Diss.--Düsseldorf, 2004--Robert-Schumann-Hoschschule. / Bibliogr. p. 325-338.

Like a number of early compositions by Schumann, the Impromptus, Op. 5, was considerably revised in later years. It is one of only several works whose early and later versions are both included in the complete edition of his works published by Breitkopf and Hartel. Brahms, co-editor with Clara Schumann of this edition, was probably responsible for the inclusion of the two separate versions, recognizing the distinct virtues of the first, possibly even its superiority to the second. [TRUNCATED]

Clara Wieck Schumann’s 1836 Piano Concerto Op. 7 represents an era of radical formal experimentation in the early nineteenth century. As such, critics including Robert Schumann questioned its unity, thus prompting late twentieth-century scholars to reassess both its departures from tradition and its cohesive mechanisms. I propose that the concerto’s formal innovations are a result of Wieck’s decision to construct a tripartite work from her autonomous Concertsatz, which became the Finale after the addition of a first and second movement. This study uses William Caplin’s theory of formal functions and Steven Vande Moortele’s theory of two-dimensional sonata form to examine how Wieck complemented the independent Finale with a formally divergent first movement, which facilitates the projection of an overarching sonata form spanning the entire work. In doing so, this study produces a model to assess the concerto’s internal logic.

No description available.

My thesis concerns the life of Clara Schumann (1819 - 1896), a major German concert pianist of the 19th century. It includes a list of her compositions and it describes her activities in piano pedagogy. Through the life of this extraordinary woman, her friends and contemporaries, the thesis provides deeper insights into the overall musical atmosphere of the 19th century. The thesis illuminates the importace of Clara Schumann and her lasting influence on European pianism.