A sheet from old book and memories of the past

Herbstblatt. © Charles Thibo

“It is as if we took a yellowish sheet out of an old, lost book, a sheet that reminds us of a time long ago and lets this time shine brightly, so that we forget the present. In a similar way, the fantasies of the master may have illuminated his beloved memories when he found these old melodies, sung in lovely Italy, and wrote this delicate painting of sounds.” Robert Schumann was enthusiastic when he commented in 1843 on Felix Mendelssohn’s Symphony in A major, Op. 90. I can understand him. Schumann’s String Quartet No. 2 in F major (Op. 41/2) made me feel something akin to his experience. I returned to the time when I read the novels Schumann loved so dearly, the time I first explored in-depth Schumann’s music. I should listen more often to Schumann. There can be no doubt.

The string quartet he wrote during the summer of 1842 is beautiful, well-balanced, thematically coherent, full of ingenious surprises, a wonderful arrangement of harmonic moments, expressing joy, drama, nostalgia. Ludwig van Beethoven and Mendelssohn were Schumann’s explicit paragons. Just like the other two quartets of Op. 41, the one in F major was dedicated to Mendelssohn.

After Robert had completed the quartets, he and his wife Clara traveled to Bohemia for a short vacation. They celebrated among other things the fifth anniversary of their secret engagement and – thanks to Clara’s reputation as a pianist – they enjoyed an audience with Count Metternich, the Austrian architect of the balance of power in Europe after Napoleon’s fall and the symbol of Austria’s restoration and police state. Dieter Kühn, author of a biography of Clara Wieck, writes that the young composer was blinded by the splendor of the powerful diplomat, that made Schumann forget for a moment that it was Metternich’s aide at the censorship office that had denied him a licence for the music magazine he edited.

Schumann’s ambition in 1842 was to compose a new genre of chamber music, poetic music. Music like the late Beethoven quartets. Pieces for the piano alone did not satisfy him anymore, as he complained to his wife. One of the result is the string quartet in F major. Spring! Chords! Sturm und Drang! And the mysterious story told by this poetic music may well be compared to Schumann’s favourite novels by Jean Paul and “Gespenster Hoffmann.”

The quartet has been recorded by the Hagen Quartett.

© Charles Thibo

About the luxury of idle thoughts

Twilight.© Charles Thibo

A hint of drama, a longing for tenderness, a calm discussion about him and her, repressed fear to displease, not to be up to the challenge, a touch of don’t-question-my-authority arrogance… is that what inspired Robert Schumann when he wrote the String Quartet No. 1 in A minor, Op. 41? The music triggered those ideas in my mind and perhaps they reflected more my own feelings than Schumann’s. Who knows? Man is a curious beast. Super intelligent, super difficult to live with.

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Creating the illusion of lightness

Graceful melancholia. © Charles Thibo

In his lighter moments Robert Schumann was quite a joyful fellow! I could not imagine how else he could have written Op. 102. The German title is “Fünf Stücke im Volkston”, which would give “Five Pieces in a Folk Tune” if translated. But the title is misleading, these pieces, even if written for the amateur musician, have nothing simplistic about them, far from it. They are very refined, carefully constructed, permeated by the elegant, graceful version of German melancholia. To compose a melody creating the illusion to be light is one of the challenges – I think Mozart once said this.

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Of teachers and students – a sonata in A minor

Sunrises – a Romantic indulgence of mine. © Charles Thibo

Is it a personal tragedy when the pupil outdoes the teacher? Or does it fill him with pride? Carl Reinecke (1824-1910) is an unknown unknown. His students however are well-known or at least known unknown composers i.e. unknown by the general public, but a reference for experts like the readers of this blog: Max Bruch, Leos Janacek, Edvard Grieg and Julius Röntgen. I think it is safe to say that Reinecke’s four students outdid their teacher in terms of celebrity. But they rival him in terms of excellence in composition remains to be seen.

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