Clara Schumann

Clara Schumann, pastel drawing by Franz von Lenbach based on sketches from 1878

Clara Josephine Schumann née Wieck (born September 13, 1819 in Leipzig ; † May 20, 1896 in Frankfurt am Main ) was a German pianist , composer , piano professor and editor and from 1840 until his death in 1856 Robert Schumann's wife .

At the beginning of her pianist career , which she began as a child prodigy , virtuoso piano works - including her own - were in the foreground. Later, Robert Schumann, Frédéric Chopin , Felix Mendelssohn Bartholdy , Ludwig van Beethoven , Johann Sebastian Bach and Franz Schubert were her preferred composers. In doing so, she laid the foundation for the concert repertoire of the late 19th and 20th centuries.

She has been rediscovered as a composer since the 1960s. Since then, almost all of Clara Wieck's / Schumann's compositions that have survived have gradually become accessible in modern sheet music editions or as digital copies of manuscripts and prints . They are the subject of musicology and concert music and are widely used in sound and video recordings.

Life

Origin and siblings

Clara Wieck's birthplace Hohe Lilie 1920

Clara Wieck was born in the Hohe Lilie house on Neue Neumarkt 48 in Leipzig (today Neumarkt , overbuilt with a department store) and was baptized Clara Josephine on October 6, 1819 in the Nikolaikirche .

Her parents were Friedrich Wieck (1785–1873) and Mariane Wieck née Tromlitz (1797–1872). The father was a trained theologian . Because of his passion for music, he trained on the piano . He also founded a piano factory and a music lending company . Clara's mother was the daughter of a cantor. She had taken piano lessons from her future husband and worked as a singer, pianist and piano teacher. The first daughter Adelheid died as a toddler in 1818. Clara and the brothers Alwin (born 1821), Gustav (born 1823) and Viktor (born 1824) followed. At the time of Viktor's birth, however, the parents were already separated. The marriage ended in divorce in 1825. The three older children Clara, Alwin and Gustav stayed with their father. Viktor died in 1827. Alwin became a violinist and music teacher, Gustav became an instrument maker.

Friedrich Wieck married the twenty years younger Clementine Fechner in 1828 and had daughters Marie , who later took piano lessons from him, and Cäcilie (1834-1893), who was also a promising young pianist until she was 16 years old was. Friedrich Wieck liked to mention her in his writings alongside Clara and Marie as one of his "three daughters".

The mother Mariane Wieck had a second marriage with the piano teacher Adolph Bargiel as early as 1825 and moved with him to Berlin, where she continued to work as a piano teacher. This marriage resulted in four children, including their son Woldemar Bargiel , who later became a composer. The sisters Clementine (1835–1869) and Cäcilie Bargiel (1831–1910) both worked as piano teachers.

From Leipzig child prodigy to internationally recognized artist

Friedrich Wieck around 1830, painting in the Robert Schumann House in Zwickau

Clara Wieck 1828, the year of her first appearance as a pianist, ivory miniature (excerpt)

Clara learned to speak very late, probably at the age of four, when she spent a year apart from her father with her mother with her grandparents Tromlitz in Plauen . Mariane Wieck had to promise to give Clara back to her father on her 5th birthday. Even before her stay in Plauen, Clara had "easily learned several exercises on the piano with a stationary hand and even played light accompaniments to dances by ear". Back with her father, she received intensive piano lessons at the age of five, mostly from Friedrich Wieck himself. Only in the first few years did he sometimes delegate piano lessons to the piano teacher Emilie Reichold, whom he brought to Leipzig in 1826.

Friedrich Wieck's focus was on Clara, who, because of her musical talent , wanted to make her known as a child prodigy and piano virtuoso as quickly as possible . From January 1, 1825, he sent his daughter to the private handicraft school of the Marbach siblings and from October 5, 1825 for about a year for 3 to 5 hours a day at the Noack'sche Institut, a private elementary school where she learned to write and to do arithmetic, but he insisted on daily piano lessons, which limited these elementary lessons, and on concentrated practice times. For balance and physical exercise, he prescribed long walks. As a result, Clara's training was largely limited to music, but later also included learning foreign languages.

The success soon came. Clara Wieck already found great recognition in her early private appearances. For the father she was the figurehead of his piano pedagogical method, which he also passed on to musicians such as Robert Schumann and Hans von Bülow .

On October 20, 1828 she appeared in public for the first time in the Leipzig Gewandhaus and played the right part of a four-hand work by Friedrich Kalkbrenner at a concert by Caroline Perthaler alongside Emilie Reichold .

The Leipziger Allgemeine musical newspaper wrote:

“In the same concert it was particularly pleasant for us to hear Clara Wiek and Dem. Emilia Reichold, who was only nine years old and equipped with many music systems, perform four-handed variations on a march from Moses by Kalkbrenner with general and well-deserved approval. Under the guidance of her father, who is experienced in music and who understands the art of pianoforte playing well and is very active in doing so, we can cherish the greatest hopes of her. "

From 1827 Friedrich Wieck kept a diary for Clara - in the first person form, as if she had written it herself. He later had Clara's own diary entries presented to him for reading. A diary entry in Clara's name written by Friedrich Wieck on October 29, 1828 reads:

"My father, who had long been hoping in vain for a change of mind on my part, remarked again today that I am still so lazy, careless, disorderly, stubborn, disobedient, etc., that I am the same especially when I play the piano and study it and because I played Hünten's new variation O.26 so badly in his presence and didn't even repeat the first part of the 1st variation, he tore the copy up in front of my eyes and from now on he won't give me any more lessons and I'm not allowed to play any more , as the scales, Cramer Etudes L. 1 u Czerny trill exercises. "

The strict pianistic training was not suitable for children by today's standards. Clara Schumann commented on this in a letter from 1894 that an understanding father had stood by her side, “[...] who watched over her health, made sure that she took good walks, never accepted invitations to late societies, never to practiced a lot in a row, never doing anything but resting in the afternoon before an evening concert, in short, who was guarding her. The people would of course call him a tyrant, as my father had to put up with - but I still thank him every day; the freshness that has remained with me into old age (in art at least) I thank him for that! "

Initially, the lecture program, largely determined by the father, consisted of pleasing and at the same time technically demanding compositions, for example by Friedrich Kalkbrenner , Camille Pleyel , Ignaz Moscheles and Henri Herz . Her own early compositions were also incorporated. It was only after her father's influence had diminished that Clara played works by Ludwig van Beethoven , Johann Sebastian Bach and Robert Schumann in her concerts .

Clara Wieck in Paris in 1832, lithograph after a painting by Eduard Fechner

Friedrich Wieck saw himself as Clara's impresario , who organized the concert tours, which were often difficult. He made sure that invitations to concerts were issued and that the grand piano worked at the venue. At the beginning of the 19th century it often happened that a grand piano was difficult to obtain or was not tuned. Before each concert, the anxious question arose whether the mechanics of the instruments would “play along”. Wieck therefore always carried piano tools with him and mostly worked as a piano tuner and repairer in the run-up to the concert . Later he went over to sending specially selected instruments to the place of performance so that Clara could play on a familiar grand piano.

Clara Wieck played for Goethe , became personally acquainted with Niccolò Paganini , made music and made friends with Franz Liszt , exchanged compositions with Frédéric Chopin in mutual respect and was encouraged and challenged by Felix Mendelssohn Bartholdy as a pianist and composer. At a young age she performed in numerous cities and also in neighboring countries. In Vienna , when she was not yet 19, she was given the honor of being appointed k (aiserly) k (royal) chamber virtuoso .

She was also active as a composer very early on. The Quatre Polonaises op. 1, composed in 1829/1830 at the age of ten and eleven, were published in 1831. This was followed by Caprices en forme de Valse , Valses romantiques , Quatre Pièces caractéristiques , Soirées musicales , a piano concerto and much more.

Approaching Robert Schumann

Clara Wieck met Robert Schumann in 1828, at the age of about eight and a half years. From October 1830, when he was twenty, Schumann lived with the Wiecks for a year when he took lessons from Clara's father. He was very nice with the girl: he told her and her two brothers self-made fairy tales.

Clara Wieck 1835, the year of the first kiss, lithograph by Julius Giere . The sheet music comes from her Piano Concerto in A minor, Op. 7.

Clara Wieck 1838, lithograph by Andreas Staub

When Clara Wieck was 16 years old, they got closer to each other; Robert Schumann raved about the first kiss in November 1835 in later letters. She was his "Zilia", his " Chiara ", as he tenderly called her. He gave the title Chiarina to a piece from his piano cycle Carnaval op .

However, Friedrich Wieck was by no means ready to accept his daughter's love for Robert Schumann. He first achieved the separation by scheduling Clara for some concert tours. He monitored her almost around the clock and forbade her from correspondence with Robert Schumann. In June 1837 Friedrich Wieck brought his daughter to the Serre couple, who were friends with him, in Maxen near Dresden in order to cut off her contacts with Robert Schumann. But the Serres supported the connection between the lovers.

Clara Wieck's and Robert Schumann's secret engagement in August 1837 was followed by a letter from Robert Schumann to Friedrich Wieck dated September 13, 1837, in which he asked for Clara's hand. Wieck refused the application and forbade the lovers from all contact. Nevertheless, the lovers managed to see each other again and again. Robert Schumann wrote in his diary on October 4, 1837: “Yesterday evening, a happy get-together with Clara, maybe last. The old man [Wieck] travels to H. Last and highest gift. "

During the stay in Vienna accompanied by Friedrich Wieck in the concert season 1837/1838, in which Clara Wieck was celebrated as a star, she was allowed to write to Schumann, but she only confided in personal letters to secretly written letters. She wrote to Robert Schumann about the circumstances: “Just don't blame me for writing so terribly badly, but imagine that I'm standing with the sheet of paper on the chest of drawers on which I am writing. Every time I dip into the inkwell, I run into the other room. ”And a little later:“ I ask you, don't be angry with me that the letter is so short, but think it's ten o'clock and I'm scared of my heart my chamber. "

In the ongoing correspondence between Clara Wieck and Robert Schumann, in which doubt and confidence alternate, both reassure their unbreakable loyalty and constant love.

After the trip to Paris, which lasted from January 8 to August 14, 1839 without her father, Clara Wieck left her father's household. She was accepted by friends and finally, from September 1839, by her mother in Berlin, where she was able to spend the Christmas season of 1839 with Robert Schumann and lived until the wedding.

Trial, Marriage, and First Years of Marriage

Robert Schumann 1839, lithograph by Josef Kriehuber

Clara Wieck 1840, shortly before her marriage, watercolor drawing by Johann Heinrich Schramm

On July 16, 1839, Robert Schumann and Clara Wieck filed a lawsuit at the court in Leipzig with the request either to oblige Father Wieck to consent to the planned marriage or to give his official consent.

During this time of uncertainty, Clara Schumann recorded her hopes and concerns about the desired marriage in her diary in September 1839:

“Robert's love makes me infinitely happy. - One thought sometimes troubles me, whether I will be able to tie up Robert! His spirit is so great [...] Now I also try to unite the housewife with the artist as much as possible. It's a tough job! I will not leave my art behind, I would have to reproach myself. I think it is very difficult for me to run an economy, always to find the right measure and aim, not to spend too much, but also not to fall into avarice. […] My biggest concern is his health! Should I have to experience the pain of losing it - I don't know if I would have the courage to still live. "

The proceedings were delayed, not least because of Friedrich Wieck's involvement. But on August 1, 1840, the court finally approved the marriage. "[A] on the 16th [August] 1st contingent - [...] d. 4th [September] Klara, from then on always with me, ”noted Robert Schumann in his diary. The wedding took place on September 12, 1840, one day before the bride's 21st birthday, in the Schönefeld Memorial Church near Leipzig. A memorial plaque in Mölkau reminds that Clara and Robert Schumann spent the afternoon in Gutspark Mölkau.

Now they were able to officially move into the apartment on the first floor of a new building at Inselstrasse 5 (now 18) , which had already been furnished before the marriage and where the couple lived for the rest of their time in Leipzig until they moved to Dresden. Guests could now be received both in Robert Schumann's study and in the living room, which was also Clara Schumann's music room. If several guests came at the same time, the adjoining salon was available, in which concerts and readings were also held. From the beginning, the couple expected and received a lot of visitors. At that time it was common for musicians who came to Leipzig - also because of Felix Mendelssohn Bartholdy - to visit the Schumanns, to make music for and with Clara Schumann, to let her perform or to present their own works. In addition to his friend Felix Mendelssohn Bartholdy , who lives in Leipzig, the visitors included William Sterndale Bennett , Hector Berlioz , Ole Bull , Ferdinand David , Adolph Henselt , Franz Liszt , Ignaz Moscheles , Heinrich Marschner , Johannes Verhulst , Pauline Viardot-Garcia and Richard Wagner . In addition, Clara Schumann received suggestions and a change from everyday life at the many musical and social events and get-togethers, which she mostly attended with Robert Schumann.

With the marriage she was assigned a variety of tasks. First and foremost, she saw herself as Robert Schumann's wife, who wanted to be fully present for him and his well-being and enable him to live a carefree life and undisturbed composing. She was responsible for running the household and supervising the servants. She even contemplated creating a kitchen garden behind the house. Nevertheless, she wanted to continue her artistic career, give concerts and go on concert tours and was afraid of losing her pianistic skills if she lacked daily practice and constant encounter with the audience. The everyday marriage in the domestic community with Robert Schumann had something disillusioning for Clara Schumann in this respect: Robert Schumann did not like it that his wife wanted to continue to give concerts; for at least the first year of their marriage he demanded her presence at his side. At his request, Clara Schumann restricted piano practice so that Robert Schumann could concentrate on composing; because the half-timbered walls of the apartment were noisy. In addition, it was Robert Schumann's wish that Clara Schumann should devote herself more to composition and continue the style she had already developed in Romances, Op. 11. A kind of romantic composition aimed at virtuosity and bravura was also too irrelevant for her.

The marriage offered Clara Schumann the opportunity to catch up on the general education that had been neglected under her father's regime. She read, for example, Goethe , Shakespeare and Jean Paul and dealt with poems suitable for setting to music. Together with Robert Schumann, she analyzed in detail Johann Sebastian Bach's Well-Tempered Clavier and studied Beethoven's piano sonatas as well as the latest compositions by Robert Schumann.

Two daughters were born in the Leipzig years of marriage: Marie (1841–1929) and Elise (1843–1928). They were looked after by wet nurses , as was customary in the middle classes at the time.

There was a reconciliation between Friedrich Wieck and the Schumann couple in 1843; the father took the first step towards this.

Many of the circumstances described are known today because Robert Schumann introduced a marriage diary that was published in 1987. He and Clara Schumann alternately made their entries. Schumann, who is known for his taciturnity, also intended this facility to write messages and requests for which the spoken word was insufficient, and Clara Schumann used the diary to convey her view of things to her husband on certain matters.

Continuation of the career and farewell to Leipzig

Clara Schumann implemented her wish to appear again as a wife and to go on concert tours very quickly. Last but not least, the family's financial situation made this step very advisable; because Clara Schumann made a significant contribution to the fact that the family's livelihood could always be covered with her concert income. Incidentally, her concerts also benefited Robert Schumann personally. Since he was unable to perform publicly as a pianist due to his handicap, she interpreted his solo and chamber music piano works and also the three works for piano and orchestra as well as an accompanist to his songs and made him known throughout Europe. In this way - especially after his death - she ensured a large part of his fame as a composer.

As early as October 15, 1840, the first soirée took place in the Schumanns' salon on Inselstrasse in front of around 20 guests. Robert Schumann on this in the marriage diary:

“She is more enthusiastic than ever about her art and has sometimes played last week that I forgot my wife about Master and very often had to praise her in the face in front of others. So last Sunday morning she played Beethoven's C major Sonata, which I have not heard before; so in front of Moscheles some of the Kreisler pieces, and on Thursday evening in a soirée that we gave, the trio's of Moscheles and Mendelssohn. "

Her first public appearance as Clara Schumann took place on October 19, 1840 in Leipzig in a Felix Mendelssohn Bartholdy's soirée for Ignaz Moscheles. Clara and Robert Schumann gave their first concert together on March 31, 1841 in the Gewandhaus. Robert Schumann's 1st Symphony in B flat major and Clara Schumann's song Am Strande were premiered .

On November 21 and 25, 1841, Clara Schumann made a guest appearance in Weimar . On December 6, 1841, the couple gave their second concert in the Gewandhaus, in which Robert Schumann's 1st Symphony was performed again and Clara Schumann performed both as a soloist and together with Franz Liszt with the Hexameron in Liszt's arrangement for two pianos.

The couple went on a tour of northern Germany in February and March 1842 to Bremen , Oldenburg and Hamburg . With severe separation pain - also with the returning husband - Clara Schumann made it from Hamburg to Copenhagen alone and returned to Leipzig on April 26, 1842.

The couple's major tour of Russia lasted from January 25 to May 30, 1844, via Berlin , Königsberg , Mitau , Riga and Dorpat to Saint Petersburg and Moscow . A reception at the royal family was the social highlight. Robert Schumann's temporary displeasure with his wife's successes is well known; it was difficult for him to be her mostly neglected companion.

Back in Leipzig, it was not easy for Clara Schumann to find her way back into her role as wife, head of household and mother. She became very concerned when Robert Schumann experienced a physical and mental breakdown in August 1844. She had to withdraw from a brief engagement as a piano teacher at the Leipzig Conservatory, and concert tours that were being planned could not be carried out. The couple's trip to the Harz Mountains in September 1844 brought no real improvement. Robert Schumann noted in his travel diary: “Heaven will give me health and strength back to work!” On October 3rd, the Schumanns traveled to Dresden to seek relaxation, but Robert Schumann could not sleep for eight days. At the end of November they returned to Leipzig without success. Nevertheless, the couple quickly decided that they would move to Dresden entirely. The friends - including Felix Mendelssohn Bartholdy - arranged a musical soirée for the Schumanns on November 29th. After a public concert by Clara Schumann in the Gewandhaus on December 5, 1844 and a farewell matinee in the Salon on Inselstrasse a few days later, the Schumann family left Leipzig on December 13, 1844.

Dresden

Robert and Clara Schumann 1847, lithograph by Eduard Kaiser

Robert Schumann and Clara Schumann 1846, relief by Fritz Klimsch based on the original by Ernst Rietschel

After the Schumanns moved to Dresden in December 1844, Robert Schumann tried in vain to get a permanent position there as a conductor at a concert or opera house. Until 1846 he was often sick and melancholy.

The couple hoped to relax in the summer of 1846 by taking a bath on the island of Norderney . Because of a "constant Katharr [s]" Robert Schumann's condition there was initially unsatisfactory. One day before Clara Schumann's first seaside resort, he noted in the household book: “Certainly because of KI [ara] 's sisterhood." A few days later he stated: "Change in Kl [ara]' s condition and her joy. “These entries were interpreted differently. The interpretations range from joy that the pregnancy turned out to be non-existent to a deliberate departure caused by Clara Schumann's baths. But the sources give no certainty. What is certain is that Robert Schumann felt relief from his complaints - especially in retrospect - from completing the seaside resorts, whereas Clara Schumann left Norderney ailing.

On September 17, 1846, the Schumann family moved from Seegasse to a larger apartment at Grosse Reitbahngasse 17, where Clara Schumann could play the piano in a secluded room without disturbing her husband.

After several weeks of traveling with concerts in Vienna, Brno and Prague , the Schumann couple experienced the successful performance of Robert Schumann's oratorio Das Paradies und die Peri in Berlin on February 17, 1847 . The contacts at the time with the Berlin salons and the artistic circles around Felix Mendelssohn Bartholdy, Wilhelm and Fanny Hensel , Henriette Sontag and Pauline Viardot made Robert and Clara Schumann think of moving to Berlin. Clara Schumann had made friends with Fanny Hensel, in whom she saw a like-minded companion in art. Clara Schumann: “[We] we almost always harmonize with each other.” But after Fanny Hensel's early death on May 14, 1847, which “shook the Schumanns very much”, the plan to move was rejected.

Between 1845 and 1849 Clara Schumann had four children: the third daughter Julie, Emil (who died after 16 months), Ludwig and Ferdinand. At the end of 1849, Robert Schumann received the offer to become municipal music director in Düsseldorf . He accepted the offer.

Dusseldorf

In 1850 the Schumann family moved to Düsseldorf. The family had to spend the first few days in a hotel until they were able to move into a large apartment on September 10th at Alleestraße 782, at the corner of Grabenstraße. Clara Schumann suffered from the fact that Robert Schumann had to pay the high hotel costs and the expensive move on his own. In addition, she had problems with housekeeping in this apartment, which hardly allowed her to come to practice the piano, and Robert Schumann felt so annoyed by loud noises from the street that he was temporarily unable to work. His study was therefore moved to the rear. One advantage of this apartment was that chamber concerts could be held in a large room.

Clara Schumann appeared as a soloist in Düsseldorf and Cologne as early as the 1850/51 concert season. On the occasion of the first Düsseldorf concert, where she played the Piano Concerto in G minor, Op. 15 by Felix Mendelssohn Bartholdy, she wrote in her diary:

“It was the first time in many years that I had played an orchestral piece by heart in public . Should the youthful vigor and freshness return again? I don't believe it despite the success. "

At Robert Schumann's side, she took over the musical assistance with the orchestra and choir rehearsals. The lack of discipline of the musicians and singers, which both complained about, as well as Robert Schumann's lack of assertiveness, meant that rehearsals and performances did not bring the desired success. The couple was also burdened by three moves within Düsseldorf as well as by another birth and a miscarriage.

Woldemar Bargiel, Clara Schumann's half-brother, recorded the circumstances of his visit to the Schumann couple in July and August 1852 in his diary. After that, Schumann worked a lot on musical projects during this time and occasionally devoted himself to his family and his young musician friends, but was also often sick, which took the worried Clara Schumann with her. To Bargiel it seemed "as if Schumann and Clara had one and the same physical organism and infused every sensation of Schumann into them."

Bilker Strasse 15 in Düsseldorf- Carlstadt : The Schumanns rented two floors here from August 1852 to August 1855

Bargiel was taken on a vacation trip to Scheveningen by the Schumann couple in August 1852. After their return, the Schumann family was able to move into a new apartment on September 19, 1852 at Bilker Strasse 1032 , (today No. 15), which Robert Schumann had already rented in August. Friends had moved from the apartment in Heroldstrasse to there. The apartment was on two floors. Clara Schumann's study was on the upper floor. Now she could practice the piano undisturbed and without disturbing her husband.

In the course of 1853 the disputes between Robert Schumann and the Düsseldorf orchestra he directed escalated. In November he was advised to only conduct his own works and to resign from his extensive office. He reacted indignantly and withdrew from all obligations. During this time, Clara Schumann shared her husband's lack of insight. Her first biographer, Berthold Litzmann, described her attitude towards it:

“The feeling of oneness with him and the passionate endeavor to express this solidarity with the whole world again and again in the sharpest expression, grew stronger from year to year, perhaps precisely in the dark feeling that the fending off of all and all criticism against his person judged that the only protection was against critical or skeptical impulses within. "

Her concern continued to be about Robert Schumann's extremely unstable condition. The successful concert tours for Clara and Robert Schumann from Düsseldorf to Holland from November 24th to December 22nd, 1853 and to Hanover from January 21st to 30th, 1854 gave rise to hope, but soon afterwards Robert Schumann's illness, possibly the consequence of a previously acquired syphilis , a new high point. Increasingly he had developed "hearing defects": noises and intrusive tones up to whole pieces of music haunted him, robbed him of sleep, caused him excruciating pain and made him hallucinate at times . His notes in the household book report on it until February 17, 1854; after that there were no more entries.

On February 27, a Rose Monday, Robert Schumann threw himself from the then Oberkassel pontoon bridge into the Rhine to kill himself , but was pulled out of the water and rescued. Doctors urgently advised Clara Schumann, who was pregnant with her youngest son Felix at the time, against seeing her husband in his deplorable condition. She temporarily moved in with a friend with the children. On March 4, 1854, Robert Schumann was admitted to the mental hospital endsich near Bonn (today a district of Bonn). Clara Schumann was not informed of the suicide attempt and how her husband had been found until 1856.

In various biographies of Robert and Clara Schumann one can find the description that Robert Schumann saw himself as a “criminal” who could “harm” his beloved wife, and this made him decide to go to a mental hospital voluntarily . However, this has not been proven and is now highly controversial. There is nothing about this in Robert Schumann's diary. The source of this claim is the three-volume biography Clara Schumann published in 1908 . An artist's life. Based on diaries and letters from Clara Schumann's first biographer, Berthold Litzmann (1857–1926). However, Litzmann did not make the diaries and letters of Clara Schumann entrusted to him by Marie Schumann available for posterity (he or more likely Marie should have burned them). Of the 47 bound diaries originally named by Litzmann, only the nine volumes of youth diaries and the three volumes of marriage diaries kept together with Robert Schumann have survived.

Clara Schumann did not see her husband until after two years in the mental hospital, two days before his death. It is sometimes assumed that Litzmann presented Robert Schumann as a risk to his wife and family in order to protect Clara Schumann from accusations about her very late visit (as Dieter Kühn in Clara Schumann. Piano ). But the fact is that Clara Schumann was denied visits to Endenich from the start for medical reasons. In the summer of 1854 she wrote a letter to the attending physician Eberhard Peters to let her know as soon as a visit could take place without harm to her husband. It was only when Schumann's end was recognizable that she was called to Endenich on July 23, 1856. She wanted to visit the irretrievably ill immediately, but on the advice of the doctors and Brahms who was traveling with her, she refrained from doing so, although she was already in Endenich. Schumann did not see them until July 27, 1856, two days before his death. She was sure he recognized her. At that time, Schumann had already refused to eat.

Clara Schumann and Johannes Brahms

Clara Schumann 1854

Johannes Brahms
around 1855

When Johannes Brahms first visited Robert and Clara Schumann in Düsseldorf, the Schumann family was in a difficult position: Robert Schumann lost support in his position as music director and his health problems increasingly affected him.

On September 30, 1853, the day of Brahms' arrival, Clara Schumann recorded in her diary:

“My last good years are going by, and so are my strengths - certainly reason enough to sadden me. [...] I'm so discouraged that I can't tell. "

On the same day Robert Schumann noted in the household book: “Mr. Brahms from Hamburg. "

In the days that followed, the couple were overwhelmed and uplifted by the impact of the young Johannes Brahms and his already artistically mature works, which he presented to them without notes on the piano and which they perceived as revelations. Clara Schumann summarized her impressions from October 1853 in her diary as follows:

“This month brought us a wonderful appearance in the 20 year old composer Brahms from Hamburg. Once again this is someone who comes as though specially sent by God. "

With his article Neue Bahnen for the Neue Zeitschrift für Musik , Robert Schumann ensured that attention was paid to the hitherto unknown artist.

Soon after Schumann's admission to the mental hospital in March 1854, the contact between Clara Schumann and Brahms intensified, who initially moved into quarters near Schumann's apartment and finally, after Clara Schumann's move to Poststrasse in August 1855, a room in the same house rented. Brahms was thus accepted into Clara Schumann's family for all to see. As before, together with Joseph Joachim , Albert Dietrich and Julius Otto Grimm, he supported Clara Schumann in internal and external affairs and became her trusted friend. It is certain that Brahms was in love with Clara Schumann; numerous letters testify to this. But what actually happened between them in the period up to 1856 is not very clear, because Clara Schumann and Brahms, by mutual agreement, destroyed almost the entire correspondence from the period up to 1858. However, only Brahms kept the agreement completely; Clara Schumann kept a few letters that tell posterity something about their relationship.

All forms of address can be found in Brahms' surviving letters: at first “Dearest Lady”, then “Dearest Friend”, finally “Dearest Friend”, finally “Beloved Mrs. Clara”. In the letter of November 25, 1854, he expressed his overwhelming joy at a sudden thou:

“Dearest friend, how lovingly the familiar 'you' looks at me! Thanks a million for that, I can't look at it and read it enough, after all I heard it first; I have seldom missed the word as much as when reading your last letter. "

He, the younger one, hadn't dared to offer a you and was only slowly finding his way into this intimate address. In the letter of May 31, 1856, he wrote very clearly of love and tenderness:

“My beloved Clara, I wish I could write to you as tenderly as I love you, and do as much love and good as I wish you. You are so infinitely dear to me that I cannot even say it. On and on I want to call you darling and all sorts of things without getting full, flattering you. [...] Your letters are like kisses to me. "

After Robert Schumann's death in July 1856, the tone of the letters became much more sober. The letters from Brahms now speak of cautious consternation.

In an undated diary entry intended for her children, Clara Schumann described her relationship with Brahms:

“God always sends every person, no matter how unhappy, a consolation […] Then came J o h a n e s B r a h m s. Your father loved and adored him like no one except Joachim; he came to bear with me all my sorrows as a loyal friend; he strengthened the heart that threatened to break, he lifted my spirit, cheered my mind wherever he could, in short he was my friend in the fullest sense of the word. […] I can tell you, my children, that I never loved a friend as much as he did - it is the most beautiful understanding of our souls; […] Believe your mother what she tells you and do not hear petty and jealous souls who do not grant him my love and friendship and therefore try to touch him or even our beautiful relationship, which they either really do not understand or do not want to understand. [...] "

The last decades - Berlin, Baden-Baden and Frankfurt am Main

Clara Schumann 1857, photograph by Franz Hanfstaengl

Clara Schumann 1887, photograph by Elliot & Fry

Even before Robert Schumann's death, Clara Schumann had given the three oldest children away: Marie and Elise moved in 1855 together with Wilhelmine von Erkelenz's private secondary school for girls from Düsseldorf to Cologne and at Easter 1856 to a boarding school in Leipzig. The third daughter Julie came from 1854-1857 in the care of the grandmother Mariane Bargiel in Berlin , where she was taught like Marie and Elise from 1857 in the higher pension and educational institution Luise Hausleuthners. At Easter 1857 Ludwig and Ferdinand moved into the Stoy'sche Erziehungsanstalt in Jena and in October 1859 a boarding school in Bonn. The two youngest, Eugenie and Felix, stayed with Clara Schumann in Düsseldorf for the time being and were looked after by the housekeeper.

In October 1857 Clara Schumann moved to Berlin, where she lived until 1863, initially in Dessauerstr. 2, then from 1861 on on Schöneberger Ufer 22. Marie, Elise, Eugenie and Felix returned to their household. In Berlin, a friend of Clara Schumann's, Elisabeth Werner, took over the housekeeping and childcare for some time when Clara Schumann was on concert tours. Ferdinand moved to the Joachimsthaler Gymnasium in 1861 , Ludwig came into the care of a parsonage in Wissen an der Sieg. Clara Schumann tried to give her children a solid education, which was not a matter of course, especially for daughters in the 19th century, and mostly arranged for several siblings to go to school together.

In 1863 she moved to Baden-Baden . A friendship began as early as 1857 with an exchange of letters between Clara Schumann and the composer Theodor Kirchner , which turned into a love affair in 1863. The relationship between the two was strained from the start by Kirchner's addiction to gambling. When Clara Schumann realized that, despite many efforts, she could not have a better influence on Theodor Kirchner and could not be sure of his honest love, she ended the "unusual friendship". She informed Kirchner of her decision to do so in a letter dated July 21, 1864.

Her life was still filled with successful concert tours in numerous cities in Germany and Europe. Clara Schumann remained a widely celebrated pianist. Her son Ludwig, who had probably been mentally and physically retarded, was a burden for her. Clara Schumann complained: “Ludwig is no support to me.” After Ludwig's collapse, she ordered the young man to be admitted to the insane asylum at Colditz Castle in 1870 , where he died blind in 1899.

In 1873 she returned to Berlin, mainly because she “didn't want to travel so much more in a row” - for physical reasons and to be able to spend more time with her children Ferdinand and Felix, who lived in Berlin. Together with her daughters Eugenie, who studied piano and singing at the Königliche Hochschule für Musik in Berlin, and Marie, she moved into an apartment in the Tiergarten, In den Zelten 11. In her apartment and in Joseph Joachim's villa (which is directly across from Clara Schumann's Residential building) she also gave private soirees. Since Clara Schumann was unable to give concerts from mid-December 1873 to 1875 due to her severe arm pain and could not find any artistic and sociable circles in Berlin, she did not feel at home in Berlin. In a letter to her artist friend and conductor Hermann Levi in December 1875, she wrote: “I don't fit in here, I can only find what I need for artistic and social intercourse in a medium-sized city. Here I get older earlier than I actually am. I miss musical enjoyment, artistic intercourse that allows you to enjoy a leisurely hour of music, in short the light and air that I need. ”In addition, a job at the Royal University of Music in Berlin was not possible.

Dr. Hoch's Conservatory, illustration in the Neue Musik-Zeitung 1888

In 1878 she became the "first piano teacher" of the newly founded Dr. Hoch's Conservatory in Frankfurt am Main . She taught in her apartment on Myliusstrasse, assisted by her daughters Marie and Eugenie. In addition to teaching, she worked as the editor of Robert Schumann's compositions and promoted their publication in the music publisher Breitkopf & Härtel . She also published his writings and youth diaries. She gave her last concert on March 12, 1891 at the age of 71. In the same year, their daughter Eugenie emigrated to England.

Gravesite of Robert and Clara Schumann in the old cemetery in Bonn

In the years that followed, she suffered from a "headache" that gradually led to hearing loss. After all, she was only able to correctly identify piano sounds; she perceived the sounds of other instruments in a distorted manner or covered by noises that also appeared at rest.

On January 23, 1893, she reported in a letter to Elisabeth Werner:

“The headache is always the same, but luckily it recedes when playing and teaching, so that I do both again on a regular basis. [...] I still have all the mental strength and that of the fingers, the technology gives me no problems at all, but my nerves don't want to, and that's a terrible test [...] I almost never go to a concert anymore, I can't because of my headache, because orchestral music is really unbearable to me, I hear everything wrong. "

On March 26, 1896, Clara Schumann suffered a stroke and died a few months later after another stroke at the age of 76. According to her wishes, she was buried next to her husband in Bonn in the old cemetery . A small plaque in Myliusstraße 32 in Frankfurt am Main reminds of her last place of work.

Clara Schumann as a virtuoso

Training and first appearances

Clara Wieck's training as a pianist began when she finally came into her father's care in 1824 at the age of five. When Friedrich Wieck separated from Clara Wieck's mother, he stipulated that he would “own” her when she reached the age of 5 - as he himself put it. There is much in Clara Wieck's youth diaries, largely kept by her father, and in Friedrich Wieck's book Clavier und Gesang , published in 1853, about the methodologically progressive teaching that began immediately . To experience didactic and polemical issues .

In addition to the virtuoso mastery of the usual piano technique, one of the main teaching objectives was a more complex, vocal and "soulful" game. At first Clara Wieck played by ear and only in 1825 also systematically according to notes. She quickly learned to play two-handed and four-handed pieces, some of which she learned to play by heart. Ensemble play was added from 1826. She practiced sight reading mainly with four hands with her father or with Emilie Reichold. Attending concerts, the theater and the opera broadened her musical horizons. In 1827 she studied a piano concerto for the first time with Johann Nepomuk Hummels op. 73. ;

In the course of 1828, Clara Wieck was prepared by her father through private appearances in Leipzig and Dresden for her first public appearance, which she had on October 20 of the same year in the Leipzig Gewandhaus as a guest in a concert by pianist Caroline Perthaler . Their first independent concert took place at the same location with the support of the Gewandhaus Orchestra on November 8, 1830. The mixed program typical of the 19th century and therefore presented here in detail was introduced by the overture to Oberon by Carl Maria von Weber. Clara Wieck played the Rondo brilliant for pianoforte with orchestra op.101 by Friedrich Kalkbrenner, the Variations brillantes for piano solo op.23 by Henri Herz and one of the pianos in Carl Czerny's Quatuor concertant for 4 pianoforte and orchestra op.230 she accompanied, among other things, a self-composed song. Her own variations on an original theme for piano solo formed the end.

1831 to 1839 - building an international career

Concert tours directed by Friedrich Wieck ensured that Clara Wieck became known and recognized as a virtuoso at home and abroad. After all, she was named as having equal rights with pianists such as Sigismund Thalberg, Adolph Henselt or Franz Liszt. At the same time, the repertoire of her public concerts was expanded to include works by composers who were previously reserved for private or semi-public music-making, namely works by Domenico Scarlatti, Johann Sebastian Bach, Ludwig van Beethoven, Felix Mendelssohn Bartholdy and Robert Schumann. With this innovative program, Clara Wieck set new standards. The performances in Vienna in the 1837/1838 concert season in particular led to unprecedented success and an international breakthrough. Franz Grillparzer paid tribute to her performance of Ludwig van Beethoven's Piano Sonata in F minor, Op. 57, the Appassionata , with a poem that quickly spread and which Johann Vesque von Püttlingen set to music made the eighteen-year-old famous. Vienna fell into a Clara Wieck fever. Emperor Ferdinand I described her as a "miracle girl" and appointed her imperial and royal chamber virtuoso .

1840 to 1856 - pianist and wife

The tendency to include more and more aesthetically superior, artificial works in the repertoire in addition to the virtuoso pieces that were effective for the public, continued after her marriage. Clara Schumann was seen as an “authentic” representative of the so-called “romantic school”, which consequently made the contemporary music of Frédéric Chopin, Adolph Henselt, Felix Mendelssohn Bartholdy and Robert Schumann known. However, Robert Schumann urged her to appear less in public and to do more of her housewife and mothering duties and at the same time to compose more herself. But Clara Schumann's concert income was necessary for many years to secure the family income. In 1842 she wrote another aspect to Robert Schumann in her marriage diary:

"[T] he thought that you should work for money is the most terrible thing for me, because this cannot make you happy for once, and yet I see no other way out if you don't let me work too, if you give me all the ways, something to earn, cut off. But I would like to earn money in order to create a life dedicated only to your art for you; [...] "

For a long time, however, Clara Schumann had to drastically reduce her practice and study times in order not to disturb Robert Schumann while composing. In the second and 20th week of their young marriage, Clara Schumann wrote in their diary:

“It's bad that Robert hears me in his room when I'm playing, so I can't use the morning hours, the most beautiful hours for serious study. [...] I don't even get to play now; partly my malaise, partly Robert's composing. If it were only possible to remedy the evil with the light walls, I forget everything and get very melancholy about it. "

The competition between Clara Schumann and Robert Schumann for undisturbed practicing and composing time also caused mutual injuries in the period that followed. Clara Schumann used her laments because of the economic situation that made the concert necessary, Robert Schumann his often aggressive criticisms of her interpretations, especially in critical health situations.

Clara Schumann was accompanied by her husband on several concert tours. The joint tours to Northern Germany (1842), Russia (1844) and Vienna (1846/47) brought mostly great success for them and for the less noticed Robert Schumann psychological strain and feelings of inferiority. In contrast, the concert tour through Holland (1853) was extremely triumphant for both of them. On January 17, 1854, Schumann wrote:

“In all cities we were welcomed with joy, indeed with many honors. I was amazed to see how my music is almost more at home in Holland than in the fatherland. "

During Roberts Schumann's hospitalization in Endenich, Clara Schumann performed not only out of financial need, but also in order to be able to lead a self-determined life. Already in August 1854 she performed in Ostend. Concerts in many German cities and in Holland followed, sometimes together with the violinist and composer Joseph Joachim . She undertook the great concert tour to London, Manchester, Liverpool and Dublin from April 18 to July 6, 1856 at the suggestion and mediation of Joseph Joachim, who gave a total of 162 concerts with her in England in the years that followed.

From 1856 - concert host and piano teacher

After Robert Schumann's death, Clara Schumann decided to finance her life and that of her children from the proceeds of her public concerts. In addition, there were fees from private piano lessons and later also from her position as “first piano teacher” to Dr. Hoch's Conservatory in Frankfurt am Main.

Between 1856 and 1873 she performed in various countries. A total of nineteen stays in England with a focus on London were recorded up to 1888. In 1874 she paused. Rheumatism, arthritis and hearing problems troubled her. In 1875 she only gave concerts in Germany. From 1876 she was mainly drawn to London. She was there for the last time in 1888 and said goodbye to her loyal audience with Robert Schumann's Carnaval . Her last public appearance, her farewell concert, took place on March 12, 1891 in Frankfurt am Main. She wrote about this to Lida Bendemann on March 13th :

“Yesterday I was very happy! Despite a bad cold, I played the Var in a Kwast trio soirée with this man. for 2 pianos on a theme by Haydn von Brahms, which aroused such a storm of applause that we had to do them all together. "

After that she stopped giving concerts, but until the year she died she taught and played the piano herself.

Summary

A survey of Clara Wieck-Schumann's repertoire from 1828 to 1891 reveals a change from the virtuoso concert, mainly designed for the music-loving, rather naive layman, to a canonized and standardized concert type based on compositions from the classical-romantic period, based on an educational ideal oriented listener. The compositions most frequently chosen in percentage terms - both solo works for the piano as well as chamber music, concerts and songs with the participation of the piano - came from Robert Schumann, Frédéric Chopin, Felix Mendelssohn Bartholdy and Ludwig van Beethoven over the course of the entire concert activity. Johann Sebastian Bach and Franz Schubert should be mentioned with a smaller proportion. This ranking shows Clara Schumann's decisive role in the development of a modern concert repertoire, which also determined the duo evenings with Julius Stockhausen , Pauline Viardot-Garcia , Johannes Brahms and above all Joseph Joachim. Clara Schumann's piano lessons also corresponded to this. It was also geared towards faithful interpretations, which should correspond to the will of the composer laid down in the musical text, just as she herself strived for in her performances.

Clara Schumann on October 15, 1868 in a letter to Johannes Brahms:

"[I] I feel called to reproduce beautiful works, especially by Roberts, as long as I have the strength and would travel without my being absolutely necessary, just not in as strenuous a manner as I often have to . The practice of art is a large part of my self, it is the air in which I breathe! "

Clara Schumann as a composer

Composing for a career as a pianist

On instructions from Friedrich Wieck, Clara Schumann received as a child, in addition to the piano lessons that her father gave her, which also included improvisational exercises, from March 1830 theory and counterpoint lessons from the Thomaskantor Christian Theodor Weinlig and from June 1832 composition lessons from the conductor Heinrich Dorn . Violin lessons and exercises in score playing as well as instrumentation lessons with Carl Gottlieb Reissiger and singing lessons with Johann Aloys Miksch in 1834 were added. This diverse training provided Clara Wieck with all the necessary foundations for her own composition and enabled her to appear in public as a composer as a composer already as a young girl with her Quatre Polonaises pour le Pianoforte op.1, printed in 1831, based on well-known models.

This first work and also the following operas 2 to 10 as well as some missing compositions were mainly used for his own performance in public and semi-public appearances. Especially op. 3 and opp. 7 to 10 are shaped by the progressive virtuoso possibilities of the pianist and are based on the literature of their time. Salient Features in this first composition phase, a colored, to dissonance rich harmonics , a variable treatment of metric and rhythm , as well as particularly in op. 5 and 6, the variety of genera and record types , some of which at levels of inspired by both operators Frédéric Chopin orientate . Works by Louis Spohr, Carl Maria von Weber and Felix Mendelssohn Bartholdy also served as models during this time. Already in some of her early works, the composer maintained musical dialogue with Robert Schumann through reciprocal quotations and adopting themes and motifs .

At that time, compositions by a woman were still considered unusual. In a review of Clara Wieck's Piano Concerto in A minor, Op. 7, composed between the ages of 14 and 15, the music critic Carl Ferdinand Becker wrote , who described this concerto as "very excellent":

“[Here] one is surprised in a special way, because the layman, the connoisseur and the virtuoso are attracted to the work in the same way and the name of the composer would not be found on the title or one would not hear the work without the creator to know, one would never give space to the thought that it was written by a lady. "

Nevertheless, there could be no question of a “review. - [...] Because we are dealing with the work of a lady. ”But then Becker named some peculiarities such as the extraordinary harmonic relationships and different lengths of the three movements. The music writer August Gathy, on the other hand, held the young composer in the same year without restrictions as a member of the "Romantic School", which he saw - starting from Ludwig van Beethoven - particularly represented by Frédéric Chopin and Robert Schumann.

In a sought-after artist community with Robert Schumann

From the romances for piano op. 11, which arose in the lively exchange of ideas with Robert Schumann during the engagement period, the direction of composition changed. Although some piano works and works with the participation of the piano were still intended for their own performance, they now followed an aesthetic influenced by Robert Schumann and Felix Mendelssohn Bartholdy. The virtuosity was a minor matter, on the other hand an expressive, romantically influenced, polyphonic setting dominated .

Robert Schumann saw Clara as an equal composer during the engagement time and also after the marriage. On June 18, 1839, he wrote to her regarding the hoped-for marriage:

"We then publish some things under our two names, posterity should consider us as one heart and one soul and not find out what is from you and what is from me."

On July 10, 1839, he referred to the romance in G minor from Op. 11, published in 1840:

“In your romance I heard again that we must become husband and wife. You complete me as a composer, as I complete you. Each of your thoughts comes from my soul, as I owe all of my music to you. "

In the marriage diary kept by the couple from the wedding day, Robert Schumann concretized his ideal idea of ​​a life and creative community based on mutual respect:

“As I said, criticism of our artistic achievements should be an adornment of our little diary; z. B. comes in exactly what you study excellently, what you compose, what you have learned about new things and what you think of it; the same takes place with me. "

Robert and Clara Schumann:
Twelve poems from Rückert's Liebesfrühling for voice and pianoforte Op.  (1841), title page ${\displaystyle {\tfrac {37}{12}}}$

In the first year of their marriage, Robert Schumann directed his wife's interest to the composition of songs . He published three of their songs, which he considered particularly successful, together with his own songs as a joint opus in 1841, without revealing the authorship of the individual songs. Numbers 2, 4 and 11 of the twelve songs based on texts from Friedrich Rückert's love spring come from Clara Schumann.

But Clara Schumann's housewife and mothering duties turned out to be an obstacle to composing. On February 17, 1843, Robert Schumann recorded his regret in his marriage diary:

“Klara has written a number of smaller pieces, the invention so delicate and rich in music that she has never succeeded in doing before. But children and a i m he delirious man, and compose not go zusa m s. She lacks constant practice, and this often touches me, since so many deep thoughts get lost that she is unable to carry out. "

Time and again it was Robert Schumann who encouraged his wife to compose, also during the time of mutual counterpoint studies . Clara Schumann's Three Preludes and Fugues, Op. 16, published in 1845, were a result of this. But the ever-present comparison of her possibilities with the creative power and ingenuity of Robert Schumann caused Clara Schumann serious self-doubts with regard to the results of her composition. She wrote self-critically in her diary about her piano trio op.17 from 1846, which she herself performed successfully and which was generally positively assessed by contemporary critics :

"There are some nice parts in the trio, and I think it is quite successful in its form, of course it always remains female carpentry, where there is always lack of strength and here and there the invention."

Clara Schumann fell into a creative crisis in 1847. A concerto for piano and orchestra that was given to Robert Schumann's birthday as a birthday present breaks off in bar 176 and has never been completed by her. Of Robert Schumann's reaction to this, it is only recorded that he “liked some of it very well”. It is possible that the unoccupied opus numbers 18 and 19 were intended for this concerto and for the piano sonata in G minor, which was composed in 1841/42 but not published .

Quotation of the theme from Clara Wiecks op.3 in Clara Wiecks op.20 and Johannes Brahms' op.9

Only in 1853 did Clara Schumann tie in with the previously published piano works with the Variations on a Theme by Robert Schumann's Op. 20 ("in the form of Mendelssohn's Op. 82 and 83"). Inspired by this, Johannes Brahms composed his Variations op. 9 on the same theme. In it and in Clara Schumann's print version of op. 20, the theme of Clara's Romance varié Pour le Piano op. 3 is quoted.

This was followed by the romances for piano op.21, dedicated to Johannes Brahms , whose second romance picks up on the beginning of Robert Schumann's Lullaby from op.124, and the romances for violin and piano, op.22, dedicated to Joseph Joachim , as well as the six songs composed in just a few days Jucunde by Hermann Rollett op. 23. She wrote in her diary on June 10, 1853: “It gives me great pleasure composing” and added on June 22: “Today I composed Rollett's sixth song and thus a booklet Songs together that give me joy and have given me wonderful hours [...] There is nothing like self-production, and if it were only that you did it, about those hours of self-forgetting where you only breathe in notes "

In a letter of August 16, 1853 to Marie Wieck, she wrote about these compositions from 1853:

"[...] I was very happy that they all succeeded so well that Robert didn't know what to do about them, and so with getting older you also have some joys that can only be brought about by more mature thinking and feeling."

After Robert Schumann's death

With Robert Schumann's death in 1856, Clara Schumann's family life concept collapsed and she fell silent as a composer almost completely. A late echo is a romance in B minor for piano, unpublished during her lifetime , which is marked “Christmas 1856; Loving memory! Clara ”wears. After that, Clara Schumann turned entirely to concerts and teaching. Only a few cadenzas to piano concertos by Wolfgang Amadé Mozart and Ludwig van Beethoven as well as a few preludes and the occasional composition of a march were composed.

Forgotten and rediscovery of the composer

After Clara Schumann's death, interest in her compositions was lost. She remained in the minds of posterity as a great pianist and mediator of Robert Schumann's compositions. She has been rediscovered as a composer since the 1960s. Since then, almost all of Clara Wieck's / Schumann's compositions that have survived have gradually become tangible in modern sheet music editions or as digital copies of manuscripts and prints and are the subject of musicology . They are presented in concerts as well as on sound carriers and in videos.

Clara Schumann as editor

Since her marriage, Clara Schumann has been involved in the preparatory work for the publication of her works and those of Robert Schumann. So she knew the basics of the tasks that an editor had to master. This initially benefited her when she published her own compositions, which she had created during Robert Schumann's internship and after his death.

The first publication of works by Robert Schumann with Clara Schumann as editor and editor was the 30 Mélodies de Robert Schumann transcrites pour piano par Clara Schumann . Paris, Maison Flaxland, Durand, Schoenewerk & Co. (around 1873/74).

The two major publications of Robert Schumann's works, for which Clara Schumann acted as editor, pursued two objectives: In Robert Schumann's works (1881–1893) the complete works should be presented in an authentic reading; with Robert Schumann, piano works. First instructive edition (1886) with fingerings and performance designations, on the other hand, Clara Schumann wanted to offer versions that she had worked on and which were suitable for practical use. Both editions were published by Breitkopf & Härtel. Pedagogical considerations were also the basis for the publication of finger exercises and studies from Czerny (1880).

In addition to compositions by Robert Schumann, Clara Schumann also published selected letters from Robert Schumann's youth at Breitkopf & Härtel in 1886 .

30 Mélodies de Robert Schumann transcripts pour piano par Clara Schumann (1873/74)

With this edition of her transcriptions of songs and chants by Robert Schumann for piano, first published in France, Clara Schumann followed Franz Liszt, who had already published Robert Schumann's dedication as a love song in 1848 and the spring night as virtuoso piano pieces in 1872 . Clara Schumann, whose 30 Mélodies de Robert Schumann in 1886 also in Germany as Thirty Songs and Chants by Robert Schumann. For Clavier, transferred by Clara Schumann to Ries & Erler in Berlin, the 30 Mélodies and Franz Liszt in his 1872 album Lieder von Robert und Clara Schumann were content with an "integrative type" in which they played the singing voice and the Piano accompaniment contracted and thus remained very close to the original. In her diary, she described her approach:

"I assumed that I would make them as playable as possible (of course, good amateurs are always part of it) while remaining as true to the composer's intentions as possible, especially in terms of timbre."

Robert Schumann's works (1881-1893)

The Breitkopf & Härtel publishing house secured the rights and Clara Schumann's editorship of the complete works of Robert Schumann. After she was responsible for the anthology of 20 piano pieces by Domenico Scarlatti from the 1860s and her participation in the publication of the Chopin and Mendelssohn editions, Clara Schumann was considered competent by Breitkopf & Härtel.

Clara Schumann already called in Johannes Brahms when planning the edition of the works and during the editing work also Joseph Joachim, Heinrich von Herzogenberg , Philipp Spitta , Hermann Levi , Julius Otto Grimm, Ernst Rudorff , Franz Wüllner , Ernst Franck , Woldemar Bargiel and Alfred Volckland whose names were not listed in the works edition. She herself concentrated mainly on the piano works of Robert Schumann.

Clara Schumann and Johannes Brahms strived for "an edition that was as correct as possible, based on the original manuscripts and the oldest prints, with an indication of the various readings". A point of contention between Clara Schumann and Brahms was which works should be included in which versions and which should not. Clara Schumann held some back out of concern that they were deficient in Schumann's illness. The violin concerto, the violin sonata in A minor and the Schumann movements in the FAE sonata and the piano accompaniments to Paganini's Caprices were not edited, but have been preserved. The withheld cello romances from 1853, on the other hand, were destroyed by Clara Schumann in 1893. Clara Schumann only wanted to publish Robert Schumann's “masterpieces”. Anything that did not meet this high standard was rejected by her. Brahms, on the other hand, had a more historically oriented concept in mind. Further, but ultimately overcome, differences between Clara Schumann and Brahms almost led to the break of friendship in 1891 and 1892. Ultimately, however, Clara Schumann handed over the publication of the supplement volume to Brahms.

Overall, the maxims for this edition of works differed from those of modern editions of the 20th and 21st centuries. There is no critical commentary whatsoever and the criteria for selecting works and their versions are not presented. The Breitkopf & Härtel publishing management relied entirely on Clara Schumann's authority - also for mercantile reasons.

Robert Schumann, piano works. First instructive edition with fingerings and performance markings (1886)

With this instructive edition, based on manuscripts and personal tradition and mainly intended for students, Clara Schumann wanted to convey her knowledge and experience beyond the traditional musical text of the works edition, which should make it possible to interpret the piano works in the spirit of Robert Schumann. She added z. B. fingerings, metronome markings, phrasing and various expressions. She was advised by Brahms and her daughter Marie Schumann as well as other friends.

After Clara Schumann's death, the publisher handed over the management of new editions to Carl Reinecke , who made changes that were not marked. In 1925 the edition was revised by Wilhelm Kempff and remained in this form in the publisher's offer. As in the original version by Clara Schumann, a critical apparatus is also missing here.

Finger exercises and studies from Czerny (1880)

This publication was published by Cranz in Hamburg under Clara Schumann's name, although her daughter Marie Schumann and Johannes Brahms had done the editing work. They selected exercises and studies by Carl Czerny that Clara Schumann had used in her lessons up to that point.

Youth letters from Robert Schumann. According to the originals communicated by Clara Schumann (1885)

In May 1885, Clara Schumann began to compile the selection of letters with the help of Marie Schumann and Heinrich von Herzogenberg. She recorded letters from the period from 1827 to 1840. In the foreword, Clara Schumann explained the direction and criteria of her selection: She wanted to bring people closer to those who honor and love the artist in Robert Schumann. Wherever it seemed right to her, she shortened the text or left out what was unsuitable in her eyes. In the case of letters that she took from Robert Schumann's concept book, she pointed out that she did not know whether these letters had actually been sent. She added a few explanatory notes in some places if they seemed necessary to grasp the contents of the letter. The youth letters experienced several editions and were immediately translated into English as early letters .

Clara and Robert Schumann's children

Clara and Robert Schumann's children 1854, ambrotype by Wilhelm Severin.
From left: Ludwig, Marie, Felix, Elise, Ferdinand and Eugenie. Julie is missing from the photograph. Emil had died in 1847.

The intergenerational marriage of Clara and Robert Schumann, free of all family ties, was based on a complementary, artistic community and above all on a love that was regarded as unbreakable, which offered both spouses security and - according to Nancy B. Reich - also sexual fulfillment. As evidence of the latter, there are indications of Clara Schumann in the marriage diary and signs written in the margin by Robert Schumann in the household books from May 1847, with which sexual contacts of the spouses were registered. In Robert Schumann's view, the only members of the “secret marriage order” were the children, who he described as the “happiness pledge of love”, in addition to the parents. Clara Schumann signed the pertinent agreements in the marriage diary with "Your wife Clara devoted to you with all her soul". During the course of the marriage, she found the pregnancies and births initially exhilarating, but later as increasingly difficult and stressful for her career.

Clara Schumann and Robert Schumann had eight children, seven survived. There was also a miscarriage.

• Marie, born September 1, 1841 in Leipzig; † November 14, 1929 in Interlaken
• Elise, born April 25, 1843 in Leipzig; † July 1, 1928 in Haarlem
• Julie, born March 11, 1845 in Dresden; † November 10, 1872 in Paris
• Emil; * February 8, 1846 in Dresden; † June 22, 1847 in Dresden
• Ludwig, born January 20, 1848 in Dresden; † January 9, 1899 in Colditz
• Ferdinand, born July 16, 1849 in Dresden; † June 6, 1891 in Gera
• Eugenie ; * December 1, 1851 in Düsseldorf; † September 25, 1938 in Bern
• Miscarriage on September 9, 1852 in Scheveningen
• Felix , born June 11, 1854 in Düsseldorf; † February 16, 1879 in Frankfurt am Main

See also: Robert Schumann's family - children

Catalog raisonné

Works with opus number

• Op. 1 - Quatre Polonaises pour le Pianoforte (1829/1830) - Leipzig: Hofmeister 1831
• Op. 2 - Caprices en forme de Valse Pour le Piano op.2, dedicated to Henriette Foerster née Weicke (1831/1832) - Leipzig: Hofmeister 1832
• Op. 3 - Romance varié Pour le Piano (1831–1833) - Leipzig: Hofmeister 1833
• Op. 4 - Valses romantiques pour le Pianoforte , dedicated to Emma Eggers née Garlichs (1835) - Leipzig: Whistling 1835
  • Orchestra version (1836, lost)
• Op. 5 - Quatre Pièces caractéristiques pour Pianoforte , dedicated to Sophie Kaskel (1833–1836) - Leipzig: Whistling 1836
• Op. 6 - Soirées musicales for piano, dedicated to Henriette Voigt (1834–1836) - Leipzig: Hofmeister 1836
• Op. 7 - Concerto for piano and orchestra in A minor , dedicated to Louis Spohr (1833–1835) - Leipzig: Hofmeister 1837
• Op. 8 - Variations de Concert pour le Piano-forte sur la Cavatine du Pirate de Bellini , dedicated to Adolf Henselt (1837) - Vienna: Haslinger 1837
• Op. 9 - Souvenir de Vienne. Impromptu pour le Pianoforte (1838) - Vienna: Diabelli 1838
• Op. 10 - Scherzo in D minor for piano (1838) - Leipzig: Breitkopf & Härtel 1838
• Op. 11 - Trois Romances for piano, dedicated to Robert Schumann (1838/39) - Vienna: Mechetti 1840
• Op. 12 - Twelve poems from Friedrich Rückert's "Liebesfrühling" for song and pianoforte by Robert and Clara Schumann (songs No. 2, 4 and 11 by Clara, simultaneously in Robert Schumann's op. 37) (1841) - Leipzig: Breitkopf & Härtel 1841
• Op. 13 - Six songs with accompaniment of the piano , dedicated to Queen Caroline of Denmark (1840–1842) - Leipzig: Breitkopf & Härtel approx. 1843
• Op. 14 - Scherzo in C minor for piano, dedicated to Peppina Tutein née Siboni (1841) - Leipzig: Breitkopf & Härtel 1845
• Op. 15 - Quatre Pièces fugitives for piano, dedicated to Marie Wieck (1840–1844?) - Leipzig: Breitkopf & Härtel 1845
• Op. 16 - Three preludes and fugues for piano (1845) - Leipzig: Breitkopf & Härtel 1845
• Op. 17 - Trio for piano, violin and violoncello , G minor (1846) - Leipzig: Breitkopf & Härtel 1847
• Op. 18 - absent
• Op. 19 - absent
• Op. 20 - Variations for the pianoforte on a theme by Robert Schumann dedicated to IHM (1853) - Leipzig: Breitkopf & Härtel 1854
• Op. 21 - Three romances for piano, dedicated to Johannes Brahms (1853/55) - Leipzig: Breitkopf & Härtel 1855
• Op. 22 - Three romances for violin and piano , dedicated to Joseph Joachim (1853/1855) - Leipzig: Breitkopf & Härtel 1856
• Op. 23 - Six songs from Jucunde by Hermann Rollett for a voice with accompaniment of the pianoforte , dedicated to Livia Frege (1853) - Leipzig: Breitkopf & Härtel 1856

Works without opus number

(Partly not published)

• Waltz (1828, lost)
• Variations on an Original Theme for Piano (1830, lost)
• Etude in A flat major for piano (1830)
• Variations on a Tyrolean song for piano (1830, lost)
• Fantasy Variations on a Romance by Friedrich Wieck for piano (1831, lost)
• Song of the Wanderer (1831)
• Song The Dream (1831, lost)
• Lied Alte Heimath (1831, lost)
• Song The Wanderer in the Sawmill (1832, also attributed to Friedrich Wieck)
• Lied Waltz (1833?)
• An Alexis for piano (1832/33, lost)
• Rondo in B minor for piano (1833, lost)
• Scherzo for orchestra (1833, lost)
• Overture for orchestra (1833, lost)
• Song Der Abendstern (undated, maybe 1833/1834)
• Elfentanz for piano (1834, lost)
• Variations on a Theme from Hans Heiling (1834, lost)
• Three Impromptus (1835, lost)
• Scherzi (1835, missing)
• Bravour Variations on the Theme of the G major Mazurka Op. 6., No. 5 (1836, lost)
• Album sheet about A strong castle is our God (1838)
• Andante and Allegro for piano (1839); early version of op.11 No. 2
• Song on the beach (1840)
• Song Your Portrait (1840)
• Song folk song "A frost fell in the spring night" (1840)
• Song The Good Night I Tell You (1841)
• Sonata for piano in G minor (1841/1842)
• Loreley song (1843)
• Song Oh Woe Of Parting He Did (1843)
• Impromptu in E major for piano (1843/44, first printed in 1885 in Album de Gaulois )
• 3 4st. Fugues on themes by JS Bach from the 2nd part of the Well-Tempered Clavier (in score and with old keys)
• Prelude in F minor (1845)
• Prelude and Fugue a 4 Voci in F sharp minor (1845)
• Song My Star (1846)
• Song When Farewell (1846)
• Concerto in F minor for piano and orchestra (1847, 1st movement: fragmentary short score )
• Three mixed choirs ( evening celebration in Venice ; Vorwärts ; Gondoliera ) (1848, composed for Robert Schumann's 38th birthday)
• Song The Violet (1853)
• Romance in A minor for piano (1853, originally planned as op. 21/1)
• Romance in B minor for piano (Christmas 1856; Loving memory! Clara )
• March in E flat major for piano (1879 two hands; 1879 four hands, orchestral version by Julius Otto Grimm 1888)
• 11 preludes, including 4 on piano pieces by Robert Schumann (op.12, no.1 and no.2; 3rd movement of the piano sonata op.14; op.124, no.16)
• 7 Preludes and Simple Preludes for Schoolchildren (1895)

Arrangements and cadences

Works by Robert Schumann

Independent:

• Genoveva op.81, piano reduction (1851)
• Piano quintet op.44 for piano 4 hands (based on a model by Johannes Brahms, 1857)
• 30 Mélodies de Robert Schumann transcrites pour piano , Paris, Maison Flaxland, Durand, Schoenewerk & Co. (1873)
• 11 more songs for piano 2 hands (1873)
• Three (autograph) and four sketches for the pedal grand piano from op.56 and op.58 for piano for 2 hands (1895)

Together with Robert Schumann:

• 1st Symphony in B flat major op.38 for piano 4 hands (1842)
• Paradise and the Peri op.50, piano reduction (1843/44)
• 2nd Symphony in C major op.61 for piano 4 hands (1847)
• Scenes from Göthe's Faust , piano reduction (1847/48)

Works by Johannes Brahms

• Minuet I / II in G major from op 11 for piano 2 hands (1860?)
• Serenade No. 2 in A major op.16 for piano 2 hands (1860?)
• Subject by JB ; Beginning of the 4th movement of the string quartet op.67 (Poco Allegretto con Variationi) for piano 2 hands (1875)

From a four-hand work by William Sterndale Benett

• Andante cantabile from Three Diversions op. 17, No. 2 for piano 2 hands

Cadences

• 2 cadenzas to Ludwig van Beethoven's Piano Concerto No. 4 in G major op.58 (1846)
• Cadenza to Ludwig van Beethoven's Piano Concerto No. 3 in C minor, Op. 37 (1968)
• 2 cadenzas to Wolfgang Amadeus Mozart's Piano Concerto in D minor, K. 466 (published in 1891)

Editions

Published by Breitkopf & Härtel, Leipzig:

• Domenico Scarlatti. 20 selected sonatas for the pianoforte (1860s)
• Robert Schumann's works (1881-1893, with Johannes Brahms and others)
• Youth letters from Robert Schumann. According to the originals communicated (1885)
• Robert Schumann, piano works. First instructive edition with fingerings and performance markings (1886)
• Frédéric Chopin, works . Collaboration on early and late editions of the publisher. At her own request, Clara Schumann was not named as the editor.

Edited together with Marie Schumann and Johannes Brahms and published under Clara Schumann's name by Cranz, Hamburg:

• Finger exercises and studies from Czerny. (1880)

Letters and Diaries (selection)

Letters

• "My dear Julchen". Letters from Clara Schumann to her granddaughter Julie Schumann , ed. by Dietz-Rüdiger Moser , Munich 1990.
• "The bond of eternal love". Clara Schumann's correspondence with Emilie and Elise List , ed. by Eugen Wendler , Metzler, Stuttgart / Weimar 1996, ISBN 3-476-01453-3 .
• Clara Schumann's letters to Theodor Kirchner , ed. by Renate Hofmann, Tutzing 1997.
• "... that God gave me a talent". Clara Schumann's letters to Hermann Härtel and Richard and Helene Schöne , ed. by Monica Steegmann, Zurich / Mainz 1997.
• Schumann edition of letters. Scientific complete edition of the letters of Clara and Robert Schumann . Dohr, Cologne 2008–2025.

Diaries

• The Berlin flower diary of Clara Schumann, 1857–1859 , ed. by Renate Hofmann and Harry Schmidt, Wiesbaden 1991.
• Robert and Clara Schumann, marriage diaries , ed. by Gerd Nauhaus and Ingrid Bodsch , Stroemfeld, Bonn / Frankfurt a. M. 2007, ISBN 3-86600-002-2 .
• Flower book for Robert; 1854-1856 , ed. by Gerd Nauhaus, Ingrid Bodsch and others, Stroemfeld: Frankfurt am Main, Basel, 2nd edition 2016. ISBN 978-3-86600-258-6 .
• Clara Schumann, youth diaries 1827–1840 , ed. by Gerd Nauhaus and Nancy B. Reich , Olms, Hildesheim 2019, ISBN 978-3-487-08621-7 .

iconography

Comparison of an excerpt from Andreas Staub's lithograph and the depiction of Clara Schumann on the 100 DM note

There are numerous illustrations by Clara Schumann. The depictions on a German postage stamp from 1986 as part of the definitive series Women of German History and on the 100 DM note from 1990 became generally known in Germany . They are based on a lithograph by Andreas Staub from 1838. Also a special stamp from 2019 with a face value of 170 euro cents is based on this portrait.

Not all of the authentic portraits cited in the contemporary sources have been preserved, and some of those that have survived lack information about the creator and the time and circumstances of their creation.

The paintings and drawings, lithographs and steel engravings, daguerreotypes and photographs, reliefs and sculptures had different functions:

• Some paintings and drawings were created for private and family reasons, such as the colored ivory miniature of the eight-year-old, the portraits of Franz von Lenbach and Eduard Bendemann's drawing of Clara Schumann playing cards with Alwin Wieck .
• Some lost paintings served as templates for surviving lithographs, such as paintings by Eduard Clemens Fechner and Julius Giere .
• Some lithographs were offered for sale by publishers and were used for public relations, such as those mentioned by Fechner and Giere.
• Some lithographs, steel engravings and photographs were handwritten and given away, such as the lithograph by Eduard Kaiser , the steel engraving by Ernst Rietschel by Friedrich Schauer and the photograph by Carl von Jagemann from 1866
• The daguerreotypes remained in the family's possession, such as those on which Clara Schumann is depicted with Marie Schumann.
• The double relief together with Robert Schumann by Ernst Rietschel, the sculptures by Adolf von Hildebrand and Friedrich Christoph Hausmann and, for example, some late Frankfurt photographs by Erwin Hanfstaengl were initially intended for the sitter themselves, but were sometimes widely used as copies.

Clara Schumann commented personally on only a few surviving portraits:

• On November 24, 1837, she wrote in her diary about the pencil drawing made by Johann Heinrich Schramm in Prague in 1837: “D. 25 Mr. Schramm from Vienna finished a drawing <of myself> [corrected by Friedrich Wieck to "my portrait"] and this is the closest picture of me that has been painted <by me> so far. "
• In a letter dated March 19, 1839, she asked her father to send her a few copies of Andreas Staub's lithograph so that she could dedicate them to some of her admirers. The sitter herself mentioned in a letter to Robert Schumann that she was idealized by Staub: "My picture is perfect, also similar, but flattered."
• Clara Schumann wrote in her diary about Franz von Lenbach, in whose studio she sat as a model in 1878: “At Lenbach, who wants to paint me - the children want a good picture so much and Lenbach is a genius and meets wonderfully. "
• On September 23, 1886, she wrote to Marie Schumann from Munich about the bust of Adolf von Hildebrand: “Everyone here insists that he display the bust, because they all say that it is not just a similar bust, but an ingenious work of art. How happy I am for him and you! "

Clara Schumann as namesake

Street sign of Clara-Wieck-Strasse with a dedication in Berlin-Tiergarten

Schools and music schools:

• Clara-Schumann-Gymnasium in Bonn
• Clara-Schumann-Gymnasium Dülken
• Clara-Schumann-Gymnasium in Holzwickede
• Clara-Schumann-Gymnasium Lahr
• Clara-Wieck-Gymnasium in Zwickau
• Clara Schumann Free Elementary School in Leipzig - In 2001 the school moved to the building at Inselstraße 18, where Robert and Clara Schumann lived from 1840 to 1844.
• Clara Schumann Comprehensive School in Kreuztal
• Municipal Clara Schumann Music School in Düsseldorf
• Vogtland Conservatory "Clara Wieck" in Plauen
• "Clara Wieck" district music school in Werdau

Concert halls:

• Clara Schumann Hall in the Dresden City Hall
• Clara Schumann Hall (Great Hall) in Dr. Hoch's Conservatory, Frankfurt am Main

Museum:

• Clara Schumann Linden Museum in Schmorsdorf near Maxen , the smallest museum in Saxony

Streets (selection):

• Clara-Schumann-Platz in the Baden-Baden district of Lichtental
• Clara-Schumann-Strasse in numerous German towns
• Clara Wieck Streets in Berlin and Leipzig
• Klarastrasse in Dresden

Student Association:

• WKSt.V. Unitas Clara Schumann, academic, Catholic student association in Bonn

Venus Crater:

• The Venus crater Wieck was named after Clara Wieck in 1994.

Ships:

• A cabin passenger ship was named after Clara Schumann .

Reception of the biography

Feature films

• Reverie (1944). Director: Harald Braun. With Hilde Krahl and Mathias Wieman in the leading roles. Clara is portrayed as a successful pianist and wife of Robert Schumann.
• Clara Schumann's great love (OT: Song of Love , 1947). Directed by Clarence Brown . With Katharine Hepburn and Paul Henreid in the lead roles. It was made into a short film in 1950, also as The Schumann Story .
• Spring Symphony (1983). Directed by Peter Schamoni . With Nastassja Kinski and Herbert Grönemeyer in the leading roles (also Rolf Hoppe , Gidon Kremer , Bernhard Wicki ). Clara's life is illuminated from 9 to 21 years of age.
• Beloved Clara (OT: Chère Clara , 2008). Director: Helma Sanders-Brahms . With Martina Gedeck in the lead role. The film was released in German cinemas on December 4, 2008 after it received a positive response from French film houses.

Documentaries

• Passion and duty and love. The three lives of Clara Schumann. Documentary, Germany, 2019, 56:26 min., Script and direction: Magdalena Zięba-Schwind and Andreas Morell , production: Accentus Music, MDR , arte , first broadcast: September 15, 2019 on arte, synopsis by ARD , online video available until December 13, 2019. With pianist Ragna Schirmer and British cellist Steven Isserlis

Novels

• Luise George Bachmann : Three Crowns of a Life - Clara Schumann's Song of Destiny (1947)

• Rosemarie Marschner : The Girl at the Piano (2013)

Plays

• The pianist. An aftermath (2010). Two-person musical theater. Book and idea: Katrin Schinköth-Haase , musical arrangement: Maria-Clara Thiele. Katrin Schinköth-Haase (acting and singing) and Maria-Clara Thiele (acting and on the piano) both portray Clara Schumann in her genius and conflict.
• Valeria Moretti: Clara Schumann , performed in the Teater Caravan, Split , with Ksenija Prohasnka and Iryna Smirnova.
• Secret Whispers (2012, Opernloft , Hamburg). For soprano and mezzo-soprano by Susann Oberacker and Inken Rahardt . Songs and piano pieces by Clara Schumann, Robert Schumann and Johannes Brahms.
• Casting Clara (2019, Neuköllner Oper, Berlin). Arrangements / composition / musical direction and piano: Tobias Schwencke; Version / production: Cordula Däuper; Version / dramaturgy: Johannes Müller; Stage: Sylvia Rieger; Costume: Kristina Bell.

Museum, exhibition

• In 2019, the year of Clara Schumann's 200th birthday, the Schumann House in Leipzig opened the new permanent exhibition "Experiment, artist marriage" on the life and work of Clara and Robert Schumann.
• Around 200 events were held in the city of Leipzig during the commemorative year.

Literature (chronological)

Overall presentations and biographies

• Florence May: The Girlhood of Clara Schumann (Clara Wieck and Her Time) . Travis & Emery, London 2009 [Reprint] = Facsimile of edition published by Edward Arnold, London 1912, ISBN 978-1-84955-036-9 , limited preview in Google Book Search.
• Berthold Litzmann : Clara Schumann. An artist's life. After diaries and letters . 3 volumes, 7th edition, Breitkopf & Härtel, Leipzig 1920.
• Monique Wohlwend-Sanchis: Clara Schumann-Wieck 1819–1896. L'envers d'un mythe . Paris 1987.
• Eva Weissweiler : Clara Schumann: a biography . 3rd edition, Hoffmann & Campe, Hamburg 1991, ISBN 3-455-08332-3 .
• Ingrid Bodsch and Gerd Nauhaus (eds.): Clara Schumann 1819–1896. Exhibition catalog. Edited and with contributions from Ute Bär, Otto Biba and v. a., Bonn; StadtMuseum Bonn 1996, ISBN 3-931878-04-X .
• Veronika Beci : The other Clara Schumann . Droste, Düsseldorf 1997, ISBN 3-7700-1080-9 .
• Dieter Kühn : Clara Schumann, piano - a book of life . Fischer, Frankfurt a. M. 1998, ISBN 3-596-14203-2 .
• Wolfgang Held: Clara and Robert Schumann . Insel, Frankfurt a. M. 2001, ISBN 3-458-34415-2 .
• Nancy B. Reich , Clara Schumann, the artist and the woman . Cornell University Press, Ithaca / London 2001, ISBN 0-8014-8637-8 , ISBN 0-8014-3740-7 , limited preview in Google Book Search.
• Monica Steegmann: Clara Schumann . Rowohlt, Reinbek 2001, ISBN 3-499-50424-3 .
• Janina Klassen: Clara Schumann. Music and public . Böhlau, Cologne and others 2009, ISBN 978-3-412-19405-5 .
• Beatrix Borchard: Clara Schumann - your life. A biographical montage . 3rd, revised and expanded edition, Olms, Hildesheim 2015, ISBN 978-3-487-08553-1 .
• Irmgard Knechtges-Obrecht: Clara Schumann: a life for music . wbg Theiss in Wissenschaftliche Buchgesellschaft (WBG), Darmstadt 2019, ISBN 978-3-8062-3850-1 .

Article in reference books

• Carl Krebs:  Schumann, Clara . In: Allgemeine Deutsche Biographie (ADB). Volume 54, Duncker & Humblot, Leipzig 1908, pp. 262-268.
• Janina Klassen, among others: Clara (Josephine) Schumann. In: The music in the past and present. 2nd, revised edition, personal section, volume 15. Kassel et al. 2006, col. 328-336.
• Marion Brück:  Schumann, Clara Josephine née Wieck. In: New German Biography (NDB). Volume 23, Duncker & Humblot, Berlin 2007, ISBN 978-3-428-11204-3 , pp. 746-749 ( digitized version ).
• Gender- oriented articles
  • Janina Klassen: Schumann, Clara (Josefine), née Wieck. In: Sophie Drinker Institute for Musicological Women and Gender Studies . 2011 . 
  • Eva Rieger, Joey Horsley: Clara Schumann. In: FemBiographie. 
  • Janina Klassen: Clara Schumann. In: MUGI. Music education and gender research: Lexicon and multimedia presentations. April 25, 2018 . 

Individual aspects

• Richard Hohenemser : Clara Wieck-Schumann as a composer . In: Die Musik , vol. 5, 4th quarter, volume 20 (1905/06), pp. 113–126, ( digitized ) and p. 166–173, ( digitized )
• Janina Klassen : Clara Wieck-Schumann. The virtuoso as a composer . Bärenreiter, Kassel 1990, (= Kieler Schriften zur Musikwissenschaft , Vol. 37).
• Beatrix Borchard : Clara Wieck and Robert Schumann. Conditions of artistic work in the first half of the 19th century. 2nd edition, Furore, Kassel 1992, ISBN 3-927327-06-9 .
• Claudia de Vries: The pianist Clara Wieck-Schumann. Interpretation in the field of tension between tradition and individuality . Schott, Mainz 1996, ISBN 978-3-7957-0319-6 .
• Imogen Fellinger : Clara Wieck Schumann as a composer in the mirror of contemporary music criticism . In: Traditions - New Approaches. For Anna Amalie Abert (1906–1996) , ed. by Klaus Hortschansky . Tutzing 1997, pp. 273-279.
• Clara Schumann. Composer, interpreter, entrepreneur, icon. Report on the conference on the occasion of the 100th anniversary of her death . ed. by Peter Ackermann and Herbert Schneider, Hildesheim: Olms 1999, ISBN 978-3-487-10974-9 .
• Ilse Pohl : Miniatures - About Cornelia Goethe , Adele Schopenhauer , Clara Schumann and Annette von Droste-Hülshoff . Publisher of the Cornelia Goethe Academy, Frankfurt am Main 2005, ISBN 3-933800-06-4 .
• Beatrix Borchard: “In short everything is different” - Clara Schumann in Paris . In: Louise Farrenc and the Classical Reception in France , ed. by Rebecca Grotjahn and Christin Heitmann , Oldenburg 2006 (= series of publications by the Sophie Drinker Institute , edited by Freia Hoffmann , Volume 2), pp. 115-134 ( online , PDF).
• Thomas Synofzik : Gender-specific edition problems? The poems from Rückert's love spring by Clara Schumann op.12 . In: Louise Farrenc and the Classical Reception in France , ed. by Rebecca Grotjahn and Christin Heitmann, Oldenburg 2006 (= series of publications by the Sophie Drinker Institute , edited by Freia Hoffmann, Volume 2), pp. 215–226, ( online, PDF ).
• Kees van der Vloed: Clara Schumann-Wieck. De pijn van het gemis . Soesterberg, The Netherlands, Uitgeverij aspect, 2012, ISBN 978-94-6153-177-3 .
• Annkatrin Babbe: Clara Schumann and her students at the Hoch Conservatory in Frankfurt a. M. (= series of publications by the Sophie Drinker Institute , Volume 11). Oldenburg 2015.
• Ingrid Bodsch, Otto Biba, Thomas Synofzik (eds.): On tour. Clara Schumann as a concert virtuoso on European stages . Stadtmuseum Bonn , Bonn 2019.
• Beatrix Borchard: Clara Schumann. Music as a way of life. New sources - different spellings. With a catalog raisonné by Joachim Draheim, Olms, Hildesheim 2019, ISBN 978-3-487-08620-0 .
• Désirée Wittkowski (ed.): Sisters of the heart of music. Pauline Viardot and Clara Schumann - letters of a lifelong friendship. Lilienthal 2020, ISBN 978-3-89007-901-1 .

Web links

Commons : Clara Schumann  - album with pictures, videos and audio files

Commons : Clara Schumann  - Collection of images, videos and audio files

Wikiquote: Clara Schumann  - Quotes

• Works by and about Clara Schumann in the catalog of the German National Library
• Works by and about Clara Schumann  in the German Digital Library
• Search for Clara Schumann in the online catalog of the Berlin State Library - Prussian Cultural Heritage . Attention : The database has changed; please check result and SBB=1set
• Clara Schumann née Wieck in the Schumann portal
• Digitized Clara Schumann letters from the Baden State Library
• Digitized Clara Schumann letters from the ULB Bonn
• Itinerary by Clara Schumann née Wieck. Compiled by Theresa Schlegel, 2019.

Sheet music and audio files

• Sheet music and audio files by Clara Schumann in the International Music Score Library Project
• Free digital scores by Clara Schumann in the OpenScore Lieder Corpus
• Song portal with audio samples
• Elke Heidenreich : Melodies of Life: Homage to Clara and Robert Schumann. In: SWR2 , September 15, 2019, 72:14 min.
• Michael Struck-Schloen: 09/13/1819 - Clara Wieck-Schumann's birthday. In: WDR5 , ZeitZeichen , September 13, 2019, (Podcast, 14:52 min., Available until September 10, 2099.)

Individual evidence

1. ↑ Bernhard R. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits . Droste, Düsseldorf 1994, p. 105 ff.
2. ↑ Janina Klassen: Schumann, Clara (Josefine), née Wieck. In: Sophie Drinker Institute for Musicological Women and Gender Studies . 2011 . 
3. ↑ Leipzig address calendar 1819 .
4. ^ Julia M. Nauhaus: Siblings and half-siblings of Clara Schumann . In: schumannportal.de , accessed on February 1, 2021.
5. ↑ Tomi Mäkelä , Christoph Kammertöns , Lena Esther Ptasczynski (eds.): Friedrich Wieck - Collected writings . Peter Lang, Frankfurt am Main 2018, ISBN 978-3-631-76745-0 , p. 193 and  passim .
6. ↑ Julia M. Nauhaus: Mariane Wieck-Bargiel née Tromlitz (1797–1872), mother of Clara Schumann. In: schumann-portal.de .
7. ↑ Siblings and half-siblings In: schumann-portal.de .
8. ^ Gerd Nauhaus , Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, p. 36.
9. ↑ Emilie Reichold. In: Sophie Drinker Institute . Retrieved May 8, 2019
10. ^ Nancy B. Reich : Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 21.
11. ↑ Gerd Nauhaus , Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, p. 267.
12. ↑ Anja Herold, Marlies Nussbaumer: Perthaler, Caroline, Karoline, Karolina, Charlotte (Josefa Ottilia) . In: Lexicon of Instrumentalists , Sophie Drinker Institute.
13. ↑ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, pp. 48 and 606 f.
14. ^ General musical newspaper . Volume 30, No. 48, November 1828, p. 806.
15. ↑ Youth diaries 1827–1840. Exposé of the Olms-Weidmann-Verlag
16. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Hildesheim: Olms 2019, p. 48.
17. ^ Article by Friedrich Wieck in the Schumann Portal . Retrieved May 8, 2019
18. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Wien 2009, p. 25, p. 125, p. 130 f., P. 152–155, p. 335 f.
19. ↑ Vienna. (...) His Imperial and Royal Majesty (...). In:  Wiener Zeitung , No. 62/1838, March 16, 1838, p. 1, top left. (Online at ANNO ). .
20. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Hildesheim: Olms 2019, pp. 53, 62 and 64.
21. ↑ Ernst Burger: Robert Schumann . Schott Verlag, Mainz 1999, p. 67.
22. ↑ Georg Eismann: Robert Schumann. Diaries. Volume 1, p. 421.
23. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 50f.
24. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 60 f.
25. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 64 f.
26. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 55, limited preview in Google book search.
27. ^ Berthold Litzmann: Clara Schumann. An artist's life. After diaries and letters . 1st volume. Breitkopf & Härtel, Leipzig 1902, p. 190.
28. ^ Berthold Litzmann: Clara Schumann. An artist's life. After diaries and letters . 1st volume. Breitkopf & Härtel, Leipzig 1902, p. 197.
29. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, pp. 101–117.
30. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. XXII.
31. ↑ Ernst Burger: Robert Schumann. Schott, Mainz 1999, p. 188 f.
32. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 126.
33. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 97
34. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 179.
35. ↑ ^{a b} Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 180 f.
36. ^ ^{A b} Nancy B. Reich: Clara Schumann. The Artist an the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 84.
37. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 186.
38. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, pp. 180 f., 189.
39. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, pp. 164–157.
40. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 213 f.
41. ↑ For more information on children, see Family and Children . In: schumann-verein.de
42. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 177.
43. ^ Nancy B. Reich: Clara Schumann. The Artist an the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 80 f.
44. ↑ Reinhard copyz , Andreas C. Lehmann, Janina Klassen: Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization . In: Poetics 37 (2009), ISSN  0304-422X , p. 64, Fig. 7, online file , (PDF).
45. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 112
46. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 114.
47. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 216.
48. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 157.
49. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 195.
50. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, pp. 164–172.
51. ↑ concert list .
52. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 66 f.
53. ^ ^{A b c} Nancy B. Reich: Clara Schumann. The Artist an the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 99.
54. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 390.
55. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, pp. 76-78.
56. ↑ Gerd Nauhaus (ed.): Robert Schumann diaries. Volume 3, Household Books . Stroemfeld / Roter Stern , Basel and others 1982, p. 284 f.
57. ↑ ^{a b} Gerd Nauhaus: Robert and Clara Schumann on Norderney . Retrieved September 29, 2019.
58. ^ Eva Weissweiler: Clara Schumann. A biography. Hoffmann and Campe, Hamburg 1991, p. 192 f.
59. ^ ^{A b} Marina Schieke-Gordienko: Robert and Clara Schumann in Berlin. In: schumann-portal.de , accessed on September 23, 2019.
60. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 263.
61. ↑ Berthold Litzmann, Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 278.
62. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 263.
63. ↑ Eugen Wendler (ed.): "The bond of eternal love". Clara Schumann's correspondence with Emilie and Elise List . Metzler, Stuttgart / Weimar 1996, p. 148 f.
64. ^ Illustration at the Robert Schumann Society . Retrieved October 23, 2019.
65. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, pp. 226–229.
66. ↑ Ernst Burger: Robert Schumann . Schott Verlag, Mainz 1999, p. 278.
67. ↑ Concert list in the Schumann portal . Retrieved October 21, 2019.
68. ↑ Ernst Burger: Robert Schumann . Schott Verlag, Mainz 1999, p. 279.
69. ^ Wilhelm Joseph von Wasielewski : Robert Schumann. A biography . Dresden 1858, pp. 267-269.
70. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, pp. 237-240.
71. ↑ ^{a b c} The Schumann couple lived in a total of four apartments in Düsseldorf; After Robert Schumann's admission to the sanatorium in 1854, Clara Schumann moved again within Düsseldorf. Schumann in Düsseldorf. Düsseldorf apartments. In: Schumann-Gesellschaft.de , accessed on September 23, 2019.
72. ↑ Elisabeth Schmiedel and Joachim Draheim (eds.): To the Rhine and further. Woldemar Bargiel to Gats with Robert and Clara Schumann. A diary from 1852 . Studio Verlag, Sinzig 2011, p. 11 f.
73. ↑ Elisabeth Schmiedel and Joachim Draheim (eds.): To the Rhine and further. Woldemar Bargiel to Gats with Robert and Clara Schumann. A diary from 1852 . Studio Verlag, Sinzig 2011, p. 46.
74. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 222.
75. ↑ Ernst Burger: Robert Schumann . Schott Verlag, Mainz 1999, p. 298.
76. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 253.
77. ↑ Julia M. Nauhaus: 1835, 1854 ff., Last 1881 - Hanover and 1853 ff., Last 1869 Amsterdam . Ingrid Bodsch: 1853 ff., Last in 1883 Utrecht . Retrieved October 22, 2019.
78. ↑ Gerd Nauhaus (ed.): Robert Schumann diaries. Volume 3, Household Books . Stroemfeld / Roter Stern, Basel and others 1982, p. 658.
79. ↑ See also Joachim Reiber : A piece of life in the mirror of the waves , ( Memento from February 1, 2014 in the Internet Archive ), in: Journal of the Society of Music Friends in Vienna , December 2007. The  pontoon bridge to Oberkassel (built in 1839) was to this At the time the only bridge over the Rhine in Düsseldorf.
80. ↑ Bernhard R. Appel (Ed.): Robert Schumann in Endenich (1854-1856). Medical records, letters and contemporary reports. Schott, Mainz 2006, p. 53 f., See especially footnote 27.
81. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, p. 26.
82. ↑ Bernhard R. Appel (Ed.): Robert Schumann in Endenich (1854-1856). Medical records, letters and contemporary reports. Schott, Mainz 2006, p. 117.
83. ↑ Bernhard R. Appel (Ed.): Robert Schumann in Endenich (1854-1856). Medical records, letters, and contemporary reports. Schott, Mainz 2006, p. 390.
84. ↑ Ernst Burger: Robert Schumann. Schott, Mainz 1999, p. 332.
85. ↑ There are different dates of origin in the specialist literature. Here that of the Schumann House, which owns the photograph, is chosen
86. ^ Nancy B. Reich: Clara Schumann. The Artist an the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 170.
87. ↑ Berthold Litzmann, Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 278.
88. ↑ Gerd Nauhaus (ed.): Robert Schumann diaries. Volume 3, Household Books . Stroemfeld / Roter Stern , Basel and others 1982, p. 637.
89. ↑ Berthold Litzmann, Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 280 f.
90. ↑ Beatrix Borchard: Clara Schumann. Music as a way of life. New sources - different spellings. With a catalog raisonné by Joachim Draheim, Olms, Hildesheim 2019, p. 271 ff.
91. ↑ Beatrix Borchard, Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 320.
92. ↑ Bernhard R. Appel (Ed.): Robert Schumann in Endenich (1854-1856). Medical records, letters, and contemporary reports. Schott, Mainz 2006, p. 580.
93. ↑ Thomas Synofzik: Clara Schumann and her children , in: Leipziger Blätter - special edition: Clara Schumann. An artist's life, Leipzig 2019, p. 52–57, here p. 54 f., P. 57.
94. ^ ^{A b} Thomas Synofzik: Clara Schumann and her children , in: Leipziger Blätter - special edition: Clara Schumann. Ein Künstlerinnenleben, Leipzig 2019, pp. 52–57, here p. 57; Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag Cologne, Weimar, Vienna 2009, p. 283.
95. ↑ Schumann in Düsseldorf. Düsseldorf apartments. In: Schumann-Gesellschaft.de , accessed on September 23, 2019. Quote: "... before she swapped Düsseldorf for Berlin almost 15 months after the death of her husband."
96. ^ Theresa Schlegel: "On Clara Schumann's footsteps in Berlin", in: Schumann-Journal 8/2019, Stadtmuseum Bonn, pp. 137–161, here pp. 141–146, URL: https://www.schumannjournal.net/ download-77.html , accessed November 16, 2019.
97. ^ Nancy B. Reich: Clara Schumann, the artist and the woman . Cornell University Press, Ithaca / London 2001, p. 191, limited preview in Google book search.
98. ↑ Beatrix Borchard: Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 269.
99. ↑ Clara Schumann. An artist's life. Based on diaries and letters from Berthold Litzmann. Vol. III: Clara Schumann and her friends 1856-1896 , 8th edition, Leipzig 1908, pp. 290f.
100. ↑ Theresa Schlegel: On Clara Schumann's footsteps in Berlin , in: Schumann-Journal 8/2019, Stadtmuseum Bonn, pp. 137–161, here pp. 150f., URL: https://www.schumannjournal.net/download-77 .html , accessed November 16, 2019.
101. ↑ Clara Schumann. An artist's life. Based on diaries and letters from Berthold Litzmann. Vol. III: Clara Schumann and her friends 1856-1896 , 8th edition, Leipzig 1908, p. 329 (HiO).
102. ↑ ^{a b} Monica Steegmann: Clara Schumann , Leipzig 2016, pp. 131-133.
103. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , Volume 3. Breitkopf & Härtel, Leipzig 1910. P. 565 f.
104. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, p. 36.
105. ^ Digitized version of the Bayerische Staatsbibliothek , accessed on September 23, 2019.
106. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 71.
107. ↑ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, p. 37.
108. ↑ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, pp. 38–41.
109. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, p. 40 f.
110. ↑ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, p. 41.
111. ↑ Reinhard copyz, Andreas C. Lehmann, Janina Klassen: Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization . In: Poetics 37 (2009), ISSN  0304-422X , p. 51, online file , (PDF).
112. ↑ The program leaflet that was incorrect at the first item on the program (see Gerd Nauhaus, Nancy B. Reich: Clara Schumann Youth Diaries 1827–1840. Olms, Hildesheim et al. 2019, p. 60) is shown in: Beatrix Borchard, Clara Schumann - Ihr Leben. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 39.
113. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim and others 2019, pp. 11-19.
114. ^ Julia M. Nauhaus: Clara Schumann's concert tours in the Schumann portal. Retrieved May 23, 2019
115. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 103.
116. ^ BLKÖ: Vesque von Püttlingen, Johann Freiherr (son) . Retrieved May 23, 2019.
117. ^ Nancy B. Reich: Clara Schumann, the artist and the woman . Cornell University Press, Ithaca / London 2001, p. 3, limited preview in Google book search.
118. ↑ Janina Klassen: Clara Schumann (2008) . In: MUGI . Retrieved May 23, 2019.
119. ↑ Janina Klassen: Clara Schumann (2008) . In: MUGI . Retrieved May 23, 2019.
120. ↑ p. 251
121. ↑ Beatrix Borchard, Clara Schumann - Your Life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, pp. 148, 151.
122. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 207 f.
123. ↑ Marion Brück:  Schumann, Clara Josephine nee Wieck. In: New German Biography (NDB). Volume 23, Duncker & Humblot, Berlin 2007, ISBN 978-3-428-11204-3 , pp. 746-749 ( digitized version ).
124. ^ Letter to August Strackerjan, in: Robert Schumanns Briefe. New episode. 2nd, increased and improved edition. Edited by F. Gustav Jansen, Leipzig 1904, p. 390.
125. ↑ Janina Klassen: Clara Schumann (2008) . In: MUGI . Retrieved May 23, 2019.
126. ↑ Concert list in the Schumann portal. Retrieved November 15, 2019.
127. ↑ Beatrix Borchard: Clara Schumann. Music as a way of life. New sources - different spellings. With a catalog raisonné by Joachim Draheim, Olms, Hildesheim 2019, p. 312.
128. ^ Julia M. Nauhaus: Concert tours and concert list in the Schumann portal. Retrieved May 23, 2019.
129. ^ Berthold Litzmann: Clara Schumann . 3. Clara Schumann and her friends 1856–1896 . Leipzig 1910, p. 533.
130. ^ Julia M. Nauhaus: Concert tours in the Schumann portal. Retrieved May 23, 2019.
131. ↑ Reinhard Copyz, Andreas C. Lehmann, Janina Klassen: Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization. In: Poetics , 2009, 37 (1), ISSN  0304-422X , pp. 50-73, online file , (PDF).
132. ↑ Beatrix Borchard: Clara Schumann. Music as a way of life. New sources - different spellings. With a catalog raisonné by Joachim Draheim, Olms, Hildesheim 2019, p. 296.
133. ↑ Peter Ackermann (Ed.): The "work loyalty" with Clara Schumann . In: Clara Schumann, composer, interpreter, entrepreneur, icon . Report on the conference on the occasion of the 100th anniversary of her death, organized by the University of Music and Performing Arts and the Hoch Conservatory in Frankfurt. Olms, Hildesheim and others 1999, p. 9 ff.
134. ↑ Beatrix Borchard, Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 258.
135. ^ Nancy B. Reich: Clara Schumann, the artist and the woman . Cornell University Press, Ithaca / London 2001, p. 21 f., Limited preview in Google book search
136. ^ Gerd Nauhaus , Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, pp. 57, 122 and 159 f.
137. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, pp. 16-18.
138. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 84 f.
139. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, pp. 79-92.
140. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 83.
141. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, p. 227.
142. ↑ Janina Classen: Clara Schumann. In: MUGI, music and gender. Retrieved September 28, 2020.
143. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, pp. 21 f., 41-46, 52-57.
144. ^ ^{A b} C. FB (= Carl Ferdinand Becker): Concerto for the Pianoforte. Clara Wieck, first concert for pods., With accompan. des Orch (A minor) - W. 7. In: NZfM , No. 14, February 17, 1837, p. 56 f., digitized . Retrieved May 18, 2019.
145. ↑ August Gathy: Clara Wieck. In: NZfM , No. 14, August 18, 1837, pages 53-55. Digitized . Retrieved May 18, 2019.
146. ↑ Beatrix Borchard: Clara Schumann. Music as a way of life. New sources - different spellings. With a catalog raisonné by Joachim Draheim, Olms, Hildesheim 2019, p. 208.
147. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 196.
148. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, pp. 16-18.
149. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 100.
150. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, pp. 211-218.
151. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 255.
152. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, p. 58.
153. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer . Bärenreiter, Kassel et al. 1990, p. 189 ff.
154. ↑ Beatrix Borchard, Clara Schumann - your life. A biographical montage , 3rd, revised and expanded edition, Olms, Hildesheim 2015, p. 202.
155. ↑ Janina Klassen: Clara Wieck-Schumann. The virtuoso as a composer. Bärenreiter, Kassel and others 1990, pp. 185-188.
156. ^ Berthold Litzmann: Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 164.
157. ↑ ^{a b c} Janina Klassen: Clara Schumann , in: MUGI Lexikon , 2008. Accessed on May 18, 2019.
158. ^ ^{A b} Marie Wieck: From the Wieck-Schumann circle . Dresden and Leipzig 1912, p. 37. Digitized . Retrieved June 30, 2019.
159. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag Cologne, Weimar, Vienna 2009, p. 268.
160. ↑ Berthold Litzmann, Clara Schumann. An artist's life. Based on diaries and letters , 2nd volume. Breitkopf & Härtel, Leipzig 1905, p. 274.
161. ↑ ^{a b} Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 414
162. ↑ ^{a b} Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 414 f.
163. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 416.
164. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, pp. 242-247.
165. ↑ Stefan Bromen: Studies on the piano transcriptions of Schumann songs by Franz Liszt, Clara Schumann and Carl Reinicke . Schumann Studies Special Volume 1, Studio, Sinzig 1997, pp. 50-61, pp. 69-88, p. 189.
166. ↑ Stefan Bromen: Studies on the piano transcriptions of Schumann songs by Franz Liszt, Clara Schumann and Carl Reinicke . Schumann Studies Special Volume 1, Studio, Sinzig 1997, p. 116.
167. ^ ^{A b c} Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, pp. 242-245.
168. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 241 ff.
169. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 415.
170. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, pp. 245-247.
171. ↑ Timo Evers: Foreword . In: Robert Schumann. All piano works . Volume 1, Breitkopf & Härtel, Düsseldorf 2018, p. IV f.
172. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 247.
173. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 247.
174. ^ Youth letters from Robert Schumann. According to the originals, communicated by Clara Schumann . Breitkopf & Härtel, Leipzig 1885, foreword.
175. ^ Nancy B. Reich: Clara Schumann. The Artist and the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 247 f.
176. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 182.
177. ↑ Incorrectly stated in the literature up to now in 1846. Recte 1847. The first entry was on May 13, 1847, the last on February 14, 1854. See: Gerd Nauhaus (Ed.): Robert Schumann Diaries. Volume 3, Household Books . Stroemfeld / Roter Stern, Basel and others 1982, pp. 426 and 648. Compare the digitized version of the manuscript at SBB for May 1847 .
178. ^ Nancy B. Reich: Clara Schumann. The Artist an the Woman . Revised Edition. Cornell University Press, Ithaka / London 2001, p. 80 f.
179. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 182.
180. ↑ Gerd Nauhaus (Ed.): Robert Schumann. Diaries. Volume II. Leipzig 1987, p. 99.
181. ↑ See above all the quotations in Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 238 f.
182. ↑ AC Online • Annotated Catalog of Chopin's First Editions: Publications of Breitkopf & Härtel , accessed on September 23, 2019.
183. ↑ Monica Stegmann (Ed.): "... that God has given me a talent". Clara Schumann's letters to Hermann Härtel […]. Atlantis Musikbuch Verlag, Zurich and Mainz 1997, pp. 40 f., 51 f., 202–204.
184. ↑ Edition plan . Retrieved September 30, 2019.
185. ^ Contemporary portraits in the Schumann portal
186. ↑ The stamp had a face value of 80 Pfennig and is cataloged under the Michel number 1305 (for Berlin 771).
187. ↑ Janina Klassen: Clara Schumann. Music and public . Böhlau-Verlag, Cologne, Weimar, Vienna 2009, p. 491.
188. ↑ Michel number 3493
189. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 16 and 77.
190. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, 105 ff.
191. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 108/109.
192. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 17-20.
193. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, p. 24.
194. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 18 and 22.
195. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 58-61.
196. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, p. 33 ff.
197. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 102 and 104.
198. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 40-43.
199. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 49-52.
200. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, p. 111 ff.
201. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 118 and 120.
202. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 116-119. In it, Erwin Hanfstaengl is incorrectly called Ernst Hanfstaengl.
203. ^ Gerd Nauhaus, Nancy B. Reich (ed.): Clara Schumann, youth diaries 1827-1840 . Olms, Hildesheim 2019, p. 267.
204. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 29 and 31.
205. ^ Berthold Litzmann: Clara Schumann. An artist's life. After diaries and letters . 1st volume. Breitkopf & Härtel, Leipzig 1902, p. 190.
206. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, pp. 83 and 105.
207. ↑ Bernhard B. Appel et al. (Eds.): Clara and Robert Schumann. Contemporary portraits. Droste, Düsseldorf 1994, p. 111.
208. ↑ Clara-Wieck-Strasse. In: Street name dictionary of the Luisenstädtischer Bildungsverein (near  Kaupert )
209. ^ Venus crater Wieck: craters: Wieck on Venus. In: International Astronomical Union ( IAU ), accessed September 23, 2019.
210. ↑ Music theater piece : The pianist. A sequel. ( Memento from June 26, 2017 in the Internet Archive ). In: diepianistin-einnachspiel.de .
211. ↑ Kulturhaus Zvonimir ( Memento from February 2, 2014 in the Internet Archive ) in Solin , Croatia
212. ↑ Description of the work: Heimliches Whispering ( Memento from March 4, 2016 in the Internet Archive ) in: Opernloft Hamburg .
213. ^ Neukölln Opera: Casting Clara .
214. ↑ Clara 19 / Schumann House .
215. ↑ Clara 19 - Leipzig anniversary year .

This article was added to the list of excellent articles on September 24, 2004 in this version .