The Music of a Marriage
Friday 1st Nov, 7pm
Concert /Grand Ballroom
Raffles Hotel - Le Royal

Memories of Clara Schumann a piano recital
Saturday 2nd Nov
7pm Concert
Grand Salon
Raffles Hotel - Le Royal


Saturday 2nd November
Raffles Hotel - Le Royal
Concert /Grand Salon

7 pm - Memories of Clara Schuman a piano recital





Dora Pejacevic was born in Budapest, the daughter of a Hungarian-Croatian Count Teodor Pejacevic and Hungarian Baroness Lilla Vay de Vaya, herself a fine pianist. Her mother gave her first piano lessons. Paternally, she descended from the old Croatian noble Pejacevic family, one of the most distinguished noble families of Croatia.


3 Romances Op.21


Clara Schumann wrote her Drei Romanzen, op. 21, between 1853 and 1855. In late June 1853, she wrote three romances in A minor, F major, and G minor.90 In 1855, "on a day when Brahms was visiting Robert Schumann at the sanatorium and she was, as she writes in her diary, 'feeling so sad'. Clara Schumann's blending of Classical and Romantic aesthetics in her Drei Romanzen provides an excellent example of how a female composer might negotiate her own musical preferences and ideas with society's expectations of her music.

Variations on a Theme by
Robert Schumann Op.20

Clara presented her husband Robert with the variations on his birthday with the dedication "To my beloved husband on the 8th of June 1853 this humble, renewed essay by his old Clara". Clara Schumann wrote her piano variations op 20 in 1853, and gave the first performance of them on May 27th 1854 to Johannes Brahms. Brahms was himself so moved by Clara's composition and performance that he then composed his own set of variations on the same theme. The theme used by both is the 4th movement of Robert Schumann's Bunte Blatter, op 99


Symphonic Etudes Op 13
Theme - Andante

Etude I (Variation 1) - Un poco pił vivo
Etude II (Variation 2) - Andante
Etude III - Vivace
Etude IV (Variation 3) - Allegro marcato
Etude V (Variation 4) - Scherzando
Etude VI (Variation 5) - Agitato
Etude VII (Variation 6) - Allegro molto
Etude VIII (Variation 7) - Sempre marcatissimo
Etude IX - Presto possibile
Etude X (Variation 8) - Allegro con energia
Etude XI (Variation 9) - Andante espressivo
Etude XII (Finale) - Allegro brillante

In 1834 Schumann began to compose what would eventually become known as the Symphonic Etudes, Opus 13. While almost entirely neglected during his lifetime, it has since taken its place among the great works in the pianist's repertoire. Composed in several distinct stages and published in two versions within Schumann's lifetime, the work's life has only grown more complex since Schumann's death. In 1861 a third version was published in an attempt to reconcile the first two editions. Additionally, in 1873 Brahms and Clara Schumann published five variations originally deleted by Schumann as a supplement to the Symphonic Etudes, which will be referred to as the posthumous variations throughout this document.

Srdjan Caldarovic, piano