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 …)

As an organist, and a masochist, I love the music of Max Reger – he penned one of my favorite organ works. His music is often so complex and busy that it was said that, instead of writing black notes on white paper, he would start with black paper and just while out the parts without notes.

In the realm of composers, though, he’s probably on the C-list, so many people haven’t heard of him unless you’ve encountered his music – and if you have, you either love it or hate it. Consequentially, there are some truly scathing famous criticisms of Reger’s music (all taken here from Nicolas Slonimsky‘s Lexicon of Musical Invective):

“This Reger is a sarcastic, churlish fellow, bitter and pedantic and rude. He is a sort of musical Cyclops, a strong, ugly creature bulging with knotty and unshapely muscles, an ogre of composition. In listening to these works … one is perforce reminded of the photograph of Reger … that shows something that is like a swollen, myopic beetle with thick lips and sullen expression, crouching on an organ-bench. There is something repulsive as well as pedantic in this art. His works … are like mathematical problems and solutions, sheer brain-spun and unlyrical.” – Paul Rosenfeld, Musical Portraits

“Reger’s [String] Quartet … looks like music, it sounds like music, it might even taste like music; yet it remains, stubbornly, not music. … Reger might be epitomized as a composer whose name is the same either forward or backward, and whose music, curiously, often displays the same characteristic.” – Irving Kolodin, New York Sun

“[Reger’s ‘100th Psalm’] is enough to split the roof of the theater with the skull of the audience.” – Pall Mall Gazette

Reger, however, had the last laugh, with this popular quote which he sent to one of his critics:

“I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me!”

Sergei Diaghilev, head of the Ballet Russes (a French organization, despite its name and artistic director), is responsible for the creation of the finest works of the early 20th century. While the most famous production is no doubt Stravinsky’s Rite of Spring, you can read the list of other works which the company commissioned here – and it’s pretty amazing.

One of those works is The Three Cornered Hat by Manuel de Falla. The music, derived from traditional Spanish dances, is nothing groundbreaking. However, being composed just after the end of World War I in 1919, it does demonstrate how the conflict triggered a sudden return to a more conservative musical style. (More proof of this can be seen in Stravinsky; he caused quite a ruckus with The Rite in 1913, but composed the docile, neoclassical Pulcinella in 1920.)