Clara Schumann - Knowledge (XXG)

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one of the first pianists to perform from memory, making it the standard for concerts. She was also instrumental in changing the kind of program expected of concert pianists. In her early career, before her marriage, she played the customary bravura pieces designed to showcase the artist's technique, often in the form of arrangements or variations on popular themes from operas, written by virtuosos such as Thalberg, Herz, or Henselt. As it was customary to play one's own compositions, she included at least one of her own works in every program, such as Variations on a Theme by Bellini (Op. 8) and the popular Scherzo (Op. 10). However, as she became a more independent artist, her repertoire contained mainly music by leading composers.

44: 969: 1220:, but in the second half of the decade they both became openly hostile toward Liszt because of their more musically conservative outlook and beliefs, Clara more so than Robert, as she had long been the more conservative aesthete in the Schumann marriage. By the mid-1850s, after Robert's decline, the young Brahms had joined the cause, and to promote her ideals and protect what she saw as an attack on her husband's beliefs, she, Brahms, and Joseph Joachim formed a group of conservative musicians who defended Robert Schumann's critical ideals of the legacy and respectability of music, the pinnacle of which had been Beethoven. 589: 705:, singers and managers of an opera company in England, and a man named Saunders, made all the arrangements. She was accompanied by her oldest daughter Marie, who wrote from Manchester to her friend Rosalie Leser that in Edinburgh the pianist "was received with tempestuous applause and had to give an encore, so had Joachim. Piatti, too, is always tremendously liked." Marie also wrote: "For the longer journeys we had a saloon , comfortably furnished with arm-chairs and sofas... the journey ... was very comfortable." On this occasion, the musicians were not "treated as inferiors". 1115: 488: 785: 381: 872: 356:. Clara's parents had irreconcilable differences, in part due to her father's unyielding nature. Prompted by an affair between her mother and Adolph Bargiel, her father's friend, the Wiecks were divorced in 1825, with Mariane later marrying Bargiel. Five-year-old Clara remained with her father while Mariane and Bargiel eventually moved to Berlin, limiting contact between Clara and her mother to written letters and occasional visits. 198: 5211: 573:. She wrote that he played "with a finish, a depth of poetic feeling, his whole soul in every note, so ideally, that I have never heard violin-playing like it, and I can truly say that I have never received so indelible an impression from any virtuoso." A lasting friendship developed between Clara and Joseph, which for more than forty years never failed her in things great or small, never wavered in its loyalty. 1173:

Five years later, however, when she was 34 in 1853, the year she met Brahms, she engaged in a flurry of composing, resulting in 16 pieces that year: a set of piano variations on an "Album Leaf" of her husband (his Op. 99 No. 4), eight "Romances" for piano solo and for violin and piano, and seven songs. These works were published a year later, after Robert's confinement, as her Op. 20 through 23.

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needed a wheelchair. Not only did her husband predecease her, but so did four of their children. Their first son, Emil, died in 1847, aged only 1. Their daughter Julie died in 1872, leaving two small children aged only 2 and 7, then raised by their grandmother. In 1879, their son Felix died aged 24. In 1891, their son Ferdinand died at the age of 41, leaving his children to her care.

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For the next 43 years of her life, she only composed piano transcriptions of works by her husband and Brahms, including 41 transcriptions of Robert Schumann's lieder (commissioned by a publisher in 1872), and a short piano duet commissioned for a friend's wedding anniversary in 1879. In the last year

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Robert Schumann was a little more than nine years older than Wieck. In 1837, when she was 18, he proposed to her and she accepted. Robert then asked her father for her hand in marriage. Friedrich was strongly opposed to the marriage, and refused his permission. Robert and Clara decided to go to court

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An anonymous music critic, describing her Vienna recitals, said: "The appearance of this artist can be regarded as epoch-making... In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a colour, which only those with the most consummate artistry can

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Although Schumann was not widely recognized as a composer for many years after her death, she had a lasting effect as a pianist. Trained by her father to play by ear and memorize, she gave public performances from memory as early as age thirteen, a fact noted as exceptional by her reviewers. She was

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As part of the broad musical education given to her by her father, Clara Wieck learned to compose, and from childhood to middle age she produced a good body of work. Clara wrote that "composing gives me great pleasure... there is nothing that surpasses the joy of creation, if only because through it

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for not accepting the "constitution for a German Confederation" had arrived in Dresden. Most family members left and hid in a "neighbourhood security brigade", but on 7 May, she bravely walked back to Dresden to rescue her three children who had been left with a maid, defying a pack of armed men who

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Their oldest child Marie was of great support and help to her mother, taking the position of household cook. Marie also dissuaded her mother from continuing to burn letters that she had received from Brahms which he had asked her to destroy. Another daughter, Eugenie, who had been too young when her

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She often took charge of finances and general household affairs. Part of her responsibility included earning money by giving concerts, though she continued to play throughout her life, not just for the income but because she was an artist by training and nature. The burden of family duties increased

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As she grew older, she became more preoccupied with other responsibilities in life and found it hard to compose regularly, writing, "I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose – there has never yet been one able to do it.

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Her life was punctuated by tragedy. Her husband was permanently institutionalized after a mental collapse. Her eldest living son Ludwig suffered from mental illness like his father and, in her words, eventually had to be "buried alive" in an institution. She became deaf in later life, and she often

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Robert Schumann gave his wife a diary on their wedding day. His first entry indicates that it should act as an autobiography of the family's personal lives, especially of the couple, and of their desires and accomplishments in the arts. It also functioned as a record of their artistic endeavors and

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During Robert Schumann's last years, confined to an asylum, Brahms was a strong presence for the Schumann family. His letters indicate his strong feelings for Clara. Their relationship has been interpreted as somewhere between friendship and love, and Brahms always maintained the utmost respect for

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Brahms secretly held Wagner's music in high esteem, and eventually publicly praised Liszt's works as well. Several of the proponents and signers of the manifesto, including Joachim, relented and joined the "other side". The controversy eventually died down, but Clara Schumann remained steadfast in

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She produced one to eight compositions every year beginning at age 11, until her output stopped in 1848, producing only a choral work that year for her husband's birthday and leaving her second piano concerto unfinished. These two works, while reserved for her opus 18 and 19, were never published.

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During her lifetime, Schumann was an internationally renowned concert pianist. Over 1,300 concert programs from her performances throughout Europe between 1831 through 1889 have been preserved. She championed the works of her husband and other contemporaries such as Brahms, Chopin and Mendelssohn.

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She took a break from concert performances, beginning in January 1874, cancelling her usual England tour due to an arm injury. In July, she consulted a doctor, who having massaged the arm, advised her to practice for only one hour a day. She rested for the remainder of the year before returning to

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For the entire two years of Robert Schumann's stay at the institution, his wife was not permitted to visit him, while Brahms visited him regularly. When it was apparent that Robert was near death, she was finally admitted to see him. He appeared to recognize her, but could only speak a few words.

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One of Clara Schumann's difficulties with Liszt stemmed from a philosophical difference in performance practice. He believed that the artist, through physical and emotional performance, interpreted music for the audience. When he performed, Liszt flailed his arms, tossed his head, and pursed his

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Clara has composed a series of small pieces, which show a musical and tender ingenuity such as she has never attained before. But to have children, and a husband who is always living in the realm of imagination, does not go together with composing. She cannot work at it regularly, and I am often

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to Robert Schumann, and thus presented himself at the Schumanns' home in Düsseldorf. Brahms played some of his piano solo compositions for the Schumanns, and they were deeply impressed. Robert published an article highly lauding Brahms, and Clara wrote in the diary that Brahms "seemed as if sent

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From an early age, Clara's father planned her career and life down to the smallest detail. She started receiving basic piano instruction from her mother at the age of four. After her mother moved out, she began taking daily one-hour lessons from her father. They included subjects such as piano,

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for her before its premiere. She gave some advice about the Adagio, which he took to heart. She expressed her appreciation of the Symphony as a whole, but mentioned her dissatisfaction with the endings of the third and fourth movements. She was the first to perform many of his works in public,

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She was the main breadwinner for her family and the sole one after her husband was hospitalized and then died. She gave concerts and taught, and she did most of the work of organizing her own concert tours. She hired a housekeeper and a cook to keep house while she was away on her long tours.

639:, a good friend of Robert's. She was displeased with the little time spent on rehearsals: "They call it a rehearsal here if a piece is played through once." She wrote that musical "artists" in England "allow themselves to be treated as inferiors." She was happy, though, to hear the cellist 806:

She was the only woman on the faculty. Her fame attracted students from abroad, including Britain and the United States. She trained only advanced pupils, mostly young women, while her two daughters gave lessons to beginners. Among her 68 known students who made a musical career were

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in very low esteem and wrote to Brahms, describing it as "a horrible piece". Bruckner's symphonies were seen as representative of the New Music due to their advanced harmony, massive orchestration and extended time-scale. Schumann was more impressed, however, with the early

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Schumann still performed actively in the 1870s and 1880s. She performed extensively and regularly throughout Germany during these decades, and had engagements in Austria, Hungary, Belgium, Holland, and Switzerland. When in Basel, Switzerland, she often stayed with the

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banknote from 2 January 1989 until the adoption of the euro on 1 January 2002. The back of the banknote shows a grand piano she played and the exterior of Dr. Hoch's Konservatorium. The great hall of the conservatory's new building is named after her.

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in public, doing so on two occasions before 1856. Her busiest years as a performer were between 1856 and 1873, after her husband's death. During this period, she experienced success as a performer in Britain, where her 1865 performance of Beethoven's

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Tomorrow precisely at eleven o'clock I will play the adagio from Chopin's Variations and at the same time I shall think of you very intently, exclusively of you. Now my request is that you should do the same, so that we may see and meet each other in

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were pianists and piano teachers. In addition, her mother was a singer. Clara was a child prodigy, and was trained by her father. She began touring at age eleven, and was successful in Paris and Vienna, among other cities. She married the composer

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growth. She fully accepted the arrangement of a shared diary, as evidenced by her many entries. It demonstrates her loyal love for her husband, with a desire to combine two lives into one artistically, although this life-long goal involved risks.

377:("Wieck's Piano Education for a Delicate Touch and a Singing Sound.") Her musical studies came largely at the expense of her broader general education, although she still studied religion and languages under her father's control of the family. 851:. The Konservatorium held events to celebrate her 50th year on stage in 1878 and her 60th career anniversary ten years later. She held the teaching post until 1892 and contributed greatly to the improvement of modern piano playing technique. 651:

conducted by Dr Wylde, who as she said had "led a dreadful rehearsal" and "could not grasp the rhythm of the last movement". Still, she returned to London the following year and continued to perform in Britain for the next 15 years.

3452:. Vol. 1: 1819–1850 ISBN 978-1-108-06415-6, Vol. 2: 1850–1896 ISBN 978-1-108-06416-3. Alternate reprint edition: Read Books Ltd (2011), Vol. 1 ISBN 978-1-446-54706-9, Vol. 2 ISBN 978-1-446-54512-6. Translated by 1266:

Partisans led active campaigns with public demonstrations at concerts, writings published in the press denigrating reputations, and other public slights designed to embarrass their adversaries. Brahms published a

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in November 1844, when he was 14 years old. A year later, Clara Schumann wrote in her diary that in a concert on 11 November 1845, "little Joachim was very much liked. He played a new violin concerto by

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spent time with Clara Schumann, playing music for her and with her to divert her mind from the tragedy. Brahms composed some private piano pieces for her to console her: four piano pieces and a set of

674:" of chamber music. Joachim visited London annually beginning in 1866. Schumann also spent many years in London participating in the Popular Concerts with Joachim and the celebrated Italian cellist 1180:

Most of Clara Schumann's music was never played by anyone else and largely forgotten until a resurgence of interest in the 1970s. Today her compositions are increasingly performed and recorded.

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over a century later. Clara, in contrast, came to believe that the personality of the musician should be suppressed so that the composer's vision would be clearly evident to listeners.

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of her life, she left several sketches for piano preludes, designed for piano students, as well as some published cadenzas for her performances of Beethoven and Mozart piano concertos.

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Schumann influenced pianists through her teaching, which emphasized expression and a singing tone, with technique subordinated to the intentions of the composer. One of her students,

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when she published his complete works. When she heard that Liszt and Richard Wagner would be participating in a Beethoven centenary festival in Vienna in 1870, she refused to attend.

4899:: "Den Lebenden schulden wir Rücksichtnahme, den Toten nur die Wahrheit. Eine Einführung in Friedrich Wiecks Welt der philisterhaften Mittelmäßigkeit und besseren Salonmusik". In 982: 4228: 1320:, and Brahms in a "scornful" way. Wagner had poked fun at the musical conservatives in an essay, portraying them as "a musical temperance society" awaiting a Messiah. She held 5308: 4804: 4755: 4484: 1401:

She was also instrumental in getting the works of Robert Schumann recognized, appreciated and added to the repertoire. She promoted his works tirelessly throughout her life.

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Over her career, Schumann gave over 238 concerts with Joachim in Germany and Britain, more than with any other artist. The two were particularly noted for their playing of

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20. The music by Brahms was not intended to be published, but for her alone. Brahms later thought to publish them anonymously, but eventually they were issued as his four

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In addition to solo piano recitals, chamber music, and accompanying singers, she continued to perform frequently with orchestras. In 1877, she performed Beethoven's

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in her arm again in May, reporting that she "could not write on account of my arm". By October 1875, she had recovered enough to begin another tour in Germany.

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banknote from 1989 to 2002. Interest in her compositions began to revive in the late 20th century, and her 2019 bicentenary prompted new books and exhibitions.

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in Frankfurt, where she attracted international students. She edited the publication of her husband's work. Schumann died in Frankfurt, but was buried in

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was met with enormous applause. As a chamber musician, she often gave concerts with violinist Joachim. In her later career, she frequently accompanied

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After her marriage, she turned to lieder and choral works. The couple wrote and published one joint composition in 1841, setting a cycle of poems by

5368: 5298: 5085: 690:, the leading playwright and also a music critic, wrote that the Popular Concerts helped greatly to spread and enlighten musical taste in England. 418:, who presented her with a medal with his portrait and a written note saying: "For the gifted artist Clara Wieck". During that tour, the violinist 5214: 3974: 4257:"Bittersweet symphonies / Brahms's affair with Clara Schumann was a sizzling mess that left his life in chaos and filled his music with yearning" 723:

family. She continued her annual winter-spring concert tours of England, giving 16 of them between 1865 and 1888, often with violinist Joachim.

222:; 13 September 1819 – 20 May 1896) was a German pianist, composer, and piano teacher. Regarded as one of the most distinguished pianists of the 5303: 5103: 1085: 884: 4846: 1526:, a live theatrical performance involving a chamber ensemble of actors, singers, and musicians, also delves into Clara Schumann's life story. 5333: 4951: 4908: 4828: 3880: 3582: 3552: 3411: 3289: 2432: 1033:, but performed especially contemporary music by Chopin, Mendelssohn and her husband, whose music did not attain popularity until the 1850s. 5378: 875:

Robert and Clara Schumann's children (photo taken in 1853 or 1854); from left to right: Ludwig, Marie, Felix, Elise, Ferdinand and Eugenie.

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sonata during one of these recitals. She performed to sell-out crowds and laudatory critical reviews; Benedict Randhartinger, a friend of

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Clara Schumann first toured England in April 1856, while her husband was still living but unable to travel. She was invited to play in a

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Sémerjian, Ludwig. "Clara Schumann: New Cadenzas for Mozart's Piano Concerto in D Minor. Romantic Visions of a Classical Masterpiece."

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The couple remained joint partners in both family life and their careers. She premiered many of his works, from solo piano works to

548:, Op. 9. Brahms dedicated the variations to both Schumanns, hoping that Robert would be released soon and rejoined with his family. 1316:

as "the most repugnant thing I have ever seen or heard in all my life". She also complained that Wagner had spoken of her husband,

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conducting, her half-brother by her mother's second marriage, and had tremendous success. In 1883, she performed Beethoven's

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in Leipzig, at age nine. The same year, she performed at the Leipzig home of Ernst Carus, director of the mental hospital at

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over time and narrowed her ability as an artist. As a flourishing composer's wife, she was limited in her own explorations.

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After Robert Schumann's early death, she continued her concert tours in Europe for decades, frequently with the violinist

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In her early years, her repertoire, selected by her father, was showy and in the style common to the time, with works by

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and maintained a close relationship with him. She gave the public premieres of many works by her husband and by Brahms.

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Burstein, L. Poundie: "Their Paths, Her Ways – Comparison of Text Settings by Clara Schumann and Other Composers". In

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Schumann was the authoritative editor, aided by Brahms and others, of her husband's works for the publishing firm of

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play with "a tone, a bravura, a certainty, such as I never heard before". In May 1856, she played Robert Schumann's

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In describing the works of the opposing school, Clara Schumann was particularly scathing of Wagner, writing of his

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In February 1854, Robert Schumann had a mental collapse, attempted suicide, and was admitted, at his request, to a

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Gould, John: "What Did They Play? The Changing Repertoire of the Piano Recital from the Beginnings to 1980". In

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in Frankfurt. She had chosen Frankfurt among offers from Stuttgart, Hannover, and Berlin, because the director,

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From September 1831 to April 1832, Clara toured Paris and other European cities, accompanied by her father. In

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Clara Wieck-Schumann: (1819–1896): Kompositionen: eine Zusammenstellung der Werke, Literatur und Schallplatten

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Should I expect to be the one?" Her husband also expressed concern about the effect on her composing output:

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Clara Schumann: Piano Trio in G minor, played by Galos Piano Trio at St. Martin in the Fields on 26 May 2015

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Clara Schumann suffered a stroke on 26 March 1896, and died on 20 May at age 76. She was buried in Bonn at

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Tromlitz). Her mother was a famous singer in Leipzig who performed weekly piano and soprano solos at the

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She played her last public concert in Frankfurt on 12 March 1891. The last work she played was Brahms's

4013: 1300: 4993: 871: 5288: 5283: 5190: 4462: 4177:"When a Friendship Is More Than Friendship: The Tender Letters of Clara Schumann and Johannes Brahms" 3776: 3501:]. Vol. 1: 1853–1871, Vol. 2: 1872–1896. Preface by Marie Schumann. New York: Vienna House. 3301: 1480: 1463:(first aired on 21 March 1954), in which she supports the composing career of her husband, played by 1224: 1126: 1064: 860: 832: 675: 640: 373:. She then had to practice for two hours every day. Her father followed the methods in his own book, 301: 569:, which is said to be wonderful." In May 1853, they heard Joachim play the solo part in Beethoven's 434:

From December 1837 to April 1838, at the age of 18, Wieck performed a series of recitals in Vienna.

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Horne, William (1997). "Brahms's Op. 10 Ballades and His Blätter Aus Dem Tagebuch Eines Musikers".

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at age 14, with some help from her future husband. She planned a second piano concerto, but only a

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near Bonn, where he stayed for the last two years of his life. In March 1854, Brahms, Joachim,

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In October–November 1857, Schumann and Joachim went on a recital tour to Dresden and Leipzig.

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Preface to vol. 1 by W. H. Hadow. (Translated and abridged from the fourth German ed.).

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and her own compositions. She turned to including compositions by Baroque composers such as

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in 1849. On the evening of 3 May, Robert and Clara heard that the revolution against King

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one wins hours of self-forgetfulness, when one lives in a world of sound". Her Op. 1 was

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and other chamber musicians. Beginning in 1878, she was an influential piano educator at

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disturbed to think how many profound ideas are lost because she cannot work them out.

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Some printed programs have been preserved in Arts & Humanities Research Council

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by composer Victoria Bond and librettist Barbara Zinn-Krieger and the two-act opera

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confronted her, then walked back out of the city through the dangerous areas again.

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The New Philharmonic Society began operating in 1852 with Dr. Wylde as co-founder:

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the concert stage in March 1875. She had not fully recovered, and experienced more

588: 470:("Royal and Imperial Austrian Chamber Virtuoso"), Austria's highest musical honor. 370: 366: 3967:"Suffering for Her Art: The Chronic Pain Syndrome of Pianist Clara Wieck-Schumann" 1114: 534:

by Robert Schumann that she had also written variations on a year earlier, as her

426:. The tour marked her transition from a child prodigy to a young woman performer. 4070: 3966: 4346: 3450:

Clara Schumann: An Artist's Life, Based on Material Found in Diaries and Letters

1387: 1260: 1256: 1252: 1213: 1044:, conducted by Mendelssohn. On 4 December 1845, she premiered Robert Schumann's 1022: 773: 702: 535: 453: 3942:"Erinnerungen an Clara Schumann : Alleinstehend, berufstätig, kinderreich" 2427:(2nd ed., rev and enl ed.). New York: Books & Music USA. p. 593. 1271:

for the "Serious Music" side on 4 May 1861, signed by Clara Schumann, Joachim,

5052: 5041: 5029: 4161: 4139: 3323: 1014: 511: 503:

on 12 September 1840, the day before Clara's 21st birthday, when she attained

411: 392: 385: 353: 4147: 3923: 3183: 600:

met Joachim and made a very favorable impression. Brahms received from him a

1595:, Ed. George Grove, vol. 2, 1900, MacMillan, London, in Wikisource; article 840: 728: 694: 90: 4572:"Mariane Wieck-Bargiel, née Tromlitz (1797–1872), mother of Clara Schumann" 17: 4229:"Pianistin Clara Schumann : Klavierstunde bei der eisernen Meisterin" 3516: 2132: 2130: 2128: 2126: 1599:

by George Grove. The New Philharmonic ceased giving concerts in June 1879.

5018: 5009: 515: 227: 4823:. Chapter 6: "Schumann", pp. 205–41. Oneworld Publications (2016). 4448: 4420: 4379: 3998:(1997). "Sounds Without the Gate: Schumann and the Dresden Revolution". 3247:. Translated by Eisinger, Josef; Avins, Styra. Oxford University Press. 701:, Scotland, along with Joachim, Piatti, Ries, and Zerbini. Two sisters, 375:

Wiecks pianistische Erziehung zum schönen Anschlag und zum singenden Ton

1426: 698: 423: 337: 242: 71: 4407:"Review: Clara Schumann – Three Romances for violin and piano, Op. 22" 4040: 2337: 2335: 1216:

and his young composer friends of what eventually became known as the

5006:, by Claire Flynn, National University of Ireland thesis, August 1991 4923: 3978: 3676:]. Translated by Busch, Marie. Lawrence, MA: Music Book Society. 407: 4624:"Five forgotten female composers will be celebrated on BBC Radio 3" 795:

In 1878, Schumann was appointed the first piano teacher of the new

3674:

The Schumanns and Johannes Brahms: The Memoirs of Eugenie Schumann

3387:

The Compositional Art of Clara Schumann (a Master of Music thesis)

1374:, carried her teaching to England where she taught, among others, 1353: 1113: 1048:

in Dresden. Following the advice of Brahms she performed Mozart's

967: 870: 783: 654: 587: 486: 379: 280:

Several films have focused on Schumann's life, the earliest being

5063: 1212:

In the early 1840s the Schumanns were interested in the works of

499:

and sue him. The judge allowed the marriage, which took place in

4861:

Gates, Eugene. "Clara Schumann: A Composer's Wife as Composer."

3495:

Clara Schumann, Johannes Brahms: Briefe aus den Jahren 1853–1896

1073: 942:

Schumann famously rescued her children from violence during the

759:

In 1885, Schumann once again joined Joachim conducting Mozart's

274: 5067: 3477:

Clara Schumann: Ein Künstlerleben, Nach Tagebüchern und Briefen

2101: 2099: 1833: 1831: 1818: 1816: 1814: 1522:

by composer Tony Manfredonia and librettist Aiden K. Feltkamp.

1063:

she was one of the first woman pianists to perform Beethoven's

939:(Memoirs), published in 1925, covering her parents and Brahms. 3378:. Originally published Kassel (1978) , Chicago/London (1989) . 1425:), the oldest known Schumann film, premiered on 3 May 1944 in 391:

Clara Wieck made her official debut on 28 October 1828 at the

4901:

Friedrich Wieck: Gesammelte Schriften über Musik und Musiker

4821:

Sounds and Sweet Airs: The Forgotten Women of Classical Music

1848: 1846: 1514:

Clara Schumann's life has been explored in the chamber opera

4358:"Linds and Clärchens: Women Musicians and National Currency" 3184:"Product Details - Schumann: Twin Spirits (The Royal Opera)" 2182: 2180: 2147: 2145: 2055: 2053: 1141:, her Op. 12 and his Op. 37. Her chamber works include the 468:

Königliche und Kaiserliche Österreichische Kammer-virtuosin

4944:

Clara Schumann, Johannes Brahms und das moderne Musikleben

2594: 2592: 2590: 2588: 1235:

be for the future. The Weimar school promoted the idea of

1103:

in 1836, all piano pieces for her recitals. She wrote her

659:

Joseph Joachim and Schumann, after a lost 1854 drawing by

2086: 2084: 2082: 2080: 2078: 2076: 2074: 2072: 1801: 1799: 1797: 1795: 1793: 1791: 1750: 1748: 980:

The Schumanns were admirers of Chopin, especially of his

4903:, pp. 15–49. Frankfurt am Main: Peter Lang (2019). 4204:

Women Making Music: The Western Art Tradition, 1150–1950

3540:

A History of the World in 21 Women: A Personal Selection

3499:

Letters of Clara Schumann and Johannes Brahms, 1853–1896

2370: 2368: 2366: 2364: 2362: 1415:

Clara Schumann has been portrayed on screen many times.

1362:"one of the most soulful and famous pianists of the day" 1304:, that he "wears himself out in atrocities", describing 304:. An image of Clara Schumann from an 1835 lithograph by 3652:

London Music in 1888–1889 as heard by Corno di Bassetto

2341: 1153:, who declared them a "marvellous, heavenly pleasure". 4712:"Piano Concerto in A Minor, Op. 54 / work by Schumann" 4122:: Franz Liszt, Clara Schumann, and the Musical Work". 1719: 1717: 1715: 1534:

An image of Clara Schumann from an 1835 lithograph by

552:

Robert Schumann died two days later, on 29 July 1856.

5225: 4670:

Schumann, Robert (1879–1893). Schumann, Clara (ed.).

4118:

Pedroza, Ludim R. (October–December 2010). "Music as

3050: 2762: 2698: 2696: 2406: 2404: 2402: 2400: 2398: 2385: 2383: 1713: 1711: 1709: 1707: 1705: 1703: 1701: 1699: 1697: 1695: 1642: 1640: 670:

in London, which opened in 1858, hosted a series of "

4663:. Originally published 1836, 1840, 1845, 1854, 1855. 3841:

Hall, George (2002). "Schumann, Clara (Josephine)".

3219: 2687: 5182: 5151: 5110: 3306:

Year of wonder : classical music for every day

190: 167: 156: 128: 118: 98: 79: 53: 34: 5344:Honorary members of the Royal Philharmonic Society 4386:(TV series). Season 1. Episode 26. 21 March 1954. 3771:Bonds, Mark (2001). "Symphony: II. 19th century". 3697: 3523:(1927). Original publisher (German ed.): Leipzig: 3098: 1492:as Clara, and the 2008 Helma Sanders-Brahms' film 1341:her disapproval of the New German School's music. 494:, where the Schumanns married on 12 September 1840 460:and later, in translation, in the Leipzig journal 3971:Neurological Disorders in Famous Artists – Part 3 3859:"Schumann [née Wieck], Clara (Josephine)" 3110: 2555: 2326: 4856:Women and Music: A Journal of Gender and Culture 2105: 2044: 1578:had been formed in 1813. In 1912, it became the 863:next to her husband, according to her own wish. 682:(nephew of composer Ferdinand Ries) and violist 4803:: CS1 maint: others in cite AV media (notes) ( 4754:: CS1 maint: others in cite AV media (notes) ( 4483:: CS1 maint: others in cite AV media (notes) ( 3773:The New Grove Dictionary of Music and Musicians 3336:Brahms and His World: A Biographical Dictionary 2567: 2543: 2314: 1686: 1159: 988: 623:, a solo piano work written by Brahms in 1861. 4578:. Translated by Ma, Katharina. Schumann Portal 4555:. Translated by Ma, Katharina. Schumann Portal 4532:. Translated by Ma, Katharina. Schumann Portal 3965:Altenmüller, Eckart; Kopiez, Reinhard (2010). 3519:. Original publisher (English ed.): New York: 3122: 1852: 1782: 898:Clara and Robert Schumann had eight children: 885:her own piano versions of his orchestral works 230:works. She also composed solo piano pieces, a 5079: 5010:Clara Schumann: A Composer’s Wife as Composer 4526:"Clara Schumann, née Wieck (1819–1896), wife" 3460:. Original publishers (English ed.): London: 3014: 2858: 2846: 2822: 2425:International encyclopedia of women composers 2230: 1952: 1837: 1822: 1255:across Europe which has been compared to the 972:Clara and Robert Schumann, illustration from 686:usually played on the same concert programs. 448:, gave her an autographed copy of Schubert's 8: 5038:, for piano duet, Clara Schumann's last work 4969:Clara Schumann-Wieck. De pijn van het gemis. 3086: 3038: 2459: 2270: 2254: 2214: 2186: 2167: 2151: 2136: 2059: 2004: 1988: 1976: 1924: 1912: 1888: 1876: 1735: 596:In early 1853, the then-unknown 20-year-old 238:), chamber music, choral pieces, and songs. 4881:. Fischer Taschenbuch Verlag (March 2009). 1864: 1754: 1139:Zwölf Lieder auf F. Rückerts Liebesfrühling 1119:Zwölf Lieder auf F. Rückerts Liebesfrühling 935:father died to remember him, wrote a book, 5309:Chamber virtuosi of the Emperor of Austria 5086: 5072: 5064: 3062: 3026: 2990: 2750: 2738: 2634: 2579: 2531: 2519: 2507: 2495: 2483: 2447: 2202: 2090: 2032: 2020: 1805: 1658: 42: 31: 4998:International Music Score Library Project 4971:Soesterberg, Netherlands: Aspekt (2012). 4842:, Vol. 39 (Autumn 1975), pp. 145–62. 4838:Lieder of Robert and Clara Schumann". In 3074: 2374: 620:Variations and Fugue on a Theme by Handel 609:her, as a woman and a talented musician. 74:, Kingdom of Saxony, German Confederation 5019:Clara Schumann website at Geneva College 4946:(1st ed.). Hamburg: Osburg-Verlag. 4549:"Eugenie Schumann (1851–1938), daughter" 3570:Clara Schumann: The Artist and the Woman 2906: 2741:, pp. 289–337 (Catalogue of Works). 2675: 2471: 1766: 1670: 1386:in America, where his students included 545:Variations on a Theme by Robert Schumann 5232: 5024:Clara Schumann pages at Schumann Portal 4874:Vol. 146 (Winter 2005), pp. 61–76. 4645:. Selected and with an Introduction by 3975:Frontiers of Neurology and Neuroscience 3873:10.1093/gmo/9781561592630.article.25152 3815:10.1093/gmo/9781561592630.article.40704 3758:Avins, Styra (2002). "Joseph Joachim". 2954: 2918: 2622: 1964: 1723: 1646: 1624: 1612:, St. James's Hall Concerts (1867–1904) 1567: 149: 1840; died 1856) 27:German pianist and composer (1819–1896) 4834:Boyd, Melinda: "Gendered Voices – The 4796: 4747: 4476: 3902:Robert Schumann: The Man and His Music 2978: 2966: 2942: 2930: 2894: 2834: 2810: 2798: 2786: 2774: 2714: 2702: 2610: 2598: 2410: 2389: 2117: 1247:, a term derisively coined by Wagner. 1086:List of compositions by Clara Schumann 5026:website (German and English versions) 4050:Kopiez, Reinhard (28 November 2008). 3894:"Interpreting Schumann's Piano Music" 3002: 2882: 2870: 2353: 2291:"Basel 1857 – 1887 – Schumann-Portal" 2285: 2283: 1940: 331: 213: 7: 5354:Musicians from the Kingdom of Saxony 4848:Clara Schumann; A Romantic Biography 4774:] (Motion picture) (in German). 4405:Dunsmore, David R. (December 2013). 3847:. New York: Oxford University Press. 3207: 2726: 2242: 1900: 1631: 1202:Fingersatz und Vortragsbezeichnungen 1094:Quatre Polonaises pour le pianoforte 772:, in a version for two pianos, with 5374:19th-century German women composers 5142:Three Romances for Violin and Piano 4356:Buja, Maureen (10 September 2015). 3736:"Robert Schumann / German composer" 1593:A Dictionary of Music and Musicians 1147:Three Romances for Violin and Piano 983:Variations on "Là ci darem la mano" 410:, she performed a bravura piece by 5004:The Creative Art of Clara Schumann 2652:"Beethoven's Hammerklavier Sonata" 1429:. Possibly the best-known film is 1411:List of composers depicted on film 560:The Schumanns first met violinist 25: 4124:Journal of Musicological Research 3244:Johannes Brahms: Life and Letters 1478:Two more recent German films are 693:In January 1867, Schumann toured 5329:German women classical composers 5294:19th-century classical composers 5259: 5247: 5235: 5210: 5209: 4689:"Clara Schumann's concert tours" 3573:(Revised ed.). Ithaca, NY: 3475:Litzmann, Berthold (1902–1908). 1310:as "horrible", and referring to 1192:. She also edited 20 sonatas by 974:Famous Composers and their Works 333:[ˈklaːʀaˈjoːzɛfiːnˈviːk] 196: 5369:German women classical pianists 5299:19th-century classical pianists 4858:, Vol. 6 (2002), pp. 11ff. 4710:Schwarm, Betsy (28 June 2013). 3400:Jensen, Eric Frederick (2012). 3374:. Translated by Lustig, Roger. 3277:Clara Schumann : Ihr Leben 3135:Brodie, Susan (20 April 2019). 1382:, carried the tradition to the 1111:in F minor from 1847 survived. 948:Frederick Augustus II of Saxony 788:Saalhof, the first location of 466:. On 15 March, she was named a 146: 4461:(Motion picture) (in German). 4234:Frankfurter Allgemeine Zeitung 4227:Riebsamen, Hans (9 May 2019). 4095:Negwer, Ingo (February 2002). 3947:Frankfurter Allgemeine Zeitung 3940:Allihn, Karen (5 March 2019). 3596:Clara Schumann: Piano Virtuoso 1576:Philharmonic Society of London 769:Variations on a Theme by Haydn 1: 5304:19th-century German composers 4994:Free scores by Clara Schumann 4622:Savage, Mark (8 March 2017). 4499:"Schumann, Clara (Josephine)" 3844:The Oxford Companion to Music 3624:Franz Liszt: The Weimar Years 3157:Edgar, Hannah (3 June 2021). 2327:Altenmüller & Kopiez 2010 1597:New Philharmonic Society, The 1502:), where she is portrayed by 5334:German women music educators 4920:Schumann. Robert & Clara 4598:"Clara Schumann German Mark" 4433:(Motion picture) (in German) 4279:Worl, Gayle (9 March 1997). 4208:University of Illinois Press 4071:10.1016/j.poetic.2008.09.001 4035:. Vol. 15, no. 1. 3700:Johannes Brahms: A Biography 2342:Berliner Philharmoniker 2019 1121:by Clara and Robert Schumann 1097:composed in 1831, and Op. 5 1042:Leipzig Gewandhaus Orchestra 369:, harmony, composition, and 5379:19th-century women pianists 4964:17, no. 2 (Fall 2019): 1–9. 4926:: Zecchini Editore (2002). 4337:Braunstein, Joseph (1971). 3892:Weingarten, Joseph (1972). 3867:. Oxford University Press. 3809:. Oxford University Press. 3406:. Oxford University Press. 3376:University of Chicago Press 1378:. Another of her students, 1223:The opposing side of this " 1036:In 1835, she performed her 633:London Philharmonic Society 5395: 4942:Saremba, Meinhard (2021). 4865:7, no. 2 (Fall 2009): 1–7. 4778:(director). Archived from 4503:sophie-drinker-institut.de 4411:musicweb-international.com 4380:"The Clara Schumann Story" 4312:berliner-philharmoniker.de 4202:(1986). "Clara Schumann". 3764:. Oxford University Press. 3458:Cambridge University Press 3430:Koch, Paul-August (1991). 3372:The Idea of Absolute Music 3051:Litzmann Bio (German) 1908 2763:Robert Schumann Score 1879 1580:Royal Philharmonic Society 1408: 1350:Impact during her lifetime 1286:Neue Zeitschrift für Musik 1083: 578:Beethoven's violin sonatas 463:Neue Zeitschrift für Musik 384:Clara Wieck, from an 1835 5339:German Romantic composers 5324:German classical pianists 5314:Child classical musicians 5205: 5124:4 Pièces caractéristiques 5101: 5014:Kapralova Society Journal 4962:Kapralova Society Journal 4863:Kapralova Society Journal 4140:10.1080/01411890903475981 4032:The Journal of Musicology 3761:Oxford Companion to Music 3600:Houghton Mifflin Harcourt 3521:Longmans, Green & Co. 3308:. London: Headline Home. 3220:Paper Money Guaranty 2018 2688:Clara Schumann Score 2001 1530:Banknote and conservatory 1459:in Season 1, Episode 26: 1331:First Symphony in F minor 1105:Piano Concerto in A minor 1100:4 Pièces caractéristiques 1070:Piano Concerto in G major 1050:Piano Concerto in C minor 1038:Piano Concerto in A minor 797:Dr. Hoch's Konservatorium 790:Dr. Hoch's Konservatorium 761:Piano Concerto in D minor 645:Piano Concerto in A minor 637:William Sterndale Bennett 458:Revue et Gazette Musicale 271:Dr. Hoch's Konservatorium 195: 123:Dr. Hoch's Konservatorium 41: 4851:. Random House NYC 1940. 4641:Schumann, Clara (2001). 4281:"Women of Historic Note" 3775:(2nd ed.). London: 3628:Cornell University Press 3575:Cornell University Press 2897:, pp. 361, 365–366. 2423:Cohen, Aaron I. (1987). 1538:was featured on the 100 1461:The Clara Schumann Story 649:New Philharmonic Society 340:on 13 September 1819 to 308:was featured on the 100 290:) of 1944. A 2008 film, 245:, where both her father 215:[ˈklaːʁaˈʃuːman] 207:Clara Josephine Schumann 4879:Clara Schumann, Klavier 4716:Encyclopædia Britannica 4316:Berliner Philharmoniker 4304:Berliner Philharmoniker 4165:(subscription required) 3977:. Vol. 27. Basel: 3741:Encyclopædia Britannica 3594:Reich, Susanna (1999). 3385:Haisler, J. L. (2003). 3099:Loretta Young Show 1954 3017:, pp. 195, 267–68. 1358:Schumann, according to 944:May Uprising in Dresden 703:Louisa and Susanna Pyne 5359:German piano educators 5349:Musicians from Leipzig 4678:Breitkopf & Härtel 4673:Robert Schumanns Werke 4384:The Loretta Young Show 4206:. Urbana and Chicago: 4160: – via 4000:Il Saggiatore musicale 3525:Breitkopf & Härtel 3481:Breitkopf & Härtel 3466:Breitkopf & Härtel 3111:Frühlingssinfonie 1983 2556:Schumann, Eugenie 1925 1929:v. 2 pp. 61–62, 69, 71 1457:The Loretta Young Show 1363: 1208:"War of the Romantics" 1190:Breitkopf & Härtel 1170: 1122: 999: 977: 960:Performance repertoire 876: 792: 748:with the newly-formed 663: 602:letter of introduction 593: 495: 388: 330:Clara Josephine Wieck 4967:Vloed, Kees van der: 4505:(in German). Bremen: 3732:Abraham, Gerald E. H. 3706:Alfred A. Knopf, Inc. 3545:Oneworld Publications 3434:. Frankfurt am Main: 3333:Clive, Peter (2006). 3302:Burton-Hill, Clemency 3280:(in German). Berlin: 3241:Avins, Styra (1997). 2106:Swafford Article 2003 2045:Litzmann Letters 1927 1556:Schmorsdorf lime tree 1357: 1143:Piano Trio in G minor 1117: 1076:singers in recitals. 1031:Johann Sebastian Bach 1003:Friedrich Kalkbrenner 971: 917:Ferdinand (1849–1891) 874: 787: 754:Fourth Piano Concerto 658: 635:concert by conductor 591: 490: 478:Lasting relationships 383: 58:Clara Josephine Wieck 5191:War of the Romantics 5104:List of compositions 5043:Scherzo Nr. 2 Op. 14 4606:Paper Money Guaranty 4594:Paper Money Guaranty 4463:Helma Sanders-Brahms 4175:(21 February 2017). 4132:Taylor & Francis 4101:Online Musik Magazin 3906:Barrie & Jenkins 3648:Shaw, George Bernard 3630:. pp. 338–367. 2873:, pp. 835, 837. 2568:Daverio Article 1997 2544:Nauhaus Eugenie 2019 2315:Schumann Portal 2019 1891:, v. 1 pp. xii, xvi. 1687:Nauhaus Bargiel 2019 1225:War of the Romantics 1145:, Op. 17 (1846) and 1065:Hammerklavier Sonata 736:Fifth Piano Concerto 676:Carlo Alfredo Piatti 605:straight from God". 302:Helma Sanders-Brahms 277:beside her husband. 5319:Composers for piano 5012:– by Eugene Gates, 4345:(LP, liner notes). 4286:The Washington Post 3462:Macmillan & Co. 3123:Geliebte Clara 2008 2933:, pp. 340–341. 2753:, pp. 327–328. 1853:Nauhaus Images 2019 1783:Reich, Susanna 1999 1488:) (1983), starring 1292:Fantasie in C major 1151:George V of Hanover 750:Berlin Philharmonic 688:George Bernard Shaw 678:. Second violinist 300:), was directed by 4918:Rattalino, Piero: 4840:19th-Century Music 4740:(Motion picture). 4693:schumann-portal.de 4651:Dover Publications 4576:schumann-portal.de 4570:Nauhaus, Julia M. 4553:schumann-portal.de 4547:Nauhaus, Julia M. 4530:schumann-portal.de 4524:Nauhaus, Julia M. 4322:on 1 February 2023 3864:Grove Music Online 3806:Grove Music Online 3801:"Schumann, Robert" 3491:Litzmann, Berthold 3446:Litzmann, Berthold 3029:, pp. 271–72. 3015:Swafford Book 1997 2993:, pp. 202–03. 2981:, pp. 348–49. 2859:Swafford Book 1997 2847:Swafford Book 1997 2823:Swafford Book 1997 2486:, pp. 162–77. 2329:, pp. 101–18. 2295:schumann-portal.de 2231:Avins Article 2002 2139:, v. 1 pp. 322–23. 1953:Daverio Grove 2001 1943:, pp. 98–115. 1915:, v. 1 pp. 301–03. 1838:Reich Article 1986 1823:Reich Article 1986 1610:Concert Programmes 1364: 1313:Tristan und Isolde 1259:of female fans of 1251:lips, inspiring a 1194:Domenico Scarlatti 1123: 1027:Domenico Scarlatti 1019:Johann Peter Pixis 1011:Sigismond Thalberg 978: 926:Felix (1854–1879). 914:Ludwig (1848–1899) 877: 793: 664: 612:Brahms played his 594: 514:in the village of 496: 389: 5223: 5222: 5197:Hoch Conservatory 4953:978-3-95510-259-3 4909:978-3-631-76745-0 4871:The Musical Times 4829:978-1-78074-856-6 4742:Katharine Hepburn 4695:. Schumann Portal 4687:Schumann Portal. 4422:Frühlingssinfonie 4255:(26 April 2003). 4080:on 15 August 2021 3882:978-1-56159-263-0 3666:Schumann, Eugenie 3584:978-0-8014-8637-1 3554:978-1-78-607411-9 3413:978-0-19-983195-1 3291:978-3-48-708553-1 3272:Borchard, Beatrix 3087:Song of Love 1947 3039:Litzmann Bio 1913 2601:, pp. 50–73. 2460:Litzmann Bio 1913 2434:978-0-9617485-2-4 2271:Litzmann Bio 1913 2255:Litzmann Bio 1913 2215:Litzmann Bio 1913 2187:Litzmann Bio 1913 2168:Litzmann Bio 1913 2152:Litzmann Bio 1913 2137:Litzmann Bio 1913 2060:Litzmann Bio 1913 2005:Litzmann Bio 1913 1989:Litzmann Bio 1913 1977:Litzmann Bio 1913 1925:Litzmann Bio 1913 1913:Litzmann Bio 1913 1889:Litzmann Bio 1913 1877:Litzmann Bio 1913 1736:Litzmann Bio 1913 1661:, pp. 5, 13. 1481:Frühlingssinfonie 1473:Carleton G. Young 1455:portrayed her on 1438:Katharine Hepburn 1218:New German School 1127:Friedrich Rückert 1007:Adolf von Henselt 908:Julie (1845–1872) 905:Elise (1843–1928) 902:Marie (1841–1929) 833:Ilona Eibenschütz 567:Felix Mendelssohn 524:Julius Otto Grimm 501:Schönefeld church 492:Schönefeld church 436:Franz Grillparzer 430:Success in Vienna 365:violin, singing, 204: 203: 68:13 September 1819 16:(Redirected from 5386: 5264: 5263: 5262: 5252: 5251: 5250: 5240: 5239: 5238: 5231: 5213: 5212: 5088: 5081: 5074: 5065: 5055: 5044: 5032: 4982: 4957: 4937: 4914: 4892: 4808: 4802: 4794: 4792: 4790: 4785:on 24 April 2023 4784: 4759: 4753: 4745: 4739: 4726: 4724: 4722: 4704: 4702: 4700: 4681: 4664: 4635: 4633: 4631: 4616: 4614: 4612: 4587: 4585: 4583: 4564: 4562: 4560: 4541: 4539: 4537: 4518: 4516: 4514: 4488: 4482: 4474: 4472: 4470: 4460: 4442: 4440: 4438: 4432: 4414: 4399: 4397: 4395: 4373: 4371: 4369: 4350: 4339:Clara Schumann; 4331: 4329: 4327: 4318:. 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Archived from 4056: 4044: 4023: 4014:"Silent partner" 4012:(20 June 2002). 4010:Galloway, Janice 4003: 3989: 3987: 3985: 3959: 3957: 3955: 3927: 3886: 3848: 3835: 3833: 3831: 3790: 3765: 3752: 3750: 3748: 3734:(20 July 1998). 3718: 3703: 3687: 3659: 3641: 3613: 3588: 3558: 3528: 3484: 3469: 3439: 3424: 3422: 3420: 3394: 3379: 3361: 3359: 3357: 3327: 3295: 3265: 3263: 3261: 3223: 3217: 3211: 3205: 3199: 3198: 3196: 3194: 3188:www.opusarte.com 3180: 3174: 3173: 3171: 3169: 3154: 3148: 3147: 3145: 3143: 3132: 3126: 3120: 3114: 3108: 3102: 3096: 3090: 3084: 3078: 3072: 3066: 3060: 3054: 3048: 3042: 3036: 3030: 3024: 3018: 3012: 3006: 3000: 2994: 2988: 2982: 2976: 2970: 2964: 2958: 2952: 2946: 2940: 2934: 2928: 2922: 2916: 2910: 2904: 2898: 2892: 2886: 2880: 2874: 2868: 2862: 2856: 2850: 2844: 2838: 2832: 2826: 2820: 2814: 2808: 2802: 2796: 2790: 2784: 2778: 2772: 2766: 2760: 2754: 2748: 2742: 2736: 2730: 2724: 2718: 2712: 2706: 2700: 2691: 2685: 2679: 2673: 2667: 2666: 2664: 2662: 2644: 2638: 2632: 2626: 2620: 2614: 2608: 2602: 2596: 2583: 2577: 2571: 2565: 2559: 2553: 2547: 2541: 2535: 2529: 2523: 2517: 2511: 2505: 2499: 2493: 2487: 2481: 2475: 2469: 2463: 2457: 2451: 2445: 2439: 2438: 2420: 2414: 2408: 2393: 2387: 2378: 2372: 2357: 2351: 2345: 2339: 2330: 2324: 2318: 2312: 2306: 2305: 2303: 2301: 2287: 2278: 2268: 2262: 2252: 2246: 2240: 2234: 2228: 2222: 2212: 2206: 2200: 2194: 2184: 2175: 2165: 2159: 2149: 2140: 2134: 2121: 2115: 2109: 2103: 2094: 2088: 2067: 2057: 2048: 2042: 2036: 2030: 2024: 2018: 2012: 2002: 1996: 1986: 1980: 1974: 1968: 1962: 1956: 1950: 1944: 1938: 1932: 1922: 1916: 1910: 1904: 1898: 1892: 1886: 1880: 1874: 1868: 1865:Burton-Hill 2017 1862: 1856: 1850: 1841: 1835: 1826: 1820: 1809: 1803: 1786: 1780: 1774: 1764: 1758: 1755:Reich Grove 2001 1752: 1743: 1733: 1727: 1721: 1690: 1684: 1678: 1668: 1662: 1656: 1650: 1644: 1635: 1629: 1613: 1606: 1600: 1589: 1583: 1572: 1520:Ghost Variations 1490:Nastassja Kinski 1396:Bruce Hungerford 1384:Juilliard School 1326:Seventh Symphony 1277:Woldemar Bargiel 1168: 1061:Arabella Goddard 1056:and in Leipzig. 1054:Hanoverian court 997: 911:Emil (1846–1847) 740:Woldemar Bargiel 738:in Berlin, with 672:Popular Concerts 668:St. James's Hall 592:Schumann in 1853 540:Ballades, Op. 10 420:Niccolò Paganini 335: 217: 212: 200: 150: 148: 86: 67: 65: 46: 32: 21: 5394: 5393: 5389: 5388: 5387: 5385: 5384: 5383: 5364:Robert Schumann 5274: 5273: 5270: 5260: 5258: 5248: 5246: 5242:Classical music 5236: 5234: 5226: 5224: 5219: 5201: 5178: 5174:Friedrich Wieck 5164:Johannes Brahms 5159:Robert Schumann 5147: 5106: 5097: 5092: 5053: 5042: 5031:March in Es dur 5030: 4990: 4980: 4954: 4941: 4935: 4912: 4890: 4845:Burk, John N.: 4816: 4814:Further reading 4811: 4795: 4788: 4786: 4782: 4764: 4746: 4737: 4731: 4720: 4718: 4709: 4698: 4696: 4686: 4669: 4661: 4649:. Mineola, NY: 4640: 4629: 4627: 4621: 4610: 4608: 4596:(15 May 2018). 4592: 4581: 4579: 4569: 4558: 4556: 4546: 4535: 4533: 4523: 4512: 4510: 4495:Klassen, Janina 4493: 4475: 4468: 4466: 4458: 4447: 4436: 4434: 4430: 4427:Spring Symphony 4419: 4404: 4393: 4391: 4378: 4367: 4365: 4355: 4336: 4325: 4323: 4302: 4298: 4293: 4278: 4267: 4265: 4251: 4240: 4238: 4226: 4218: 4200:Reich, Nancy B. 4198: 4187: 4185: 4171: 4164: 4117: 4106: 4104: 4094: 4083: 4081: 4077: 4054: 4049: 4028: 4008: 3994: 3983: 3981: 3964: 3953: 3951: 3939: 3935: 3930: 3916: 3891: 3883: 3855:Reich, Nancy B. 3853: 3840: 3829: 3827: 3825: 3795: 3787: 3770: 3757: 3746: 3744: 3730: 3726: 3721: 3715: 3692: 3684: 3664: 3646: 3638: 3618: 3610: 3593: 3585: 3565:Reich, Nancy B. 3563: 3555: 3533: 3509: 3493:, ed. (1927) . 3489: 3474: 3464:& Leipzig: 3454:Hadow, Grace E. 3444: 3429: 3418: 3416: 3414: 3399: 3391:Rice University 3389:. Houston, TX: 3384: 3366: 3355: 3353: 3351: 3341:Scarecrow Press 3332: 3316: 3300: 3292: 3282:Ullstein Verlag 3270: 3259: 3257: 3255: 3240: 3236: 3231: 3226: 3218: 3214: 3206: 3202: 3192: 3190: 3182: 3181: 3177: 3167: 3165: 3163:Chicago Tribune 3156: 3155: 3151: 3141: 3139: 3134: 3133: 3129: 3121: 3117: 3109: 3105: 3097: 3093: 3085: 3081: 3073: 3069: 3063:Reich Book 2001 3061: 3057: 3049: 3045: 3037: 3033: 3027:Reich Book 2001 3025: 3021: 3013: 3009: 3001: 2997: 2991:Reich Book 2001 2989: 2985: 2977: 2973: 2965: 2961: 2953: 2949: 2941: 2937: 2929: 2925: 2917: 2913: 2905: 2901: 2893: 2889: 2881: 2877: 2869: 2865: 2857: 2853: 2845: 2841: 2833: 2829: 2821: 2817: 2809: 2805: 2797: 2793: 2785: 2781: 2773: 2769: 2761: 2757: 2751:Reich Book 2001 2749: 2745: 2739:Reich Book 2001 2737: 2733: 2725: 2721: 2713: 2709: 2701: 2694: 2686: 2682: 2674: 2670: 2660: 2658: 2646: 2645: 2641: 2635:Avins Book 1997 2633: 2629: 2621: 2617: 2609: 2605: 2597: 2586: 2580:Weingarten 1972 2578: 2574: 2566: 2562: 2554: 2550: 2542: 2538: 2532:Reich Book 2001 2530: 2526: 2520:Reich Book 2001 2518: 2514: 2508:Reich Book 2001 2506: 2502: 2496:Reich Book 2001 2494: 2490: 2484:Reich Book 2001 2482: 2478: 2470: 2466: 2458: 2454: 2448:Reich Book 2001 2446: 2442: 2435: 2422: 2421: 2417: 2409: 2396: 2388: 2381: 2373: 2360: 2352: 2348: 2340: 2333: 2325: 2321: 2313: 2309: 2299: 2297: 2289: 2288: 2281: 2269: 2265: 2259:v. 2 pp. 249–50 2253: 2249: 2241: 2237: 2229: 2225: 2213: 2209: 2203:Reich Book 2001 2201: 2197: 2185: 2178: 2166: 2162: 2150: 2143: 2135: 2124: 2116: 2112: 2104: 2097: 2091:Reich Book 2001 2089: 2070: 2058: 2051: 2043: 2039: 2033:Reich Book 2001 2031: 2027: 2021:Reich Book 2001 2019: 2015: 2003: 1999: 1987: 1983: 1975: 1971: 1963: 1959: 1951: 1947: 1939: 1935: 1923: 1919: 1911: 1907: 1899: 1895: 1887: 1883: 1875: 1871: 1863: 1859: 1851: 1844: 1836: 1829: 1821: 1812: 1806:Braunstein 1971 1804: 1789: 1781: 1777: 1765: 1761: 1753: 1746: 1734: 1730: 1722: 1693: 1685: 1681: 1669: 1665: 1659:Reich Book 2001 1657: 1653: 1645: 1638: 1634:, p. 1124. 1630: 1626: 1622: 1617: 1616: 1607: 1603: 1590: 1586: 1573: 1569: 1564: 1552: 1546: 1532: 1512: 1486:Spring Symphony 1469:Shelley Fabares 1444:as Robert, and 1413: 1407: 1352: 1347: 1335:Richard Strauss 1281:New Weimar Club 1273:Albert Dietrich 1210: 1186: 1169: 1167:Robert Schumann 1166: 1088: 1082: 998: 996:Robert Schumann 995: 962: 957: 869: 857: 837:Adelina de Lara 829:Leonard Borwick 809:Natalia Janotha 782: 716: 711: 629: 598:Johannes Brahms 586: 584:Johannes Brahms 571:Violin Concerto 558: 520:Albert Dietrich 505:majority status 485: 483:Robert Schumann 480: 432: 401:Robert Schumann 362: 342:Friedrich Wieck 328: 323: 318: 260:Johannes Brahms 256:Robert Schumann 249:and her mother 247:Friedrich Wieck 241:She grew up in 210: 186: 181:Mariane Bargiel 175:Friedrich Wieck 152: 144: 140: 137: 135:Robert Schumann 114: 94: 93:, German Empire 88: 84: 75: 69: 63: 61: 60: 59: 49: 48:1839 lithograph 37: 28: 23: 22: 15: 12: 11: 5: 5392: 5390: 5382: 5381: 5376: 5371: 5366: 5361: 5356: 5351: 5346: 5341: 5336: 5331: 5326: 5321: 5316: 5311: 5306: 5301: 5296: 5291: 5286: 5276: 5275: 5269: 5268: 5256: 5244: 5221: 5220: 5218: 5217: 5206: 5203: 5202: 5200: 5199: 5194: 5186: 5184: 5180: 5179: 5177: 5176: 5171: 5169:Joseph Joachim 5166: 5161: 5155: 5153: 5149: 5148: 5146: 5145: 5139: 5133: 5130:Piano Concerto 5127: 5121: 5114: 5112: 5108: 5107: 5102: 5099: 5098: 5095:Clara Schumann 5093: 5091: 5090: 5083: 5076: 5068: 5062: 5061: 5050: 5039: 5027: 5021: 5016: 5007: 5001: 4989: 4988:External links 4986: 4985: 4984: 4965: 4958: 4952: 4939: 4916: 4894: 4877:Kühn, Dieter: 4875: 4866: 4859: 4852: 4843: 4836:Liebesfrühling 4832: 4815: 4812: 4810: 4809: 4761: 4760: 4728: 4727: 4706: 4705: 4683: 4682: 4666: 4665: 4660:978-0486413815 4659: 4647:Nancy B. Reich 4637: 4636: 4618: 4617: 4589: 4588: 4566: 4565: 4543: 4542: 4520: 4519: 4507:Sophie Drinker 4490: 4489: 4450:Geliebte Clara 4444: 4443: 4416: 4415: 4401: 4400: 4375: 4374: 4352: 4351: 4333: 4332: 4299: 4297: 4296:Online sources 4294: 4292: 4291: 4275: 4274: 4248: 4247: 4223: 4222: 4216: 4195: 4194: 4182:Brain Pickings 4168: 4167: 4114: 4113: 4091: 4090: 4046: 4045: 4025: 4024: 4005: 4004: 3991: 3990: 3961: 3960: 3936: 3934: 3931: 3929: 3928: 3915:978-0214668050 3914: 3888: 3887: 3881: 3850: 3849: 3837: 3836: 3823: 3792: 3791: 3785: 3767: 3766: 3754: 3753: 3727: 3725: 3722: 3720: 3719: 3713: 3689: 3688: 3682: 3661: 3660: 3643: 3642: 3636: 3615: 3614: 3608: 3590: 3589: 3583: 3560: 3559: 3553: 3530: 3529: 3507: 3486: 3485: 3471: 3470: 3441: 3440: 3426: 3425: 3412: 3396: 3395: 3381: 3380: 3368:Dahlhaus, Carl 3363: 3362: 3350:978-1461722809 3349: 3329: 3328: 3315:978-1472251824 3314: 3297: 3296: 3290: 3267: 3266: 3253: 3237: 3235: 3232: 3230: 3227: 3225: 3224: 3212: 3200: 3175: 3149: 3127: 3115: 3103: 3091: 3079: 3075:Träumerei 1944 3067: 3065:, p. 254. 3055: 3043: 3041:, v. 1 p. 316. 3031: 3019: 3007: 3005:, p. 839. 2995: 2983: 2971: 2969:, p. 350. 2959: 2957:, p. 311. 2947: 2945:, p. 341. 2935: 2923: 2921:, p. 309. 2911: 2899: 2887: 2885:, p. 838. 2875: 2863: 2861:, p. 195. 2851: 2849:, p. 206. 2839: 2837:, p. 346. 2827: 2815: 2813:, p. 344. 2803: 2801:, p. 343. 2791: 2789:, p. 342. 2779: 2777:, p. 340. 2767: 2755: 2743: 2731: 2719: 2717:, p. 129. 2707: 2692: 2680: 2668: 2648:Crumey, Andrew 2639: 2637:, p. 231. 2627: 2615: 2603: 2584: 2572: 2560: 2548: 2536: 2534:, p. 152. 2524: 2522:, p. 158. 2512: 2510:, p. 169. 2500: 2498:, p. 170. 2488: 2476: 2464: 2462:, v. 1 p. 306. 2452: 2440: 2433: 2415: 2394: 2379: 2375:Riebsamen 2019 2358: 2356:, p. 403. 2346: 2331: 2319: 2307: 2279: 2263: 2247: 2245:, p. 297. 2235: 2233:, p. 637. 2223: 2207: 2205:, p. 267. 2195: 2176: 2160: 2141: 2122: 2110: 2095: 2068: 2049: 2037: 2035:, p. 207. 2025: 2023:, p. 206. 2013: 1997: 1981: 1979:, v. 1 p. 366. 1969: 1957: 1945: 1933: 1917: 1905: 1893: 1881: 1869: 1857: 1842: 1840:, p. 250. 1827: 1825:, p. 249. 1810: 1787: 1775: 1759: 1744: 1728: 1691: 1679: 1663: 1651: 1636: 1623: 1621: 1618: 1615: 1614: 1601: 1584: 1566: 1565: 1563: 1560: 1559: 1558: 1551: 1548: 1531: 1528: 1511: 1508: 1504:Martina Gedeck 1495:Geliebte Clara 1406: 1403: 1392:Malcolm Frager 1380:Carl Friedberg 1372:Mathilde Verne 1351: 1348: 1346: 1343: 1322:Anton Bruckner 1244:absolute music 1229:Richard Wagner 1209: 1206: 1185: 1182: 1164: 1135:Spring of Love 1131:Liebesfrühling 1081: 1078: 1046:Piano Concerto 993: 961: 958: 956: 953: 928: 927: 924: 918: 915: 912: 909: 906: 903: 868: 865: 861:Alter Friedhof 856: 853: 825:Carl Friedberg 781: 778: 745:Choral Fantasy 715: 712: 710: 707: 641:Alfredo Piatti 628: 625: 617:including the 614:First Symphony 585: 582: 562:Joseph Joachim 557: 556:Joseph Joachim 554: 484: 481: 479: 476: 446:Franz Schubert 431: 428: 397:Colditz Castle 361: 358: 327: 324: 322: 319: 317: 314: 293:Geliebte Clara 267:Joseph Joachim 232:piano concerto 202: 201: 193: 192: 188: 187: 185: 184: 178: 171: 169: 165: 164: 158: 154: 153: 142: 138: 133: 132: 130: 126: 125: 120: 116: 115: 113: 112: 109: 106: 102: 100: 96: 95: 89: 87:(aged 76) 81: 77: 76: 70: 57: 55: 51: 50: 47: 39: 38: 36:Clara Schumann 35: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5391: 5380: 5377: 5375: 5372: 5370: 5367: 5365: 5362: 5360: 5357: 5355: 5352: 5350: 5347: 5345: 5342: 5340: 5337: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5315: 5312: 5310: 5307: 5305: 5302: 5300: 5297: 5295: 5292: 5290: 5287: 5285: 5282: 5281: 5279: 5272: 5267: 5257: 5255: 5245: 5243: 5233: 5229: 5216: 5208: 5207: 5204: 5198: 5195: 5192: 5188: 5187: 5185: 5181: 5175: 5172: 5170: 5167: 5165: 5162: 5160: 5157: 5156: 5154: 5150: 5143: 5140: 5137: 5134: 5131: 5128: 5125: 5122: 5119: 5116: 5115: 5113: 5109: 5105: 5100: 5096: 5089: 5084: 5082: 5077: 5075: 5070: 5069: 5066: 5060: 5056: 5051: 5049: 5045: 5040: 5037: 5033: 5028: 5025: 5022: 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4359: 4354: 4353: 4348: 4344: 4342: 4341:Michael Ponti 4335: 4334: 4321: 4317: 4314:(in German). 4313: 4309: 4305: 4301: 4300: 4295: 4288: 4287: 4282: 4277: 4276: 4264: 4263: 4258: 4254: 4253:Swafford, Jan 4250: 4249: 4236: 4235: 4230: 4225: 4224: 4219: 4213: 4209: 4205: 4201: 4197: 4196: 4184: 4183: 4178: 4174: 4173:Popova, Maria 4170: 4169: 4163: 4157: 4153: 4149: 4145: 4141: 4137: 4133: 4129: 4125: 4121: 4116: 4115: 4102: 4098: 4093: 4092: 4076: 4072: 4068: 4064: 4060: 4053: 4048: 4047: 4042: 4038: 4034: 4033: 4027: 4026: 4021: 4020: 4015: 4011: 4007: 4006: 4001: 3997: 3996:Daverio, John 3993: 3992: 3980: 3976: 3972: 3968: 3963: 3962: 3949: 3948: 3943: 3938: 3937: 3932: 3925: 3921: 3917: 3911: 3907: 3903: 3899: 3895: 3890: 3889: 3884: 3878: 3874: 3870: 3866: 3865: 3860: 3856: 3852: 3851: 3846: 3845: 3839: 3838: 3826: 3824:9781561592630 3820: 3816: 3812: 3808: 3807: 3802: 3798: 3797:Daverio, John 3794: 3793: 3788: 3786:0-333-60800-3 3782: 3778: 3774: 3769: 3768: 3763: 3762: 3756: 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