Schumann most clearly and convincingly aimed at this complexity in his character pieces for piano and his songs, the private genres in which Schubert had set the standard. He was very conscious of Schubert as a forebear—exceptionally so for the time, when most German composers sought preceptors chiefly in Beethoven and (lately) in Bach, and were striving mightily to build a national repertory in the “public” forms of symphony and oratorio. Schumann venerated the great Bs, too, and emulated them in his large orchestral and choral works, which he wrote with increasing frequency as his career progressed, and especially after he succeeded Mendelssohn and Hiller as music director at Düsseldorf in 1849.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Critics." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Critics. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Critics." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006003.xml