United States or Papua New Guinea ? Vote for the TOP Country of the Week !
One regrets, however, that its best points were previously used in Schumann's perfect folk-song, "Wenn ich früh in den Garten geh'." Chadwick has two folk-songs of his own, however, which are superb. "He Loves Me" is a tender, cradle-song-like bit of delicious color. The "Lullaby" is a genuinely interesting study in this overworked form.
The newness of his form, his linear counterpoint, misled the critics, who accused him of the lack of it. Schumann's formal deficiency detracts from much of his music, and because of their formal genius Wagner and Chopin will live. To Chopin might be addressed Sar Merodack Peladan's words: "When your hand writes a perfect line the Cherubim descend to find pleasure therein as in a mirror."
Then came Schumann's Traumerei on the strings, Handel's Largo, Grieg's Papillon, and a ballade by Chaminade. Then again sang the prima-donna; old folksy songs, sketches from the operas grand and light, Faust, The Barber of Seville, La Fille de Madame Angot. In all his days Warburton had never heard such music. Doubtless he had even better; only at this period he was in love.
We, knowing the kind of music Wagner had in his mind when he wrote the libretto of Lohengrin, can easily understand Schumann's dismay when this scene was read to him: nothing of the sort had been composed before. Suddenly Elsa appears on the balcony, and the character of the music changes at once: all now is sweetness and light.
The imagery of this tribute to Clara's playing is readily understood. In Paris she heard Chopin and Mendelssohn. All these experiences tended to her early development, and there is little wonder if Schumann saw her older than she really was. In 1834 Schumann's early literary tastes asserted themselves, but now in connection with music.
For a letter from a man of twenty-one to a girl of twelve, the above is remarkable. If Clara had not afterward become Robert's wife, it would have interest merely as a curiosity. As matters eventuated, it is a charming prelude to the love-symphony of two lives. Moreover, there seems to have been ample ground for Schumann's admiration.
Familiarity with Schumann's music enables us of to-day to appreciate its beauty. But for its day it was, like Brahms' music later, of a kind that makes its way slowly. Left to the general musical public, it probably would have been years in sinking into their hearts. Such music requires to be publicly performed by a sympathetic interpreter before receiving its meed of merit.
"It is a matter of small import, but I do not gainsay it." "Ah, if you had only heard him play one of Schumann's romances!" "A talent for music is a noble one. Nevertheless, the man's chief merit, in my eyes, is that he has a taste for saving life." "Oh, I was sure from the first, perfectly sure, that this man had a large heart and a noble soul.
Molly Brandeis seemed to sense what had happened. "But you didn't, did you?" she whispered softly. Fanny shook her head. Rabbi Thalmann was seated in his great carved chair. His eyes were closed. The wheezy little organ in the choir loft at the rear of the temple began the opening bars of Schumann's Traumerei.
Better to end with Robert Schumann's beautiful description of this study, as quoted by Kullak: In treating of the present book of Etudes, Robert Schumann, after comparing Chopin to a strange star seen at midnight, wrote as follows: "Whither his path lies and leads, or how long, how brilliant its course is yet to be, who can say?
Word Of The Day