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
*Translation:
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.
Amen.
Meditation:
From Carnaval, Op. 9
Chopin
Schumann
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!"
Interlude:
"Shenandoah"
American Folk Song arr. by Brad Printz
Postlude:
From Carnaval, Op. 9
Preambule
Schumann
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