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Showing posts with label Robert Schumann. Show all posts
Showing posts with label Robert Schumann. Show all posts

Friday, December 19, 2025

The Most Memorable Composer Christmases: Mahler, Rachmaninoff, and More

by Emily E. Hogsta

The great composers also experienced a wide variety of Christmas celebrations. Today, we’re looking at five memorable Christmases from the lives of five great composers. (Read Part 1 here: The Most Memorable Composer Christmases: Chopin, Schumann, and More)

Mahler’s Devastating Breakup – 1884

Gustav Mahler

Gustav Mahler

In mid-1883, 23-year-old Gustav Mahler took a job conducting opera at the Königliches Theater in Kassel, Germany.

While there, he began working with 25-year-old coloratura soprano Johanna Richter and fell in love with her. It was his first intense love affair.

We are not sure if Richter reciprocated Mahler’s feelings quite as intensely; only one letter from her survives.

In 1884, he began composing for her, writing lyrics based on folksongs and setting them to music. He called the resulting song cycle Lieder eines fahrenden Gesellen, or Songs of a Wayfarer. His December 1884 was absorbed by the project.   

Despite his passion for Richter, the couple was ultimately doomed.

He spent New Year’s Eve of 1884 with her and wrote to a friend about the experience:

I spent yesterday evening alone with her, both of us silently awaiting the arrival of the new year.

Her thoughts did not linger over the present, and when the clock struck midnight, and tears gushed from her eyes, I felt terrible that I, I was not allowed to dry them.

She went into the adjacent room and stood for a moment in silence at the window, and when she returned, silently weeping, a sense of inexpressible anguish had arisen between us like an everlasting partition wall, and there was nothing I could do but press her hand and leave.

As I came outside, the bells were ringing, and the solemn chorale could be heard from the tower.

Although the relationship didn’t work out, Mahler did reuse ideas from Songs of a Wayfarer in his first symphony, which he composed between 1887 and 1888. He wasn’t about to let his holiday heartbreak go to waste!

Fanny Mendelssohn Hensel Is Disappointed by the Christmas Singing of Papal Singers – 1839

Fanny Mendelssohn-Hensel

Fanny Mendelssohn-Hensel

Felix Mendelssohn and his sister Fanny Mendelssohn were two of the most talented child prodigies in the history of music. They remained close for their entire lives.

Felix, however, was encouraged to pursue a musical career, while Fanny’s musical accomplishments were viewed as mere feminine adornments. (Luckily, her husband understood her talent and encouraged her music-making.)

Long story short, Felix got support that she never did, and in 1830, when Fanny was 24, and Felix was 21, the family sent him on a ten-month trip to Italy…without Fanny. The trip was formative, and Fanny was fascinated by the stories of his travels.   

Happily, Fanny got to go eventually. Between 1839 and 1840, Fanny, her husband, and her baby son Sebastian took their own trip to Italy, following in Felix’s footsteps.

On 1 January 1840, she wrote to her brother, sharing some observations about musical life in Rome:

We’re enjoying a pleasant life here. We have a comfortable, sunny apartment and thus far have enjoyed the nicest weather almost continuously. And since we’re in no particular hurry, we’ve been viewing the attractions of Rome at our leisure, little by little.

It’s only in the realm of music, however, that I haven’t experienced anything edifying since I’ve been in Italy.

I heard the Papal singers 3 times – once in the Sistine Chapel on the first Sunday in Advent, once in the same place on Christmas Eve, and once in St. Peter’s basilica on Christmas day – and have to report that I was astounded that the performances were far from perfect.

Right now, they seem to lack good voices and sing completely out of tune…

One can’t part with one’s trained conceptions so easily.

Church music in Germany, performed with a chorus consisting of a few hundred singers and a suitably large orchestra, assaults both the ear and the memory in such a way that, in comparison, the pair of singers here seemed quite thin in the wide expanses of St. Peter’s.

With respect to the music, a few passages stood out as particularly beautiful. On Christmas Eve, for instance, after the parts had dragged on separately for a long time, there was a lively, 4-part fugal passage in A-minor that was very nice.

I later discovered that it began precisely at the moment when the Pope entered the chapel, and I didn’t know it at the time because women, unfortunately, are placed in a section behind a grille from which they cannot see anything.

This section is far away, and in addition, the air is darkened by the smoke from candles and incense.

On the other hand, I could at least occasionally see the officials on Christmas day in St. Peter’s very well, and found them quite splendid and amusing.

We naturally had a Christmas tree, because of Sebastian, and constructed it out of cypress, myrtle, and orange branches. The branches were very lovely, but it wasn’t the best-looking tree, and Sebastian and I attempted to outdo each other the entire day in feeling homesick.

Johannes Brahms Surprises Clara Schumann – 1865

Black and white collage of composer Johannes Brahms and Clara Schumann

Clara Schumann and Johannes Brahms

Johannes Brahms and Robert Schumann’s wife, virtuoso pianist Clara Schumann, stayed close friends until the end of their lives.

They never had a traditional romance, but they loved each other deeply, and over their decades-long relationship, Brahms spent many holidays with Clara and her children.

At Christmas 1865, Johannes was 32, and Clara was 46. Both had busy performing careers that necessitated frequent travel, and Clara assumed that she wouldn’t be seeing Johannes for the holidays.   

She sent him a traveling bag as a Christmas gift. With the gift, she included a letter talking about her daughter Julie, who had recently been ill.

She wrote, “Thank heaven we have fairly good news of Julie. She has got over the danger of typhoid, but it will be a long time before she has completely recovered.”

The family was worried about Julie’s health, and they didn’t even bother lighting candles on the tree that year.

But then the door opened – and Brahms appeared! He had made a seven-hour journey to Düsseldorf to surprise the family and check in on Julie himself.

Clara wrote in her diary that she was “very pleased and excited.”

Read our article about Christmas with Brahms.

Rachmaninoff Flees Russia – 1917

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

The Russian Revolution began in February 1917, leading to Tsar Nicholas II’s abdication in March and a provisional government taking power.

During that year’s October Revolution, a Bolshevik insurrection overthrew the provisional government. Once the Bolsheviks took power, a broader civil war broke out.

The conflict impacted Rachmaninoff’s life deeply. In the spring of 1917, he returned from touring to find that his estate had been seized by the Social Revolutionary Party. He departed, disgusted, and vowed never to return.

He and his family moved to Moscow. As tensions rose throughout the fall, he made edits to his first piano concerto with the sound of bullets flying in the background.   

During this tense time, he received an invitation to give a series of recitals in Scandinavia. He accepted because it would give him and his family an excuse to flee the country.

On 22 December 1917, the Rachmaninoffs got on a train in St. Petersburg, crowded with terrified passengers who feared arrest. Fortunately, the officials who met them were kind.

The following day, they arrived at the Finnish border. To get across it, Rachmaninoff, his wife, and two daughters had to travel in an open peasant sleigh during a blizzard.

They arrived in Stockholm on Christmas Eve. Exhausted, the family stayed in their hotel.

After escaping Russia, Rachmaninoff would go on to a celebrated performing career, but he would compose less and less. Later in his life, he would remark, “I left behind my desire to compose: losing my country, I lost myself also.”

Leonard Bernstein Conducts the Historic Berlin Wall Concert – 1989

Leonard Bernstein

Leonard Bernstein

In November 1989, the Berlin Wall was taken down, signaling the demise of the so-called Iron Curtain that had hung across Europe for a generation.

Conductor and composer Leonard Bernstein helped to organise a performance at the present-day Konzerthaus Berlin. This venue had been burned out during World War II but was reconstructed in the late 1970s and early 1980s, opening just a few years before this concert.

Musicians from all around the world participated, including men and women from Leningrad, Dresden, New York, London, and Paris.

Together on Christmas Day 1989, they performed a concert celebrating the fall of the Berlin Wall.

Bernstein programmed Beethoven’s Ninth Symphony and changed the Ode to Joy to the Ode to Freedom.

It was broadcast all over the world and became one of the most famous orchestral performances of the twentieth century, seen live by around 100 million viewers. How’s that for a memorable Christmas?

Friday, September 5, 2025

Schumann-Liszt Widmung

 

Robert Schumann, composed of Widmung, and Clara Wieck © pages.stolaf.edu

Robert Schumann and Clara Wieck © pages.stolaf.edu

Marked by its technical bravura, Widmung (or Dedication in English) has remained one of the most popular encore pieces in piano recital, allowing pianists to display their virtuosity. However, Widmung is much more than a mere showpiece – containing probably the most passionate music writing and most heartfelt feelings. Written by Robert Schumann in 1840 (this piece was from a set of Lieder called Myrthen, Op.25), this piece was later arranged for piano solo by Franz Liszt. Myrthen was dedicated to Clara Wieck as a wedding gift, as he finally married Clara in September, despite the opposition from Clara’s father (who was also Robert’s piano teacher).

Below is the text of Widmung, written by Friedrich Rückert, with English translation:

Original Text by Friedrich Rückert

English Translation (by Richard Stokes, author of The Book of Lieder (Faber, 2005))

Du meine Seele, du mein Herz,

Du meine Wonn’, o du mein Schmerz,

Du meine Welt, in der ich lebe,

Mein Himmel du, darein ich schwebe,

O du mein Grab, in das hinab

Ich ewig meinen Kummer gab!

Du bist die Ruh, du bist der Frieden,

Du bist vom Himmel mir beschieden.

Dass du mich liebst, macht mich mir wert,

Dein Blick hat mich vor mir verklärt,

Du hebst mich liebend über mich,

Mein guter Geist, mein bess’res Ich!

You my soul, you my heart,

You my rapture, O you my pain,

You my world in which I live,

My heaven you, to which I aspire,

O you my grave, into which

My grief forever I’ve consigned!

You are repose, you are peace,

You are bestowed on me from heaven.

Your love for me gives me my worth,

Your eyes transfigure me in mine,

You raise me lovingly above myself,

My guardian angel, my better self!

The work starts with a flowing sense of pulse, while the first phrase (“Du meine Seele, du mein Herz”) already captures Schumann’s love for Clara and devotion to the relationship. Here, Schumann sincerely confesses to Clara, declaring how important she is to him. For him, Clara is his angel, his spiritual support, and his entire world. Nevertheless, there is still a sense of fear and insecurity in the music, due to separation and uncertainty about their future. This complex mixture of feelings, as a true and full-bodied representation of love, certainly strengthens the emotional power of the music.

Widmung, Friedrich Rückert © www.britannica.com

Friedrich Rückert © www.britannica.com

Liszt lengthened the first section by repeating the first theme, but with the melodic line mostly embedded in left hand (with some intertwining) and accompaniment in higher register. Then, the music moves on to the chordal section in E major, which is unchanged in Liszt’s arrangement. The repeated chords convey warmth, tenderness and peace, especially when the text here is associated with death and heaven. Here, the love has changed into everlasting, eternal one – love that transcends space and time.

Franz Liszt, transcriber of Widmung © img.wikicharlie.cl

Franz Liszt © img.wikicharlie.cl

After the brief hand-crossing passage, the music reaches its most technically brilliant and rousing part with arpeggios on right hand and chords highlighting the melodic line on left hand, revealing Schumann’s most intimate feelings. It is the moment when Schumann’s love for Clara becomes so dramatic and uncontrollable, and eventually erupts – a perfect combination of rapture, passion, commitment and sense of elevation. The rich orchestral colours (such as the harp-like figurations, quasi-brass calls) in the music further heightens the emotional intensity. What an outpouring of love here.

In the extended coda, where there are some triumphant chords marked fff, the passion in the music remains, but this time presenting different moods. With ecstatic joy, the music transforms into a declaration, as if Schumann is announcing that he is determined to spend the rest of his lifetime with Clara and willing to make sacrifices in the face of adversity, for Clara is an indescribable miracle of his life.

Wednesday, April 9, 2025

Top 10 Romantic composers

 

Top 10 Romantic composers

Gramophone
Thursday, January 2, 2025

The Romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression. Here's our beginner's guide to the greatest composers of the Romantic period

Hector Berlioz (1803-69)

The arch-Romantic composer, Hector Berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic.

Key recording:

Les Troyens 

Sols incl DiDonato, Spyres, Lemieux; Strasbourg Philharmonic Orchestra / John Nelson (Gramophone's 2018 Recording of the Year) Read the review

Explore Berlioz:

Top 10 Berlioz albums – 10 great Berlioz recordings by Sir Colin Davis, John Nelson, Régine Crespin, Robin Ticciati and more


● Top 10 Baroque composers

● Top 10 Classical era composers

● Top 10 Renaissance composers


Fryderyck Chopin (1810-49)

Few composers command such universal love as Fryderyck Chopin; even fewer still have such a high proportion of all their music in the active repertoire. Yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. His chief claim to immortality relies not on large scale works but on miniature forms.

Key recording:

Piano Concertos No 1 & 2 

Martha Argerich pf Montreal Symphony Orchestra / Charles Dutoit (winner of the Gramophone Concerto Award in 1999) Read the review

Explore Chopin:

The 10 greatest Chopin pianists – Stephen Plaistow recalls the illustrious recorded history of Chopin's oeuvre and offers a personal view of great Chopin interpreters.


Robert Schumann (1810-56)

Robert Schumann is a key figure in the Romantic movement; none investigated the Romantic’s obsession with feeling and passion quite so thoroughly as him. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius.

Key recording:

Symphonies Nos 1-4 

Chamber Orchestra of Europe / Yannick Nézet‑Séguin (Editor's Choice, May 2014) Read the review

Explore Schumann:

Robert Schumann: the story of his prolific ‘year of song’ – Richard Wigmore explores the music of and biography behind Robert Schumann’s miraculous year of song, 1840


Franz Liszt (1811-86)

Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development.

Key recording:

'Transcendental: Daniil Trifonov plays Franz Liszt'

Daniil Trifonov pf (Recording of the Month, October 2016; shortlisted for Instrumental Award 2017) Read the review

Explore Liszt:

Podcast: exploring the music of Liszt – Editor Martin Cullingford is joined by Gramophone writer and expert on both Liszt and the piano, Jeremy Nicholas to discuss the composers's greatest works, and the greatest recordings of his music. 


Richard Wagner (1813-83)

No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being.

Key recording:

Parsifal

Sols incl Jess Thomas, George London, Hans Hotter; Bayreuth Festival Chorus & Orchestra / Hans Knappertsbusch Read the review

Explore Wagner:

The Gramophone Collection: Wagner's Ring – Mike Ashman visits the musical immortals and the younger gods of today to deliver his verdict on the complete Ring on record.


Giuseppe Verdi (1813-1901)

Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality.

Key recording:

Aida

Sols incl Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk; Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano (winner of the 2016 Gramophone Opera Award; Recording of the Month, Awards issue 2015) Read the review

Explore Verdi:

Verdi's Otello: a guide to the best recordings – Richard Lawrence finds at least three very special Otellos, and some electric conducting.


Anton Bruckner (1824-96)

Anton Bruckner’s reputation rests almost entirely with his symphonies – the symphonies, someone said, that Wagner never wrote.

Key recording:

Symphony No 9

Lucerne Festival Orchestra / Claudio Abbado (Gramophone's 2015 Recording of the Year) Read the review

Explore Bruckner:

Top 10 Bruckner recordings – A beginner's guide to the music of one of the great symphonic composers.


Giacomo Puccini (1858-1924)

Whatever the atmosphere he wanted to create, Giacomo Puccini’s sound world is unique and unmistakeable with its opulent yet clear-cut orchestration and a miraculous fund of melodies with their bittersweet, tender lyricism. His masterly writing for the voice guarantees the survival of his music for many years to come.

Key recording:

Tosca

Sols incl Maria Callas, Giuseppe di Stefano, Tito Gobbi; Orchestra and Chorus of La Scala Milan / Victor de Sabata Read the review

Explore Puccini:

Maria Callas: the Tosca sessions – Maria Callas’s famous 1953 Tosca, as Christopher Cook reveals for the first time, was riven by tension and driven by a relentless quest for perfection.


Pyotr Il'yich Tchaikovsky (1840-93)

Tchaikovsky is the most popular of all Russian composers, his music combining some nationalist elements with a more cosmopolitan view, but it is music that could only have been written by a Russian. In every genre he shows himself to be one of the greatest melodic fountains who ever lived.

Key recording:

Symphony No 6, Pathétique

MusicAeterna / Teodor Currentzis (Recording of the Month, January 2018) Read the review

Explore Tchaikovsky:

Tchaikovsky's 1812 Overture: the complete guide – How audiences, performers and the composer himself have responded to this iconic and surprisingly controversial work, by Geoffrey Norris.


Johannes Brahms (1833-97)

One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms.

Key recording:

Symphonies (Complete)

Gewandhaus Orchestra / Riccardo Chailly (Gramophone's 2014 Recording of the Year) Read the review

Explore Brahms:

Brahms's Symphony No 3: a guide to the best recordings – Richard Osborne surveys the finest recordings of the Third Symphony

Friday, January 10, 2025

Seven Works Dedicated to Robert Schumann

  

Robert Schumann was one of the leading figures of classical music’s Romantic Era. His music – by turns tempestuous and ecstatic and always heartfelt – made a huge impression not only on audiences but on his fellow composers, too.

Today, we’re looking at seven works that Robert Schumann’s friends and colleagues wrote as tributes to him and his genius.

Josef Kriehuber: Robert Schumann, 1839

Josef Kriehuber: Robert Schumann, 1839

Frédéric Chopin: Ballade No. 2 (1836-39) 

Frédéric Chopin and Robert Schumann had a bit of an awkward relationship. Schumann raved about Chopin’s music in his music journalism, but Chopin seems to have had a cooler opinion about Schumann’s work.

They met twice. The first time was in 1835 when Chopin was passing through Leipzig after visiting his parents. Schumann wrote about the encounter with great enthusiasm in his diary, but if Chopin ever recorded his impressions of the meeting, such an account hasn’t survived.

Frédéric Chopin

Frédéric Chopin

The second and final time was in 1836. Schumann tried initiating the meeting via letter but got no response. Then, one day, he arrived home to find Chopin waiting at his doorstep! They played music for one another, and Robert’s soon-to-be-wife Clara Wieck joined them.

After the visit, Schumann dedicated his Kreisleriana to Chopin, calling him “my friend” on the dedication page. Chopin reciprocated by dedicating this Ballade to Schumann…but was much more formal, dedicating it to “Mr. Robert Schumann,” and (perhaps pointedly) making no mention of friendship.

William Sterndale Bennett: Fantaisie, Op.16 (1837) 

William Sterndale Bennett was a British pianist, composer, and conductor who was born in 1816.

He began composing at an early age, and several big names in European music were very impressed by him. Felix Mendelssohn invited the young man to Leipzig, where he met Robert Schumann. All three men deeply admired each other’s work.

William Sterndale Bennett

William Sterndale Bennett

In 1837, the year he turned twenty-one, Bennett began teaching at the Royal Academy of Music in London. He also wrote this four-movement “Fantaisie” for solo piano and dedicated it to his friend and mentor Robert Schumann.

Clara Wieck Schumann: 3 Romances, Op.11 (1839) 

Robert Schumann admired many composers, but the one he loved the most was his girlfriend and later wife, Clara Wieck Schumann, who he married in September 1840, a day before her twenty-first birthday.

Andreas Staub: Clara Wieck, 1839

Andreas Staub: Clara Wieck, 1839

Their courtship was stormy. Her father disapproved of the match and went to court to try to prevent it. There were periods of time when the two were separated against their wills or when Clara was away concertising in the capitals of Europe. But they always found their way back to each other.

It is tempting to read her longing for Robert into these three-yearning works for solo piano that she dedicated to him in 1839, the year before their marriage.

Ignaz Moscheles: Cello Sonata No. 2 (1850-51) 

Ignaz Moscheles was born in 1794 in Prague. He was a talented pianist and composer, and was one of the earliest champions of the music of Beethoven.

As a young man, he made sensational impressions on audiences touring through Europe. One of the listeners particularly affected by his piano playing was none other than Robert Schumann.

Ignaz Moscheles

Ignaz Moscheles

Moscheles enjoyed a great friendship with the Mendelssohn family due to their Jewish heritage, passion for music, and Moscheles’s acknowledgement of Mendelssohn’s genius. Moscheles and the Mendelssohns were also friends with the Schumanns. (Moscheles even played a three-harpsichord concerto with Clara Schumann once – an unusual sight in the mid-nineteenth century!)

Given their overlapping friendships, it makes sense that Moscheles dedicated this charming Romantic cello sonata to Robert Schumann.

Woldemar Bargiel: Piano Trio No. 1 (1851) 

German composer Woldemar Bargiel’s origin story was complicated.

Bargiel’s mother Mariane Tromlitz was a professional singer. In 1816, she married a demanding piano teacher named Friederich Wieck and had five children with him, among them a prodigy pianist named Clara.

In 1824, unable to endure her marriage any longer, Mariane divorced Wieck and (awkwardly) married Wieck’s best friend Adolphe Bargiel instead. She eventually had three more children with Adolphe, including Woldemar.

Woldemar Bargiel

Woldemar Bargiel

It worked out well for the young and musical Woldemar to have a brilliant half-sister pianist nine years his senior. She gave career advice and provided him introductions to giants like Mendelssohn and Schumann. Their social circle suggested that he study at the Leipzig Conservatory, which he did between the ages of eighteen and twenty.

In 1848, he moved to Berlin to pursue his career there. This piano trio was written in 1851 and was unpublished for five years until Robert and Clara Schumann worked their connections so that it could be printed. In gratitude, he dedicated it to Robert.

Franz Liszt: Piano Sonata in B-minor (1852-53) 

Clara Wieck Schumann and Franz Liszt had a rocky professional relationship. It started out positively. When she was a young girl, she was awed by his virtuosity, and for his part, Liszt found her compositions impressive, “especially for a woman,” as he reported to his partner, Marie d’Agoult.

Franz Hanfstaengl: Franz Liszt, 1858

Franz Hanfstaengl: Franz Liszt, 1858

But as the years went on, Clara became more and more leery of his brash style and willingness to depart from the score.

An all-out feud erupted in 1848 when Liszt called Robert Schumann’s Piano Quintet “typically Leipzig”, which insulted Clara. But Robert smoothed things over, to Clara’s irritation; in her artistic maturity, she didn’t want anything to do with Liszt’s style of music-making.

In 1854, Liszt published this piano sonata and dedicated it to Robert Schumann. Not surprisingly, Clara had a strong reaction, writing in her journal:

Today, Liszt sent me a Sonata dedicated to Robert and some more pieces, together with a polite note. But those pieces are so creepy! Brahms played them to me and I felt really miserable … This is only blind noise – no more healthy thoughts, everything is confused, one cannot see any clear harmonies! And, what is more, I still have to thank him now – this is really awful.

Despite her disgust, Liszt cheerfully retained his admiration for her music and her playing.

Clara Wieck Schumann: Variationen über ein Thema von Robert Schumann, Op.20 (1853) 

It’s fitting that the final work on this list is another one of Clara’s.

This set of variations on a theme originally composed by Robert was written as his 41st birthday present. She wrote it in less than a week.

In this work, Clara includes references to multiple pieces of music by her husband, herself, and Felix Mendelssohn (who had died young and unexpectedly a few years before).

Eduard Magnus: Mendelssohn, 1846

Eduard Magnus: Mendelssohn, 1846

It was one of the last musical projects they shared. Over the winter, Robert’s mental health deteriorated. In February 1854, he nearly died by suicide after jumping off a bridge into the Rhine River. It was determined that he needed to go to an asylum for his own safety. He died in the asylum in 1856. Clara would only be allowed to see him once more, shortly before his passing.

To comfort her, Johannes Brahms wrote his own variations for Clara based on this work after Robert had been institutionalised. It may not be dedicated to Robert officially, but it certainly was dedicated to him in spirit, so here it is as a bonus. We wrote about it here.