W

Copyright
IE
by
EV
Cortney Dawn Combs

2002
PR
PR
EV
IE
W
 An Historical and Analytical Discussion

of

Clara Schumann’s Piano Trio, Op. 17

W
by

IE
Cortney Dawn Combs, B.MusEd., M.M.

Treatise
EV

Presented to the Faculty of the Graduate School of

The University of Texas at Austin
in Partial Fulfillment
PR

of the Requirements
for the Degree of
Doctor of Musical Arts

The University of Texas at Austin

May 2002
 UMI Number: 3075609

Copyright 2002 by

W
Combs, Cortney Dawn

All rights reserved.

IE
EV
PR

________________________________________________________

UMI Microform 3075609

Copyright 2003 ProQuest Information and Learning Company.

All rights reserved. This microform edition is protected against
unauthorized copying under Title 17, United States Code.
____________________________________________________________

ProQuest Information and Learning Company

300 North Zeeb Road
PO Box 1346
Ann Arbor, MI 48106-1346
 To my parents,
for their unconditional
love and support

W
IE
EV
PR
 ACKNOWLEDGMENTS

I would like to acknowledge all of the professors and mentors whom I

have had one on one contact with during my life. The combination of
experiences and knowledge provided by each mentor has made me what I am
today. In particular I would like to thank Dr. Eugene Gratovich, Ms. Phyllis
Young, Dr. Heinrich Dietz, Dr. Carol Gonzo, Dr. Laurie Scott, Dr. Thomas
Joiner, and Ronda Cole. In addition, I offer a special thanks to Dr. Elizabeth
Crist, who guided me towards a way of thinking I had not thought possible to
explore.

W
As with any project of magnitude, there are supporters behind the scenes,
a.k.a. my extremely supportive friends. I would like to express a huge thank you
to my colleagues who went before me and passed on an incredible wealth of
IE
advice: Dr. Linda Jennings, Dr. Christine Crookall, Dr. Yutaka Kono, and Drs.
Dean O’Brien and Joelle Welling, and those going through the process with me;
Michelle Vigneau, Heather Crawford, and Vanessa Polgar. This last year has
EV
been incredibly busy with the added office work of my position in the String
Project office. Thank you to my understanding office mates, Adrianna and
Sarah, and especially, Jessica. Additionally, I would have had a difficult time
making it through the last year with out the unconditional love and support of
Kathleen, Amanda, Dana, and Sarah C.—thank you all..
PR

Lastly, but most importantly, I want to thank my entire family, especially

Mom and Dad; Erin and Beau and my new niece, Bella; Taylor; Elene and Dan;
and my grandparents, Bud, Enola, Warren and Marjorie. Looking back on all of
the “cheerleading” sessions, words of support, and prayers that you all have
given me, I do not think I can thank you enough.

v
 An Historical and Analytical Discussion

of

Clara Schumann’s Piano Trio, Op. 17

W
Publication No. ______
IE
Cortney Dawn Combs, D.M.A
The University of Texas at Austin, 2002
EV

Supervisor: Elizabeth B. Crist

PR

Clara Schumann began her musical career the day she was born. Her

father predetermined her successful career as a pianist and provided his daughter

with an extensive musical education. Clara’s childhood was filled with lessons,

including piano from her father as well as theory, harmony, composition,

orchestration, voice, and violin lessons from various other teachers. Clara

Schumann’s musical education and opportunities for composition paralleled that

vi
of other successful composers and performers of her time, yet she had many self-

doubts as a female composer. Such doubts owed to her being a woman with

responsibilities as a wife, caring for her ill husband, and a mother, raising seven

children. In spite of these challenges, Clara’s works exhibit learned and

innovative compositional techniques demonstrating both her understanding of

past masters and of the new romantic sound.

W
Of her twenty-one, generally small-scale compositions, the Piano Trio,

Op. 17 was her only attempt at writing for a combination of instruments other
IE
than piano and voice or piano and violin. Significant musicians from Clara’s

time, such as Felix Mendelssohn, Joseph Joachim, and Robert Schumann, praised
EV

her compositional ideas and works, including the piano trio, which was in fact

her most performed work in the nineteenth century. Considering this, Clara’s
PR

trio should be praised or criticized using the same guidelines as the trios of her

contemporaries. A detailed consideration of Clara’s musical biography, the

history of the piano trio as a genre, and compositional features of her trio shed

new light on this work in particular and her abilities in general.

Clara Schumann’s Piano Trio, Op. 17 not only contains compositional

traits that conform to the standards of the nineteenth century piano trio but also

features unique to her own compositional style. This study demonstrates that

vii
through the balancing of tradition and innovation, Clara Schumann’s piano trio

exhibits a level of maturity comparable to the major trios of the time and is

worthy of performance consideration today.

W
IE
EV
PR

viii
 TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES . . . . . . . . . . . . . . . . xi

Chapter

1. THE LIFE OF CLARA WIECK SCHUMANN . . . . . . . . 1

Childhood (1819-1835)

The Schumann Courtship (1825-1840)

The Leipzig Years (1840-1844)

W
The Dresden Years (1844-1850)

The Düsseldorf Years (1850-1856)

IE
Life After Robert Schumann (1856-1896)
EV
2. HISTORICAL OVERVIEW OF THE PIANO TRIO . . . . . . 26

The Classical Piano Trio

Mozart and Haydn
Beethoven
PR

The Romantic Piano Trio

Mendelssohn, Chopin, and Robert Schumann

3. CLARA SCHUMANN’S PIANO TRIO, OP. 17 . . . . . . . . 57

Form

Tempo Changes

Motives and Themes

Voicing of Instruments

ix
 4. CONCLUSIONS . . . . . . . . . . . . . . . . . . . . 85

SCORES CITED . . . . . . . . . . . . . . . . . . . . . . . 89

WORKS CITED . . . . . . . . . . . . . . . . . . . . . . . 92

VITA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

W
IE
EV
PR

x
 LIST OF MUSICAL EXAMPLES

Example Page

1. Wolfgang Amadeus Mozart, Piano Trio in B-flat, K. 542,

first movement, mm. 1-28. . . . . . . . . . . . . . . 32

2. Wolfgang Amadeus Mozart, Piano Trio in B-flat, K. 542,

second movement, mm. 1-16. . . . . . . . . . . . . . 33

3. Wolfgang Amadeus Mozart, Piano Trio in B-flat, K. 542,

W
second movement, mm. 78-88. . . . . . . . . . . . . . 34

4. Joseph Haydn, Piano Trio in E, H. XV, No. 28, second

movement, mm. 48-55. . . . . . . . . . . . . . . . . 37
IE
5. Ludwig van Beethoven, Piano Trio in D minor, Op. 70, No. 1,
first movement, mm. 1-6. . . . . . . . . . . . . . . . 41
EV
6. Table 22 from Basil Smallman, The Piano Trio: Its History,
Technique and Repertoire, pg. 66. . . . . . . . . . . . 43

7. Ludwig van Beethoven, Piano Trio in G major, Op. 1, No. 2,

PR

first movement, mm. 28-43. . . . . . . . . . . . . . . 44

8. Ludwig van Beethoven, Piano Trio in D major, Op. 70, No. 2,

first movement, mm. 20-27. . . . . . . . . . . . . . . 45

9. Felix Mendelssohn, Piano Trio in C minor, Op. 66,

fourth movement, mm. 278-287. . . . . . . . . . . . . 50

10. Felix Mendelssohn, Piano Trio in D minor, Op. 49,

third movement, mm. 1-7. . . . . . . . . . . . . . . 52

11. Robert Schumann, Piano Trio in D minor, Op. 63,

second movement, mm. 1-10. . . . . . . . . . . . . . 53

xi
12. Felix Mendelssohn, Piano Trio in D minor, Op. 49,
first movement, mm. 1-7. . . . . . . . . . . . . . . . 55

13. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 111-115 (piano). . . . . . . . . . . . . . . . . 60

14. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 126-129 (piano). . . . . . . . . . . . . . . . . 61

15. Clara Schumann, Piano Trio, Op. 17, third movement,

mm. 1-5 (piano). . . . . . . . . . . . . . . . . . . 62

16. Clara Schumann, Piano Trio, Op. 17, third movement,

W
mm. 25-28 . . . . . . . . . . . . . . . . . . . . 62

17. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 313-326. . . . . . . . . . . . . . . . . . . .
IE 65

18. Clara Schumann, Piano Trio, Op. 17, first movement,

mm. 1-4 (violin). . . . . . . . . . . . . . . . . . . 68
EV
19. Clara Schumann, Piano Trio, Op. 17, first movement,
mm. 20-29. . . . . . . . . . . . . . . . . . . . . 69

20. Clara Schumann, Piano Trio, Op. 17, first movement,

PR

mm. 34-38. . . . . . . . . . . . . . . . . . . . . 70

21. Clara Schumann, Piano Trio, Op. 17, first movement,

mm. 83-89. . . . . . . . . . . . . . . . . . . . . 70

22. Clara Schumann, Piano Trio, Op. 17, first movement,

mm. 277-281. . . . . . . . . . . . . . . . . . . . 71

23. Clara Schumann, Piano Trio, Op. 17, second movement,

mm. 1-5. . . . . . . . . . . . . . . . . . . . . . 72

24. Clara Schumann, Piano Trio, Op. 17, second movement,

mm. 35-41. . . . . . . . . . . . . . . . . . . . . 72

xii
25. Clara Schumann, Piano Trio, Op. 17, fourth movement,
mm. 1-6. . . . . . . . . . . . . . . . . . . . . . 73

26. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 152-158 (violin). . . . . . . . . . . . . . . . . 73

27. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 89-93. . . . . . . . . . . . . . . . . . . . . 74

28. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 1-10 (violin and cello). . . . . . . . . . . . . . . 75

29. Clara Schumann, Piano Trio, Op. 17, fourth movement,

W
mm. 56-59 (piano). . . . . . . . . . . . . . . . . . 75

30. Clara Schumann, Piano Trio, Op. 17, third movement,

mm. 1-8 (piano). . . . . . . . . . . . . . . . . . . 76
IE
31. Clara Schumann, Piano Trio, Op. 17, second movement,
mm. 1-5 (cello). . . . . . . . . . . . . . . . . . . 77
EV
32. Clara Schumann, Piano Trio, Op. 17, second movement,
mm. 23-28 (cello). . . . . . . . . . . . . . . . . . . 77

33. Clara Schumann, Piano Trio, Op. 17, fourth movement,

PR

mm. 1-4 (violin). . . . . . . . . . . . . . . . . . . 78

34. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 35-41. . . . . . . . . . . . . . . . . . . . . 78

35. Clara Schumann, Piano Trio, Op. 17, first movement,

mm. 137-140. . . . . . . . . . . . . . . . . . . . 79

36. Clara Schumann, Piano Trio, Op. 17, fourth movement,

mm. 154-158. . . . . . . . . . . . . . . . . . . . 81

37. Clara Schumann, Piano Trio, Op. 17, third movement,

mm. 55-59. . . . . . . . . . . . . . . . . . . . . 83

xiii
 CHAPTER 1

THE LIFE OF CLARA WIECK SCHUMANN1

Clara Wieck Schumann was a child prodigy at a time when there was a

fascination among the concert going public for young musicians. There is no

doubt that she made quite an impression as a performer; letters and critiques

indicate the respect that important figures in music had for Clara throughout her

W
life. In her book, Clara Schumann the Artist and the Woman, Nancy B. Reich

quotes the tutor of the Duke of Weimar, describing a performance by twelve-year

IE
old Clara.

We heard the little Wieck of Leipzig—she’s a veritable

EV
marvel…perfect execution, irreproachable measure, force, clarity,
difficulties of all sorts successfully surmounted...she is a musician,
she feels what she plays and knows how to express it; under her
fingers the piano takes on color and life.2
PR

As quoted in John Burk’s book, Clara Schumann: A Romantic Biography, the

writer, Johann Wolfgang Goethe, saw Clara as a pianist who “played not as a

1
The following are the four references that support a majority of the material presented in
this chapter: (1) Berthold Litzmann, Clara Schumann: An Artist’s Life, trans. Grace E. Hadlow
(New York: Da Capo Press, 1979)—the first collection of Clara Schumann’s diaries, complied at
the request of Marie Schumann, the eldest child of Clara and Robert; (2) John Burk, Clara
Schumann: A Romantic Biography (New York: Random House, 1940); (3) Nancy B. Reich,
Clara Schumann: The Artist and the Woman (Ithaca: Cornell University Press, 1985)—continues
Litzmann’s commentary and corrects misstated information as well as compiles information about
Clara’s children, friends, music, and performances; and (4) Pamela Susskind, “Clara Wieck
Schumann as Pianist and Composer: A Study of Her Life and Works,” (Ph.D. diss., University of
California at Berkeley, 1977)—the first study of Clara as a composer.
2
Reich, 50.

1
mimic, but with an intelligence and impulse that were her own.”3 Paganini

commented, after she had played one of her own Polanaises for him in 1829, that

she had a “genuine sense of beauty which reflected both the quality of the teacher

and something else beyond anything a teacher can give.”4

Equally important as the opinion of these historical figureheads was the

opinion of the audience. Clara was always conscientious of the tastes of her

audience. She gained their loyalty with favored pieces and later returned to educate

W
them with performances of new music; the latter in particular has solidified Clara

Schumann’s place in music history. Her contributions to the spread of German

IE
keyboard works and the solo piano recital were irreplaceable. Consequently,

Clara’s experience as a performing artist provided the foundation for writing her
EV

own compositions.

Childhood (1819-1835)
PR

On September 13, 1819, Clara Josephine Wieck Schumann (1819-1896)

was born to Friederich Wieck (1785-1873) and Marianne Trommlitz Wieck

Bargiel (1797-1872). Clara’s life was predetermined by her father to be one of

high musical achievement, filled with concert tours for the young piano virtuoso,

hours at the piano perfecting her technical and improvisational skills, and many

nights attending performances at the opera house or concert hall. Her father

3
Burk, 60.
4
Ibid., 42.

2
envisioned a pianist worthy of the new romantic ideals.5 Clara suffered from

intense feelings of self-doubt about herself as a female composer and musician in

the nineteenth century. Even so, she was aware and quite proud of her successes

and unique abilities at the keyboard. Very much a puppet of two of the men in her

life, her father and husband, Robert Schumann, Clara struggled for a balance

between control over her musical desires and destiny and her feelings of

responsibility to her father, husband, and family. A recounting of Clara’s musical

W
life must include her success as a pianist, her doubts as a composer, and the

influence that these two men had in her life.

IE
Friederich Wieck and Marianne Trommlitz Wieck Bargiel, both musicians,

divorced in 1825, possibly due to Wieck’s unrealistic expectations of his wife, his
EV

insensitivity, and uncontrolled temper.6 After her parents’ separation, Clara lived

with her mother for four months. According to Saxon law, however, she was the
PR

legal property of her father and was returned to Wieck’s house four days after her

fifth birthday to begin her extensive studies at the piano.7 Under the tutelage of her

father, she quickly learned how to navigate the piano keyboard, mastering note

reading before she was even able to speak or read words.

5
Reich, 19.
6
Ibid., 38.
7
Clara had begun her piano studies with her mother in 1824, before her parents’
separation.

3
 Friedrich Wieck was a “progressive” teacher, who suited his practical

method to the individual student.8 As quoted by Reich, Wieck’s philosophy as a

music teacher was as follows:

One must not merely be able to drill the pupil, but must take
pleasure in one’s calling, cultivate an animated manner, and have the
power of interesting the pupil in his work. My principle is: teach a
talented child anything he can understand and that attracts him, if it
is likely to be useful in contributing to his development, without
being over anxious about his age.9

W
By 1833, Clara’s musical education included daily piano and voice lessons with her

father, lessons in score reading and instrumentation, violin lessons with Herr
IE
Prinz, and counterpoint lessons with Heinrich Dorn, director of the Leipzig

Orchestra.10 From the age of six, Clara attended nearly every opera presented in
EV
Leipzig as well as those in every city in which she toured. 11 Wieck took the

musical education of his daughter seriously, putting opera evenings before child’s
PR

play and reading. In preparation for an educational evening, Clara even studied

opera scores with her father.12 Wieck believed that “the true pianist must be

informed in every department of music,” a mission that also became Clara’s

own.13

8
Anna M. Burton, “Robert Schumann and Clara Wieck—A Creative Partnership,” in
Psychoanalytic Explorations in Music, ed. Stuart Feder, Richard L. Karmel, and George H.
Pollock (Madison, CT: International Universities Press, Inc., 1990), 445.
9
Reich, 9.
10
Ibid., 31.
11
Clara’s diaries indicate that she attended more than forty operas from 1827 to 1840,
including operas by Mozart, Beethoven, Weber, and Rossini (Reich, 31).
12
Reich, 31 and 45.
13
Ibid., 19.

4
 Throughout her life, Clara kept a diary, initiated by her father when she was

too young to write herself, and continued by her and Robert Schumann as a joint-

marriage diary.14 These diaries provide invaluable insight into the lives of two

significant musicians. Reich notes that “most significant, however, is what they

[the diaries] revealed about Friederich Wieck and the nature of the relationship

between father and daughter.” 15 The diary entries are evidence of the close nature

of their relationship as well as the influence and control that Wieck had over Clara.

W
Besides writing about daily activities and personal feelings, Clara would spend

hours copying into her diary her father’s business letters, some which were quite
IE
harsh. Wieck used the diaries as a way to communicate with Clara and educate her

about what he had to do for her and her concert tours.16 Ultimately, this mundane
EV

task became invaluable information for Clara when she later took on the job as tour

manager for herself.

PR

Clara’s first public performances took place at the Gewandhaus in Leipzig:

an appearance on October 20, 1828 and her first solo concert, at the age of eleven,

on November 8, 1830.17 For the most part, her concerts in Leipzig were limited to

those held at the Wieck house for the Leipzig music circle, of which Clara was a

14
Both Clara and Robert had difficulties communicating through speech with others.
The joint-marriage diary provided them a means by which to convey their frustrations, concerns,
and joys to each other.
15
Reich, 42.
16
Nancy B. Reich, “Clara Schumann: Old Sources, New Readings,” The Musical
Quarterly 70 (1984), 335.
17
Ibid., 345. Clara performed at the Gewandhaus seventy-four times during her life, a
number not matched by any other soloist.

5
member. Her life as a touring concert artist began in September of 1831 with a trip

to Paris; this first tour was so successful that her life and financial possibilities

became her father’s main focus.

Since it was customary for pianists of the nineteenth century to include their

own works on a concert, Clara was expected to compose for the piano. Her early

piano works were written for her own public performances, making it important for

her to write pieces that would be accepted by the audience. At this time, piano

W
showpieces were the most popular. Some of Clara’s works, such as the Romances

variée pour le piano, Op. 3 and Souvenir de Vienne: Impromptu pour le

IE
pianoforte, Op. 9, contain what Reich terms “musical clichés,” or overused

musical ideas of the time. Characteristics that define this term include showy
EV

introductions, large leaps, extended passages in thirds, sixths, and octaves, the use

of diminished seventh chords, and never ending technical codas that featured
PR

brilliant arpeggios and sweeping scales, tremolos in the bass, and a loud presto

ending.18

The virtuosic piano works of the 1830s served two purposes: to enthuse

audiences and to give the public what they were accustomed to hearing.19

Composers-performers, like Liszt, found success in their performances of

showpieces. Thus, it is not unusual that Clara would also write works in this style.

It was not until Clara became known as a performer, and audience attendance was

18
Reich, The Artist and the Woman, 241.
19
Ibid., 226.

6
guaranteed, that her father began to program more serious selections on her

concerts.20 The majority of Clara’s early piano works were not published, and thus

they no longer exist. From information presented in Pamela Susskind Pettler’s

article “Clara Schumann’s Recitals,” it is evident that the published works from

Clara’s childhood are mostly showpieces. These works are thus more

representative of Clara as a performer and not necessarily as a composer.

W
The Schumann Courtship (1835-1840)

In October of 1830, Robert Schumann moved into the Wieck household as

IE
a piano student. Clara and Robert became friends, playing musical games,

corresponding when Clara was away on tour, practicing and composing together.
EV

Letters and diary entries show that Clara began performing Robert’s works at the

age of twelve. In 1838, Robert arranged the orchestral parts to Clara’s Piano
PR

Concerto, Op. 7, a work that was quite popular during her life. Likewise, Clara

arranged several of Robert’s major orchestral works for solo piano. In a letter he

wrote to Heinrich Dorn, Robert claimed that Clara was the inspiration for all of his

important piano music, including his Davidsbündlertänze, Kreisleriana, and

Novelleten.21

20
Pamela Susskind Pettler, “Clara Schumann’s Recitals, 1832-50,” 19th Century Music
4 (1980-81), provides complete listings of the pieces Clara programmed on her recitals: prior to
1835 and from 1840-50.
21
Burton, 442, as quoted from Litzmann and diary entry from Sept. 5, 1831.

7
 At this young age, it was obvious that Clara was influenced by the

compositions to which she was exposed. Her Piano Concerto, Op. 7 (1833), the

most performed piece during her life, includes stylistic features that are similar to

the piano concertos by Kalkbrenner and Hertz. Her use of a continuous movement

structure, with no pauses between movements, is similar to that of Mendelssohn’s

G-minor concerto. However, where Mendelssohn strictly conforms to the classical

exposition-development-recapitulation structure in the first movement, Clara moves

W
immediately from the development into a coda that functions as a transition to the

second movement. Obviously, Clara was influenced by traditional compositional

IE
techniques, but she also chose to employ her own ideas. 22

As a result of working together on projects, the relationship of Clara Wieck

EV

and Robert Schumann began to take on a serious nature in the spring of 1834. In

November of 1835 Robert impulsively gave her a kiss and so began their romantic
PR

courtship. The next five years brought emotionally rough times for the two young

lovers. Clara confronted Wieck and his bitter feelings about her relationship with

Schumann, while Robert dealt with bouts of depression and feelings of insecurity

about his relationship with Clara. During this time, Wieck took Clara on several

long tours in order to separate the two young lovers, and later, in attempts to tarnish

22
Ibid.

8
Clara’s reputation, he even made false and rude accusations that circulated in towns

where she was performing.23

Despite these obstacles, the years prior to their marriage proved to be some

of the most productive for the young couple. Robert’s compositional output

included some of his best-known works, including the Davidsbündlertänze, the

Fantasiestücke, the Fantasie in C Major, and the three piano sonatas.24 Clara

learned how to manage and organize a concert tour without the aid of her father and

W
composed four more works for the piano, Opera 8, 9, 10, and 11. These keyboard

works, which were highly popular on Clara’s tours, employ standard forms of the
IE
time: a virtuosic theme and variation, a free-style impromptu, a scherzo and a set of

three romances for piano—the latter two being more serious in nature.25
EV

Clara also wrote character pieces for the keyboard, a new form that was

linked to the romantic style of composing and associated with such contemporary
PR

composers as Frederic Chopin, Felix Mendelssohn, and Robert Schumann.

Clara’s Quatre Pièces caractéristiques . . . pour le pianoforte, Op. 5, Soirees

Musicales, Op. 6, Romances for Piano, Op. 11, and Quatre Pièces fugitives pour le

pianoforte, Op. 15, which span ten of the twenty-two years of her compositional

career, are examples of her contribution to the genre of the character piece. Laura

Gordy mentions in her dissertation, Women Creating Music, 1750-1850, that the

23
Wieck warned friends in Leipzig, Berlin, Hamburg, and Bremen that Clara was not
playing well and would ruin any piano she used. (Reich, 352)
24
Reich, The Artist and the Woman, 72.
25
Ibid., 241-2.

9
character piece exhibited newer compositional techniques, including “intimate

expressions, extra-musical associations, chromatic harmonies, phrase elisions, and

dance rhythms.”26 Composers who wrote character pieces had a musical purpose

beyond merely entertaining the audience, often linking their music to a poem,

picture, story, or idea.

Clara and Robert considered August 14, 1837 to be the official day of their

engagement. After making this commitment to Robert, Clara tried to find ways to

W
be loved by the two men in her life. It was not to be. On November 25, 1838,

Clara wrote to Robert: IE

For your sake I will give up my father, whom I love more than
anyone except for you. I will follow you without my father’s
consent … That is a great deal for a feeling heart to do, difficult, but
EV
I trust you, my life will lie to your hands and you will make me
happy.27

That September, Clara left with her mother for a tour of Paris, where she intended
PR

to make the money for a dowry that her father refused to give to her from her

previous earnings.28 Clara wrote in her diary that, “the tour brought more than

money; it was exhilarating to be on stage once more.”29 Her excitement for

performing only magnified her distress caused by Schumann’s persistence that she

26
Laura Ann Gordy, “Women Creating Music, 1750-1850: Marianne Maritinez, Maria
Theresia von Paradis, Fanny Mendelssohn Hensel, and Clara Wieck Schumann” (D.M.A. diss.,
University of Alabama, 1987), 51.
27
Reich, The Artist and the Woman, 88.
28
Clara and her mother were reacquainted in 1837 and a true friendship developed between
the two women. (Ibid., 73)
29
As quoted in Reich, The Artist and the Woman, 98.

10