his knowledge of literature was astounding for his age, even allowing for the fact that he had grown up in a family which owned a bookshop and printing-press.

The more practical calling was that of the law, and Schumann was briefly to study that subject in Leipzig before commencing his serious musical studies. But that is to jump ahead.

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Like many young people, Robert had his heroes, and in his youthful enthusiasm was not afraid to seek them out. One might have thought that it would have been his ambition to visit Goethe in Weimar; this would have been a much shorter journey for him. In fact the young Mendelssohn was very much in touch with Goethe at this time, introduced to him by his teacher Zelter, and visiting the poet five times between and But as yet Schumann had no influential music teacher, and in any case he was a fan of new writing.

He somehow found out that Dr Heinrich Heine was living in Munich, and visiting this famous man was the chief purpose of the visit, the poet of gold at the end of the rainbow. Rosen had already studied law for a year in Leipzig and was on the point of moving to Heidelberg. The pair set off in the Eilpost — the fast post service passing through Zwickau and connecting with Bavaria.

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From Bayreuth the students travelled on to Nuremberg, and thence to Augsburg. Parting from the Kurrer household was difficult, but the young men were anxious to continue on to Munich and the final stage of what Robert later called a winzige Geniereise — a teeny journey in honour of genius. No doubt much was forgiven him when he furnished the pair of travellers with an introduction to Heine himself. Krahe warned Schumann that Heine was a morose and misanthropic man who was disinclined to fit in with ordinary people, and that he had grown lofty and disagreeable with public success.


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Fortunately Dr Kurrer was able to furnish an introduction to another more accessible Munich resident, the well-known painter Clemens von Zimmermann. Schumann and Rosen arrived in Munich on 5 May at five in the evening. Their first port of call the next day was to Professor Zimmermann. Schumann caught sight of Heine for the first time on 7 May.

The big day of the meeting with Heine was May 8th. The poet lived in the Rechbergschen Palace on the Hundskugel. The two young visitors were shown by a servant into a large and beautiful room lavishly hung with pictures by living Munich artists — and told to wait. The fact that Schumann and Rosen were made to dally for some time in this impressive antechamber must have made them rather nervous.

At this point young Robert, already warned by Krahe, must have been expecting to meet someone hardly approachable, someone formidably clever with a sharp and acerbic tongue, and so disinclined to company that the most that any unknown visitor could expect was a few dismissive and unfriendly words.

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It seems that Rosen too had been expecting a very short meeting; in fact he had arranged to meet a friend later in the morning, so sure was he that Heine would grant them the minimum of time in audience. If the rich and famous expected to be met with his admiration he could be pointedly rude; and if two poor students expected to be brushed aside he would treat them as kings. In a similar way, what begins as a Heine love lyric can turn into a poem of hate and censure at the last moment with a twist of the verbal dagger — the so-called Stimmungsbrechung.

If the poet perhaps deliberately kept his young guests on edge as they waited to see him, he was charm itself when he eventually appeared. His merry mood enchanted Schumann and there was no sign that the great man wanted to terminate the meeting. Rosen excused himself to keep his appointment which left poet and composer together; at the end of the day Schumann wrote in diary telegraphese of a conversation that was geistreich a word meaning witty, ingenious, intellectual. The poet proposed that they spend some time taking in the Munich sights. Heine and Schumann then met up again with Rosen in the Leuchtenberger Galerie.

He said that Heine gave both his guests ample opportunity to sample the scurrility of his notions; his inexhaustible wit was both admirable and laughable. The conversation took a serious turn when the group stopped to look at an armchair belonging to Napoleon which was on display in the gallery. He had freed Europe from the domination of the Catholic Church and the reactionary clergy, and these were now once again rearing their insolent and ugly heads.

In Vienna too there was an unspoken nostalgia among artists and intellectuals for the enlightened rule of Joseph II, and the short period following the Befreiungskrieg when it seemed Austria would have a democratic government.

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It is fairly certain that Schubert did not disapprove of Heine for the same reason. In much of Germany there was greater freedom of speech than in the Austrian police state. Schumann too was an admirer of Napoleon and so were his parents. His mother had even written a poem about the emperor and the young Schumann had written an unfinished Ode on the same subject. This enthusiasm lasted his whole life it seems: Thus it was that in meeting each other for the first and only time, poet and composer discovered that they had a hero in common.

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Schumann did not stay long in Zwickau, preferring not to share his holiday reminiscences with the locals whom he regarded as ignorant. He went on to Leipzig and it is extremely likely that he wrote to Heine, although no copy of that letter has survived. On 9 June he penned his thanks to Dr Kurrer in Augsburg. Schumann says that he is certain that the barren rocks of St Helena will one day be the site of pilgrimages and flower-bedecked memorials.

That volume opens with the poems which were subsequently reissued under the title Die Heimkehr in the Buch der Lieder.

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It would seem that the poet quickly forgot about his young visitor. He never seems to have realised that this Schumann was the same man whose compositions he must have heard discussed a great deal in later years. Disappointed that he was passed over for the professorship, Heine soon left Munich and after a spell in Italy moved to Berlin in the beginning of and from thence to Paris in where he was to spend the last twenty-five years of his life unhindered in the free and open expression of his opinions.

Schumann left Leipzig in to join Rosen in Heidelberg where he briefly followed a course of legal studies, but it is clear that the meeting with Heine had become a reference point for judging works of art. But this viewpoint is complemented and softened by the glow of first-hand personal recollections of the Munich visit. It was this encounter which forever fixed the poet in the favourable light that illuminates Dichterliebe.

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Schumann soon returned to Leipzig and to a life of music, first as a piano student under the instruction of Friedrich Wieck. Black coats, silk hose, White cuffs comme il faut, Soft conversation, embracing — Oh! If only they had hearts! Schumann even invented a term, Heinismus, to betoken a sort of irony with deeper and more magical implications, a word which he claimed to have heard in his dreams: She noted that he spoke bitterly about Germany where his books had been officially declared subversive along with the other writers belonging to the so-called Junges Deutschland trend since December And yet for all this enthusiasm an initial plan for Clara to call on Heine unchaperoned never came to fruition.

We know this through the French pianist and composer of Hungarian birth, Stephen Heller , whose first piano sonata received a splendid critique from Schumann in December Like Goethe he considered it an important part of culture, but also like Goethe he seems not to have been particularly gifted in this direction.

He was extremely knowledgeable about musical politics and personalities, but his judgements were governed more by instinct than knowledge or a developed ear. His observations about Chopin, Paganini and Liszt brought these people to life like few other contemporary writers, but one feels that he saw and experienced concerts rather than heard them. Of course he could keep his ear to the ground and be well informed about what real musicians were saying about the latest works writers like Schumann for instance must have been invaluable reading-matter for a music critic without the proper credentials but confronted with a private performance of a new piece of music, or a musical score sent to him in the post, he would have been lost for a reaction.

The other was love. At the beginning of Schumann composed the first songs of his maturity — nine Heine settings, a Liederkreis of songs which was published later that year as his Op The composer wrote to Stephen Heller telling him about the new work, and Heller replied: