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Clara Schumann Forms, As Well As the Edition of Her Husband's Biographi- Birth Name: Clara Josephine Wieck Cal Material

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Clara Schumann Forms, As Well As the Edition of Her Husband's Biographi- Birth Name: Clara Josephine Wieck Cal Material Schumann, Clara in Frankfurt am Main. The possibilities of music-making were not exhausted for her in piano-playing alone, but also included theoretical and practical knowledge about music. Thus singing and violin-playing were just as much a part of her education as was composing. Her early compositions were concei- ved as extensions of her own repertoire, and she emphasi- sed the range of her musical profile as a virtuoso. In the 1840s, the confrontation with the requirements of va- rious musical genres came increasingly to the fore. None- theless, the compositions written during her marriage we- re also intended for performance on the concert stage. Al- ready as a young virtuoso, she was noted for playing mu- sic in all "styles", not merely her own pieces. She initially distinguished herself by being the first vir- tuoso, alongside Franz Liszt, to perform Beethoven sona- tas in the concert hall beginning in 1837. Besides her re- nown as a Beethoven interpreter, she then became prima- rily known as an "authentic" representative of the so-cal- led "Romantic School", i.e. the music of Chopin, Hen- selt, Mendelssohn Bartholdy and Robert Schumann. She later expanded her repertoire to include the piano works of Brahms. She controlled the reception of Robert Schu- Clara Wieck, Lithographie von Andreas Staub, Wien 1838 mann's music not only through her performance polici- es, but also through her edition of his works in various Clara Schumann forms, as well as the edition of her husband's biographi- Birth name: Clara Josephine Wieck cal material. Variants: Clara Wieck, Clara Wieck Schumann, Clara Beyond that, through her performance style, she first of Schumann Wieck, Clara Josephine Schumann, Clara all shaped a definite repertoire selection focussed on a ca- Josephine Wieck Schumann, Clara Josephine Schumann non of works from Bach and Scarlatti to Brahms. Second- Wieck ly, she influenced her pupils through a certain attitude towards interpretation that was already designated in * 13 September 1819 in Leipzig, Deutschland the 19th century as "faithfulness to the original". She was † 20 May 1896 in Frankfurt am Main, Deutschland noted for exactitude of the text and an intensive preoccu- pation with the composer's intentions. Through her inter- "The practice of art is indeed a large part of my being; to national tours, she especially made the works of Robert me, it is the air that I breathe." Schumann and Johannes Brahms known abroad. From the end of the 1870s onwards, a triad was formed (Clara Schumann to Johannes Brahms, in a letter dated by Clara Schumann in Frankfurt am Main, Johannes 15 October 1868) Brahms in Vienna and Joseph Joachim in Berlin. These three musicians were so powerful in their effect that Profile their names, long after their deaths, remained synony- Clara Wieck Schumann appeared in public at the age of mous for an attitude of conservative values - steadfast in nine and she remained in the public eye for the rest of its orientation towards the "masterwork" and up in arms her life. With her activities spanning over sixty years, she against the avant-garde of the early twentieth century. In had a considerable influence on the piano scene as an in- contrast to this, the piano technique she taught seems to ternational star, piano pedagogue and, finally, as a pro- have been received as progressive, well into the twentie- fessor in 1878 at the newly founded Hoch’s Conservatory th century, by virtue of its expressive variety. – 1 – Schumann, Clara "Romance variée", Op. 3, published between 1831 and Cities an countries 1833. There is also an orchestral version, performed in Clara Wieck initially concertised primarily in German- 1834, of the "Valses romantiques" Op. 4 modelled on We- speaking countries. Her first major tour took her to Paris ber and Schubert, but the parts to this work are lost to- in 1831/32. In the winter of 1837/38 she began a series day. These waltzes were performed in a popular Leipzig with concerts in Prague and Vienna that signified her in- garden restaurant. ternational breakthrough. As Clara Schumann, she un- Spohr, Weber, Chopin and Mendelssohn Bartholdy were dertook a successful tour in 1842 to Denmark, then to her most important models during these years. An insou- Russia, again to Austria, Holland and Belgium. In the ye- ciant freshness flows through the early works. The piano ar of Robert Schumann's death, 1856, she concertised for writing often contains original ideas and bold harmonies the first time in England, Scotland and Ireland. England which are, however, relieved by brilliant figures; some of became one of her principal destinations thereafter. She these make a somewhat prefabricated effect. The "Quatre undertook tours to Austria, Bohemia, France, Belgium, Pièces caractéristiques", Op. 5 and the "Soirées musica- Holland, the Baltic countries, Russia and Switzerland un- les", Op. 6, published in 1836, give evidence of a new mu- til the late 1880s. sical language. Amongst other things, they are informed by a fascination for ghost stories and fantasies such as Biography those staged by the opera composer Heinrich Marschner. Clara Wieck was born on 13 September 1819 into a fami- At the same time, the collections also reveal individual ly of musicians. Her father, Friedrich Wieck, a qualified encounters with the latest works of Chopin (mazurkas, theologian, was a successful music dealer and piano ped- ballades). The surprisingly poetic adagio movements agogue; her mother, Marianne Tromlitz, was a highly pro- (“Romance”, Op. 5/3; “Notturno”, Op. 6/2) disclose the mising soloist who had performed at the Leipzig Gewand- sensitive side of the young virtuoso. The largest composi- haus as a pianist and singer in 1817. The marriage ended tional project of this period was the Piano Concerto, Op. in divorce in 1824; Clara, the eldest child, and her youn- 7, which received its premiere performance on 9 Novem- ger brothers lived with their father. Their mother moved ber 1835 conducted by Mendelssohn Bartholdy at the to Berlin with her second husband, the composer Adolf Leipzig Gewandhaus. Bargiel (1783-1841). Friedrich Wieck married Clementi- ne Fechner in 1828. Despite the family’s break-up, Clara Friedrich Wieck was himself in charge of Clara's piano in- never lost contact with both parents (although with vary- struction; for the other subjects, various other teachers ing degrees of intensity), her siblings and half-siblings. were called in, including Theodor Weinlich, Heinrich Clara Wieck enjoyed an exclusive private education with Dorn and Siegfried Dehn in theory and composition. In a reformed pedagogical approach. This included streng- turn, the ten-year-old Clara was already giving piano les- thening of personality, performance requirements appro- sons to her younger siblings. Her father created an open priate for children, encouragement of creativity and phy- diary for his daughter, kept by himself and her beginning sical exercise as a necessary balance. One area of focus in 1829 and mostly by her alone from 1836 onwards. It was on the comprehensive musical instruction of the vir- served to document her progress as a “wunderkind” and tuoso. Music was taught as a holistic sensory and cogniti- young virtuoso, but was also meant to serve as an incenti- ve experience, with consideration for individual conditi- ve and assessment of her achievements. ons. Wieck's method is therefore difficult to systematise. The systematic development of her career, as conducted Alongside general basic subjects, the instruction inclu- by Friedrich Wieck, included the patronage of renowned ded piano technique, improvisation, ensemble playing wi- personalities such as Goethe and Paganini, whose friend- th partners, analysis, interpretation and repertoire stu- ly praise appeared in the press. One special characteristic dies, theory instruction including counterpoint and ear- of her education was the early contact with the younger training, violin, voice, French and English. Before this musical "avant-garde" such as Chopin, Mendelssohn Bar- backdrop, Clara wrote the early variations and dance mo- tholdy and Schumann. Clara Wieck played their pieces at vements mentioned in her youthful diary, but these her concerts and exchanged manuscripts with them. works have not survived. They must have sounded simi- Thus, when Chopin travelled to Leipzig in 1835 and paid larly to the first printed compositions, the "Quatre Polo- her a visit, she became acquainted with his Ballade in G naises", Op. 1, "Caprices en forme de valse", Op. 2 and minor, Op. 23 from the manuscript, one year prior to its – 2 – Schumann, Clara publication. to marry Robert Schumann in 1840, cutting the connecti- Her father organised her performances and concert on to her family of origin with this lawsuit against her fat- tours. He was her father, teacher as well as impresario her. She did, it is true, now establish a new relationship during her youthful years. As a young star, Clara already to her biological mother in Berlin. But as a whole, the so- occupied a position of prominence amongst her younger cial and legal transitional passage of over a year signified siblings, for their entire family life was orientated accord- a fundamental crisis for the still underage young woman ing to the requirements of the development of her career. who still lacked a permanent place of residence. During She was alone with her father on tour several months a this period, she repeatedly doubted her artistic abilities. year, whilst her stepmother managed the family and the At the same time, she was able to experience being me- father's business dealings at home. anwhile sufficiently well known, as a star, to forge a place for herself in the concert scene without male protection. Clara Wieck distinguished herself as an interpreter at a "I shall not give up my art", was one of her fundamental high level when she publicly performed, for the first ti- auto-suggestive principles.
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