The oboist Hansjörg Schellenberger was born in 1948 into a family that encouraged his musical proclivities from an early age. At the age of six he began to play the recorder and by the age of ten was showing great enthusiasm for the performance of Baroque music and for composition. He began his study of the oboe at the age of thirteen, winning a German youth competition in 1965 and first prize as the best conductor at the Interlochen Music Camp in America. At the age of seventeen he began his study of the oboe, conducting and mathematics in Munich and in Detmold.

After success in various competitions, including the ARD in Munich in 1972, he started his career in 1971 with the West German Radio Symphony Orchestra in Cologne, serving as principal oboe from 1980. He has won an international reputation as an oboist, and has collaborated with the most distinguished conductors, including Herbert von Karajan, Carlo María Giulini, Claudio Abbado, Riccardo Muti, and James Levine. In chamber music his activities have centred on the Vienna-Berlin Ensemble. He established, with players from the Berlin Philharmonic, the Berlin Haydn Ensemble, of which he is artistic director, since 1991 playing music written by Haydn during his first years with the Esterházys. As a member of the Berlin Philharmonic he played under leading conductors and in 1994 began his career as a conductor, collaborating with the orchestras including the Jerusalem Symphony Orchestras, Orchestra of the Maggio Musicale Fiorentino and the Orchestra of the Comunidad de Madrid, among others.

He has maintained a strong interest in contemporary music and has recorded with DGG, Denon, Sony Classical, Orfeo and other companies. In some of these he has collaborated with his wife, the harpist Margit-Anna Süss, winning the German Schallplatten-Preis in 1999. In 1997, together with his wife, he set up his own recording company, Campanella Musica, to record the repertoire that had seemed most significant to him duing his entire career.

The daughter of Friedrich Wieck, her teacher and mentor until her marriage with Robert Schumann, Clara Schumann had embarked on a successful career as a pianist before her liaison with Schumann, leading to their marriage in 1840. She continued her international career as a performer and supported her young family after her husband’s final insanity and death in 1856. She was helped after this by Brahms, to whom Schumann had given considerable encouragement.

Orchestral and Chamber Music

Clara Schumann wrote a small number of works for orchestra and instrumental ensemble. These included an early piano concerto and a later piano concertino.

Piano Music

The greater part of Clara Schumann’s music for piano was written before her marriage. Her only sonata, however, came about as a present to her husband.

The son of a bookseller, publisher and writer, Robert Schumann showed early abilities in both music and literature, the second facility used in his later writing on musical subjects. After brief study at university, he was allowed by his widowed mother and guardian to undertake serious study of the piano with Friedrich Wieck, whose favourite daughter Clara was later to become Schumann’s wife. His ambitions as a pianist were thwarted by a weakness in the fingers of one hand, but the 1830s nevertheless brought a number of compositions for the instrument. The year of his marriage, 1840, was a year of song, followed by attempts in which his young wife encouraged him at more ambitious forms of orchestral composition. Settling first in Leipzig and then in Dresden, the Schumanns moved in 1850 to Düsseldorf, where Schumann had his first official appointment, as municipal director of music. In 1854 he had a serious mental breakdown, followed by two years in the asylum at Endenich before his death in 1856. As a composer Schumann’s gifts are clearly heard in his piano music and in his songs.

Orchestral Music

Symphonies

Schumann completed four symphonies, after earlier unsuccessful attempts at the form. The first, written soon after his marriage and completed early in 1841, is known as ‘Spring’ and has a suggested programme. His Second Symphony followed in 1846, and the Third Symphony, ‘Rhenish’, a celebration of the Rhineland and its great cathedral at Cologne, was written in Düsseldorf in 1850. Symphony No. 4 was in fact an earlier work, revised in 1851 and first performed in Düsseldorf in 1853. The Overture, Scherzo and Finale, Op. 52 was described by the composer as a ‘symphonette’.

Concertos

Schumann’s only completed piano concerto was started in 1841 and finished in 1845. The Cello Concerto of 1850 was first performed four years after Schumann’s death, while the 1853 Violin Concerto had to wait over 80 years before its first performance in 1937. The Konzertstück for four French horns is an interesting addition to orchestral repertoire, and his Introduction and Allegro for piano and orchestra was completed in 1853.

Overtures

Schumann’s only completed opera, Genoveva, was unsuccessful in the theatre, but its overture holds a place in concert-hall repertoire, along with an overture to Byron’s Manfred, again first intended for the theatre. Concert overtures include Die Braut von Messina (‘The Bride from Messina’), based on Schiller’s play of that name; Julius Cäsar, based on Shakespeare; and Hermann und Dorothea, based on Goethe. A setting of scenes from Goethe’s Faust also includes an overture.

Chamber Music

Schumann wrote three string quartets in 1842, a fertile period that also saw the composition of a piano quintet and a piano quartet. Other important chamber music by Schumann includes three piano trios, three violin sonatas, and a number of shorter character pieces that include the Märchenbilder for viola and piano, collections of Phantasiestücke with alternative instrumentation, the Fünf Stücke im Volkston for cello (or violin) and piano, and other short pieces generally suggesting a literary or otherwise extra-musical programme.

Choral and Vocal Music

Schumann wrote a number of part-songs for mixed voices, for women’s voices and for men’s voices, including four collections of Romanzen und Balladen and two of Romanzen for women’s voices. His choral works with orchestra include Scenes from Goethe’s Faust; Das Paradies und die Peri, based on Thomas Moore’s poem Lalla Rookh; and Requiem for Mignon, based on Goethe’s novel Wilhelm Meister. In his final years he wrote a Mass and a Requiem. The solo songs of Schumann offer a rich repertoire and are an important addition to the body of German Lieder. From these many settings mention may be made of the collections and song cycles Myrthen, Op. 25, Liederkreis, Op. 39, Frauenliebe und -leben, Op. 42, and Dichterliebe, Op. 48, all written in the ‘Year of Song’, 1840.

Piano Music

The piano music of Schumann, whether written for himself, for his wife, or, in later years, for his children, offers a wealth of material. From the earlier period comes Carnaval—a series of short musical scenes with motifs derived from the letters of the town of Asch; this was the home of a fellow student of Friedrich Wieck called Ernestine von Fricken, to whom Schumann was briefly engaged. The same period brought the Davidsbündlertänze (‘Dances of the League of David’), a reference to the imaginary league of friends of art against the surrounding Philistines. This decade also brought the first version of the monumental Symphonic Studies (based on a theme by the father of Ernestine von Fricken) and the well-known Kinderszenen (‘Scenes of Childhood’). Kreisleriana has its literary source in the Hoffmann character Kapellmeister Kreisler, Papillons (‘Butterflies’) has a source in the work of the writer Jean Paul, and Noveletten has a clear literary reference in the very title. Later piano music by Schumann includes the Album für die Jugend (‘Album for the Young’) of 1848, Waldszenen (‘Forest Scenes’) of 1849, and the collected Bunte Blätter (‘Coloured Leaves’) and Albumblätter (‘Album Leaves’) drawn from earlier work.