Italy held a monopoly on opera until the 19th century, when Germany and France entered the arena. Mozart got the ball rolling, Weber made it big, and Wagner perfected it. In between Weber and Wagner was Heinrich Marschner. His opera, Der Vampyr, was cool way before the likes of Buffy or Twilight, and still remains cooler than Tom Cruise.
Long before things like Castlevania made us associate a certain musical style with Vampires (specifically, baroque harpsichord concerti in minor keys) Marschner was starting from scratch, and became known for his ability to write operatic horror.
All the Bach children were musical, and probably not by choice. Most musicians agree that Carl Philipp Emanuel Bach was the best composer among them. After all, when Mozart said “Bach is the father, and we are his children,” he was not referring to J.S., but C.P.E.
C.P.E.’s music is a perfect midpoint between the Baroque and Classical musical eras, combining the ornateness and richness of the baroque with the transparency and grace of the classic. This isn’t the heavy, confusing sound of his father’s late compositions, nor is it the mindless, simple noodling of Scarlatti.
Shortly after graduating with a degree in law (like any good musician does), he was appointed a musical post in the court of Frederick the Great, who was known as a great patron of the arts, and was himself a flutist. It’s easy to imagine this flute concerto being performed by Frederick, with C.P.E. conducting and playing the keyboard, as is portrayed in this painting.
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.
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