Music: Sun May 22


The social media give people the ability to assume alternative identities; they are the masquerade balls of modern times. The 19th-century composer Robert Schumann was intrigued by Romantic literature, especially the writings of Jean-Paul Richter and scenes in his novels which depicted costume balls. For Schumann, the donning of a mask had a dual potential: it could be a screen to protect the true self; on the other hand, the mask itself could express part of the self usually hidden from view. In piano works like Papillons and Carnaval, Schumann evokes the succession of dances interrupted by diverse masked characters at just such a ball. Read on for programming details and watch for explanatory slides.

Gathering Music: Adam Kent, piano

Papillons, Op. 2, Nos. 1-6 and 12

                                                Robert Schumann


Offertory: CUUC Choir directed by Georgianna Pappas for Lisa N. Meyer

*Laudate, Dominum from "Solemn Vespers", K. 339

                                                Wolfgang Amadeus Mozart, arr. by Earlene Rentz




Praise the Lord

Praise the Lord, all nations;

Praise Him, all people.

For He has bestowed

His mercy upon us,

And the truth of the Lord endures forever.


Glory to the Father and to the Son and to the Holy Spirit,

as it was in the beginning, is now, and forever,

and for generations of generations.



From Carnaval, Op. 9




Slide Note:

Frederic Chopin takes a turn as one of the guest masqueraders in the delightful succession of dances, intimate scenes, and cameo appearances which comprise Schumann's Carnaval. In his role as a musical journalist, Schumann had once allowed his imaginary persona Eusebius to herald his discovery of Chopin's music with the exclamation "Hats off, gentlemen, a genius!"



                                                American Folk Song arr. by Brad Printz


From Carnaval, Op. 9




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