Clara Schumann and Fanny Mendelssohn-Hensel

Both Haydn and Beethoven are known as two of the greatest classical/romantic composers in the history of music. Haydn is identified as the father of modern symphony, as well as the father of the string quartet. He has played an essential role in developing the piano trio and the sonata form. Beethoven is also a widely recognized composer in Western music, his style joined the lull between the Classical and Romantic eras. Beethoven traveled to Vienna when he was young to study under Haydn. However, due to disputes and differences between the two composers, lessons only lasted for a little over a year. The teachings, if only for a short period, left a mark on Beethoven, and can be observed in his compositions.

In her twenties Clara decided to expand her education further by attending the Clinton Liberal institute for higher learning. There she studied analytic geometry, calculus, astronomy, mathematics and natural science in addition to French, German, ancient history, philosophy and religion (Pryor 1987). With her highly atypical education for a woman of that time, Clara continued the close pupil-teacher relationships she had enjoyed in her earlier schooling.

While Ludwig van Beethoven and Peter Ilyich Tchaikovsky have much in common, they also have many differences. Both men are famous for their orchestral compositions and their future influence on other composers. They experienced a blend of horrible failures and great successes. Although they were from different musical time periods, they both made huge contributions to the world of music.

began to play the piano as a child his mom played that piano as well.

The fugue is often regarded as a genre defined by strict procedural guidelines. It is notable that three historically important composers, Johann Sebastian Bach (1685-1750), Georg Friedrich Handel (1685-1759), and Wolfgang Amadeus Mozart (1756-1791), all employed a closely related fugue subject in three different works. An analysis of each of these works individually, and a comparison of these works collectively reveal numerous latent and salient features, and a reflection of the composers’ style within these works. Analyses also provide an outlook into the fluidity in certain aspects and rigidity in others of the form itself, reflected historically. The three composers analyzed fall closely together in history. J.S. Bach and G.F. Handel were contemporaries, whereas Mozart was born six years after Bach’s death and three years before Handel’s death. Analytically, the angularity of these similar fugue subjects presupposes a treatment regardless of the composer. Because of the shared intervallic content among the subjects of these fugues, despite being written by several different composers, a surprising number of similarities arise. Therefore, it is reasonable to assert that compositional choices made in the construction of the fugue subjects limit the number of results possible.

(Hollitz, Contending Voices, 167) but Elizabeth developed a strong sense of independence because her family wanted boys she decided to try to become more manly and courageous. (Hollitz, Contending Voices, 167) she began to become the son her father never had she started learning mathematics she learned to debate, she learned how to ride. (Hollitz, Contending Voices, 167) by being in her father’s office so much she started to learn how women were treated unequally. She believed that women should have the same equal rights as men, that women should be able to have a voice also. (Hollitz, Contending Voices, 167)

Florence Beatrice Smith Price was born April 9, 1887 in Little Rock, Arkansas to James and Florence Smith. Her father was a dentist and her mother had numerous careers working as a piano teacher, school teacher, and businesswoman. She had two siblings who both knew how to play the piano. Florence as well as her siblings, received music lessons from her mother who published some of her musical works. Price gave her first piano performance at the very young age of four. However, she did not write her first published composition until the age eleven; the other com positions were published while in high school. She graduated as valedictorian at the age of 14 from Capitol High School in 1903. She followed the footsteps of her mother and went on

On February 21, 1933, Mary Kate Waymon and John Divine Waymon begot a child named Eunice Kathleen Waymon in Tryon, North Carolina. She learned to play piano at the age of 3 and sang in her church's choir. Growing up, she wanted to be the first African American concert pianist. Eunice taught piano and worked as an accompanist for other performers when she attended Juilliard; however, she had to leave school after she ran out of funds. She moved to Philadelphia and lived with her family there in order to save money and go to a more affordable music program.

Elisabeth liked italian style when it came to her music. She was one of the most excellent baroque women

Mrs. Thomas shares with me that her earliest childhood memory was at the age of 5 years old. She recalls the family installing a Baby Grand Piano, which they placed in the family’s living room, where each child in the home learned to play well. Most evenings after dinner the family would sing and play the piano, taking turns as a way of sharing family time, this was something the entire family enjoyed. She said she valued engaging in music with her family because she believed it provided a bond between each sibling and her mother. She recalls her life

Growing up Doris was a little on the shy side, but that was never an issue for her. In her spare time she would play with dolls and practice hard at playing the violin. She had her first

Franz Liszt was many things in his lifetime; an author; a philanthropist; a scintillating, detail oriented, conductor; a brilliant, inventive, composer; more than a mere pianist, he was an intriguing and captivating performer; an altruistic piano teacher; and eventually a devout clergyman. His father, Adam Liszt, an extremely talented musician, gave young Liszt his earliest lessons on the piano. It wasn't long before he realized the uncanny talent his son possessed. Seeing this, he placed his own career as a musician on the back burner in order to obtain further musical education for his son, a blossoming prodigy. Soon young Liszt was studying composition with Antonio Salieri, and piano with Carl Czerny, a previous student of Beethoven. By the time he was eight, he had written his first

At the age of three, Wolfgang showed signs of remarkable musical talent. He learned to play the harpsichord, a keyboard instrument related to the piano, at the age of four. Wolfgang began composing minuets at the age of five. When he was only six years old, he and his older sister, Anna Maria, embarked on a series of concert tours to Europe’s courts and major cities. They played for the Austrian Empress Maria Theresa

This talented composer was born in Leipzig on September 13, 1819 to her parents Friedrich and Marianne Wieck. Her mother was a very talented singer and pianist and her father, though he studied Theology in school, was also a great pianist and musical teacher. Friedrich was a very prideful man. He pushed his wife and daughter to succeed with the zealous attempt to receive musically inclined high stature from their work and to gain more attention towards his teaching abilities. This Dangerous desire for fame and recognition soon led to Marianne’s resentment towards him and progressed to a divorce when Clara was only five years old (Mitchell, 1). With Clara left to be raised by her father she was introduced to music rather early on. Friedrich, still striving for more recognition, made sure that Clara became well educated in the musical field. However, he neglected the other lessons in life like proper English and

The characterization of the musical production of Felix Mendelssohn requires the acknowledgement of two key observations: the essentially classical structure of Mendelssohn’s compositions and the frequent romantic innovations Mendelssohn employed. Mendelssohn was a conservative fixture in an era of radical upheaval—the early nineteenth century. Intellectually in Europe, this was an era of transition, as the romantics sought to upend the enlightenment establishment across all areas of artistic, scientific and cultural production: whether the orderly structures of classical music, the faith in reason and scientific progress that animated Enlightenment tracts and polemics, the embrace of technological progress, or the vehement rejection of superstitions