#claraschumann

Clara Schumann: Prelude and Fugue in f sharp minor Clara Schumann, according to the manuscript that I have found online, composed this piece in 1845. I did not find any literature about this specific work of hers, despite this was not the first time when Schumann composed piano pieces in this genre. Her set of three preludes and fugues (Op. 16) was published in the same year. Strangely, the Prelude and Fugue in f sharp minor was only published in 2015.

This prelude and fugue is another Romantic era echo of Bach’s music, though composed in a more conservative character than Mendelssohn’s piece from my previous post. The prelude begins (and stays) in a heartfelt atmosphere, contrasting with the rational and well planned manners of the fugue. Both movements end on an F sharp major chord.

My favourite recording of this piece is from 2001, by Jozef De Beenhouwer (born 1948), who is a Belgian pianist, musicologist and teacher.

Mozart: shit Beethoven: UwU smol angy man hehe asdfghjkl

Bach: 19 kids and counting 

Liszt: hot🔥😍singles💇🏻👸🏼in your area🗺📌!!!!!!

Chopin: tuberculosis bitch 

Brahms: sonic the hedgehog 

Handel: fat 

Shostakovich: omgstalinomgsiegeofleningradomgtorturedgeniusomgstalinomgdissidenceomgsuicidenoteomginterptetationomganxietyomgwhATDOESITMEEEEEAN

Paganini: literally satan 

 Vivaldi: praaaaaaise-a Jesus-a 

Tchaikovsky: gay 

 Bartók: isn’t that the bat from Anastasia  

Clara Schumann: we are gay 

Robert Schumann: Hand job gone wrong 

Bruckner: in jail 

Grainger: bruckner’s cellmate 

 Wagner: no ❤️  

Mahler: M̷̛̎è̴̚ ̷̀̌h̵̍͘é̶̈́ả̴̈́ṙ̸̕t̷̅̕ ̸̽̂m̶͌̓e̵͛̒ ̷͂̈́k̷̈́́i̷̎̅d̴̀͌s̶̄̓ 

No other document so concisely demonstrates the depth and range of Clara Schumann’s role as a performer, composer, and confidant than this cadenza she created for Mozart’s D minor concerto, K466:

She was an promising composer whose potential in that pursuit had been compromised partly by her career as one of Europe’s most notable performers.

This music includes a passage quoted closely from a cadenza for the same piece by Johannes Brahms, a notable example of the unique reciprocal artistic relationship Clara shared with the younger composer [one which shaped both of their careers and the course of 19th-century music].

Schumann promoted the notion – also advanced by her husband and other musicians like Mendelssohn – of creating a canonical repertoire with performances of music by past composers like Mozart.