...Sonja Wermager In January 1851, Robert Schumann wrote to Richard Pohl with an idea: “I would like to write an oratorio. Perhaps you would lend your hand? I thought of Luther.” Pohl enthusiastically agreed to write the libretto and the two began discussing their ideas for a musical work depicting...

..., learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons...

... by the withdrawal of a unifying subject with his or her own sense of subjectivity. Joseph von Eichendorff Robert Schumann Liederkreis , op. 39 subjectivity personal identity I would like to thank Walter Hinderer for first directing me toward Eichendorff's prose works in a graduate seminar on German...

...Holly Watkins Robert Schumann's Blumenstück , op. 19, a short piano piece dating from 1839, is generally not included among the composer's more poetically inspired or formally adventurous pieces. Thanks in part to Schumann's own disparaging remarks about the piece, Blumenstück , like...

... s Preludes and Fugues, op. 35, Robert Schumann called his readers attention to slight but signi cant differences in fugal technique: In a word, these fugues have much of Sebastian in them and might make the most sharp-sighted reviewer err, were it not for the melody, the ner smelting in which one...

... context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Mörike's Mägdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann's “Das verlassne Mägdelein” (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf's 1888 “Das...