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Schumann: The Inner Voices of a Musical Genius
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Review
“Schumann is a remarkable piece of work.Soberly and objectively, it unearths information that no previous Schumann researcher—in English at least—has come near duplicating.”—Harold C. Schonberg, The New York Times“Peter Ostwald, a San Francisco psychiatrist who is also a trained musician, has dug deeply . . . and applied his professional knowledge to the fashioning of a fascinating, perceptive psychobiography of the nineteenth-century Romantic master.” —Arthur Hepner, Boston Globe“Ostwald . . . offers new insights into one about whom the musical world has never ceased wondering.”—Robert Commanday, San Francisco Chronicle
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About the Author
PETER OSTWALD, M.D. (1928–1996), was a professor of psychiatry at the University of California, San Francisco, a musician, and an author of numerous books. His widow, LISE DESCHAMPS OSTWALD, is a concert pianist and was his long-time assistant.
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Product details
Paperback: 416 pages
Publisher: Northeastern University Press; Revised & exapanded ed. edition (July 8, 2010)
Language: English
ISBN-10: 9781555537241
ISBN-13: 978-1555537241
ASIN: 1555537243
Product Dimensions:
6.2 x 1 x 8.8 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
9 customer reviews
Amazon Best Sellers Rank:
#1,262,212 in Books (See Top 100 in Books)
I wrote a review of this book under the Selection of His Writings, however, I would like to comment here the belief that Robert Schumann suffered mainly from severe Anxiety Disorders! These can get very severe and debilitating. It is amazing how few physicians and Psychiatrists actually know much about these disorders and how devastating they are when they are not diagnosed and treated! This book is an interesting glimpse into Schumanns complicated mind and his genius!
Very easy to read. I learned a lot I didn’t know & was reminded of facts I once knew a long time ago.
A well-written biography by the troubled soul that was Robert Schumann.
Finallly an answer to what was wrong with Schumann,s brain.
The late Peter Ostwald's biography is still the most insightful, intelligent and accurate account of Schumann's life and his illness. Dr. Ostwald undertook a very careful study of all the factual material available and drew the most realistic, sensible and compelling conclusions about Schumann's life. Schumann, like other composers, was long regarded as schizophrenic while some writers are still recycling the old notion that he suffered from syphilis and that it was the cause of his mental decline. Schumann was, as Ostwald rightly claims, bipolar. The signs of his illness were in place long before he might have contracted syphilis and even that possibility is in doubt. Ostwald brought Schumann scholarship into the 20th century and debunked a lot of misconceptions about the composer, his illness and his relationships. Highly recommended.
Peter Ostwald and his wife Lise Deschamps Ostwald have dedicated enormous time and energy to illuminating Schumann's music in the light of his life events and psychological condition. They have succeeded wonderfully with this book. They bring insights to Schumann's life and music that do not exist anywhere else - it is the result of a decades long labor of love, by a musician psychiatrist. I am grateful to them both for this creation. I also recommend their book on Glenn Gould highly. [nb: I didn't know Peter and have never met Lise. But much of them comes through in the Schumann and Gould books. Ich hätte sie so gerne gekannt.]
Peter Ostwald's biography of Schumann provides a nice introduction to Schumann's life and works, though I wish a little more time had been spent on his music. The book provides a detailed enough overview of Schumann's childhood and adolescence, with insights into the events that shaped his adult life and world view. The account of the long struggle with Clara's father for permission for the couple to marry was tedious, perhaps providing us with an existential glimpse of the couple's frustration. What was lacking, however, was a convincing explanation of how the licentious and worldly adolescent became an introverted, retiring adult. We are left to observe and speculate without assistance from the author.What I found tiresome about the book was Ostwald's obvious psychoanalytic epistemology. Schumann's behaviors are described in classical psychoanalytic jargon, which tended to obscure Schumann the person behind a two-dimensional Freudian stereotype. Ostwald's nterpretations are reductionistic and trite, and demonstrate a lack of imagination in exploring the subtle nuances of human behavior, which is as much a criticism of psychoanalytic interpretation of human behavior as it is a criticism of Ostwald's approach in particular. There is a certain intellectual tyranny here that is unappealing. Sometimes, this Freudian speculation borders on the absurd. Ostwald describes a medical treatment where Schumann must insert an injured hyperextended finger into the intestines of a recently slaughtered animal - a treatment which is designed to act much like a heating pad. Ostwald describes this as a form of necrophilia. How might we describe the use of bleeding by leeches from a psychoanalytic perspective? I shudder to think.I wish psychiatrists or psychologists from orientations other than psychoanalytic would write musical biographies. Maynard Solomon (Beethoven & Mozart biographies) is also a psychoanalyst, but at least he is a bit more subtle. I wonder how a cognitive-behaviorist would handle a biography of Beethoven, Schumann, or Bruckner? Perhaps I'll have to write one.
Ostwald has written a careful and insightful biography. Not only are effects of mental illness in musical creativity explored, but there are a number of interesting philosophical issues raised about mind and it's functioning. The subjective experience of creativity, musical or otherwise, is impossible to communicate fully, but Ostwald does a remarkable job. Ostwald's thoughts on musical expression and meanings therein are original, and not extensions of Suzanne Langer's (or other philosophers') interpretation. That Ostwald himself is a pianist as well as psychiatrist allows an intimate understanding of musical cognition, and this in conjuntion with his psychiatric training makes for an unusual analysis. This is not light reading,but definitely in range of an interested reader. It is thought-provoking and facinating. I highly recommend it.
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