Clara Schumann
Clara Josephine Schumann was a German pianist, composer, and piano teacher and prodigy. Regarded as one of the most distinguished pianists of the Romantic era, she exerted her influence over the course of a 61-year concert career, changing the format and repertoire of the piano recital by lessening the importance of purely virtuosic works. She also composed solo piano pieces, a piano concerto, chamber music, choral pieces, and songs.
She grew up in Leipzig, where both her father Friedrich Wieck and her mother Mariane were pianists and piano teachers. In addition, her mother was a singer. Clara was a child prodigy, and was trained by her father. She began touring at age eleven, and was successful in Paris and Vienna, among other cities. She married the composer Robert Schumann, on 12 September 1840, and the couple had eight children. Together, they encouraged Johannes Brahms and maintained a close relationship with him. She gave the public premieres of many works by her husband and by Brahms.
After Robert Schumann's early death, she continued her concert tours in Europe for decades, frequently with the violinist Joseph Joachim and other chamber musicians. Beginning in 1878, she was an influential piano educator at Dr. Hoch's Konservatorium in Frankfurt, where she attracted international students. She edited the publication of her husband's work. Schumann died in Frankfurt, but was buried in Bonn beside her husband.
Several films have focused on Schumann's life, the earliest being Träumerei of 1944. A 2008 film, Geliebte Clara, was directed by Helma Sanders-Brahms. An image of Clara Schumann from an 1835 lithograph by Andreas Staub was featured on the 100 Deutsche Mark banknote from 1989 to 2002. Interest in her compositions began to revive in the late 20th century, and her 2019 bicentenary prompted new books and exhibitions.
Life
Early life
Family
Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich Wieck and his wife Mariane. Her mother was a famous singer in Leipzig who performed weekly piano and soprano solos at the Gewandhaus. Clara's parents had irreconcilable differences, in part due to her father's unyielding nature. Prompted by an affair between her mother and Adolph Bargiel, her father's friend, the Wiecks were divorced in 1825, with Mariane later marrying Bargiel. Five-year-old Clara remained with her father while Mariane and Bargiel eventually moved to Berlin, limiting contact between Clara and her mother to written letters and occasional visits.Child prodigy
From an early age, Clara's father planned her career and life down to the smallest detail. She started receiving basic piano instruction from her mother at the age of four. After her mother moved out, she began taking daily one-hour lessons from her father. They included subjects such as piano, violin, singing, theory, harmony, composition, and counterpoint. She then had to practice for two hours every day. Her father followed the methods in his own book, Wiecks pianistische Erziehung zum schönen Anschlag und zum singenden Ton Her musical studies came largely at the expense of her broader general education, although she still studied religion and languages under her father's control of the family.Clara Wieck made her official debut on 28 October 1828 at the Gewandhaus in Leipzig, at age nine. The same year, she performed at the Leipzig home of Ernst Carus, director of the mental hospital at Colditz Castle. There, she met another gifted young pianist who had been invited to the musical evening, Robert Schumann, who was nine years older. Schumann admired Clara's playing so much that he asked permission from his mother to stop studying law, which had never interested him much, and take music lessons with Clara's father. While taking lessons, he rented a room in the Wieck household and stayed about a year.
From September 1831 to April 1832, Clara toured Paris and other European cities, accompanied by her father. In Weimar, she performed a bravura piece by Henri Herz for Goethe, who presented her with a medal with his portrait and a written note saying: "For the gifted artist Clara Wieck". During that tour, the violinist Niccolò Paganini, who was also in Paris, offered to appear with her. Her Paris recital was poorly attended because many people had fled the city due to an outbreak of cholera. The tour marked her transition from a child prodigy to a young woman performer.
Success in Vienna
From December 1837 to April 1838, at the age of 18, Wieck performed a series of recitals in Vienna. Franz Grillparzer, Austria's leading dramatic poet, wrote a poem entitled "Clara Wieck and Beethoven" after hearing her perform Beethoven's Appassionata sonata during one of these recitals. She performed to sell-out crowds and laudatory critical reviews; Benedict Randhartinger, a friend of Franz Schubert, gave her an autographed copy of Schubert's Erlkönig, inscribing it "To the celebrated artist, Clara Wieck." Chopin described her playing to Franz Liszt, who came to hear one of Wieck's concerts and subsequently praised her extravagantly in a letter that was published in the Parisian Revue et Gazette Musicale and later, in translation, in the Leipzig journal Neue Zeitschrift für Musik. On 15 March, she was named a Königliche und Kaiserliche Österreichische Kammer-virtuosin, Austria's highest musical honor.An anonymous music critic, describing her Vienna recitals, said: "The appearance of this artist can be regarded as epoch-making... In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a colour, which only those with the most consummate artistry can give."
Lasting relationships
Robert Schumann
Robert Schumann was a little more than nine years older than Wieck. In 1837, when she was 18, he proposed to her and she accepted. Robert then asked her father for her hand in marriage. Friedrich was strongly opposed to the marriage, and refused his permission. Robert and Clara decided to go to court and sue him. The judge allowed the marriage, which took place in Schönefeld church on 12 September 1840, the day before Clara's 21st birthday, when she attained majority status. From then on, the couple maintained a joint musical and personal diary of their life together.In February 1854, Robert Schumann had a mental collapse, attempted suicide, and was admitted, at his request, to a sanatorium in the village of Endenich near Bonn, where he stayed for the last two years of his life. In March 1854, Brahms, Joachim, Albert Dietrich, and Julius Otto Grimm spent time with Clara Schumann, playing music for her and with her to divert her mind from the tragedy. Brahms composed some private piano pieces for her to console her: four piano pieces and a set of variations on a theme by Robert Schumann that she had also written variations on a year earlier, as her Op. 20. The music by Brahms was not intended to be published, but for her alone. Brahms later thought to publish them anonymously, but eventually they were issued as his four Ballades, Op. 10, and Variations on a Theme by Robert Schumann, Op. 9. Brahms dedicated the variations to both Schumanns, hoping that Robert would be released soon and rejoined with his family.
For the entire two years of Robert Schumann's stay at the institution, his wife was not permitted to visit him, while Brahms visited him regularly. When it was apparent that Robert was near death, she was finally admitted to see him. He appeared to recognize her, but could only speak a few words. Robert Schumann died two days later, on 29 July 1856.
Joseph Joachim
The Schumanns first met violinist Joseph Joachim in November 1844, when he was 14 years old. A year later, Clara Schumann wrote in her diary that in a concert on 11 November 1845, "little Joachim was very much liked. He played a new violin concerto by Felix Mendelssohn, which is said to be wonderful." In May 1853, they heard Joachim play the solo part in Beethoven's Violin Concerto. She wrote that he played "with a finish, a depth of poetic feeling, his whole soul in every note, so ideally, that I have never heard violin-playing like it, and I can truly say that I have never received so indelible an impression from any virtuoso." A lasting friendship developed between Clara and Joseph, which for more than forty years never failed her in things great or small, never wavered in its loyalty.Over her career, Schumann gave over 238 concerts with Joachim in Germany and Britain, more than with any other artist. The two were particularly noted for their playing of Beethoven's violin sonatas.
Johannes Brahms
In early 1853, the then-unknown 20-year-old Johannes Brahms met Joachim and made a very favorable impression. Brahms received from him a letter of introduction to Robert Schumann, and thus presented himself at the Schumanns' home in Düsseldorf. Brahms played some of his piano solo compositions for the Schumanns, and they were deeply impressed. Robert published an article highly lauding Brahms, and Clara wrote in the diary that Brahms "seemed as if sent straight from God".During Robert Schumann's last years, confined to an asylum, Brahms was a strong presence for the Schumann family. His letters indicate his strong feelings for Clara. Their relationship has been interpreted as somewhere between friendship and love, and Brahms always maintained the utmost respect for her, as a woman and a talented musician.
Brahms played his First Symphony for her before its premiere. She gave some advice about the Adagio, which he took to heart. She expressed her appreciation of the Symphony as a whole, but mentioned her dissatisfaction with the endings of the third and fourth movements. She was the first to perform many of his works in public, including the Variations and Fugue on a Theme by Handel, a solo piano work written by Brahms in 1861.