Were she in existence these days, Clara Schumann would be one of the hippest women performers around. A blessed show grand pianist, Schumann’s bio breasts start the corseted limitations of the Victorian periods with vivid modern-day details. Her impressive interest for songs crumbled compositional limitations with poems, specialized wit, and stunning stay activities, leading to a profession that spanned over six years.Not only did she repel the departments splitting work, performance, art as really like, and close relatives, she handled to do it all as a 1800s lady. Schumann's heritage was hot enough for Katherine Hepburn to perform her in the 1947 film, “Song of Love.”
Born Clara Josephine Wieck in 1819, Clara Schumann was brought up by a operating, separated mom and came out as a show grand pianist at age 9. She was considered a kid natural created player to nobody’s shock. She even charged her own dad to be able to get wedded to musician John Schumann and won in 1840, when she was 21 years old.
According to musicologist Nancy B. Reich, writer of “Clara Schumann: The Specialist and Woman,” Schumann not only made more money than her piano-playing partner but she also conducted to meet up with the tasks of entertainer and spouse. Before they were wedded, Mr. Schumann tried to talk her away from her really like of songs, writing: “And if you were to be overlooked as a painter, would you not be dearest as a wife?... The spouse appears even greater than the artist,” according to the New You are able to Times. Surprisingly, Clara could not give up her really like of songs and ongoing to perform.
Thanks in part to Ms. Reich’s biographical research, Clara Schumann’s musical legacy is far from forgotten.
Slide on a recording of Schumann and you’ll be listening to a symphony that splashes scores of real perspective on our continued musical evolution.
The Schumann marriage has long been romanticized by the public and mystique continues to shroud the two musical giants. However, only hypothesis can be surmised from their personal correspondence.
Factual evidence paints an altogether different picture, with four of their eight children dead before adulthood, one institutionalized, and Mr. Schumann’s mental deterioration and eventual death from syphilis.
Schumann’s extraordinary dedication to her craft continues to inspire today: “How had she succeeded in overcoming a lost childhood, an absent mother, a dominating father, a bitter battle with her father over her love for Robert Schumann?” asks Reich, “how had she achieved this position as a great concert artist who performed for over sixty years, probably longer than anyone else in 19th century Europe?”
Schumann’s primary testimony can be found in the remnants of her diaries and in the echoes of her music.
Despite being widowed at 36, Schumann continued to act as her own agent. She independently supported the surviving children, refused all loans, and somehow still found time to hang out with Johannes Brahms, Frédéric Chopin, and Felix Mendelssohn. No wonder she was known as the “Priestess.”
