The perennially popular song cycle Frauenliebe und -leben, Op. 42, composed by Robert Schumann to poems by Adelbert von Chamisso in 1840, continues to provoke controversy arising from its presentation of women’s attitudes to love and life. This essay offers two fresh explorations of its context, drawing on the historical model of Susan Youens’s work alongside the ethically-driven epistemology of Gayatri Spivak. First, an examination of overlooked literature contemporary with Chamisso’s writings, as well as later in the century, challenges the assumption that he accurately represented the views of German Biedermeier women in the 1830s, or indeed in the 1860s when the cycle gradually attained popularity in public performance. Second, a survey of the early performance history of the cycle reveals a fragmented approach to the work on the concert stage, especially by Clara Schumann and her contemporaries. These women regularly performed the cycle only in parts, and/or in combination with other works, an approach which, I argue, mitigates its expressive limitations and enriches its undeniable lyrical value. I conclude by examining some contemporary performance approaches. Taken together, these explorations may lead to a fresh understanding and approach to performing the work today.

Clara Schumann’s pedagogical significance has long been acknowledged. Her influence transcended her pupils, shaping not only piano performance, but concert culture and, indeed, the understanding of music’s aesthetic role, for over a century. From a music-historiographical perspective, scholars have argued for a more nuanced understanding of Schumann’s overlapping identities as pianist, composer, teacher, wife and mother. This arises from the belief that to understand a musician holistically is to understand all their activities, and the relationships these engender with families, colleagues, friends, teachers, students, audiences and critics (what Beatrix Borchard conceives as ‘constellations’ or networks), while acknowledging that no single account can fill all the gaps. Adopting Borchard’s ‘constellation’ approach to history, which reveals much about the structures of power conveyed by the teacher–pupil relationship, this chapter explores the perception of Schumann’s teaching legacy in the British reception of two famous pupils: Fanny Davies and Leonard Borwick. It examines how these pianists’ reputations overlapped with that of Schumann, according to their gender, nationality, repertoire and image. In doing so, it shows how these teacher–pupil relationships were simultaneously compressed (by the forces of critical writing) and stretched (by the individuality of each musician).

Throughout his lifetime, Brahms accompanied dozens of singers in a variety of settings, ranging from huge public halls to his friends’ homes, and conducted many others in choirs. Some of those working relationships were one-offs, arising from the widespread practice of including a set of piano-accompanied songs within most concerts and the expediency and cost-effectiveness of using local talent. Others were deep, enduring partnerships; the timbres and interpretative approaches of those singers are surely ingrained in his vocal music. Overall, Brahms’s singers were generally not part of the international operatic elite associated with Verdi, Bizet and Massenet. Figures like Julius Stockhausen (1826–1906) and Raimund von Zur-Mühlen (1854–1931)were almost exclusively concert singers and, later on, teachers. Most hailed from German-speaking territories, reflecting Brahms’s own concert career.

During his lifetime, Brahms witnessed a veritable explosion in biographical writing and related publications of letters, memoirs and diaries. The monumental Allgemeine deutsche Biographie (1875–1912) was edited by Rochus von Liliencron (1820–1912), a personal acquaintance of his; a comparable project in Great Britain was the Dictionary of National Biography (1885–1900). Significant biographies of famous Austro-German composers also appeared in those years, often written by Brahms’s friends: Otto Jahn’s Mozart (1856–9), Friedrich Chrysander’s Handel (1858–67), Philipp Spitta’s Bach (1873–80) and Carl Ferdinand Pohl’s Haydn (1875–82). But one might also think of the biography of Beethoven (1866–79) by the American Alexander Wheelock Thayer, a project which was taken up in German by Hermann Deiters, Jahn’s pupil and Brahms’s colleague and contemporary. It was Deiters who in 1880 wrote the first book-length biography of Brahms, when the composer still had seventeen years to live.

During his lifetime, Brahms accumulated a sizeable fortune. Although the early days were not without difficulties, his finances then accumulated steadily and virtually uninterruptedly. When he died in 1897, he left behind not only manuscripts of his own works, but also an extensive collection of other composers’ autograph manuscripts (including of Mozart, Haydn, Beethoven, Schubert, Schumann, etc.) as well as bonds worth over 181,000 Gulden.The size of the sum is evident when one compares the rent that he paid his landlady Coelestine Truxa between 1887 and 1897 for his three-room apartment in Vienna’s Karlsgasse, which amounted half-yearly to 347 Gulden and 25 Kreuzer.

Brahms grew up in the Hamburg‘Gängeviertel’, an area of workers, small-scale artisans and tradesmen in modest circumstances [see Ch. 1 ‘Childhood in Hamburg’]. Later on, when he could determine his own lifestyle, luxury still held no appeal.

Throughout his lifetime, Brahms accompanied dozens of singers in a variety of settings, ranging from huge public halls to his friends’ homes, and conducted many others in choirs. Some of those working relationships were one-offs, arising from the widespread practice of including a set of piano-accompanied songs within most concerts and the expediency and cost-effectiveness of using local talent. Others were deep, enduring partnerships; the timbres and interpretative approaches of those singers are surely ingrained in his vocal music. Overall, Brahms’s singers were generally not part of the international operatic elite associated with Verdi, Bizet and Massenet. Figures like Julius Stockhausen (1826–1906) and Raimund von Zur-Mühlen (1854–1931)were almost exclusively concert singers and, later on, teachers. Most hailed from German-speaking territories, reflecting Brahms’s own concert career.

‘Today, my dear wife, née Nissen, successfully delivered a healthy boy. 7th May 1833. J. J. Brahms.’ Thus, on 8 May 1833Johann Jakob Brahms announced the birth of his first son Johannes in the local paper, the Privileged Weekly General News of and for Hamburg (Privilegirte wöchentliche gemeinnützige Nachrichten von und für Hamburg). At a time when such announcements were the exception, this was a clear sign of pride. Johann Jakob Brahms or Brahmst, as he also spelled it, was born on 1 June 1806 in Heide in Holstein, the second son of the innkeeper and trader Johann Brahms, who had moved to Heide from Brunsbüttel via Meldorf. His ancestors were from Lower Saxony. Johann Jakob completed a five-year apprenticeship as a city wait in Heide and Wesselburen, during which he learned the flugelhorn, flute, violin, viola and cello, then standard instruments. In early 1826, the young journeyman began his travels with his certificate of apprenticeship, received in December 1825.