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10th Australasian Piano Pedagogy Conference Proceedings Suzanne Cooper of 26

PIANO CONCERTO IN A MINOR

BY CLARA WIECK SCHUMANN

Suzanne Cooper

Sketched with a bold hand on a large tonal canvas that only youth would dare conceive as a‘business card’, so to speak, of introduction, the Piano Concerto in A minor Op. 7 by thefourteen year old Clara Wieck (Schumann) has all the hall marks of the nineteenth centuryvirtuoso piano concerto. The notes almost leap off the page into the pianists’ hands demandingto be played and the music of the score to be given audience. That music simply bursts withvitality and creative imagination, thereby weaving its inevitable magic while demonstrating itscommand of the piano with explosive, dramatic octaves alternating with sensitive, lyricalmelodies over a wide pitch and dynamic range. The third and final movement was writtenfirst, being originally conceived as a Konzertsatz. It is the longest and most detailed of thethree movements. A young unknown composer who had been studying with Frederick Wieck,Robert Schumann, scored this movement for orchestra. He was twenty three. The Konzertsatzwas first performed by Clara in Leipzig on May 5th, 1834. It was under the baton of FelixMendelssohn, that sixteen year old Clara Wieck premiered her complete Piano Concerto in Aminor at the Gewandhaus Leipzig on November 9th, 1835.

It was in Paris early in the nineteenth century that the glitterati of the piano world

congregated. The French capital attracted the giants of the keyboard who would vie with one

another for their audiences’ attention, dazzling them with their impressive keyboard

wizardry. Franz Liszt, Frederic Chopin, Sigismond Thalberg, Ferdinand Hiller, Adolphe

Henselt, Henri Herz, along with the French national Charles-Valentin Alkan, were among the

extraordinary pianists who were attracted to the fascinating city of Paris at this remarkable

time of history. But it wasn’t just great pianists that Paris attracted. It also played host to the

great violinists Niccolo Paganini and Louis Spohr; the French composer Hector Berlioz; the

famous soprano Johanna Maria Lind, better known as Jenny Lind, “the Swedish

Nightingale”; and, most importantly the three highly esteemed composers of Italian “bel

canto” opera Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti.

It was into this world that an unsophisticated twelve year old girl from Leipzig stepped

accompanied by her father, Frederick Wieck. Nancy Reich (1995)1 states that the works Clara

performed at that time reflected the prevailing fashion, not her own or, for that matter, her

1Reich, Nancy B. Clara Schumann The Artist and the Woman Cornell University Press Fourth Edition 1995pp. 262-263


father’s instincts. She comments that vocal music was hugely popular prompting whole

recitals of transcriptions and improvisations on operatic themes. Clara always featured one of

her own compositions and a work derived from an opera. (APPENDIX 1: Fig. 1)

It was to be a short time after this trip to Paris that the idea for a concerto written by Clara

took shape fulfilling the expectations of audiences and critics for a dazzling new work that

would secure her position as a virtuosa of distinction. At this time, Clara had faith in her

father’s judgement and in her own ability. She set to work when she was just thirteen in

January 1833. The work was originally conceived as a “Concertsatz” a one movement work,

which eventually became the third movement of the concerto. Reich (1995)2 notes that the

Concertsatz was completed on 22nd November 1833 with Robert Schumann orchestrating it

so that Clara was able to play it in an upcoming concert on 5th May 1834 in Leipzig. The full

three movement concerto was soon completed by Clara and was premiered at the

Gewandhaus in Leipzig under Mendelssohn’s baton on 9th November, 1835. Clara was then

sixteen. Her concerto was an instant success. (See APPENDIX 1: Figures 2 &3). Nauhaus

(1994)3 comments that ‘it is not known whether other pianists played the concerto’ after it

was published by Hofmeister in early 1837 as Premier Concert Op.7

The Piano Concerto in A minor Op.7 is scored for:4 (APPENDIX 2: Fig. 3)

2 Flutes

2 Oboes

2 Clarinets

2 Bassoons

2 Horns

2 Trumpets

2Ibid.p.240

3Nauhaus, G. 1994, Ed. Clara Schumann Konzertsatz f-moll Breitkopf & Härtel Weisbaden Leipzig Paris EditionEdition PB 5280

4Klassen, J. 1990, Ed. Clara Schumann Konzert a-moll Op.7 für Klavier und Orchester Breitkopf & HärtelWiesbaden, Germany.


Trombone

Kettledrums

Strings

Janina Klassen (1993)5 states that ‘it is first and foremost the fantasia-like design of the Piano

Concerto Op. 7 that strikes us. The work cannot be attributed to any familiar category, but

combines different elements of concerto and of piano solo works. The composition is

governed not by dialoguing exchanges, but by episodic sections dominated by the piano solo,

which give the work an almost improvisatory character.’

I agree with these observations of Klassen’s and would like to add to them a few points

regarding the style and structure of the concerto. Firstly it is interesting to note that this

concerto came after Mendelssohn’s Piano Concerto in G minor Op.25 which was written in

1830-31. Just as Mendelssohn had no breaks between the movements of this concerto, so

Clara has no breaks between the movements of her Op.7 concerto, but moves seamlessly

from one movement into the other. Clara integrates the cadenzas into the music itself, as did

Mendelssohn.

Another interesting comparison can be made between Clara’s concerto and Chopin’s Piano

Concerto Op.11 in E minor composed and performed in 1830. Both concerti are three

movement works with the first movement Allegro maestoso, the second movement a

Romanze and the third movement a Rondo with more than a hint of a Polish dance rhythm.

It is well-known that the influence of Bel Canto opera on Chopin and his compositional style

was quite substantial and dates back to his days attending Italian Theatre in Warsaw. Jean-

Jacques Eigeldinger (1986)6 itemises the singers of Italian Operas who greatly impressed

Chopin on his arrival in Paris in 1830. There was Rubini and Pasta, Malibran and Giulia Grisi

in operas such as Donizetti’s Don Pasquale; Bellini’s Norma and La Sonnambula. What isn’t

5Klassen, J. 1993 Ed. Clara Schumann Konzert für Klavier und Orchester a-moll Op.7 Breitkopf & HärtelWiesbaden, Leipzig, Paris. Breitkopf Edition 8568 Preface

6Eigeldinger, J.J. 2004 Chopin Pianist and Teacher Cambridge University Press pp.110-111


quite as well known is that Frederick Wieck made sure his daughter attended the opera

frequently. Reich (1995)7 notes in one year alone, in 1831, when Clara was twelve, she saw

Beethoven’s Fidelio, three operas by Rossini, and operas by Hummel and Mozart. Clara

followed her A minor piano concerto with Concert Variations Op.8 on a theme from Bellini’s

opera Il Pirata which Reich (1995)8 affirms Clara saw in 1832. Given that both Chopin and

the young Clara were highly educated in the art of opera with an appreciation of Italian bel

canto style, it is not surprising then to find its influence in their original compositions. One of

the influences is the unobtrusive orchestration style both composers employ. Chopin’s Op.11

and Clara’s Op.7, deliberately give centre stage to the solo piano supported by an

orchestration that never attracts attention away from the piano part. This is very much the

style of the orchestral scoring that supports and shows to best effect the ornate melismatic

coloratura passages of bel canto opera.

In the first movement, the opening statement of the principal theme immediately

demonstrates the bel canto influence as does the episode following it. There are the expected

turns, leaps, runs, arpeggios and emotive accents and staccato notes. (APPENDIX 2: Figures

2&3)

I would also like to suggest that Clara’s Concerto is more tightly woven than at first appears.

Although the concerto doesn’t fit an existing form, there is such imaginative and skilful

interpolation of the many themes and their motifs involved, that they are a unifying factor for

the whole work. This ‘unity of the themes’ creates its own sturdy artifice. (See APPENDIX).

First movement Subject 1 in A minor – APPENDIX 2: Figure 4

Second Movement Subject 1 in F minor-APPENDIX 2: Figure 5

Third Movement Subject 1 in A minor-APPENDIX 2: Figure 6

7Reich, Nancy B. Clara Schumann The Artist and the Woman Cornell University Press Ithaca, London 1995 p.31

8Reich, Nancy B. 1995, Clara Schumann The Artist and the Woman Cornell University Press Ithaca, London.p.241


Secondly I have attempted to identify the structure of the three movements and their

respective themes.

The first movement, Allegro maestoso, suggests a ‘Theme with Variations’ Form but

definitely not Theme and Variations Form. There are two possible contrasting themes in

relative keys (A minor and C major), three Episodes and a Cadenza which alludes to the

Etude in E major Op.299 No.29 by Czerny. This Etude is in the current A.M.E.B. Sixth

Grade Piano Syllabus.

The Second Movement is a Romanze, Andante non troppo con grazia, in ‘Ternary Form’. It

is written for solo cello with piano accompaniment.

The third movement, Finale, is a Rondo in style but not fitting any conventional mould.

However there is a strong suggestion of its Ternary Form origins. Three themes, three

Episodes, several short Links based on the Introduction Polacca rhythm, a Cadenza and a

Coda are utilized by the composer.

With emotional entanglements, contentious issues involving professional status can often

arise between the people concerned. This was the case with Clara and Robert even in the

early days of their relationship. Ostwald (1985)9 highlights this when he cites Bennet (1907)

that not long after the premiere performance of Clara’s concerto, Wieck, aiming to separate

the couple, achieved his goal by keeping Clara busy and away from Robert. Innuendo and

hurtful gossip was circulated about the couple, mostly at Wieck’s instigation. In response,

Schumann refused to write a review of Clara’s concerto despite his initial endorsement of the

work. He instructed an organist C.F. Becker to write the review saying “half a page is

sufficient.” The review passed the work off as being of little value because “it was the work

of a woman”. Clara was hurt firstly by the fact that Schumann did not write the review

himself and secondly by the fact that the work was held in little regard.

9Ostwald,Peter F. Schumann: Music and Madness Victor Gollancz Limited London 1985 p.124


This was possibly the beginning of Clara’s self-doubt regarding her creative work that

afflicted her consciousness for years to come. Clara was an unassuming and unpretentious

person. She respected her father’s opinions and Robert’s great musical gift. Most of all,

Clara was an astute musician, she knew what was in good taste and what wasn’t. She

understood the heady days of the early nineteenth century virtuosi were limited and that

Robert was a new creative prophetic voice that was going to wage battle against music he

considered inferior quality. Inner conflict ensued for Clara with respect to her creative

endeavours and before long, self-doubt had taken root to such an extent that she judged her

creative efforts to be of little value. Reich (1995)10 confirms this while quoting from Clara’s

diary November 26, 1839.

I once believed I had creative talent, but I have given up this idea: a woman must not

wish to compose- there never was one able to do it. Am I intended to be the one? It

would be arrogant to believe that. That was something which only my father tempted

me in former days. But I soon gave up believing this. May Robert always create; that

must always make me happy.

With her eventual marriage to Robert in 1840, Clara replaced her father’s teaching and

mentoring with Robert’s guidance. They studied Bach together and Clara learned a new

approach to composition. Many of these works we hear today such as the Piano Trio in G

minor Op.17 which Reich (1995) 11notes she completed in September 1846 on the eve of her

birthday; the very beautiful and lyrical Three Romances for Pianoforte and Violin Op.22

written in 1853 and dedicated to their friend and gifted violinist Joseph Joachim. Just as the

first few years of their married life yielded a wonderful productivity for Robert with his

lieder, so too for Clara. Robert was most encouraging of her efforts and the six songs from

the Op.13 were published in 1843. Ten years later in 1853 another set of six songs was

published. These songs are truly wonderful examples of Clara’s mature musical creative

style. However, the vast, confident, imaginative sweep of the A minor concerto is nowhere to

be found.

10Reich, Nancy B. Clara Schumann The Artist and the Woman Cornell University Press Ithaca and London 1995p.228-229

11Ibid. p.244, p.247, p.249


Musicologists for some time had preserved the autograph score of an unfinished movement

of a Concerto in F minor. Nauhaus (1994)12 remarks that on the autograph score an

inscription read “to my beloved Robert on the 8th June 1847 from his Clara”. (APPENDIX 1:

Figure 4) He goes on to reveal that in 1990, pianist and musicologist Joseph De Beenhouwer

from Antwerp completed and orchestrated the movement and gave it its premier performance

with the Zwickau Theatre Orchestra 2nd April 1992. Dr. Diane Selmon has since written a

two piano reduction of De Beenhouwer’s score.

It is not surprising that this proposed concerto had remained unfinished. To compose another

concerto and present to Robert as a gift, would most surely bring to the fore of Clara’s mind

any buried issues concerning her first piano concerto and its musical integrity. With the

coming of a new musical era around 1840, the old performer/creator model for pianists gave

way. The creator became distinct from the performer whose duty it was to present the works

of that creator as truthfully as possible to the public. That was the role Clara adopted for

herself following Schumann’s death. She chose to be a performer to champion Robert’s

works as well as works by Brahms. Her works, including the Concerto in A minor were

relegated to the bottom shelf so to speak.

It could be quite beneficial for us to look again at the remarkable years of the beginning of

the nineteenth century; the years that gave birth to so many brilliant pianists and creators.

This was the era when the piano took centre stage because of the extraordinary playing and

creativity of many virtuosi. A reappraisal of this era could well disclose hidden treasures. I,

for one, am amazed at the inventiveness that presents itself in a concerto that was written by a

fourteen year old girl from that era. I would like to suggest that in the concerto we encounter

the composer’s authentic creative sound and style.

Sketched with a bold hand on a large tonal canvas that only youth would dare conceive as a

‘Business Card’ so to speak, of introduction, the Piano Concerto in A minor by the fourteen

year old Clara Wieck (Schumann) has all the hallmarks of the early nineteenth century

12Nauhaus, G. 1994, Ed. Clara Schumann Konzertsatz f-moll für Klavier und Orchester Breitkopf & HärtelWiesbaden Leipzig Paris Edition PB 5280 Preface


Romantic piano concerto. The notes almost leap off the page into the pianist’s hands

demanding to be played and the music to be given audience. Bursting with vitality and

imagination in an unconventional form, the music weaves its inevitable magic demonstrating

its command of the piano as explosive octaves alternate with sensitive, lyrical melodies over

a wide pitch and dynamic range. This is not a concerto of great emotional depth but it is a

concerto that has great emotive capacity. There is no intense, introspective enquiry here but

there is a wonderful extrovert energy that seems to sweep all care away. It promised much for

the future but a work of this scope was destined never to be repeated by the composer.


REFERENCES

BOOKS

Eigeldinger, J. J. 2004, Chopin Pianist and Teacher as seen by his pupils, CambridgeUniversity Press, Cambridge U.K.

Nauhaus, G. 1994, The Marriage Diaries of Robert and Clara Schumann, NortheasternUniversity Press, Boston.

Ostwald, Peter F. 1985, Schumann Music and Madness, Victor Gollancz Limited, LondonU.K.

Reich, Nancy B. 1995 Clara Schumann the Artist and the Woman Cornell University PressIthaca, London.

Samson, Jim 2003, The Music of Chopin Oxford University Press, Oxford U.K.

CATALOGUE

Clara und Robert Schumann Zeitgenössische Porträts 1994 Droste Verlag, Düsseldorf.

SCORES

Nauhaus, G. 1994, Ed. Clara Schumann Konzertsatz f-moll für Klavier und Orchester,Breitkopf & Härtel Weisbaden, Leipzig, Paris. Edition PB 5280.

Klassen, J. 1993, Ed. Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf& Härtel, Wiesbaden Germany. Edition Breitkopf 8568.

Klassen, J. 1990, Ed. Clara Schumann Konzert a-moll Op.7 für Klavier und OrchesterBreitkopf & Härtel Wiesbaden, Germany.


APPENDIX 1: Figure 1

Portrait by E. C. Fechner of Clara Wieck aged 13 in Paris in 183213

13Clara und Robert Schumann Zeitgenössiche Porträts, 1994, Droste Verlag Düsseldorf. Kat.-Nr.3 p.18



Lithograph by J. Giere of Clara Wieck in Hannover 1835. She was sixteen.

The music is the piano solo opening of the third movement of the Concerto in A minor14

14Clara und Robert Schumann Zeitgenössische Porträts, 1994, Droste Verlag Düsseldorf. Kat.-Nr.6 p.22



The Gewandhaus in which Clara performed her concerto in 183515

15Printed from a transparency sent to me in 1996 from Gewandhaus Archives Leipzig.



The inscription on the autograph score of the unfinished Concerto in F minor16

‘To my beloved Robert on the 8th June 1847 from his Clara’

16Nauhaus, G. 1994, Clara Schumann Konzertsatz f- moll für Klavier und Orchester, Breitkopf & Härtel,Wiesbaden, Leipzig, Paris. Edition PB 5280 Preface.



J.A. VÖllner; Clara and Robert Schumann, Daguerreotype, Hamburg 185017

17Clara und Robert Schumann Zeitgenössische Porträts, 1994, Droste Verlag Düsseldorf. Kat.-Nr.29 p.64



The orchestral score of the Concerto in A minor Op.7 by Clara Wieck18

18Klassen, J.1990, Ed. Clara Schumann Konzert a-moll Op.7 für Klavier und Orchester, Breitkopf & Härtel,Wiesbaden, Leipzig, Paris.



The influence of ‘bel canto’ in the opening of the first movement of the piano concerto in A

minor19

19Klassen, J. 1993, Ed. Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf & Härtel,Wiesbaden. Edition Breitkopf 8568 p.5



The influence of ‘bel canto’ (cont)20

20Klassen, J.1993, Ed. Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf & Härtel Wiesbaden.Edition Breitkopf 8568 p.9



Unity of themes throughout the three movements – Opening of First Movement Piano 1121




Unity of themes: close of first movement with segue link to second movement22

22Klassen, J. 1993, Ed. Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf & Härtel

Wiesbaden.Edition Breitkopf 8568 p.21



Unity of themes throughout the concerto – opening of third movement –piano solo23



APPENDIX: 2 Figure 7

The Cadenza from the first movement of the concerto24

Note the reference to Etude in E major Op.299 No. 29 by Czerny. This work is currently in

the AMEB syllabus for sixth grade.

24Klassen, J.1993, Ed. Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf & Härtel,Wiesbaden. Edition Breitkopf 8568 p.18



Cadenza from the third movement of the concerto25

25Klassen, J. 1993, Clara Schumann Konzert für Klavier und Orchester a-moll, Breitkopf & Härtel, Weisbaden.Edition Breitkopf 8568 p39.


APPENDIX 3: STRUCTURE OF THE CONCERTO

FIRST MOVEMENT- Allegro maestoso

FORM: Theme with variations

Introduction, two subjects in relative keys, three episodes, a cadenza, link to the second

movement

ANALYSIS:

Orchestra Intro Subject 1 until piano entry on orchestral Neapolitan sixth bar 17

Piano Subject A A minor bars 37-44

Episode i) E minor bars 45-54

Episode ii) E major bars 57-64

Episode I’) C major bars 65-73

Episode iii) F major bars 74-79

Subject B C major bars 80-91

Piano Subject A Ab major bar 92

F minor bar 96

Bb minor bar 100

Motivic development Ab major bars102-106

Chromatic bars 109 -115

Cadenza E major bars 115- 129

Orchestra Episode iii A major bars129- 137

Subject A A major bars 137 141

Link to second movt. bars 141 -146


SECOND MOVEMENT – ROMANZE Andante non troppo con grazia

FORM: Ternary -scored for piano and cello solo

Piano solo Subject A Ab major bars 1-23

Subject B E major bars 23-30

Episode from A Chromatic & sequential bars 30-37

Cello solo Subject A Ab major bars 38-61

Coda Link Ab to E major bars61-66

Chromatic harmonies

THIRD MOVEMENT –FINALE Allegro non troppo

FORM: Unconventional Rondo style demonstrating its ternary origins

Introduction < (A B)> < A’ (C C’) Cadenza ( A’-Orchestra then B’ embellished piano

solo)> Introduction ‘’ Link < (A A’) C’’ C’’’ (quasi Development) B’’>

Coda

ANALYSIS:

Orchestra Introduction E major bars 1-4


Orchestra Link A minor bars 24-31

Piano Introduction ‘link A minor bars 31-34

Episode i) A minor bars35-42

Subject B A minor bars 42-57

Orchestra Link A minor bars 57-74

Piano Subject B C major bars 74-92

Orchestra Introduction’ link E major bars 92-95

Piano Subject Subject A’ A major bars 95-112

Subject C A major bars112-124


Subject C’ A major bars124-144

Cadenza A major bars144-153

Orchestra Subject A’ Various bars 154-181

Piano Subject B’ F major bars 182-197

Orchestra Introduction’’ link E major bars 197-200


Subject A’ A major bars 218-236

Subject C’ Various bars 236-244

Subject C’ E minor bars 244-250

Orchestra Introduction’’’ link E minor bars 250-254

Piano Episode i) E minor bars 254-261

Subject B’’ E minor bars 261-289

Coda A minor bars 290-356


About the Author:

Suzanne Cooper maintains a piano teaching studio in Western Sydney where she holds regular

Performance Workshops for young pianists. In recent years, several of Suzanne’s students have

gone on to further study with leading tertiary institutions in Australia and abroad. Her regular

Lecture Recitals are designed to engage the community audiences directly with the music.

Suzanne has presented at The International Symposium on Clara Schumann (Vienna 1996); The

National Women in Music Festival (A.N.U. 2001); The Winter Festival for Piano Teachers

(Sydney Conservatorium 2007); the Eighth Australasian Piano Pedagogy Conference (A.N.U.

2007); the First and Second World Piano Conference (Novi Sad, Serbia 2009 & 2010).

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