What is it to be musical? You will not be so, if your eyes are fixed on the notes with anxiety and you play your piece laboriously through; you will not be so if, supposing that someone should turn over two pages at once, you stop short and cannot proceed. But you will be so if you can almost foresee in a new piece what is to follow, or remember it in an old one–in a word, if you have music not only in your fingers, but also in your head and heart.
—  Robert Schumann,
Advice to Young Musicians

Bittersweet Symphonies:
Johannes Brahms & Clara Wieck Schumann

In 1855 Johannes Brahms wrote the pianist Clara Schumann a naked cry of frustration: “I can do nothing but think of you… What have you done to me? Can’t you remove the spell you have cast over me?” The situation between them at the time was messy - very messy. Clara was 35, Brahms 21, she famous, he rather more infamous. She was married to the composer Robert Schumann, and the pair had seven young children. On the other hand, for more than a year, Clara’s husband had been in an asylum and Clara had not been allowed to see him. When Robert fell off the edge, Brahms had hastened to her side.

Now Brahms, Robert’s protege and discovery, was helplessly in love with Robert’s wife. They had not expected it, didn’t want it, and so on. Brahms loved and admired Robert. Shortly before jumping in the Rhine to escape the demonic oratorios in his head, Robert had made the name Brahms known across Europe, declaring this student from Hamburg the coming saviour of German music.

Brahms, meanwhile, was living with Clara and the children - his bedroom on a separate floor, to be sure, but spending most of his time consoling her, helping with the children, and going nearly out of his mind with yearning.

In those years Brahms was slim, beardless and drop-dead handsome. Gossip was sizzling in musical circles. Clara was yearning mightily, too, but as with Brahms her feelings were tangled up with anxiety and guilt. Robert and Clara had been, after all, the supreme musical romance of the Romantic period. Clara was the love of Robert’s life, his prime musical champion, the heroic force that had held together his splintering mind longer than anyone could have imagined. Continue Reading >>

Ending bars of a copy of a piano piece made for Clara Wieck Schumann by Felix Mendelssohn, 1835.

This leaf is from the “Schumann Album,” an enormous scrapbook created by Robert and Clara for the “safekeeping of their children.” The volume contains musical manuscripts by both parents as well as by Brahms, Mendelssohn, and others; the handwriting of Haydn and Weber; various letters and journal clippings; sketches and memento drawings by numerous famous artists; and pressed flowers and other sundry artifacts. 

The Schumann grandchildren sold the book to the Saxon State Library in 1934; it was stored securely in a basement, but during the war was substantially damaged by flooding. Some of the documents have since been successfully restored, and much of the album has been digitized.