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.

This post isn’t meant to be morbid; I just want to point out how an artistic idea can grow, bloom and flourish. In chronological order:

1. Date unknown: humans or pre-humans become aware that they everyone will eventually die
2. Ancient: humans create artwork depicting death and the afterlife
3. Medieval: poetic idea of “Dance of Death” – no matter what one’s station in life is, we begin and end the same
4. 18th c.: Matthias Claudius writes the poem “Death and the Maiden”
5. 1817: Franz Schubert writes an art-song (in German, lied) using Claudius’ poem (you can hear it here)
6. 1824: Schubert writes a string quartet, whose second movement uses the same music as the art song he wrote seven years earlier

The quartet is a lengthy piece, and was written just four years before the composer died, at 32 years old. I’m not sure if he saw death dancing at his door at the time; not many of us know when, but we all know that he will.

https://www.youtube.com/watch?v=5NKEHosQf2k

7. afterthought – 1971, George Crumb‘s piece Black Angels quotes “Death and the Maiden” and freaks us all out big time.

A few weeks ago I posted about the “Queen of Chorales”, Wie schön leuchtet der Morgenstern. The tune has been used by many composers – today we’ll hear from Felix Mendelssohn. Mendelssohn is often praised for championing and reintroducing JS Bach’s music to European audiences. Like Bach, he was an absolutely genius of a composer, and wrote in a conservative style for his time. Mendelssohn wrote a number of fantastic oratorios; when he died at the young age of 38, he left an unfinished oratorio, Christus. This chorus tells part of the story of the birth of Christ. It begins with a traditional-sounding recitative, followed by a short section sung by the Three Wise Men, and closes with a chorus – which ends, like many of Bach’s cantatas, with a chorale. The Queen of Chorales, that is.

Compare the end of the two pieces to get a sense of the chorale, and the stylistic difference between 1730 and 1830.

Bach: chorale starts at 20:45
Mendelssohn: chorale starts at 4:49