Well before she married Robert Schumann, Clara Schumann was already an internationally renowned pianist, and she concertized extensively for several decades after her husband’s death. Despite being tied professionally to Robert, Clara forged her own career and played an important role in forming what we now recognize as the culture of classical music.
Becoming Clara Schumann guides readers through her entire career, including performance, composition, edits to her husband’s music, and teaching. Alexander Stefaniak brings together the full run of Schumann’s concert programs, detailed accounts of her performances and reception, and other previously unexplored primary source material to illuminate how she positioned herself within larger currents in concert life and musical aesthetics. He reveals that she was an accomplished strategist, having played roughly 1, 300 concerts across western and central Europe over the course of her six-decade career, and she shaped the canonization of her husband’s music. Extraordinary for her time, Schumann earned success and prestige by crafting her own playing style, selecting and composing her own concerts, and acting as her own manager.
By highlighting Schumann’s navigation of her musical culture’s gendered boundaries, Becoming Clara Schumann details how she cultivated her public image in order to win over audiences and embody some of her field’s most ambitious aspirations for musical performance.
Tabla de materias
Acknowledgments
Chronology
Introduction
1. Schumann’s Early-Career Concert Vehicles: Transcendent Interiority and the Cutting Edge of Popular Pianism
2. The Imagined Revelation of Musical Works
3. The Compositional Agency of the Revelatory Interpreter
4. Clara Schumann’s 1840s Compositions and her Midcentury Persona
5. Navigating and Shaping Local Concert Scenes and Canons: Clara Schumann’s 1854-56 Tours
6. Revelatory Interpretation and the Performance of Memory
Epilogue
Bibliography
Index
Sobre el autor
Alexander Stefaniak is Associate Professor of Musicology at Washington University in St. Louis. He is author of Schumann’s Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany.
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