Orpheus Nov./Dec. 2005

The young violin virtuoso spoke with Rosemarie Lutz.

You have a famous name. “What’s in a name?”
I feel very lucky to have such a “musical” name. By the way, my father (also a violinist, and a member of the Düsseldorfer Symphoniker) is called Robert Schumann. Perhaps the name is fate. In any case, it’s easy to remember.
You started music lessons at the age of four, and were considered a “wunderkind”. What are your impressions of that?
As you can imagine, its difficult to think of oneself as a “wunderkind”. I don’t really like the term at all, which recently has been used so frequently that nearly every child with a bit of musical talent - no matter what they actually do - has been celebrated and marketed as a “wunderkind”. The problem with many “wunderkinder” is that all too often the miraculous evaporates, and one is left with the interpretatory skills and personality of a child. I won’t deny that there are children who are truly miraculous musicians. Like, for example, among violinists, Yehudi Menhuin certainly was. But I think these are very rare cases.
Have you been able, in spite of your early and intensive occupation with the violin, to have a “normal” life - discos, dancing, friends?
I’ve never liked discos because they’re simply too loud. But I still have a “normal” life, as far as its possible for a musician at my age to have one. Its like an adventure, and always different: musical inspiration, meeting other artists and so on. That’s what makes it so interesting and exciting! There were times in which I felt I had to withdraw, or do without something, but I know now that you need a lot of time and patience to master this instrument. And you have to invest even more time and energy to develop musically and to find your own voice. But to get back to your question, one should always strive for balance and to lead a “normal” life. In other words, not to look at music as somehow separate from your life, but to let all your experiences become part of the music.
Do you have role models? Or people who have been especially important to your career?
There are two people that I’ve had the great good fortune, both personally and professionally, to meet. The first is my teacher, Professor Zakhar Bron and the second is the conductor Christoph Eschenbach. I’ve studied with Zakhar Bron since I was ten. He’s overseen my technical and musical development, and I learn more from him every day. I admire his dedication and energy, and that’s why I think of him as a role model.
Christoph Eschenbach has a similar position in my life; I’ve been lucky enough to be able to work with him for quite some time. Through him I’ve learned a lot about other aspects of music and musical expression. And thanks to him I was able to participate in his tour of Japan with the Chicago Symphony Orchestra.
What have been your most important musical achievements so far?
All of my public appearances have been equally important - for example the Leonard Berstein Award, or the tour of Japan with the Schleswig-Holstein Festival Orchestra with Christoph Eschenbach. The most important thing for me is to stand on stage and express something to the audience, to reach them or to move them, to share or awaken an emotion in them. I think that’s the most important aspect of music - giving and sharing, not the self-representation.
You’ve just about finished studying. What comes next?
Of course I’d like to continue as a concert performer, but I’m very interested in playing more chamber music.
Do you have an agent?
Yes, my agent is Astrid Schörke, in Hannover. My Japanese representation is Masumi Sato from the agency Concert Imagine.
What are your repertoire highlights and new works?
I have a relatively broad repertoire: from the so-called “war-horses” to unusual or little-known works from the Baroque to contemporary works. And I love to learn new pieces. But most concert promoters want the well-known and -loved concertos by Mozart, Dvorak, Tchaikovsky and Brahms.
Are there recordings of you available, or in planning?
I’m looking for a label that’s interested in working with me to reach a broader public than concert audiences.

-

Welt am Sonntag

Erik Schumann awarded the ‘Leonard Bernstein Award’
“I won’t be pressed”
The interview went as follows: One sitting in the kitchenette, sandwiched between the electric kettle and the ashtray. The other seated on the sofa bed, shelving with a television and video tapes to the right and to the left a CD player. Yes, this is unmistakably a typical student digs, a flat where there is no sign of any particular care or attention to aesthetics, upkeep or maintenance, in short: to classical music. But this is the charm of the classical musician. Thankfully a very uninhibited lifestyle often lurks behind this art form of dress coats and shiny shoes.
And this is the case with Erik Schumann, who is studying in his seventh semester at the ‘Kölner Musikhochschule’ college of music in Cologne. The college is located so close to Schumann’s flat, described above, that it would even be possible for his two somewhat laid back Persian cats to jump over. Nevertheless Schumann prefers to stay at home to practise. Here he won’t be disturbed. Here he doesn’t need to book a practise room first with the porter before he can devote himself to Beethoven’s violin concerto, for example. And so we come to the unusual aspect in this normal tale of a music student’s life.
This coming Friday, Erik Schumann will perform the Beethoven concerto at the Schleswig-Holstein Music Festival. This alone would be a good enough reason to write a report on him. Yet what’s more, Schumann will also be awarded the ‘Leonard Bernstein Award’ on this occasion. Clearly this 21 year old is outgrowing the stadium of the much admired budding new violinist.
Schumann likes to speak about maturity in music and about the content which touches the soul of the listener. He who knows best of all how to captivate his audience with virtuoso showpieces and performances – prefers to think about how best to play a Schubert’s sonata and why this is ‘ten times more difficult’ than Pablo Sarasate’s ‘Gypsy Aire’.
Sometimes the young violinist interrupts himself when he starts to philosophise – “I don’t want to be precocious” he says. His teacher, he says, is allergic to precocious pupils. This teacher is Zakhar Bron, the legendary instructor to violinists such as Maxim Vengerov and Vadim Repin. Erik Schumann came to him when he was eleven. And to ensure that the young violinist from Cologne was able to attend his classes with Bron regularly, who was then teaching in Lübeck, his family set him up with a host family.
In the meantime, his professor started teaching in Cologne. And it happens more and more often that his pupil brings his own interpretations to the class. And if Schumann is successful in convincing his tutor, in spite of his allergy to precociousness – that will really be something. And so begins the path to independence – and to a career. The question is put to him of what image he will adopt to establish himself on the market. But, says Schumann, “I won’t be pressed”.

Andreas Fasel