The Schumanns are probably the most famous pair of married composers, and most definitely the sappiest. Romantic sensibilities simply drip from nearly every note they wrote. Robert‘s sappy high-point is probably Dichterliebe (poet’s love); Clara‘s might be her Three Romances for Violin & Piano.

Clara was an all-around musical powerhouse with an extensive performing career and a long list of compositions to boot. Thanks to good-old-fashioned-19th-century sexism (not to mention the 20th and 21st centuries), her music is overshadowed by her husband’s – though I would argue that only an expert could pass the “pepsi challenge” and tell their music apart. Even more unfortunate is the fact that her music is overshadowed by inferior male composers of her time (Jacques Offenbach, for example, was born the same year as Clara …)

This short lied by Robert Schumann might take less than two minutes to perform, but to me it contains the entire universe of human love and longing. It stops me dead in my tracks – completely unable to move – every time I hear it. It is the opening movement of Dicheterliebe, Schumann’s Song Cycle masterpiece and window into his heart, depression, and mental instability.

I’m afraid to write about it, actually, because I’m afraid of ruining it. It’s an easy piece to analyze from a technical standpoint, but oddly enough, no matter how much I tear it apart, the emotional effect doesn’t diminish. The melody & harmony are simple, but not simplistic; the poetry rhymes – nothing weird here. I think the magic comes from the fact that nothing ever comes to a complete resolution – the piece floats in a special space of unknowing and awkwardness. It’s a moment of heart-wrenching love for another that will not be returned.

Schumann holds a very special place in my heart. When I was young, I found his music to be pretentious, overly heavy, and unbearable. It wasn’t until I was well into my adult years that I came to appreciate his music.

Two of his best-known works are the “Album for the Young” and “Scenes from Childhood.” Many pianists studied this music in their youth – I was no exception. The pieces in this collection are fairly short and repetitive, and makes for great recital music for young pianists. And, like many young pianists, I endured, but never enjoyed playing these pieces. I always had a picture in my mind of a very serious Schumann towering over a young pianist, saying “not good enough! Practice more!” But now I think that while these pieces might be written for young fingers, their emotional content is intended for adults. There is a longing, a nostalgia, in this music that is too mature for little minds. If you play the piano, I would encourage you to get a copy and learn them; you will be richly rewarded.

Today’s pieces are two separate pieces from the Album for the Young. I believe they were meant to be played together.