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Schumann’s “Davidsbund”

After founding the “Neue Zeitschrift für Musik” (New Music Magazine) in 1834, he set about criticizing and exposing the great shortcomings, abuses and lack of talent of his time with a sharp, poetic pen. Schumann gathered around him as collaborators men who shared his opinion and gave them the name “Davidsbündler” (Confederations of David), their goal (similar to that of David fighting the Philistines) to fight against ignorance and arrogance. .

Writing to Dorn in 1836, he said: “The ‘Davidsbündler’ is nothing more than an intellectual, romantic confederation…Mozart was just as great an ally as Berlioz is now.” Each “Bündler” (association member) signed his cipher; and Schumann himself, – who, as we know, divided his musical being into two parts: one assumed the soft, tender, sensitive nature and form of Eusebius, and the other the strong, fiery Florestan – wrote his offensive and defensive articles on music, dedicating them to Florestan or Eusebius, as they sound. “‘Florestan and Euseb’ represent my dual nature, which, like Raro, I want to form and merge into one person.”

Schumann continued to mystify the audience as an author and composer. Strictly speaking, the majority of his piano compositions up to the 1839 Faschingsschwank (op. 26) can be called Davidsbündler compositions; for in these Schumann renounced the fixed form and language of music bound by rules and nurtured by the average talent of the age; he created a kind of romantic music for the piano, at first not everyone understood it. In 1836, he published the great, revolutionary sonata in F minor, op. 11, with the cryptic title “Florestan and Eusebius dedicated to Clara”, the same as “Davidsbündler dances” op. 6 (1837), which, as the letters prove, are not “Bündler-competitions” but wedding and wedding thoughts set to music. There are also references to the ideal object of his aspirations, directly or indirectly, in the form of musical quotations or poetic mottos, in his “Symphonic Etudes”, op. 13 (1838), in his “Faschingsschwank” (Carnival Joke), op. 26, presenting the “Grossvatertanz” (Grandpa’s Dance), which was already quoted in the finale of “Papillons” (Butterflies), op. 2 (1829/31).

To this day we feel the influence and impact of these compositions as “Davidsbündler” music, in the sense and spirit that their author breathed into them: the boldness and power of their genius character, the freshness and novelty of their themes; last but not least, Schumann’s romantic style of piano composition, which combines extreme contrasts with a wonderful, perfect art, in a special way.

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