Clara Schumann - Piano Trio in G minor, Op. 17

      Clara Schumann (1819-1896) set herself apart from the women of her time period.  It was highly uncommon for women, not including renowned singers, to perform in public or compose. Clara Schumann participated in both activities and is known as one of the most accomplished pianists of the Romantic era. 

      Clara was born into a family that fostered musical involvement. Her father made a living by teaching piano, selling instruments, and maintaining a music library.  At the age of five, Clara’s parents separated and custody of Clara and her four brothers was given to their father.  Clara’s mother remarried and relocated to Berlin, leaving the majority of influence on Clara to her father, Friedrich.  Friedrich recognized his daughter’s skill at a young age and ensured that her musical education was thorough.  She studied piano, violin, theory, and various other areas of composition under her father and other excellent teachers in Leipzig, Dresden, and Berlin.  By the age of nine, Clara began performing in Leipzig and made her formal debut by the age of eleven.  

      Clara further set her self apart from the crowd in that she was one of the first to perform music entirely from memory.  (Thank you, Clara.)  During this time she performed her own compositions as well as works by other major composers including Beethoven, Bach, Scarlatti, Schubert, and of course, Robert Schumann. 

      Under the disapproving eye of her father, Clara became infatuated with Robert Schumann.  Friedrich was able to keep them apart for a time, but ultimately the two married after nearly a year of legal battles.  The marriage ultimately resulted in a combined musical life.  Clara lived out an uncommon life in the sense that both men in her life, her father and husband, encouraged her to perform and compose. 

 

      During Clara’s fourth pregnancy, she was unable to tour as a pianist and instead stayed home and produced Piano Concerto in G minor, Op.17.  Four movements belong to this piece: Allegro, Scherzo and Trio, Andante, and Allegretto.  The first movement, Allegro, is similar in style to that of Robert’s. With its harsh but somewhat yearning, lyrical first theme, with the second theme being lighter, more chordal, and syncopated.  It is evident to see Bach’s stylistic influence in the development section with her driving counterpoint and her controlled approach.  She breaks the norm by inserting a Scherzo as the second movement. This is a lighthearted piece based on a dotted rhythm.  The Trio section is more lyrical.  The third movement, Andante, falls more in line with the routine harmonization yet provides more flavor melodically.  The outer sections reflect sweet and lyrical with the middle section transitioning back to minor mode.  The final section, Allegretto, brings back major mode and sonata form.  The first theme being dark and looming, the second provides more optimism.  Tension is ultimately released just before the last chords of the piece.  

Resources: 

http://www.musicacademyonline.com/composer/biographies.php?bid=51

http://www.encyclopedia.com/people/history/historians-miscellaneous-biographies/clara-schumann

http://www.thefamouspeople.com/profiles/clara-wieck-schumann-393.php

http://www.kapralova.org/journal13.PDF

http://study.com/academy/lesson/clara-schumann-biography-music-compositions.html

http://earsense.org/chamberbase/works/detail/?pkey=687