Brahms.... Liebeslieder-Walzer Op. 52
Schubert.... An Die Sonne
Stroope.... Amor Die Sonne
Lauridsen.... Dirait on
Clausen.... My Love's Like a Red Red Rose
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Listen to Richard Zeller
CONCERT NOTES by Jack Roberts
Johannes Brahms (1833-1897) A Change of Pace
Generally, we think of Brahms in terms of symphonies, concertos, and chamber works. But then there is that incredible choral collection (originally for piano four-hands), the Liebeslieder Waltzes, Op.52, a set of 18 beautifully melodic and rhythmically entrancing works. These poetic and musical odes were written in 1874, while Johannes was carrying that excruciatingly heavy torch for Clara Schumann – just a torch, no hanky-panky… Clara was a “professional” widow. Ah, the Waltzes!! What a change in feeling from the same pen that gave us the fiery Hungarian Dances a few years earlier – a true study in contrasts!
Franz Schubert (1797-1828) After Beethoven?
“Who can do anything after Beethoven”, asked Schubert, before he went about achieving sublime creative heights, giving us 600 songs, nine symphonies, song cycles, great chamber works, piano sonatas, masses and much more – each endowed with his unique lyricism and emotions. All this emanated from one who had no conservatory training, but did have piano and violin lesson from his brother and father. He was tutored for a time by Antonio Salieri (you remember Salieri!), and in 1810, the 13 year old Schubert wrote his first compositions – a piano fantasia and a string quartet – and thereafter never stopped expressing himself through magnificent melody.
A side note on Lieder: They are generally songs (‘lieder’ is the German word for ‘songs’) written to accompany poetry describing the beauty of nature, romance, tragedy, etc. Famous poets such as Goethe, Schiller and Heine were often used. Mahler wrote some of his own words, but should have stuck to the music. Typically, Lied (a single lieder) is composed for single voice and piano, but can also be for multiple voices or chorus and orchestra.
Hugo Wolf (1860-1903) Prolific Plus
Wolf is considered one of the greatest masters of the German Lied, or art song, with 300-500 songs to his credit (depending on the source). He entered the Vienna Conservatory of Music when he was 15, but was expelled after two years – a lack of discipline, so they said. Soon after he began writing songs, he experienced an unpleasant run-in with Brahms, had a romantic affair with the wife of a Viennese Court jeweler, was appointed second conductor of the Salzburg Orchestra (briefly and contentiously) and, finally, became music critic of a weekly Viennese newspaper. He enjoyed his journalism gig, taking potshots at a number of composers that irritated him.
After three years of this catharsis, he left the newspaper to compose full time. One of his major works was an eloquent set of 48 songs, The Italian Songbook. Many of his works were like short descriptive snapshots; others were longer and considered miniature symphonic poems. His last years were unhappy and damp: he tried to drown himself as had Schumann and Berlioz. Thankfully, all were unsuccessful. His last days were sadly spent confined in a mental hospital. And so it goes…
