Who composed the Arabian Nights Dance?

Schumann, Robert (1810-1856) German composer, born in Zwickau. Encouraged by his father (a bookseller, publisher and writer, who died when Schumann was sixteen), his interest in music and literature grew, focusing in his early teens on the unbridled romantic sensibilities of Jean-Paul Richter. Prior to this, he had taken piano lessons from a local organist and showed such talent that in 1825 his father asked Weber to give the boy further lessons (which did not happen). After his father's death, his mother insisted that he study law at the University of Leipzig, not sympathetic to the young composer's musical or literary interests. After leaving for Leipzig, Schumann did not pursue his law studies, but in 1829 began piano and harmony lessons with Frederich Wick, who was to become his father-in-law. At the end of the following year, he abandoned law to study music and composed his first work, the Variations for piano based on the surname Abegg (Abegg was a young girl Schumann met at a ball in Mannheim, and Schumann evolved her surname into the five tones of A-flat B-E-G-G. Schumann continued to use musical wordplay as a source of inspiration throughout his life, which has become the subject of much research by musicologists in recent years. Schumann continued to use musical wordplay as a source of inspiration throughout his career, and in recent years it has become the subject of much study by musicologists). During the same period, he also studied for a short time with Vainlich, the cantor of St. Thomas's Church, and with Dorn, the director of the opera house. In 1832, his dream of becoming a concert pianist came to an end, when he was said to have mutilated the fingers of his right hand by adopting his own devised method of practicing the piano with the fourth finger hanging from the ceiling; according to modern medical research, however, this may have been due to an illness. The illness was a blessing, and he was able to spend more time composing, and it was during the 1830s that he wrote a large number of piano pieces, including the Symphonic Etudes (1834), Carnaval (1834), David's League Dances (1837), Fantasia (1837), Scenes from Childhood (1838), Chrysler's Puppets (1838), Arabesques (1838), and the Pieces in Arabic Style (1838), which he also wrote for the piano. Arabesque" (1838), "New Things" (18360), "Fantasia in C Major" (1838), "Flowers" (1839) and "Funny Things about the Viennese Carnival" (1839). In 1833, he organized the "New Music Magazine" (the first issue appeared on April 3, 1834), advocating a new Romantic style. 1840 he married Clara Wick, the daughter of his former schoolteacher. In 1840 he married Clara Vick, daughter of a former teacher, who became the most famous interpreter of Schumann's piano works. Before 1839 he wrote only piano works, but in 1840 he switched to songwriting, with the same dedication as he had shown in his piano music, and wrote fifteen sets of songs in that year, including "Myrtle", "Women's Love and Life", and "The Poet's Love", for a total of no fewer than one hundred and twenty songs***. In 1841, he composed his first symphony, which began the symphonic period of his life. In the same year, he wrote the first movement of a piano concerto (then called Fantasia in A minor) and the Symphony in D minor (later known as Symphony No. 4). In 1842, he began to compose chamber music, including three string quartets, a piano quartet and a piano quintet. His creative energies were mainly the result of family happiness. Although Frederich Wieck obstructed his daughter's marriage and even forbade the young lovers to see each other for a time, Schumann had to appeal to the court before he was allowed to enter into a happy family relationship with Clara. In 1843, when the Leipzig Conservatoire was founded, he was appointed as a teacher of composition, and moved to Dresden in 1844 and then Düsseldorf in 1850 as a conductor. From 1843 onwards, periodic crises of insanity interfered with his compositions, and his work in Düsseldorf failed to alleviate his condition. In 1854, he threw himself into the Rhine River, and was admitted to a private asylum in Endernich, near Bonn, where he remained until his death. During that time he continued to compose, albeit paroxysmally, with works such as his violin concerto showing a decline in inspiration as his mental state deteriorated. His piano works are characterized by many of the idiomatic expressions that would become part of the pianistic style of the Romantic era, such as the impulsive and headstrong rhythms, expressed in syncopations and combinations of beats; the effects of distance and fusion, the former as a result of harmonic and acoustic mutations, the latter as a result of the use of the pedal. The subjective and literary element in his music is expressed in the use of names as motifs, such as Abegg in the Abegg Variations (op.1), Asch, the birthplace of his 1834 lover, Einstein von Friggen, in the Carnival, and Bach in the Six Fugues (op.60), and in the linking of musical styles to people (e.g., the "Bach" of his own character, the "Bach" of his own personality, and the "Bach" of his own personality). Bach in the Carnival, with Chopin, Paganini and Clara Vick (Chiarina) in the Carnival, with the Davidian League, an ideal society opposed to vulgarity and mercenaryism, in the Dances of the Davidian League and the Carnival, with a character in Hoffmann's Carrotesque Fantasies in the Chrysler Odes, and with a character in Hoffmann's Carrotesque Fantasies in the Chrysler Odalisques, but also in the way in which musical styles are related to people (e.g., to the extroverted and introverted aspects of his own personality, symbolized by the Eusebius and the Florestan). Chrysler's Pas de Deux, to a character in Hoffmann's Carrotesque Fantastiques, unlike Berlioz's dramatic narration with music. His quick and intuitive insight into Romantic poetry is expressed in the richness and variety of his songs, which are affectionate in form and expression, although they sometimes disturb the perfection of the Schubert-like balance between singing and piano in favor of the piano (the music, however, is not inferior for this reason). The brilliant piano preludes and postludes to "The Love and Life of Women" and "The Love of a Poet" are evidence of this. With the exception of the Symphony No. 1 (inspired by a poem by Adolf Bettger, the first three movements interacting thematically), the Symphony No. 3 (Rhein, written after a visit to Cologne in 1850) and the three concert overtures, none of his orchestral and chamber music is titled. The Symphony in D minor, number 4 when revised and published in 1851, is a remarkable precedent for thematic metamorphosis, based almost from beginning to end on two motives; other examples are the piano concerto and the first movement of the Second Quartet. Sometimes there are "failures" that make his orchestration less than ideal, due to his "pianistic" mentality and his lack of orchestral training and experience. These weaknesses, however, are not as serious as the older generation of musicians makes them out to be, nor do they in any way excuse the poor performance of these important works. His only opera, Gnofeva (Leipzig, 1850), was unsuccessful, and his other dramatic works and chorales were rarely performed, although they contain some of the best pieces of his later music. Schumann wrote against the interest in superficial salon music that prevailed in the 1830s, and enthusiastically advocated new music by Bach, Beethoven, and the more important composers of his time. His first article hailed the genius of Chopin ("Gentlemen, take off your hats to a genius!"), his last one predicted that Brahms would be the most successful composer of all time, and his last article predicted that Brahms would be the most successful composer of all time. and his last article predicted Brahms's future achievements. The English translation of his "On Music and Musicians" (1854) was published in 1877 in two volumes, and the Chinese translation by Chen Deng Yi was published by the People's Music Publishing House in 1978. Schumann's major works include: (1) for solo piano: three sonatas, three juvenile sonatas, one three-movement Fantasia, twelve Etudes based on the themes of Paganini's Capriccio, Abegg Variations, one improvisation on a theme of Clara, twelve Etudes in the form of variations (i.e., the Symphonic Etudes), three Romances, four fugues and seven fugues, four marches, the Butterfly, the Intermezzo, the Intermezzo, the Butterfly, the Intermezzo, the Butterfly, the Butterfly, the Butterfly, the Intermezzo, the Butterfly, the Butterfly, the Butterfly, the Intermezzo, the Intermezzo, the Intermezzo and the Intermezzo, the Intermezzo and the Intermezzo. Butterfly", "Intermezzo", "David's League Dance", "Carnival", "Fantasia" (*** two), "Scenes from Childhood", "Chrysler's Puppets", "New Things", "Nocturne", "Funny Things about the Vienna Carnival", "Piano Pieces", "Juvenile Pieces", "Scenes from the Woods", "Colourful Leaves", "Pages from a Picture Album", "Song in the Morning", etc., the main collection of titles, the Toccata Allegro in B minor, Arabesque, Flowers and Humor. (2) Piano duets: 8 Polonaises, 6 Impromptus (Impressions of the East), 12 pieces for children of all sizes, 9 dances (Scenes from a Ball), 6 simple dances (Children's Dances). (3) For two pianos: Etudes and Variations, 8 Polonaises. (4) For piano with pedal keyboard: 6 Etudes and 4 Sketches. (5) For organ or piano with pedal keyboard: four fugues based on the name of Bach. (6) For orchestra: four symphonies, overtures, harmonies and finale, Schiller's Overture to The Bride of Messina, Shakespeare's Overture to Julius Caesar, Goethe's Overture to Hermann and the Green Moss, Concerto in A Minor, Introduction and Allegro in G Major, Allegro Concertino in D Major for Piano and Orchestra, Concerto for Violin, Fantasia for Violin and Orchestra, Concerto for Cello, four fugues based on the name of Bach. Concerto for violin, Fantasia for violin and orchestra, Concerto for cello, Concertino for four horns and orchestra. (7) Chamber Music: Three Quartets, Three Trios, Four Fantasias for Trio, Piano Quartet, Piano Quintet, Fairytale for Piano Clarinet (or Violin) and Viola, Two Violin Sonatas, Fairytale Scenes for Viola and Piano, Five Folksongs for Cello and Piano, Three Romances for Oboe and Piano, Fantasia for Clarinet and Piano. Fantasy" for clarinet and piano, "Allegro and Allegro" for horn and piano. (8) Vocal Music: Thirty-three suites and fourteen individual songs with piano accompaniment, three narrative songs for piano, four sets of duets, one set of trios, four sets of quartets (all with piano accompaniment), choral songs in major keys (seven sets for mixed voices, four sets for men's voices, and two sets for women's voices), and fifteen choral songs for orchestra. (9) Theater music: "Gnoffeva" (opera), Byron's "Manfred" soundtrack (originally intended to be used in the performance of Schumann's own adaptation of the play).