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Hello and welcome to Sticky Notes: The Classical Music Podcast!  This podcast is for anyone who loves classical music, or is just getting ready to dive in for the very first time.  Thanks so much, and I hope you enjoy it!  

Nov 2, 2023

In January of 1839, Clara Wieck, Robert's future wife, wrote to Robert, “Don’t take it amiss if I tell you that I’ve been seized by the desire to encourage you to write for orchestra. Your imagination and your spirit are too great for the weak piano.” Clara knew that she would have struck a nerve with Robert, whose history with the piano was full of trials and tribulations. Robert had trained as a pianist, but a 3 year period of reckless amounts of practicing as well as the exacerbating effects of experimental devices meant to strengthen his fingers had destroyed his ability to play professionally. But already from the age of 17, in 1827, Robert had considered writing a piano concerto, probably for himself to perform. He made 4 further attempts to write a concerto, but it seems, like so many things in Schumann’s life, that his marriage to Clara was the final inspiration that he needed to get over the hump. It made sense, as Clara Schumann was possibly the greatest pianist of her age, and someone who was ceaselessly devoted to promoting her husband’s works wherever she played. In 1841, one year after their marriage, Robert finished a one movement piano concerto in A minor, which he called a Phantasie. Clara reported adoring the piece, but no publisher was interested in the work of a still relatively unknown composer. They were especially uninterested in a on movement concerto, and so Robert knew he needed to “finish” the piece with two extra movements. It would take him 4 more years to finally tack on those extra movements, and the first performance would be given 4 years after that Phantasie had been written, of course with Clara as soloist. This concerto has remained popular practically ever since it was written, and there are so many reasons for it, from its arresting opening, to its abundant lyricism, to its constant interplay with the orchestra, something that Robert grappled with when writing this concerto. This piece is one that doesn’t have a story behind it, or any sort of narrative - it lives in the world as a sort of fantasy, constantly evolving in its beauty throughout. We’re going to talk about this piece in detail, from start to finish on this Patreon Sponsored Episode. Join us!