"Beethoven, Schumann, Brahms... and Clara"
In a demeaning cliché we see still frequently today in settings far more numerous than the world-changing "Trump/Hillary" American Presidential race of 2016, society and the collective memory honour men with their surnames, and diminish women with their given names. Today, in honour of the 200th anniversary of the birth of one of 19th century romanticism’s most profoundly influential musical figures we will try to see things a little differently.
Born on 13th September 1819, Clara Wieck Schumann was one of the most distinguished composers, pianists and teachers of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital, while also having composed a body of work including various piano concertos, chamber works, and choral pieces. In 1840 she married (against her father’s will) composer Robert Schumann (1810-1856) whose works she tirelessly promoted. Together they had seven children, and encouraged and maintained a close relationship with the much younger Johannes Brahms (1833-1897), who was later to confess being helplessly in love with her, 17-years his senior. Her music connected and shaped the male giants of her time to whom history has been, predictably, kinder.
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Präludium durch alle Dur-Tonarten für die Pianoforte order die Orgel, op.39 Nr. 1 |
Ludwig Van BEETHOVEN |
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Präludium und Fuge Op.16 Nr. 1 (Andante-Vivace, g-moll) |
Clara WIECK (Schumann) |
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Fugue super die namen B-A-C-H, op.60 Nr. 6 |
Robert SCHUMANN |
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Präludium und Fuge Op.16 Nr. 2 (Allegretto-Andante, B-dur) |
Clara WIECK (Schumann) |
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Mein Jesu, der du mich, op. 122 Nr. 1 |
Johannes BRAHMS (1833-1897) |
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Präludium und Fuge Op.16 Nr. 3 (Andante - Andante con moto, D-moll) |
Clara WIECK (Schumann) |