Brahms helped the family earn a living and in fact, they really were a family unit until Schumann died.Ġ6:45 PH: Unfortunately, Brahms had grown up in a brothel playing background music, and of course being the darling of all the demi-monde in the brothel. He and Clara became very close because of course, Clara was at this stage a women alone with the five children and a husband in the asylum and the need to earn a living to support herself. At that time, two years before that, when he was 20, Brahms came to visit the Schumanns in Dusseldorf. Any notes in between the first note and the fifth note are part of the Clara theme.Ġ6:07 PH: Now, Robert unfortunately went mad and tried to drown himself and spent the rest of his life in an asylum. He plays it upside down.Ġ6:00 PH: It’s a fifth apart. Here is really a three note version of it in his piano concerto.Ġ4:46 PH: But then he does it backwards, he does it upside down.Ġ5:21 PH: And the beginning of the concerto is the same.Ġ5:28 PH: Do you hear that’s, those three notes…Ġ5:38 PH: And then he plays it backwards. And it was based on the andantino and that’s what that’s called, the andantino from the Romance Varié of Clare Wieck and this is the… This is Robert Schumann’s version of that.Ġ4:13 PH: That is the quasi variazioni from the andantino of Clara Wieck by Robert Schumann, and then he varies that. From that, Robert Schumann wrote variations based on a theme by Clara Wieck. So she has this melody and then she writes a lot of fun variations on it.Ġ3:28 PH: So that is the famous Clara theme, which infused so much German music for so long. ![]() They had their own song, and it was actually written by Clara and it was called Romance Varié, meaning maybe a Romance which really means nothing, means a piece with variations of varied romance. And we all have our song that we, with our spouses, and our boyfriends and girlfriends that we love. There, are… I mean everyone has a kind of melody that follows them around, at least in movies and some people in real life.Ġ2:10 PH: Though Clinton used to bring a ghetto blaster with his own personal Hail to the Chief theme, after he became president, ‘cause he felt he still needed entry music to make it important when he came into a room. I mean James Bond has a theme, the President of the United States has a theme, love story has a theme. It was known as the Clara theme and today everyone has a theme. Clara had written a theme that was very famous. And a day before Clara turned 21, they married just to rub it in that they could do it even though you needed, at that time, your father’s permission to do that and she didn’t have it. Not that he knew it, but nevertheless, they sued Herr Wieck so that they could marry. ![]() ![]() He felt Schumann was a penniless composer, which was true, although Schumann became one of the greatest critics and music writers of his age, founded a magazine in Leipzig, and of course, became one of the great composers of all time, but he did go mad.Ġ1:18 PH: So possibly Clara Wieck’s father had a point. Of course, they fell in love, her father disapproved. And there, began one of the great love stories, in music. When she turned 11, Robert moved into her house to study piano with her father. In today’s episode, we’ll hear our co-founder Peter Halstead, at the piano, showcasing Robert Schumann’s Clara themes.Ġ0:39 PETER HALSTEAD: When Robert Schumann, the great German composer met Clara Wieck, she was eight years old. The Tippet Rise podcast explores these connections. At Tippet Rise we celebrate the synergy of art, architecture, music and nature, out of which we weave our identities. 00:03 MELISSA MOORE: Welcome to the Tippet Rise podcast, brought to you from Tippet Rise Art Center located on a 10,000 acre ranch in Fishtail, Montana, just north of Yellowstone National Park.
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