Clara Schumann, without a doubt, was one of the greatest pianists of all time.

2023年04月11日

クララ・シューマンは間違いなく、史上最高のピアニストの 1 人でした。彼女は、リスト、ショパン、メンデルスゾーンなどの作曲家に賞賛されました。彼女はすべての協奏曲とリサイタルを記憶して演奏し、現代および過去の作曲家の両方を支持しました。彼女の伝説的な地位にもかかわらず、クララは生涯で 23 作品しか出版しませんでした。彼女の魅力的なライフストーリーと過小評価されている作曲家の才能は、ピアノトリオとヴァイオリンとピアノのための 3 つのロマンスを含む、彼女の美しい作品を通して紹介していきます。(English) Clara Schumann, without a doubt, was one of the greatest pianists of all time. She, one of the greatest pianists of her time, was admired by composers like Liszt, Chopin, and Mendelssohn. She performed entire concertos and recitals by memory and championed contemporary and past composers. Despite her legendary status, Clara only published 23 pieces during her lifetime. Her fascinating life story and underrated compositional talent are showcased through her beautiful works, including the piano trio and three romances for violin and piano.

Clara Schumann, without a doubt, was one of the greatest pianists of all time.

//Summary -Level-C2//

(Synopsis) Clara Schumann, a renowned pianist and composer, was born in Leipzig, Germany, in 1819. Trained by her father, she gained fame as a child prodigy. Despite her father's opposition, she married composer Robert Schumann and had eight children. Clara faced many challenges, including Robert's mental illness and losing some of their children. However, she continued to perform and teach, influencing the music world significantly. Remembered for her dedication to music, Clara Schumann's life was marked by love, hardships, and passion.

The life of Clara Schumann, the first female pianist in history

Today I'm going to talk about the life of Robert Schumann's wife,

my favourite is Clara Schumann!

Basic information about Clara Schumann

The Life of Clara Schumann

childhood

Genius girl!? pianist debut

Love with Roberto and Father's Interference

married life

the end of Robert

Clara's activities in her later years

clara's end

About Clara's performance

lastly

Basic information about Clara Schumann

Name: Clara Josephine Wieck-Schumann

Birthplace: Leipzig, Kingdom of Saxony (a town in eastern Germany)

Date of birth: September 13, 1819, to May 20, 1896 (age 76)

Occupation: Composer, pianist

Genre: Romantic

Spouse: Robert Alexander Schumann

Family: (father) Friedrich Wieck (mother) Marianne (eldest daughter) died shortly after birth.

At that time, he was 76 years old, a very long life.

Besides, she is lovely. You can feel the elegance in the photos.

The Life of Clara Schumann

Childhood

September 13, 1819.

Clara Schumann (Clara below) was born in Leipzig, a town in eastern Germany where music thrives.

Clara's father, music teacher Friedrich Wieck (hereafter referred to as Wiek), gave Clara a gifted piano education from age 4 to raise her to be a first-class pianist.

It is said that Clara's mother, pianist Marianne, left home when Clara was five years old due to Vik's guidance, which could be considered too much.

Clara played Mozart's Piano Concerto No because of her mother's talent as a pianist and her

father's enthusiastic education. That's right!

Around that time, he also met Robert Schumann (hereafter, Robert), who was ten years older than him and later became Clara's husband, who visited the Clara family to learn music from Wieck.

Genius girl!? pianist debut

Clara, aged 9, October 20, 1829.

At the guest house, Clara gave her first concert.

The music is Kalkbrenner Variations.

There, she achieved great success and became famous as a genius girl.

After that, it is known that he was energetically performing in various places.

1829 October Performed his "Polonaise in E flat major" work before Paganini.

In the spring of 1830, he went on a concert tour with his father to Dresden and performed in front of His Majesty the King.

1831 Sep. Departs for concert tour around Germany and Paris.

In Weimar, he performs Hertz's "Brabour Variations" in front of Goethe and receives a bronze medal.

1832 April Held a concert in Paris but failed due to these epidemics. July held two shows at a guest house.

Love with Roberto and Father's Interference

May 1832.

Roberto practised strengthening his ring finger so much that it hurt him, and he couldn't play the piano.

So Clara came to play the song that Roberto had composed.

Until now, the two had lived like brothers, but it is said that they began to have a faint love for each other, and from this time on, the bond between the two began to grow.

However, for Wieck, who had raised his daughter to be a genius pianist and sent her out into the world and was admired by all of Europe, Roberto was a nuisance.

Roberto is also dreamy and introverted.

He is said to have been a vulnerable and weak musical youth.

Therefore, Wieck, who doesn't like their love situation, strongly opposes their relationship and marriage.

However, in 1839, Roberto sued the court to obtain marriage permission.

The two won the trial and were married on September 12, 1840.

After losing the trial, Wieck moved to Dresden.

Three years later, in December 1843, Clara and her father reconciled.

Initially, they were a respected music teacher and disciple, a father and daughter who raised him to be a first-class pianist.

Despite this, I felt it was unfortunate that this kind of litigation would occur.

Married life

The married life that started when Clara was 21, and Roberto was 31 was a fulfilling and happy life for Clara.

The two released wonderful songs one after another, mainly songs.

However, many daily hardships were on the other side of their happy life.

Over 16 years, she had eight children, supported her sick and mentally ill husband, and had to continue performing on stage for economic reasons.

10)

She also complains to her friends that while her husband is composing, she puts off her practice and feels overwhelmed by household chores.

Roberto's body is gradually ravaged by illness, and as a result, he is no longer able to work.

Shortly after the family moved to Düsseldorf, 20-year-old Brahms visited the couple, and from that moment on, the friendship of the three continued until his death.

As an aside, it is said that until his death, when Brahms completed a new work, he asked Clara to listen to it and give a critique.

11)

The end of Robert

January 25, 1844.

Clara left her two young children with her relatives and went on a concert tour to Russia with Roberto to earn money.

Among them, the concert in Petersburg was a great success.

However, the long and arduous carriage trip left Roberto suffering from tinnitus and dizziness, resulting in a severe neurological illness.

12)

In November 1847, Robert's best friend, Mendelssohn, died, further aggravating his illness.

Finally, on the night of March 27, 1854, he threw himself into the Rhine and was admitted to a psychiatric hospital.

Meanwhile, to support her child, Clara, with the help of Roberto's beloved disciple and best friend Brahms, jumps from concert to concert soon after giving birth.

Despite all his efforts, Robert died on July 29, 1856.

13)

Clara's activities in her later years

After Roberto's death, more hardships followed, including the illness and death of his children.

However, with the support of her sincere friendships with Brahms and the violinist Joachim, Clara found playing the piano to be a source of comfort and solace, and from then on, she continued her life as a front-line performer.

Leaving the children in the care of her mother in Berlin, in January 1857, Clara gave her first concert since Robert's death at a memorable guest house in Leipzig.

14)

People warmly welcomed Clara, who hid her sorrow and smiled on stage.

Every year from October to May of the following year, Clara toured Europe with Roberto's music.

Thanks to Clara's performance activities, Robert's works became more and more known, and it is said that musicians began to perform actively, even being called "the home of the soul of the German people".

15)

Also, in the summer of 1878, Clara is 59 years old.

She took up a professorship at the Frankfurt Conservatoire, where she treated her students with genuine joy and a passion for teaching with human warmth and sincerity from her long playing life.

Her disciples were not only in Germany but scattered throughout England and the United States, and it is said that her influence extends to today's piano world.

In October of that year, I held a concert to commemorate the 50th anniversary of my performance life.

16)

Clara's end

May 20, 1896.

Clara collapsed and died at the age of 76.

Finally, I would like to introduce my favourite words!

Concerned about Clara's body, who suffered from rheumatoid arthritis in her later years, Brahms advised her to retire from the unreasonable performance life.

17)

At this time, Clara was hurt and sent a letter as follows.

"I feel very depressed when I'm not playing the piano. For me, it's just the air I breathe."

There have been rumours about the relationship between Brahms and Clara, but it is said that they are lifelong friends with a deep friendship centred on music, and the truth is unknown.

18)

However, this sentence shows that Clara always lived with performance activities, which was the reason for her life.

Even though her own body is about to erode, Clara's attitude of performing until the end of her life makes me feel the energy and passion, and it makes me feel hot.

Clara loved her husband, her children, and the music Roberto made.

Her life was full of hardships, but I think it was bright and pure, just like the origin of her name!

19)

About Clara's performance

It is said that Clara fearlessly added Beethoven's "Passionate Sonata" and Schumann's new works, which were thought to be impossible for women at the time, to her repertoire, and that her performances matured with age.

Historically, Clara was the first woman to be called a professional pianist.

Until the beginning of the 19th century, many girls from good families in high society took piano lessons as part of their education. Or, even if they performed on stage, they would retire once they had a family.

20)

From an early age, Clara debuted as a genius girl pianist, following her father's strict guidance and her mother's excellent qualities.

On top of his natural talent, he continued to perform throughout his life with muscular mental strength and hard work and became a central figure in romantic music.

It's hard to generalise, but if you don't get a certain amount of training under the guidance of a good teacher when you're growing up, you won't be able to acquire good, natural playing techniques. So I think it won't be easy.

21)

Wieck, who strongly opposed her marriage to Roberto, is in a criminal position but hates acquiring skills mechanically and always insists on fostering emotions and sensitivities. However, it seems that he was also a person.

Clara could continue performing for a long time until her later years, probably due to the guidance she received from her father when she was young.

22)

Also, in the 19th century, it was rare to have a solo concert with only a piano.

Since it's only one night, it's normal for two or three piano solos to be played in between the solo songs and chamber music.

Long after Schumann's death, Schumann's large piece of music, which lasted nearly half an hour, began to appear on concert programs.

23)

However, Clara's energetic performance, "I want to spread Robert's work!" gradually gained support among general fans.

Clara's performance has been criticised as "elegant and content'', "quiet and beautiful, sophisticated playing'', and "deep artistry rather than virtuoso music''.

24)

As a woman, in addition to "balancing home and work," she has overcome the difficulties of parting with her children, troubled romantic times, her husband's illness after marriage, and the challenges of educating her children. Clara's life, which continued through and had a significant influence on the creative activities of Schumann and Brahms, is thought to have had a substantial impact on the music world at both the surface and the back of the Romantic era.

25)

Lastly

Today I tried to draw the life of Clara Schumann.

You will be touched by her love and dedication to her life as a performer!!

Add info)

No1:

Claudia Corona plays Clara Schumann: Piano Concerto Op. 7

https://www.youtube.com/watch?v=lXyqaDkE7PU

Mexican pianist Claudia Corona plays Clara Wieck Schumann's Piano Concerto in A-minor, Op. 7 with the Xalapa Symphony Orchestra under the baton of Lanfranco Marcelletti. This was the first live performance of the concerto in Xalapa (Mexico) last November 08, 2019, on Clara's 200 Birth Anniversary Year. Clara began to compose this piece at the early age of 14 and completed it when she was 16, playing its world premiere on November 09, 1834.

No2:

Clara Schumann Drei Romanzen, Op.21 / Sharon Prushansky

https://www.youtube.com/watch?v=HK9f5U8O1a0

This piece was dedicated to Brahms by Clara.

Clara Schumann (1819-1896)

Three Romances for Piano op. 21 (dedicated to Johannes Brahms), 1853-1855

No3:

Clara Schumann: Prelude and Fuga in B flat Major Op.16-2

https://www.youtube.com/watch?v=nXPupq9wzJc

Roberto and Clara spent a period immersed in studying counterpoint and fugue, and each left their mark on their work. Clara wrote Three Preludes and Fugues (Op. 16, 1845) the week before giving birth to his third daughter, Eurie. Please listen to Op. 16-2 from among them.

No4:

[4 Clara Schumann representative songs] Explain the secret story of the birth of masterpieces, including three romances

https://edyclassic.com/14118/

No4-1:

Clara Schumann: Romances for Violin and Piano, Op. 22 | Emma Meinrenken and Michael Berkovsky

https://www.youtube.com/watch?v=egu1pi2MsXc

In 19th-century European music, 'Romance' referred to a genre of instrumental music with lyrical melodies and sweet content. There are many works called 'Romances', and Clara's husband Robert composed Three Romances for oboe and piano in 1839. In the same year, Clara, then aged 20, also wrote a piano piece of the same name (op. 11).

Clara wrote another piano piece of the same name in 1853, the first of which she gave Robert a birthday present. The first three pieces were combined into Three Romances (op. 21), which she later dedicated to her friend Brahms. This is probably Clara's most performed piano piece. Mao Fujita also performed this piece in a piano recital in January 2022.

Op. 22, Three Romances, is a piece for violin and piano written in the same year as Op. 21. It is probably the best-known and most performed of the three. It was dedicated to an old acquaintance, the violinist Joseph Joachim and the two toured together to present the work.

Joachim met Clara at 14 and praised her, saying, "I have never heard a violin like this, where every note has a soul". Their friendship has continued ever since, and during their performing career, Joachim and Clara have toured 238 times in Germany, the UK and elsewhere.

No4-2:

Piano Concerto in A minor Konzert für Klavier und Orchester a-moll Op.7

https://www.youtube.com/watch?v=fcLtg5Ps8Rk&t=21s

Clara wrote two piano concertos in his lifetime. Works 7 and 18. However, Opus 18, written in 1847, has only the first movement and has not yet been completed. Opus 7, written between 1833 and 1835, is her only finished work. This concerto in A minor began when Clara was 13 years old, and only the first movement was completed in November 1833. Her future husband Roberto revised some orchestrations the following year, and Clara played several concerts.

In June 1834, that movement was designated the final move, and a new first movement was added. At that time, Clara restored the orchestration that Roberto had modified and finished it as a new piano concerto. It was just before Clara's 16th birthday. The piece premiered in Leipzig in November 1835, with Clara on piano and Mendelssohn conducting.

The second movement, which follows the uninterrupted first movement, is unusual because it is performed by cello and piano only, with no orchestra. There is a story behind this: it is said that Clara was in love with the cellist August Theodor Müller (1802-1875) at the time, and that is why she wrote the movement for the cello and piano alone. The two instruments, piano and cello, are written as if the lovers were embracing and dancing. This may be the reason why this chapter is called 'Romance'.

No4-3:

Piano Trio in G minor Op.17

https://www.youtube.com/watch?v=9JyeWA1ZD8g

Opus 17, in G minor, was written during Clara's stay in Dresden in 1845-46. It is said to be Clara's best work. However, Clara and Roberto were going through a challenging time. For one thing, Robert's health was not good, and in the summer of 1846, the two of them went to Norderney Island in the North Sea to rest. There, Clara suffers a tragic miscarriage. "Piano Trio" was completed during my stay in Norderney in such suffering.

Interestingly, a year later, her husband Roberto also completed her first Piano Trio (Op.63). Their trios have many similarities, and it is said that Roberto wrote them under the influence of Clara. These two pieces were often performed as a pair in concerts. Clara, 26, her first work other than piano and voice, was given to Roberto on her sixth wedding anniversary.

No4-4:

Clara Schumann - 3 Preludes and Fugues, Op. 16

https://www.youtube.com/watch?v=soPXiuB1hGg

Around 1845, Clara and Robert became absorbed in the study of counterpoint and fugue. Although the fugue is often associated with the Baroque period led by Bach, classical, romantic and even modern composers wrote many pieces in the form of fugues. These include Mozart, Beethoven, Mendelssohn, R. Schumann and Shostakovich.

A fugue is a counterpoint musical form in which a single theme is presented at the beginning and repeated many times in different keys by two or more voices. Unlike a canon, where the same melody is repeated in the same key, a fugue can achieve complex and sophisticated musical effects because the theme appears in a different key in each voice.

The Three Preludes and Fugue (op. 16, c.1845) was written when Schumann and his wife studied fugues. Clara also wrote Three Fugues on a Theme by J.S. Bach in the same year.

The first two pieces (especially the preludes) of the Three Preludes and Fugues have a fragrant romanticism typical of Clara. The third piece is a pair of preludes and fugues. Rhythmic and tonal themes make this a beautiful, profound work with a baroque flavour.

No4-5:

6 Lieder, Op. 13 - Clara Schumann (Score)

https://www.youtube.com/watch?v=V_qrKo1QbEk

No4-6:

In Tune Sessions: Noriko Ogawa plays Clara Schumann Polonaise Op.1 No.1

https://www.youtube.com/watch?v=eWQvK3HFmVg

Listen to the first published work of Clara (age 11), Four Polonaises (Op. 1, 1831), performed by pianist Noriko Ogawa and recorded for BBC Radio 3.

Add info-No2)

Q1: Clara Schumann was a world-famous pianist who also wrote her compositions, played old and new works and created a new concert format in which the pianist, memorising all notes, played for up to 30 minutes.

There is no one as brilliant nowadays still. What do you think brought her to such a high level?

A1-> Clara Schumann's exceptional talent and achievements can be attributed to her rigorous early training, natural musical aptitude, dedication, and passion for music. Her strong work ethic and exposure to various composers and their works contributed to her innovative approach to performance. Additionally, her resilience and ability to balance her career with her personal life allowed her to maintain a high level of artistry.

Q2: Even now, there is a sense of value that women should quit their jobs when they get married or have children. However, like her, she was trained as a professional pianist by her father, she had a lot of talent, and her husband was a great composer, and after his death, she felt an obligation to work for her eight children. She had also successfully toured the world as a pianist.

She continued to succeed with the support of violinist Joachim and composer Brahms.

We need to re-evaluate the great female composers, painters and writers. What do you think modern women need to learn from great female artists?

A2-> Modern women can learn several valuable lessons from great female artists like Clara Schumann:

1. Persistence: Despite societal expectations and personal challenges, these women persevered in pursuing their passion and excelling in their field.

2. Embracing talent: Recognising and nurturing one's talents and skills can lead to remarkable achievements and make a lasting impact in one's respective field.

3. Balance: Striking a balance between personal and professional life is crucial to maintaining success and well-being.

4. Support network: Building and maintaining solid relationships with mentors, peers, and collaborators can provide valuable guidance, encouragement, and opportunities.

5. Challenging norms: Great female artists often defied societal expectations and standards, demonstrating that women can achieve extraordinary accomplishments in various fields.

6. Legacy: By acknowledging the achievements of past female artists, modern women can continue to challenge stereotypes, inspire future generations, and contribute to a more inclusive and diverse artistic landscape.

Q3: Robert Schumann is a famous composer who wrote such famous works as "Carnival", "Children's Scene", and "Symphony No. 3 Rhein".

Clara Schumann, on the other hand, composed only 23 works.

Some of her classics, such as her trio for piano and her three romances for violin and piano, are still preserved but less well known.

Piano Concerto in A Minor is one of her masterpieces.

Which of these two composers do you think is better?

Also, what do you think is essential for composers to leave masterpieces worldwide?

A3-> As an AI language model, I don't have personal opinions or preferences. However, I can provide you with some insights.

Comparing Robert and Clara Schumann is challenging because they made significant contributions to the music world. Robert Schumann is generally more well-known due to his extensive work, including symphonies, chamber music, piano, and lieder. On the other hand, Clara Schumann's more petite body of work still showcases her exceptional talent as a composer, despite having fewer compositions.

Considering their different circumstances, Clara had to balance her career as a pianist and a composer, and her family responsibilities, while Robert focused mainly on composition.

To leave a lasting impact on the world, composers need:

1. Originality: Composers must develop their unique voice and style, allowing their music to stand out and be remembered.

2. Technical skill: Mastery of musical theory, orchestration, and other technical aspects of composition is essential for creating high-quality works.

3. Emotional depth: Memorable compositions often evoke strong emotions in listeners and have the power to connect with audiences on a deep level.

4. Adaptability: The ability to evolve and adapt to changing musical trends, styles, and technologies can help a composer's work remain relevant and engaging.

5. Perseverance: Pursuing a music career is challenging, and composers must remain dedicated to their craft and continue refining their skills despite obstacles.

Ultimately, it's essential to appreciate the unique contributions of both Robert and Clara Schumann, as they each have left an indelible mark on the world of classical music.

Q4: "1. Originality: Composers must develop their unique voice and style, allowing their music to stand out and be remembered." This is an essential point.

Because when we listen to the music of Bach, Mozart, or Beethoven, we can feel the musicianship of any composer, even if we don't know the piece.

What is the point of finding that this music is their music?

At first, it may be a song that reflects the era, but eventually, the melody and atmosphere unique to the composer will emerge. What kind of effort, talent and inspiration will be needed there?

A4-> Discovering one's unique musical voice as a composer is a complex process involving a combination of factors:

1. Study and understanding: Composers should immerse themselves in various musical styles and traditions to develop a deep knowledge of music history, theory, and the works of other composers.

2. Experimentation: Trying out different techniques, harmonies, structures, and forms helps composers find their unique approach to music. Experimenting with unusual instruments or unconventional methods can also lead to innovative results.

3. Developing a personal style: Over time, a composer can develop a style by refining their techniques and integrating their influences, experiences, and preferences. This involves a combination of conscious choices and intuitive decisions.

4. Talent: Innate musical talent plays a role in creating original and memorable works. A natural affinity for melody, harmony, and rhythm can contribute to a composer's unique voice.

5. Inspiration: Drawing inspiration from various sources, such as literature, nature, personal experiences, or other art forms, can help composers infuse their music with a distinct character.

6. Persistence: Developing a unique musical voice takes time and effort. Composers must be patient and persistent, refining their skills and working through creative challenges.

7. Self-reflection and feedback: Composers should be open to critique and introspection, evaluating their work objectively to understand its strengths and weaknesses. This process helps them grow as artists and refine their style.

By combining these factors, composers can gradually develop their unique musical voices, making their works recognisable and memorable.

Q5: I think it's essential to refine and sublimate your own "unique own voice" and express them beautifully and deeply. Whether it's music, painting, or any art, exploring who you are and what you say is the same as living well.

You are a librarian, and you know all the books. I will ask you some questions, and you will be asked to give your book recommendations and answer the questions in a spreadsheet using only a tiny part of the questions.

Example table: Recommended book titles, essences and quotations

Question:

I am interested in "Unique Own Voice." What do you think is necessary to be a good performer or artist? Please tell me a good book to read first. If possible, please let me know about five books.

A5->

Book 1:

Title: "The Artist's Way: A Spiritual Path to Higher Creativity" by Julia Cameron　「ずっとやりたかったことを、やりなさい」

Essence: A 12-week program to help individuals overcome creative blocks and discover their unique artistic voice.

Quotation: "The heart of creativity is an experience of the mystical union; the heart of the mystical union is an experience of creativity." (Julia Cameron, The Artist's Way)

Book 2:

Title: "Steal Like an Artist: 10 Things Nobody Told You About Being Creative" by Austin Kleon　

「クリエイティブの授業 "君がつくるべきもの"をつくれるようになるために」

Essence: Encourages embracing influence and finding inspiration from the world around you to develop your unique artistic voice.

Quotation: "You are, in fact, a mashup of what you choose to let into your life." (Austin Kleon, Steal Like an Artist)

Book 3:

Title: "Big Magic: Creative Living Beyond Fear" by Elizabeth Gilbert　「BIG MAGIC 夢中になることからはじめよう」

Essence: Explores the nature of creativity and offers practical advice on living a more creative life.

Quotation: "You do not need anybody's permission to live a creative life." (Elizabeth Gilbert, Big Magic)

Book 4:

Title: "The War of Art: Break Through the Blocks and Win Your Inner Creative Battles" by Steven Pressfield　「やりとげる力」

Essence: A guide to overcoming creative resistance and cultivating discipline, essential to artistic success.

Quotation: "Creative work is not a selfish act or a bid for attention on the part of the actor. It's a gift to the world and every being in it. Don't cheat us of your contribution. Give us what you've got." (Steven Pressfield, The War of Art)

Book 5:

Title: "Bird by Bird: Some Instructions on Writing and Life" by Anne Lamott　「ひとつずつ、ひとつずつ: 「書く」ことで人は癒される」

Essence: Offers wisdom on finding your voice, developing authentic characters, and the importance of perseverance in creative work.

Quotation: "You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better." (Anne Lamott, Bird by Bird)

Q6. You are a great Clara Schumann and a famous writer and conductor about Schumann.

Please give your expert opinion on my question below:

I want to know why Clara Schumann's body of work is so tiny and why what we have of her music is so precious.

A-> As a Clara Schumann expert, I can offer several reasons for her relatively small body of work and the preciousness of her compositions:

1. Family and personal responsibilities: Clara Schumann had a demanding life as a wife, mother of eight children, and caretaker for her husband, Robert Schumann, who had a mental illness. These responsibilities often left her with limited time to focus on her compositions.

2. Societal expectations: In the 19th century, it was rare for women to be recognised as composers, and societal expectations often discouraged them from pursuing this career. Clara may have faced such barriers and focused more on her career as a pianist, where she gained significant recognition.

3. Self-criticism: Clara Schumann was known to be self-critical and may have held her compositions to high standards. As a result, she may have hesitated to publish more of her work.

4. Supporting her husband: Clara dedicated much of her time to promoting Robert's music and often performed his compositions during her concerts. Consequently, focusing on her husband's work might have limited her composition time.

Despite her small output, Clara Schumann's music is precious because:

1. Unique voice and style: Her compositions exhibit a distinctive voice and showcase her talent as a composer, reflecting the Romantic era's emotional depth and lyricism.

2. Historical significance: As a female composer in the 19th century, Clara Schumann represents an important figure in music history, highlighting the contributions of women to the field despite societal barriers.

3. Influence on other composers: Clara was a skilled composer and an influential pianist, and her performances and relationships with composers such as Johannes Brahms and Robert Schumann impacted their works. Her compositions thus offer valuable insight into the musical landscape of the time.

Clara Schumann's work may be small, but its significance and beauty make it precious and worthy of appreciation and study.

Q7: I want to know why Clara Schumann's work is so tiny. Her works were not very long, and the orchestration was small. Why do you think that is?

A7-> Clara Schumann's body of work is relatively small for several reasons:

1. Societal expectations: As a woman in the 19th century, Clara faced societal expectations that limited her ability to focus solely on composing. Women were less commonly recognised as composers and often had to balance their artistic pursuits with family and domestic responsibilities.

2. Family responsibilities: Clara was a wife and a mother to eight children. Her husband, Robert Schumann, suffered from mental health issues, which required her to take on additional caregiving responsibilities. These factors left her with limited time and energy to devote to composing.

3. Concert career: Clara was an accomplished pianist, and much of her time was spent performing, teaching, and promoting her husband's music. Her concert career took precedence over her composing, contributing to the smaller size of her compositional output.

4. Self-criticism and perfectionism: Clara was known to be highly self-critical and a perfectionist, which may have led her to compose less frequently or to discard works that did not meet her high standards.

Despite the limited size of her oeuvre, Clara Schumann's compositions are precious because they provide a glimpse into her exceptional talent as a composer. In addition, her works display a unique voice and style that reflect her experiences and emotions, contributing significantly to the understanding of music in the 19th century.

Q8: Clara Schumann composed 16 works in 1844. (16 out of 23 songs in her entire lifetime)

Her husband, Schumann, was so mentally ill that he committed suicide by throwing himself into the Rhine.

Brahms continued to support Clara Schumann even after the death of Robert Schumann. For example, Brahms cared for her eight children when she travelled abroad as a pianist.

If Clara Schumann had more time to devote to her compositions and had a stable life surrounded by her husband and friends who gave her confidence, would she have written better songs?

Or, as a professional pianist, she helped the pieces of her husband, Robert Schumann, reach a broader audience. She made the importance of works by Bach and Beethoven, helping improve her technique and status as a pianist.

What do you think about which life was best for her?

A8-> It's difficult to say definitively which life would have been best for Clara Schumann. Had she had more time and stable energy to devote to her compositions, she might have written more and possibly better pieces. However, her contributions as a pianist, promoting her husband's works and championing Bach and Beethoven's compositions, were also invaluable.

Clara Schumann's impact on the music world was significant in her capacities as a pianist and composer. Acknowledging her achievements in both realms and appreciating the unique circumstances that shaped her life and work is essential. But ultimately, the best life for her would be one where she found fulfilment in her personal and professional pursuits, and that is something only she could have determined.

The life of Clara Schumann, the first female pianist in history

https://hituzi-music.com/pianist-clara-schumann/

[Commentary on Clara Schumann] ~Female composer recognrecognisedhumann and Brahms~

https://edyclassic.com/13197/

Clara Schumann, without a doubt, was one of the greatest pianists of all time.

Schumann's playing didn't just leave critics and audiences in raptures. It also left other composers amazed that their music could sound so beautiful. Liszt called her the Priestess of the Piano, Chopin adored her playing, and Mendelssohn brought her repeatedly to Leipzig to play concerts with the Gewandhaus orchestra. She toured practically her entire life while raising a family of 8 children and caring for her husband, Robert, who dealt with a series of mental illnesses that ended in his tragic and untimely death.

Simply put, Clara Schumann was a legend in her time. She was the first pianist to perform entire concertos and recital programs by memory. In addition, she was the first pianist to devote her work to contemporary and past composers, playing Bach's pieces many times on stage.

But today, I won't focus too much on Clara Schumann, the pianist. I won't mention Brahms or Robert Schumann all that much except in biographical details. That's because the show focuses today on Clara Schumann's compositions. She only published 23 pieces during her life due to many factors, but what we have of her work shows a brilliant and underrated compositional talent.

So today, I'll tell you about Clara Schumann's turbulent and fascinating life story and then take you through a few of her most beautiful pieces, including the piano trio and the three romances for violin and piano. We'll also talk about why her body of work is so tiny and why what we have of her music is so precious. Join us!

Mozart Symphony No. 40

https://stickynotespodcast.libsyn.com/mozart-symphony-no-40-re-upload

This week continues my project of reuploading seasons 1-5 with the new and improved sound quality! The opening of Mozart's 40th Symphony is one of the most recognisable tunes in the whole repertoire, but to this day, we don't know what it is about or even why Mozart wrote it. But even though it can be frustrating not to know these answers, it's also exciting and potentially rewarding to search for answers on our own! So today, we'll talk about this dramatic piece and its many twists and turns.

I can't believe there is such beautiful music in this world. Mozart's "Symphony No. 40 in G Minor"

https://www.classic-suganne.com/entry/2018/04/29/234225

Clara The Last Years of Robert Schumann Full Movie Japanese and English Subtitles

https://www.youtube.com/watch?v=TLoAcODiGqY

"Clara Schumann Johannes Brahms Friendship Letters" by Bertolt Ritzmann

https://www.msz.co.jp/book/detail/07727/

The correspondence between Clara Schumann and Johannes Brahms was published in 1927. From 1853, when the 20-year-old Brahms visited the Schumann family in Düsseldorf, hoping to become a composer, to 1896, shortly before Clara's death, Ritzmann compiled 207 letters from a collection of over 800. This book is a selection of that.

After R. Schumann's tragic illness and death, Clara continued her concert tours while raising seven orphaned children, and Brahms always supported her despite their geographical separation. With Brahms supporting her, her genius blossomed. A star pianist, the widow of a famous musician, and a composer 14 years her junior - the road to their friendship was never smooth, but they shared a common raison d'être: music. For forty-four years, the exchange of hearts has never stopped.

Clara Schumann, without a doubt, was one of the greatest pianists of all time.