[Footnotes]

[Footnotes]
1
Zwölf Gedichte aus F. Rüickerts Liebes- frühling für Pianoforte mit Gesang von Clara und Robert Schumann, op. 37/12 (Leipzig, 1841)
Breitkopf and HÄrtel, SÄmtliche Lieder für Singstimme und Klavier, vol. 1, ed. Joachim Draheim and Brigitte Hoeft (Wiesbaden, 1990)
Breitkopf
1
SÄmtliche Lieder für Singstimme und Klavier
1990
2
Robert Schumann's Impromptus on a Theme by Clara Wieck, op. 5 (1833)
Clara Schumann's Variations on a Theme by Robert Schumann, op. 20 (1853)
Brahms, Varia- tions on a Theme by Schumann, op. 9 (1854)
Stephen James Smith, Elo- quence, Reference, and Significance in Clara Schumann's Opus 20 and Johannes Brahms's Opus 9 (D.M.A. diss., University of British Columbia, 1994)
3
Rufus Hallmark, "The Rückert Lieder of Robert and Clara Schumann," this journal 14 (1990), 3-30.10.2307/746673
3
4
Nancy Reich, Clara Schumann: The Artist and the Woman (Ithaca, N.Y., 1985), p. 297.
Reich
297
Clara Schumann: The Artist and the Woman
1985
5
The Complete Correspondence of Clara and Robert Schumann, ed. Eva Weissweiler, vol. I, trans. Hildegard Fritsch and Ronald L. Crawford (New York, 1994), p. 8.
8
I
The Complete Correspondence of Clara and Robert Schumann
1994
6
Clara und Robert Schumann: Briefwechsel: Kritische Ge- samtausgabe, ed. Eva Weissweiler, vol. II (Frankfurt, 1987), p. 571
571
II
Clara und Robert Schumann: Briefwechsel: Kritische Gesamtausgabe
1987
Hallmark, "The Rüickert Lieder," p. 4
Hallmark
4
The Rüickert Lieder
7
Hubert Grimme, "Liebesfrühlings Entstehung," in Friedrich Rückert im Spiegel seiner Zeitgenossen und der Nachwelt, ed. Wolfdietrich Fischer (Wiesbaden, 1988), p. 292.
Grimme
Liebesfrühlings Entstehung
292
Friedrich Rückert im Spiegel seiner Zeitgenossen und der Nachwelt
1988
8
Hallmark, "The Rückert Lieder," p. 5.
Hallmark
5
The Rückert Lieder
9
Abschriftenbuch was a "notebook of poetry Robert and Clara together kept for compositional ideas, desig- nated by them as their 'Abschriften verschiedenen Gedichten zur Composition'."
Hallmark, "The Rückert Lieder," p. 7
Hallmark
7
The Rückert Lieder
10
Gerd Nauhaus, ed., The Marriage Diaries of Robert and Clara Schumann: From Their Wedding Day through the Russia Trip, trans. Peter Ostwald (Boston, 1993), pp. 50, 52.
Nauhaus
50
The Marriage Diaries of Robert and Clara Schumann: From Their Wedding Day through the Russia Trip
1993
11
Rufus Hallmark, The Genesis of Schumann's Dichterliebe (Ann Arbor, 1979), p. 21.
Hallmark
21
The Genesis of Schumann's Dichterliebe
1979
12
Hallmark, "The Rückert Lieder," p. 7, n. 19
Hallmark
7
The Rückert Lieder
Clara Schumann, SÄmmtliche Lieder für Singstimme und Klavier, vol. 2, ed. Joachim Draheim and Brigitte Héfte (Wiesbaden, 1992)
Schumann
2
SÄmmtliche Lieder für Singstimme und Klavier
1992
op. 59, no. 4
Reich, Clara Schumann, p. 303
Reich
303
Clara Schumann
13
Nauhaus, The Marriage Diaries, pp. 52, 84, 85.
Nauhaus
52
The Marriage Diaries
14
Ibid., p. 85.
15
Robert Burns, was published in the Neue Zeitschrift für Musik 14 (July 1841)
Burns
14
Neue Zeitschrift für Musik
1841
"Ich stand in dunkeln TrÄumen" (Heine) was published as part of Clara's op. 13 by Breitkopf and HÄrtel, ca. 1843
Reich, Clara Schumann, pp. 248 and 299
Reich
248
Clara Schumann
16
Hallmark, "The Rückert Lieder," p. 8.
Hallmark
8
The Rückert Lieder
17
Nauhaus, The Marriage Diaries, p. 109.
Nauhaus
109
The Marriage Diaries
18
Felix's op. 8
op. 9
Marcia J. Citron, "The Lieder of Fanny Mendelssohn Hensel," Musical Quarterly 69 (1983), 570- 9410.2307/741981
570
19
Hallmark concludes that the cycle "is to be understood as a dialogue" ("The Rückert Lieder," p. 21)
Hallmark
21
The Rückert Lieder
21
Hallmark, "The Rückert Lieder," p. 24.
Hallmark
24
The Rückert Lieder
23
Hallmark, "The Rückert Lieder," p. 22.
Hallmark
22
The Rückert Lieder
24
Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (New York, 1986), p. 240.
Dijkstra
240
Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture
1986
25
"The Rückert Lieder," p. 22
22
The Rückert Lieder
26
"Did Schumann Use Ciphers?" Musical Times 106 (1965), 584-9110.2307/949301
584
"The Schumann Ciphers," Musical Times 107 (1966), 393-40010.2307/954112
393
Anna Burton, "Robert Schumann and Clara Wieck: A Creative Partnership," Music & Let- ters 69 (1988), 213-14 and n. 1110.2307/855217
213
27
Davidsbünd- lertÄnze, the Piano Quartet, op. 47
Smith, "Eloquence, Reference, and Signifi- cance," p. 12
Smith
12
Eloquence, Reference, and Significance
28
Hall- mark, "The Rückert Lieder," pp. 13-16
Hallmark
13
The Rückert Lieder
29
Ibid., p. 24.
24.
30
Ruth A. Solie, "Whose Life? The Gendered Self in Schumann's Frauenliebe Songs," in Music and Text: Criti- cal Inquiries, ed. Steven Paul Scher (Cambridge, 1992), p. 220.
Solie
Whose Life? The Gendered Self in Schumann's Frauenliebe Songs
220
Music and Text: Critical Inquiries
1992
31
Lawrence Kramer, "The Lied as Cultural Practice: Tute- lage, Gender and Desire in Mendelssohn's Goethe Songs," in Classical Music and Postmodern Knowledge (Berkeley and Los Angeles, 1995), pp. 143-44.
Kramer
The Lied as Cultural Practice: Tutelage, Gender and Desire in Mendelssohn's Goethe Songs
143
Classical Music and Postmodern Knowledge
1995
32
Solie, "Whose Life? The Gendered Self," p. 221
Solie
221
Whose Life? The Gendered Self
33
Hallmark, "The Rückert Lieder," p. 24.
Hallmark
24
The Rückert Lieder
34
Alma, "Liebst du um Schönheit" was "the only love song he ever wrote."
Alma
Liebst du um Schönheit
The only love song he ever wrote
Alma Mahler, Gustav Mahler: Memories and Letters, ed. Donald Mitchell, trans. Basil Creighton (New York, 1969), p. 60
Mahler
60
Gustav Mahler: Memories and Letters
1969
37
Hallmark, "The Rückert Lieder," p. 21.
Hallmark
21
The Rückert Lieder
38
John Berger, Ways of Seeing (London, 1972), p. 47
Berger
47
Ways of Seeing
1972
Solie, "Whose Life? The Gendered Self," p. 227
Solie
227
Whose Life? The Gendered Self
39
Dijkstra, "The Cult of Invalidism; Ophelia and Folly; Dead Ladies and the Fetish of Sleep," in Idols of Perver- sity, pp. 25-63.
Dijkstra
The Cult of Invalidism; Ophelia and Folly; Dead Ladies and the Fetish of Sleep
25
Idols of Perversity
40
Nancy Reich, "The Break with Wieck," in Clara Schumann, pp. 78-102
Reich
The Break with Wieck
78
Clara Schumann
41
Hallmark, "The Rückert Lieder," p. 24.
Hallmark
24
The Rückert Lieder
42
"Am Meer" (D. 957, no. 9)
Schumann's Dichterliebe, "Aus meinen TrÄnen sprietien" (op. 48, no. 2)
Richard Kramer, Distant Cycles: Schubert and the Conceiving of Song (Chicago, 1994), p. 127
Kramer
127
Distant Cycles: Schubert and the Conceiving of Song
1994
43
Hans Biedermann, Dictionary of Symbolism: Cultural Icons and the Meanings Behind Them, trans. James Hulbert (New York, 1992), p. 40.
Biedermann
40
Dictionary of Symbolism: Cultural Icons and the Meanings Behind Them
1992
44
Peter Ostwald, Schumann: The Inner Voices of a Musi- cal Genius (Boston, 1985), pp. 167, 157.
Ostwald
167
Schumann: The Inner Voices of a Musical Genius
1985
45
Nauhaus, The Marriage Diaries, p. 61.
Nauhaus
61
The Marriage Diaries
46
stwald, Schumann: The Inner Voices of a Musical Ge- nius, p. 168.
Ostwald
168
Schumann: The Inner Voices of a Musical Genius
47
Biedermann, Dictionary of Symbolism, p. 259.
Biedermann
259
Dictionary of Symbolism
48
Dijkstra, Idols of Perversity, p. 3.
Dijkstra
3
Idols of Perversity
49
Eric Sams, The Songs of Robert Schumann (Bloomington, Ind., 1993), p. 180.
Sams
180
The Songs of Robert Schumann
1993
50
Ibid., p. 22.
51
Hallmark, "The Rückert Lieder," p. 22, n. 51.
Hallmark
22
The Rückert Lieder
52
Solie, "Whose Life? The Gendered Self," p. 219.
Solie
219
Whose Life? The Gendered Self
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