№ 1–2018
Choral symphonic works of R. Schumann. About one
compositional principle ……………………………………….... p. 50–69
Anna E. Zinkova — applicant for the degree of Ph.D., teacher of theChildren’s Art School No. 2 in Astrakhan, Russia. (Astrakhan)
E-mail: zinkova_anna@mail.ru
This article is dedicated to the works written during the last decade ofSchumann’s life, specifically the opera and choral symphonic pieces. It is wellknown that Schumann considered them his best works, but his exact way ofcomposing music wasn’t understood by his peers; moreover he was even accusedof breaking away from Romanticism principles and being burnt out as a composer.
The analysis of his operas and a few select choral symphonic works allows us totake a fresh look at the meaning of his dramatic compositions in the context of hisoverall compositional history and the Romantic Era. Consistent appearance of theintrinsic idea of Romaniticism — the idea of returning to God — in all his works ofthat decade («Das Paradies und die Peri», «Genoveva», scenes from Goethe’sFaust, «Der Rose Pilgefahrt» and) tells us that it is not an accident, but thecomposer’s intent to convey his idea through the music and poetic verses. To
express it, he uses a unified compositional principle and a complex of recurring
leitmotifs for his every piece.
His addressing to the aforementioned idea is the pinnacle in the evolution of his
philosophical and aesthetic views; it unites the most characteristic parts of his
figurative way of composing. Conveying the inner idea of German Romanticism inchoral symphonic writing is a natural conclusion of the romantic composer’s path.
Keywords: Robert Schumann, German Romanticism, Choral SymphonicComposition.

ЛИТЕРАТУРА1. Жирмунский В. Немецкий романтизм и современная мистика. СПб., 1996.
2. Жирмунский В. Религиозное отречение в истории романтизма. М., 1919.
3. Лосева О. Поздний Шуман и его вокально-симфонические композиции (кистории немецкого музыкального романтизма): автореф. дис. … канд. иск.
М., 1987.
4. Скребков С. Художественные принципы музыкальных стилей. М., 1973.
5. Курт Э. Романтическая гармония и ее кризис в «Тристане» Вагнера. М.,
1975.
6. Новалис. Генрих фон Офтердинген. М., 2003.
7. Шуман Р. Характеристика тональностей // Шуман Р. О музыке имузыкантах. М., 1975. Т. 1. С. 158-159.
8. Бобровский В. Тематизм как фактор музыкального мышления: Очерки.
В 2-х вып. Вып. 1. М., 1989. С. 218-243.

REFERENCES
1. Zhirmunskiy V. Nemetskiy romantizm i sovremennaya mistika [GermanRomanticism and Modern Mysticism]. SPb. [St. Petersburg], 1996.
2. Zhirmunskiy V. Religioznoe otrechenie v istorii romantizma [Religiousrenunciation in the history of Romanticism]. M. [Moscow], 1919.
3. Loseva O. Pozdniy Shuman i ego vokalno-simfonicheskie kompozitsii (k istorii
nemetskogo muzykalnogo romantizma) [Late Schumann and his vocal-symphoniccompositions (to the history of German musical romanticism)]: avtoref. dis. …
kand. isk. [Abstract of the a Ph.D. thesis]. M. [Moscow], 1987.
4. Skrebkov S. Khudozhestvennye printsipy muzykalnykh stiley [Artisticprinciples of musical styles]. M. [Moscow], 1973.

5. Kurt E. Romanticheskaya garmoniya i ee krizis v «Tristane» Vagnera [Romanticharmony and its crisis in «Tristan» by Wagner]. M. [Moscow], 1975.
6. Novalis. Heinrich von Ofterdingen: Translation from German. M. [Moscow],2003.
7. Schumann R. Kharakteristika tonalnostey [Characteristics of tonalities]. In thebook: Schumann R. O muzyke i muzykantakh [About music and musicians]. M.
[Moscow], 1975. Vol. 1. p. 158–159.
8. Bobrovsky V. Tematizm kak faktor muzykalnogo myshleniya: Ocherki[Thematicism as a factor of musical thinking: Essays]. V 2-kh vyp. Vyp. 1 [In 2issues. Issue 1]. M. [Moscow], 1989. р. 218–243.

***Зинькова А.Е. Вокально-симфоническое творчество Роберта Шумана.
Об одном композиционном принципе // Ученые записки Российскойакадемии музыки имени Гнесиных. 2018. № 1. С. 50–69
Zinkova, Anna. Choral symphonic works of R. Schumann. About one
compositional principle // Scholarly Papers of Russian Gnesins Academy ofMusic. 2018. № 1. P. 50–69