(no audio) - [Announcer] This program is made possible by Sid and Flo Banwart.

(gentle piano music) (gentle piano music continues) - Hello and welcome to "Sound Bites," a program designed to enjoy music, great music, and all kinds of music as if you were in your home having a party with your friends, and you just happen to have world-class musicians along to entertain and discuss music.

So, tonight we're gonna be discussing a love triangle.

And it's not a usual love triangle.

It's one where three composers of the German Romantic period, Clara Schumann, Robert Schumann, her husband, and Johannes Brahms had this relationship that was just unbelievably deep and affectionate and respectful.

So it's not your normal salacious type of love triangle, but it's the kind where their deep affection for each other, their admiration for each other's talents and abilities, and the passion that they may have felt at any given time was usually expressed either through letters or through the music that they wrote for each other.

And so tonight we're gonna explore that music.

And our wonderful guest, Derek Wang, our pianist, is going to present to you a program that explores this kind of triangle of deep affection between three great artists and where the music that they wrote, the passion that's... and the feelings, the subtle feelings that are inherent in this music and how it was an expression between them.

So, Derek Wang.

(audience applauding) - Thank you.

(audience applause continues) Thanks Maestro, and thank you all for being here.

I'm thrilled to be in Peoria, and I'm thrilled about the theme of this program, the Schumanns and Brahms, because not only is the music both so passionate and also so tender in its expression, but it also allows us to consider just, like, for example, portraiture or self-portraiture in art, it allows us to consider music and art as craft versus music and art as personal expression.

Of course, two aspects that are fundamentally intertwined and inseparable, just as in this first piece that I'm going to play, a scherzo by Clara Wieck, not yet Clara Schumann.

She was not yet 19 when she wrote this piece in 1838 for her own concert tours.

She had just taken Vienna by storm, as arranged by her meticulous, but slightly domineering father, manager, and piano teacher, Friedrich Wieck.

And next she was going to Paris.

And so this piece, this scherzo, on the surface is a glittering piece de resistance for her own showcase.

At the same time, under the surface, just as how in, I think, her life, if you look under the surface, it might seem on the surface like everything's going so well.

But actually she's just fallen in love with Robert Schumann, nine years her senior, her father's former piano pupil, and certainly in his eyes, in her father's eyes, certainly not a good match.

Now, one detail of Clara Wieck's childhood might serve to illuminate what kind of influence she was under from her father.

Until the age of 18, when she wrote this piece, Clara wasn't even allowed to keep her own diary.

Her diary entries had to be supervised by her father, who annotated them, not only correcting the grammar, but correcting what kind of thoughts and emotions she should be feeling.

So I think this piece, just like how at age 18 she finally, long overdue, received her own diary where she could commune with her own thoughts in private, this piece is also like a page from that diary.

In many of its beautiful middle sections, Clara writes the word "dolente" in Italian, meaning painful.

And we get this sense of a peek behind the curtain at her own uncertainties at how her future might develop with this opposition between her father and her new lover.

("Scherzo in D minor, Op.

10" by Clara Wieck) ("Scherzo in D minor, Op.

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10" ends) (audience applauding) (audience cheering) (audience applause continues) At the same time that Clara was writing this scherzo, her fiance, though in secret, Robert was writing the piece I'm going to play next, a sonata for piano in four movements.

When Clara received the finished version of this piece and played it through, she wrote one of many, many beautiful letters to Robert and said, "This piece reminds me "of so many happy hours that we've spent together, "as well as so many painful ones.

"And I love it as I love you."

It's a beautiful idea that she saw this sonata as a kind of musical portrait of her lover.

And I almost wonder whether he might've intended it as a portrait of her.

Of course, when we see a portrait, we see not only the sitter, not only the subject of the painting, but also the mind of the painter, him or herself.

The slow movement, the second movement of this sonata is very interesting because it actually originated as a song, that is with a text, with a beautiful poem that Schumann had composed as a teenager.

And the title of this poem is "In the Autumn."

It's kind of a reversal of all of the springtime imagery of love that is so common in this Romantic period of literature.

In the poem, "Autumn," the poet sings, "It's good that you're leaving and flying away, you birds, "so only I will sing to my beloved."

And it says, "Go ahead and set, sun, earlier in the evening "so only I can warm my beloved."

So on one hand, it's this defiance of nature and a proud assertion of love against the declining life that we see in the autumn.

And on the other hand, it's this embrace of a wonderful intimacy that is so characteristic of all the composer's music.

I'll just say one more thing about the last movement of this sonata.

The version that Clara played had a different last movement that she, with her keen sense of the musical public, felt was a little too complex.

And it's very funny to see how carefully she words herself.

She says, "I can play it and I love it, "but the audience, even connoisseurs of music, "might have a harder time."

And in this case, Robert obliged and wrote a different last movement, which has, I think, greater variety of mood.

In addition to the darkness, the passionate energy which pervades the whole piece, the last movement has a few little episodes or intermezzi, which offer an incredibly tender image that for me is clearly the portrait of Clara within this music.

("Piano Sonata No.

2 in G minor, I."

by Robert Schumann) ("Piano Sonata No.

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ends) (audience applauding) (audience cheering) (audience applause continues) In introducing the music of Brahms, I'm going to return to that theme that I might have mentioned at the very beginning, the relation between music as craft and as personal expression.

Now, there's another great early work by Robert Schumann called the "Davidsbundlertanze."

I won't go into exactly what that means, nevermind.

The important part is that the work has a very beautiful motto as its preface, a German motto.

And it says, "In every age joy and sorrow are intermingled.

"Remain steadfast in joy, and bear sorrow with courage."

So Schumann's music, which so often has these mercurial changes of mood, is actually more than just a kind of emotional Finnish sauna.

You know, hot and cold, boiling and freezing.

Actually, I think it's not only the emotion, it's the ethics.

It's about negotiating the emotions.

It's about bearing with the sorrow.

And it's about remaining grounded, humble, or pious even, as the original German motto says, through joy.

And this is where Brahms picks up, belonging to a younger generation than Schumann.

But this piece comes from much later in the century, this set of pieces, the first five of his piano pieces collected in his Opus 76 publication.

The very first piece Brahms wrote in 1871 as a birthday present for Clara Schumann, whose husband had passed away 15 years before, and who was commemorating the anniversary of their wedding.

And it begins, this Brahms work, with an extraordinary outburst, but little by little, the music negotiates that passion and tames it, makes peace with it, and ends with a calm, twilight mood, very typical of Brahms.

And that's kind of the point I was getting at at the beginning.

It's the way that the composer works through this emotion.

It is a kind of therapeutic process, if you will, that the music engages in.

And by giving this piece as a birthday present and a wedding anniversary present to Clara, Brahms must have been giving her some indication of the journey that their inner lives had gone through over the decades.

The other four pieces in the set have a wonderfully varied range of moods.

Number two, engages in some of the popular cafe music of the era in Vienna.

Number three is entirely twinkling lullaby, like almost a music box.

Number four, an intermezzo, a wonderfully tender piece, which has occasional undercurrents of melancholy, which are kind of charmed away.

And number five is Brahms at his most defiant.

It too has a tender episode in the middle, but makes for an incredibly passionate conclusion to what has been, if I may say, a very passionate program.

Thank you.

(no audio) ("5 Klavierstucke, Op.

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79, V."

by Johannes Brahms) ("5 Klavierstucke, Op.

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79, V."

ends) (audience applauding) (audience cheering) (audience applause continues) Thank you.

(audience applause continues) Returning us to the incredible love story between Robert and Clara Schumann, this song has a name in German, "Geheimes Flustern," "Secret Whisperings."

It takes place in the forest.

("Geheimes Flustern, Op.

23" by Clara Schumann) ("Geheimes Flustern, Op.

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