#clara wieck

[not-from-amazon]

💐Clara Schumann (Wieck)💐

Well I drew her from memory in school today, sorry if there's any inaccuracy here in this piece of art 😔

[ourmindonmusicpodcast]

Happy Birthday, Clara Wieck - Schumann! Born Sept. 13, 1819

Clara Wieck – Schumann was a renowned pianist and composer who made a significant impact on the world of classical music during the 19th century and beyond. During a time when women were largely excluded from the world of classical music, Clara defied expectations and forged a successful career as a pianist and composer. Clara Schumann was a trailblazer for women in music. Type your…

[rwpohl]

[casualclassical]

The Classical Composer Zodiac

[shostakophile]

schumendy?? at this century and era?? yessirrr

[suetravelblog]

Beau Soleil Piano Quartet Hermanus Civic Auditorium South Africa

[carmenvicinanza]

Clara Wieck Schumann

Clara Wieck è stata la più importante pianista e compositrice del Romanticismo. Suonava con una profonda espressività unita a un virtuosismo trascendentale, elasticità di tocco, rotondità e intensità sonora.

Nata col nome di Clara Josephine Wieck il 13 settembre 1819 a Lipsia, in Germania, da Marianne Tromlitz, pianista e cantante e Friedrich Wieck, famoso insegnante di pianoforte che le diede lezioni fin dalla più tenera età e le fece seguire un rigoroso programma di studio che comprendeva anche altre materie come lingue e letteratura.

Anche sua madre ebbe un’apprezzabile carriera come cantante e pianista, fino al divorzio col coniuge-mentore, nel 1824. Per la legge di Lipsia, Clara fu affidata ala custodia del padre che su lei riversò la sua pervicacia didattica.

Ha fatto il suo debutto pubblico come pianista a soli 9 anni e, considerata una enfant prodige, sin da giovanissima tenne concerti in tutta Europa, riscuotendo grande ammirazione, acclamata dalla critica del tempo.

Friedrich Wieck che accompagnava sempre la giovane figlia in tournée, si occupava delle pubbliche relazioni, dei contratti, della sala, dello strumento. Già nel 1835 era conosciuta in tutta Europa come pianista talentuosa e raffinata compositrice.

Era ancora una bambina quando, nel 1830, conobbe il compositore Robert Schumann, allora studente di suo padre che aveva osteggiato fortemente la loro relazione. Arrivarono addirittura a una lunga battaglia legale col genitore di lei che non voleva intralci nella vita professionale della figlia, Si sposarono nel 1840, a compimento del suo ventunesimo compleanno.

Ha partorito otto figli e figlie e continuato a esibirsi in concerti tra Europa e Russia e, nei ritagli di tempo, a comporre.

Robert e Clara erano felici di condividere le reciproche idee musicali talvolta anche citandosi a vicenda nelle proprie opere, ma il suo talento di compositrice è stato oscurata dalla fama del marito.

Già nel 1835 ha composito un Concerto per pianoforte ed orchestra, pubblicato più tardi come op.7, opera importante di cui ha curato interamente anche l’orchestrazione.

Nel 1838 l’Imperatore d’Austria la nominò Virtuosa da Camera.

Nel 1841, la coppia pubblicò insieme la raccolta Zwölf Gedichte aus F. Rückert’s Liebesfrühling von Robert und Clara Schumann, op. 37/12.

L’anno successivo, Clara musicò gli Incantesimi d’amore di Geibel e la raccolta Sie liebten sich beiden di Heine da offrire in regalo a Robert per il suo compleanno.

Il suo progresso come compositrice venne arrestato dalla crescente instabilità mentale del coniuge che si divideva tra momenti di forsennata creatività ad altrettanti di quasi totale apatia, tentò anche il suicidio.

Clara sosteneva il marito emotivamente, artisticamente e spesso finanziariamente, dando lezioni di pianoforte, riprendendo a suonare in giro per l’Europa e componendo quelle che sono, forse, le sue opere maggiori.

All’estate del 1846 risale quello che è considerato il suo miglior lavoro cameristico, il Trio op. 17 per Piano violino e Violoncello in quattro movimenti.

Nel 1854, il marito venne rinchiuso in un ospedale psichiatrico e, dopo due anni morì.

La morte di Schumann segnò l’inizio di una seconda vita, durata altri 40 anni in cui Clara Wieck ha continuato la sua carriera concertistica nonostante i forti dolori alle articolazioni dovuti allo sforzo nello studio e nelle esibizioni.

Nel 1887 assunse la docenza di pianoforte al Conservatorio di Francoforte dove tenne anche la sua ultima esibizione pubblica, nel marzo 1891. 

A causa di una crescente sordità, cedette il posto al Conservatorio nel 1892 pur continuando a insegnare privatamente fino alla sua morte, avvenuta a Francoforte sul Meno, il 20 maggio 1896.

La vita di questa straordinaria musicista si è divisa tra il compiacere le ambizioni del padre e quelle del marito di cui subiva la forte fascinazione.

Dopo la morte di Schumann si è dedicata principalmente alla promozione delle sue opere e alla numerosa famiglia, lasciando definitivamente il suo talento creativo in un cassetto insieme a quelle composizioni che oggi, fortunatamente, sono state riscoperte e stabilmente tornate nelle sale da concerto.

[chopinski-official]

Dobry wieczór. Since it’s International Women’s Day (albeit not strictly), tonight I would like to draw my followers’ attention to the female pianists and composers who were my contemporaries… Apologies for the lengthiness, evidently there is a lot to be covered.

Clara Schumann 1819-1896

A child prodigy, Clara was taught piano by her father and by thirteen he was taking her on concert tours.

She met Robert Schumann as a child when he came to Leipzig to study law at the university. He took piano lessons from Clara’s father, Friedrich Wieck. When she was 18, he proposed to her. They married in 1840.

The virtuoso went on tours with her husband and earn money by performing and teaching. She was also a gifted composer, however most of her time was spent looking after her family, editing Robert’s music and playing. Clara’s compositions include more than 20 piano works, a piano concerto, some chamber music and several songs.

Fanny Mendelssohn 1805–1847

Composer and pianist, Fanny grew up in Berlin, sharing the same musical education as her brother Felix, with whom she had a close relationship.

Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, more than 125 pieces for the piano and over 250 lieder, most of which were unpublished in her lifetime. Although lauded for her piano technique, she rarely gave public performances outside her family circle.

Owing to her family's reservations and to social conventions of the time about the roles of women, six of her songs were published under her brother's name in his Opus 8 and 9 collections.

Marie Moke 1811-1874

Marie Moke gave her first concert at the age of eight and by the age of fifteen, she was already known in Belgium, Austria, Germany and Russia as an accomplished virtuoso.

She married pianist and piano manufacturer, Camille Pleyel, but they later separated on account of her promiscuity. Heinrich Heine considered her among the greatest pianists “Thalberg is a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Mme Pleyel a sibyl, and Döhler a pianist.”

Later on, she created the piano school at the Royal Conservatory in Brussels where she taught from 1848 to 1872.

Louise Farrenc 1804-1875

A French composer, virtuoso pianist and teacher, she started playing young and had piano lessons with famous teachers such as Moscheles and Hummel. She studied composition privately with Anton Reicha at the Paris Conservatoire, unable to go to composition classes as a woman. By the 1820s she was touring France, giving concerts.

In 1842 she was made Professor of Piano at the Paris Conservatoire where she stayed for 30 years. For a decade she was paid less than the male teachers. Only after the triumphant premiere of her nonet did she demand and receive equal pay. She wrote a wide variety of piano music, but her chamber pieces are considered to be her best work.

Pauline Viardot 1821-1910

From a musical family (including her older sister, Maria Malibran) Pauline was trained by her father on the piano and in singing.

In her youth she took piano lessons with Franz Liszt and counterpoint and harmony classes with Anton Reicha. However, despite wanting to become a concert pianist, she was directed towards singing by her mother.

Pauline began composing when she was young, but it was never her intention to become a composer. Written mainly as private pieces for her students, her works were still of professional quality and Franz Liszt declared that, with Pauline Viardot, the world had finally found a woman composer of genius. Compositions include her chamber operas Le dernier sorcier and Cendrillon.

Arabella Goddard 1836–1922

Born in France to English parents, at age six Arabella was sent to Paris to study with Friedrich Kalkbrenner. Aged seven she played for myself and George much to our pleasure.

During the 1848 Revolution her family had to return to England; there, Arabella had further lessons with Lucy Anderson and Sigismond Thalberg. She was known for her ability to play recitals from memory.

Arabella was appointed a teacher at the Royal College of Music in 1883. This was the RCM’s first year of operation and Arabella was its first female professor. She composed a small number of piano pieces, including a suite of six waltzes.

Marcelina Czartoryska 1817-1894

Born into the aristocratic Polish family, the Radziwiłłs, Marcelina was taught piano by Carl Czerny in Vienna and by myself in Paris. She gave concerts across Europe, with Franz Liszt, Pauline Viardot and Henri Vieuxtemps.

From 1870 she lived in Kraków, where she gave mainly private concerts and, thanks to her artistic connections, contributed to founding Kraków’s Academy of Music in 1888.

Maria Kalergis 1822-1874

Raised in Saint Petersburg in the home of her paternal uncle, the Tsar's minister of foreign affairs, Maria received a thorough education where she evinced an early musical talent.

She was a student of mine and held salons in Paris whose guests included Liszt, Richard Wagner, de Musset, Gautier and Heine. Later, she became a hostess and a patron of the arts in Warsaw.

She was a co-founder of the Warsaw Musical Institute, now the Warsaw Conservatory and established the Warsaw Musical Society, now the Warsaw Philharmonic. Between 1857 and 1871 she made frequent appearances as a pianist.

On her death, Franz Liszt wrote his Elegy on Marie Kalergi.

[moonriver0312]

(A Little Life, Part 5, Chapter 2, pg. 602 - Hanya Yanagihara)

Why Schumann?

After some digging on the internet, I have learnt that it is not a coincidence that Hanya chose Schumann's Fantasie in C for this moment, and I believe Jude was playing the first movement in this part. Fantasie in C was composed in 1836 as only a piece called Ruines, expressing his distress at being distant from his beloved Clara, and then it became the first movement of Fantasie. The first movement of the work contains a musical quote from Beethoven's song cycle, An die ferne Geliebte (To the distant beloved) as a secret love message:

Take, then, these songs, beloved, which I have sung for you

However, this musical quotation was not acknowledged by Schumann. The movement also was prefaced with a quote from Friedrich Schlegel:

Durch alle Töne tönet / Im bunten Erdentraum / Ein leiser Ton gezogen / Für den, der heimlich lauschet.

Resounding through all the notes / In the earth's colorful dream / There sounds a faint long-drawn note / For the one who listens in secret

During this period, Robert Schumann and Clara Wieck was in separation because Clara's father disapproved of their relationship. Those quotations truly reflected his yearning to Clara, his passionate love to her, and it is more beautiful to learn that they communicated mostly through music and journals because Clara did not communicate verbally well. In a letter sent to Clara in 1838, he wrote:

The first movement may well be the most passionate I have ever composed - a deep lament for you.

They got married in 1840 but their marriage was not through an easy path because Schumann was not mentally well.

(Clara and Robert Schumann around 1850. Corbis, via Getty Images)

In August of 1844, he suffered a severe mental and physical breakdown. He was in pains, he trembled, wept, could not sleep and even became so sick that he could not walk across the room by himself. By February of 1854, Schumann insisted to be committed, as he felt that he had lost control of his mind. On 27th February, he attempted suicide by throwing himself from a bridge into the Rhine River. He was rescued and taken to the hospital later and remained there until his death on 29th July, 1856. During his confinement, Clara was not allowed to visit him (they communicated thanks to Johannes Brahms, a very good friend of the family, especially Clara) and only able to meet him 2 days before his death.

In Clara's journal on 26th February, 1854 (1 days before his attempt suicide), she wrote:

He was so melancholy that I cannot possibly describe it. When I merely touched him, he said, "Ah Clara, I am not worthy of your love." He said that, he to whom I had always looked up with the greatest, deepest reverence.

The resemblance of Jude and Schumann's mental illness may be one of the reason that Hanya chose this piece for Jude to play after he and Willem got home after their big fight. Jude plays the song with the intention to ease his sadness and fear. In this moment, he feels that this might be the end of their relationship, he is afraid that Willem would leave him because now he finally sees how sick he is. The piece Fantasie symbolizes a yearning for love but in this moment, it is a calling for Willem to stay, to understand, to forgive his action, his sickness.

Sources:

Acreman, Thomas. (2017). The Love Story of Clara Schumann. Retrieved from http://www.classichistory.net/archives/clara-schumann

Wilson, Frances. (2019). A Love Letter in Music Schumann's Fantasie in C, Op. 17. Retrieved from https://interlude.hk/love-letter-music-schumanns-fantasie-c-op-17/

[cactustaffy]

War of the romantics-The Classicists

Commander Felix Mendelssohn

Advisor Fanny Mendelssohn

Aide-de-camp Johannes Brahms

Support officer Clara Wieck

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Radical Romanticist (Rebel) Hector Berlioz

[landrysg]

New on YouTube:

Robert Schumann, Arabeske in C major, Op. 18 (1839)

Performed by Tiffany Poon on Clara Wieck's 1827 Stein piano

[opera-ghosts]

OTD in Music History: Historically important virtuoso pianist and composer -- and widow of legendary composer Robert Schumann (1809 - 1856) -- Clara Schumann nee Wieck (1819 - 1896) is born in Leipzig, Germany. Regarded as one of the most distinguished pianists of the 19th Century, Clara exerted tremendous influence over the musical culture of Europe throughout her remarkable six-decade career. A child prodigy who was trained by her father, she embarked on her first international concert tour at the age of just 11. While still a teenager, Clara married Robert against her father’s loud protestations. Although the marriage was a happy one which produced eight children, she was thereafter forced to sublimate her career to husband’s career for nearly twenty years. It was only after Robert was confined to an insane asylum in the 1850s that Clara truly blossomed as a mature virtuoso, bolstered by her close personal and professional relationships with Johannes Brahms (1833 - 1897) and violin virtuoso Joseph Joachim (1831 - 1907)... PICTURED: An original copy of the program that was handed out to audience members who attended a concert which Clara gave in her hometown of Leipzig in 1859, sponsored by famous German music publisher Breitkopf & Haertel. Very much in keeping with her “conservative” musical bent as well as her tireless dedication to furthering her late husband’s musical legacy, at this concert Clara performed a Sonata by Ludwig van Beethoven (1770 - 1827); accompanied a singer in an Aria from W.A. Mozart’s (1756 - 1791) “Marriage of Figaro” and two Lieder written by Franz Schubert (1797 - 1828) and Felix Mendelssohn (1809 - 1847); played one of Frederic Chopin’s (1810 - 1849) Scherzos; and then topped it all off with several works written by Robert – including his beloved suite of character pieces, “Carnaval.” Quite a program!

[cadenza-damour]

Any idea for Marie's maiden name? Does she have a middle name? What's your suggestion?

I'll start with Marie Elizabeth Wieck. Elizabeth as a middle name because it is aurally congruent with "Wieck"?? The maiden name was inspired by Clara Schumann's because the Clara/Robert Schumann/Johannes Brahms love triangle is just as tragic as Marie/Nile Dok/Erwin Smith.

[swanconcerto]

OH I KNOW A LITTLE ABOUT CLARA SCHUMANN!!! her husband was robert schumann and she had to abandon het musical career to be a wife + mother didn’t she?? girl that made me furious to read about

YES!!!! her maiden name was clara wieck and she was so awesome in everything ever she humbled many people and everyone was in love with her. you should listen to her nocturne op 6 no 4 in my opinion it’s the best way to get started with her

[circusbirdiee]

my bf is also a musician, and we were on call once and i mentioned my fear of composing and how sometimes i just felt like i couldnt actually make anything good. personal fears aside tho, we pulled up musescore together and just started writing, perfection be damned. anyways, he wrote something (4 bars of a theme) then had to go. we shared our work and went to bed.

so i opened the file he sent the next day, and listened. i suddenly got a load of ideas and messaged my bf asking him if i could extend the theme he wrote. he gave me the go ahead and i started writing. here's the finished product (all of 30 seconds but this wasn't meant to be a big thing, just a little sketch)

(long pause at the end please feel free to ignore)

then after a bit (today), i was browsing robert schumann's wikipedia page and saw a composition: impromptus on a theme by clara wieck. and i wondered if i should try doing something in a similar vein? to take a loved one's idea and spin it into something hopefully you both enjoy?

just some drabbles

[linhasdelivros]

“Os cavaleiros de outrora estavam melhor; podiam atravessar o fogo ou matar dragões para conquistar suas damas, mas nós de hoje devemos nos contentar com métodos mais prosaicos, como fumar menos e coisas do tipo. Afinal, podemos amar, cavaleiros ou não; e assim, como sempre, apenas os tempos mudam, não os corações dos homens...”

— Shaun Usher (organizador) - Cartas extraordinárias: amor.

(Carta de Robert Schumann para Clara Wieck.)