Clara Schumann: Piano Concerto in A minor, opus 7 / Scherzos / 4 Fugitive Pieces / Variations on a Theme of Robert Schumann
Michael Ponti, piano / Berlin Symphony Orchestra / Voelker Schmidt-Gertenbach
Clara Wieck’s 1835 Piano Concerto is a sparkling work somewhat in the mold of her teacher, Felix Mendelssohn, who conducted the premiere in 1838.
One of her father’s own music students was Robert Schumann, and they courted and wed fast, against her father’s wishes. Like her friend and fellow-composer Fanny Mendelssohn (Felix’s sister), Clara shattered at least one glass ceiling by performing in public at a time when musical women could hope to become singers at best. She was a first-class soloist, whom many critics believed would one day rival Franz Liszt, the demigod of the instrument. She continued to travel as a concert pianist even after giving birth to 8 (!) children, and caring for Robert during his spells of suicidal depression–a domestic workload that’s simply ridiculous.
Along with a Piano Trio and a set of Polonaises, the Piano Concerto in A minor is considered among her finest works. Ponti gives a precocious interpretation; in the first movement, ascending octaves, a la Chopin, are interrupted by the orchestra before the piano wrests away the main theme. Back-and-forth playful rhythms between cello and piano open the exquisite Romance, which then leads almost without pause from timpani to trumpets in the virtuosic final movement.
Steeped from childhood in the repertoire, it’s a prototypically classical concerto: Lightly dramatic, it calls for virtuosity and gracefulness in equal measure.
Oh, the composer was 13 years old when she began composing it.