Das Echte und Innerliche in der Kunst: Der Komponist, Dirigent und Pädagoge Woldemar Bargiel (1828–1897)

Dr. Dean Cáceres, Diplom-Musikpädagoge und Konzertpianist, ist seit 1989 Dozent für Klavierspiel und Harmonielehre an der Universität Hildesheim. 2008 promovierte er an der Universität Göttingen.Siehe auch: www.dean-caceres.com

Dr. Martin Staehelin ist Professor für Musikwissenschaft an der Universität Göttingen.

Dr. phil. Hans Joachim Marx ist Professor em. für Europäische Musikgeschichte an der Universität Hamburg, ordentliches Mitglied der Joachim Jungius-Gesellschaft der Wissenschaften in Hamburg, korrespondierendes Mitglied des Institutes of Advanced Musical Studies des King’s College in London und korrespondierendes Mitglied der Philologisch-Historischen Klasse der Akademie der Wissenschaften zu Göttingen.

Prof. Dr. Jürgen Heidrich hat seit 2004 einen Lehrstuhl für Musikwissenschaft an der Universität Münster inne.

Woldemar Bargiel (1828-1897) was Clara Wieck's half-brother and, hence, Robert Schumann's brother-in-law. This study on the life and work of the Romantic composer - today unknown yet one of the best young talents of his time and acquainted with eminent musicians - describes an eventful musical career and an equally extraordinary and exciting yet seldom-heard music.Bargiel, a melancholic person, who was often hot-tempered and offhand to his colleagues or withdrawn, was in his personal relations extremely endearing and responsible, and to many was an admirable idealist. In 1862 Brahms, on the other hand, went so far as to declare him mad. The attention of the music world was drawn to Bargiel through his string octet and a mention in Schumann's famous article, "Neue Bahnen". In stylistic terms, he was first associated with Schumann on account of his family ties, and was often unjustifiably declared an epigone. As two thirds of Bargiel's works were composed between 1848 and 1864, he can be defined as a typical exponent of the mid-century - a mediator between two epochs. His pluralistic style can, hence, be interpreted not as ecclecticism, but rather as a multifaceted juxtaposition of musical styles in a transitional phase in music history.