Most of the comments are something like: "sounds like Chopin" or "borrowed from Weber" or "not at the level of her husband". Damn, have played/studied/listened to everything by Clara and almost everything by Robert, and I soon stopped trying to question if this is good enough. It's a shame most people can't deal with that. I'm sure they are not constantly asking themselves if what they listen from the so called "masters" is also good enough. They just assume... And with this I'm not saying this piece is the best Clara ever composed, I'm just saying that I don't find myself in the position to judge her works as strictly as others do. If Robert uses a melody by Clara it's an hommage, if Clara does the same it's stealing. Fuck, it's 2021, I thought some things had changed
Can it be, they can't accept a woman composer? Music doesn't know the gender, I detest classical snobs who hold their nose up, pontificating their expertise, let it be known they are excrementitious garbage that fouls the environment! They exist so they can be dismissed!
As far as I'm concerned each composer has his particular style. That's why we shouldn't compare Schumann with Clara or Bramhs with Strauss. But I can analyse carefully his works to see his differences and it is obvious that Clara didn't want to innovate harmonically. Personally, I think she took ideas of Chopin who always wrote simply melodies without any counterpoint. In a nutshell, I can point out his mistakes.
That’s my impression as well. I’ve played/listened to a lot of classical music in my life and haven’t quite encountered anything like it. Clara’s vocabulary is certainly unique. My favorite observation about her music is that there’s always this sense of imminent tragedy and darkness, though intertwined with heartwarming and playful melodies.
This astonishingly beautiful and complex. Better than most of what most men were writing at her time. She is not performed enough by modern pianists. It's time to reevaluate her place as a composer in history.
@@ignacioclerici5341 Better or Worse in classical music is really evaluated by one's preferences or how they value the theoretical components of music.
@@aspacelex Yes, that's a fact. But I'm talking only about composition (writing pieces), not performance. Schumann wanted his wife to write music, not only to play it.
The very first phrase sounds like the beginning of Chopin's cello sonata, and the second phrase reminds me the opening of his third piano sonata a lot.
Although this sonata wasn't published during the time it was composed so that chopin could know this work, it makes me worry how the intro of his cello sonata has so many similarities. Its like somehow he knew about this work.
@@georgel2201 The composer this most reminds me of is not so much Chopin, nor Robert Schumann, but rather Mendelssohn. Who was also part of the same circle; she played the Spinning Song a lot IIRC.
@@chateauferret the first theme of this sonata resembles Chopin's first theme in his cello sonata first movement. I think her first works share some elements with Mendelssohn but her latest works are really influenced by her husband Schumann. Check out her piano trio is full of her husband's idiosyncrasies
12:41 This melody sounds exactly like an Episode from Schubert's 1st Klavierstück (Piano Piece from 3 Pieces) - listen to ua-cam.com/video/M75JsOQwk68/v-deo.html at 10:13
The first 2 movements are pure imitation of her husband. I think he may have writtens some measures for her. The 3rd movement contains little decent music. The last movement borrows rhythm from the Tempest Sonata. I imagine the 3 and 4 are early works because they both stink, less so the final movement. There are hints of Chopin but the music is very German and not so French-Polish.
The dotted quaver-semiquaver rhythm sounds to be played as a triplet rhythm, and it is really irritating to hear it played differently from written... that doesn't stop enjoyment being taken out of everything else to be heard, however! One minor gripe, is all.
@@chateauferret If it was Bach, I'd actually understand the discrepancy, since triplet markings were used far less frequently during the Baroque era. This was intended to be a dotted quaver-semiquaver rhythm, not a triplet, and ideally should have been played as such.
I personally find this work to be a little on the insipid side. While it does have some good ideas it is neither musically nor emotionally as complex as the piano sonatas written by her husband. Sure its a good starting romantic sonata for the prototypical teenage student but I can sort of understand why it does not have a place in the repertoire of most mainstream professional pianists; it simply lacks harmonic complexity.
Besides, this piece was intentionally hidden by Clara and just found in 1945 and it was first published in 1991. This piece was a christmas gift for Robert in 1840, the year when they get married and they could celebrate christmas in their new home together.
"While it does have some good ideas it is neither musically nor emotionally as complex as the piano sonatas written by her husband" Maybe it is because they are completely different composers? I don't think she was writing music to compete with her husband.
I completely disagree. I think it's your ears that are insipid. This is beautiful in its own terms. Try again. And the next time don't be so insulting end sexist.
![Mozart - Sonata for Two Pianos in D, K. 448 [complete]](http://i.ytimg.com/vi/tT9gT5bqi6Y/mqdefault.jpg)
Most of the comments are something like: "sounds like Chopin" or "borrowed from Weber" or "not at the level of her husband". Damn, have played/studied/listened to everything by Clara and almost everything by Robert, and I soon stopped trying to question if this is good enough. It's a shame most people can't deal with that. I'm sure they are not constantly asking themselves if what they listen from the so called "masters" is also good enough. They just assume... And with this I'm not saying this piece is the best Clara ever composed, I'm just saying that I don't find myself in the position to judge her works as strictly as others do. If Robert uses a melody by Clara it's an hommage, if Clara does the same it's stealing. Fuck, it's 2021, I thought some things had changed
Can it be, they can't accept a woman composer? Music doesn't know the gender, I detest classical snobs who hold their nose up, pontificating their expertise, let it be known they are excrementitious garbage that fouls the environment! They exist so they can be dismissed!
okay calm down sir no hurting The Lord’s heart💜✝️⚰️
So fuckin well said. It's sad in 2021 and apparently things in classical music haven't changed much since 1830...
As far as I'm concerned each composer has his particular style. That's why we shouldn't compare Schumann with Clara or Bramhs with Strauss.
But I can analyse carefully his works to see his differences and it is obvious that Clara didn't want to innovate harmonically. Personally, I think she took ideas of Chopin who always wrote simply melodies without any counterpoint.
In a nutshell, I can point out his mistakes.
You re right ,people always are stupid to admit that woman can do great
4:41 Scherzo in C minor op 14
That's a wonderful composition. thanks for expending my musical knowledge!
Clara sounds like Clara. Exceptional woman. Love her. Love this work.
That’s my impression as well. I’ve played/listened to a lot of classical music in my life and haven’t quite encountered anything like it. Clara’s vocabulary is certainly unique. My favorite observation about her music is that there’s always this sense of imminent tragedy and darkness, though intertwined with heartwarming and playful melodies.
@@matttondr9282 beautifully put! That undercurrent also runs through Robert and Brahms' music, but with Clara it's more subtle!
Beautiful sonate... A lot of her works are beautiful ❤️
A fine work and excellently played!
This astonishingly beautiful and complex.
Better than most of what most men were writing at her time. She is not performed enough by modern pianists. It's time to reevaluate her place as a composer in history.
@@ignacioclerici5341 Better or Worse in classical music is really evaluated by one's preferences or how they value the theoretical components of music.
She's a great composer but better than what most men were writing? Plenty of great composers at the time.
This is a beautiful work
It's one of the biggest crimes against art ever committed in history that women were denied the ability to create it for so long.
In case of Clara, she was literally forced to compose music by her obsessed husband Robert.
@@пейнтболмосквы What's the source for that? She began touring when she was 11 and continued performing after his death.
@@aspacelex Yes, that's a fact. But I'm talking only about composition (writing pieces), not performance. Schumann wanted his wife to write music, not only to play it.
@@пейнтболмосквы Сорс?
@@пейнтболмосквы that's actually pretty interesting, i have mever heard of that, can you guve me a source?
WOW - finale very powerful and catchy. She's gotta' be the best female classical composer of all time; followed closely by Fanny Mendelssohn Henel.
Lili Boulanger?
Please come to New Jersey I love your work
Gorgeous. That 2nd mvmt is transcending. Thx
Very simplistic musically, but still incredibly effective!
Vielen Dank.
forsch, forsch... und wahrscheinlich auch fäsch, die Clara ;-) - faszinierend! Danke!
Bravo bravo bravo
Opens with the motif of Mozart's adagio and fugue in c minor/Beethoven
0:00
0:35
5:34
5:47
6:05
The very first phrase sounds like the beginning of Chopin's cello sonata, and the second phrase reminds me the opening of his third piano sonata a lot.
OMG RIGHT??!!! I was like *COME THROUGH* inspiration for Chopin!!
Although this sonata wasn't published during the time it was composed so that chopin could know this work, it makes me worry how the intro of his cello sonata has so many similarities. Its like somehow he knew about this work.
@@georgel2201 The composer this most reminds me of is not so much Chopin, nor Robert Schumann, but rather Mendelssohn. Who was also part of the same circle; she played the Spinning Song a lot IIRC.
@@chateauferret the first theme of this sonata resembles Chopin's first theme in his cello sonata first movement. I think her first works share some elements with Mendelssohn but her latest works are really influenced by her husband Schumann. Check out her piano trio is full of her husband's idiosyncrasies
Clara wrote this sonata in 1841. Chopin wrote his cello sonata in 1846 so it is his piece that sounds like hers :)
Благодарствую, спирачилЬ!
nice
12:41 This melody sounds exactly like an Episode from Schubert's 1st Klavierstück (Piano Piece from 3 Pieces) - listen to ua-cam.com/video/M75JsOQwk68/v-deo.html at 10:13
Omg yes
Also check out Mendelssohn's Song Without Words called 'Lost Illusions', the first theme of the piece sounds like it, too.
@@CatkhosruShapurrjiFurabji yes, it really sounds similar!
1:19
Everyone says this sounds like Chopin but I hear more Beethoven
Yes, me too! A delicate Beethoven.
The first 2 movements are pure imitation of her husband. I think he may have writtens some measures for her. The 3rd movement contains little decent music. The last movement borrows rhythm from the Tempest Sonata. I imagine the 3 and 4 are early works because they both stink, less so the final movement. There are hints of Chopin but the music is very German and not so French-Polish.
¡¡ El ANALISIS musical del 2o movimiento aquí !!
---> ua-cam.com/video/Yf9KZP3I5UA/v-deo.html
where can i find the sheet?
The dotted quaver-semiquaver rhythm sounds to be played as a triplet rhythm, and it is really irritating to hear it played differently from written... that doesn't stop enjoyment being taken out of everything else to be heard, however! One minor gripe, is all.
It's mainstream romantic. Not J S Bach.
True
and the staccato
@@chateauferret If it was Bach, I'd actually understand the discrepancy, since triplet markings were used far less frequently during the Baroque era. This was intended to be a dotted quaver-semiquaver rhythm, not a triplet, and ideally should have been played as such.
Sounds like an early chopin
Or Chopin was just a late Clara Schumann
@@beigehere *early
@@e.hutchence-composer8203 no, he said it correctly
Chopin cello sonata in G minor
The Theme of the first movement was borrowed from Weber's Konzertstück in F minor for Piano and Orchestra, Op. 79, J. 282 (1815)
The opening sounds very much like Weber's Konzertstück op79.
7;25
This pianist is playing her work as if she is Chopin. So sad tbh. So many missed opportunities...
its like beethoven and suddenly it comes to chopin and then to Schuhmann...
I personally find this work to be a little on the insipid side. While it does have some good ideas it is neither musically nor emotionally as complex as the piano sonatas written by her husband. Sure its a good starting romantic sonata for the prototypical teenage student but I can sort of understand why it does not have a place in the repertoire of most mainstream professional pianists; it simply lacks harmonic complexity.
Besides, this piece was intentionally hidden by Clara and just found in 1945 and it was first published in 1991. This piece was a christmas gift for Robert in 1840, the year when they get married and they could celebrate christmas in their new home together.
thats so lovely omg.. as a gift.
"While it does have some good ideas it is neither musically nor emotionally as complex as the piano sonatas written by her husband"
Maybe it is because they are completely different composers? I don't think she was writing music to compete with her husband.
@Lunar Orbit he's not saying this piece shouldn't be played either
I completely disagree. I think it's your ears that are insipid. This is beautiful in its own terms. Try again. And the next time don't be so insulting end sexist.