The soulful Notturno easily rivals the best of Chopin’s nocturnes, though the more active central section reveals Clara’s individuality. The central section is warmly expressive before the opening figures return, given an emphatic ending. The Toccatina has light, incisive treble figures which gradually grow in power. 6 set was published by Hofmeister of Paris in 1836. These early compositions show the influence of the virtuoso pieces of her concert tours. However, by this time she had already established herself throughout Europe, known for her technical mastery and sincerity of feeling. The return of the opening confirms Clara’s own technical virtuosity.Ĭlara was only 16 when she wrote her Op. A central section is marked Langsamer (‘slower’) and conveys a feeling of longing. Essentially a rapid waltz, the Agitato feeling comes from the unsettled chromatic running notes which press the tempo forward. The light, springy chords which sketch the opening Allegretto reveal tender phrases as richer melodic bass lines gives warmth. The opening of the Andante is deeply haunting, though there is a more positive and animated central section. The Romances were published by Breitkopf and Härtel in 1855/6, though Robert’s illness and death in 1856 had a heavy impact. In addition, a year later saw Robert’s breakdown, his attempted suicide and committal to a mental institution. 21 Romances were written in 1853 by which time Clara had six young children. As a composer, Clara was reluctant at first, but later found it fulfilling. After legal representations, they were finally able to marry in 1840. Clara and Robert fell in love, but Wieck’s refusal to accept Robert as a potential husband for Clara led to years of bitter conflict. In 1830, Robert Schumann came to the Wieck household as a pupil of Clara’s father. She quickly became an acclaimed child prodigy admired by Goethe, Mendelssohn, Chopin, Paganini and Liszt. Following the unfortunate early death of Robert Schumann, Clara devoted herself to promoting and editing the music of her husband and taught at the High Conservatory in Frankfurt.Ĭlara Schumann passed away in May 1896, aged 76.Ĭlara, the eldest daughter of pianist and teacher Friedrich Wieck (1785-1873), began to study piano with her father from the age of five. After her marriage, family responsibilities for a large household with eight children curtailed her career as a composer, but she continued to perform and tour frequently. In addition to being trained as a piano virtuoso, Clara also began to study composition with her father at a young age and produced a significant body of works including a piano concerto written when she was 14, chamber music, songs, and many character pieces for solo piano. Friedrich Wieck bitterly opposed the marriage and the young couple had to obtain a court decision in order to get married. On the day before her 21st birthday in 1840, Clara married Robert Schumann whom she had known for 10 years as her father’s piano student. In March 1838, Clara was appointed Royal and Imperial Chamber Virtuoso of Austria, the highest honour in music conferred by the empire. Paganini, Liszt, Chopin and numerous great musicians who heard her all praised her extravagantly. By the age of 18, she was performing to sell-out audiences and laudatory critical reviews describing her playing as epoch-making. To celebrate the 200th Anniversary of her birth, Musica Viva respectfully presents a special chamber music recital of some of her most beautiful compositions.ĭaughter of Friedrich Wieck, a noted piano teacher, and Marianne Tromlitz, a famous singer, Clara began to perform as a child prodigy at the age of nine and went on a concert tour to several European cities at eleven. She is considered one of the finest pianists of the Romantic era and one of the most distinguished woman composers of all time. Clara Josephine Wieck Schumann was born in Leipzig on 13 September 1819.
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