¹ Further on these developments see Davies, Joe, ‘Introduction: Clara Schumann in the Musicological Imagination’, in Clara Schumann Studies, ed. Davies (Cambridge: Cambridge University Press, 2021): 1–12CrossRefGoogle Scholar.

² Beatrix Borchard, Clara Schumann – Musik als Lebensform: Neue Quellen – Andere Schreibweisen (Hildesheim: Georg Olms Verlag, 2019); and Knechtges-Obrecht, Irmgard, Clara Schumann: Ein Leben für die Musik (Darmstadt: Wissenschaftliche Buchgesellschaft, 2019)Google Scholar.

³ See Isata Kanneh-Mason, Romance: The Piano Music of Clara Schumann (2019); Mo-Ah Kim, Clara Wieck Schumann: The Art of Preluding (2019); Daniel Levy and Cristina Mantese, Clara Schumann: Piano Works and Lieder (2019); and Miriam Alexandra et al., Clara Schumann: Complete Songs (2019).

⁴ On calls for such resources see (among others) Citron, Marcia J.: ‘Women and the Western Art Canon: Where Are We Now?’, Notes 64/2 (2007): 209–15CrossRefGoogle Scholar; Citron, ‘A Bicentennial Reflection: Twenty-five Years with Fanny Hensel’, in ‘Fanny Hensel (née Mendelssohn Bartholdy) and her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005’, ed. Susan Wollenberg, Nineteenth-Century Music Review 4/2 (2007): 7–20; and Susan Wollenberg, ‘“Master of her Art”: Fanny Hensel (née Mendelssohn Bartholdy), 1805–1847’, Ad Parnassum: A Journal of Eighteenth- and Nineteenth-Century Instrumental Music 3/6 (2005): 33–44.

⁵ See Stefaniak, Alexander, Becoming Clara Schumann: Performance Strategies and Aesthetics in the Culture of the Musical Canon (Bloomington: Indiana University Press, 2021)CrossRefGoogle Scholar; and Natasha Loges, ‘From Miscellanies to Musical Works: Julius Stockhausen, Clara Schumann, and Dichterliebe’, in German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries, ed. Loges and Laura Tunbridge (Bloomington: Indiana University Press, 2020): 70–86.

⁶ For more on Op. 7, see Joe Davies, ‘Clara Schumann and the Nineteenth-Century Piano Concerto’, in Clara Schumann Studies, 95–116, at 108–12. Further on interiority see Nicole Grimes, ‘Formal Innovation and Virtuosity in Clara Schumann's Piano Trio in G minor, Op. 17’, in Clara Schumann Studies, 139–64; Stefaniak, Alexander, ‘Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism’, Journal of the American Musicological Society 70/3 (2017): 697–765CrossRefGoogle Scholar; and Ronyak, Jennifer, Intimacy, Performance, and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018)CrossRefGoogle Scholar.

⁷ Katharina Uhde and R. Larry Todd, ‘Contextualizing Clara Schumann's Romanzen’, in Clara Schumann Studies, 165–86, at 175–85.

⁸ All quoted material is taken from a private interview with Lorna Griffitt, conducted at the University of California, Irvine, on Wednesday 1 June 2022. Further insights into Griffitt's engagement with Schumann can be found at https://music.arts.uci.edu/launching-clara-schumann-studies-celebrating-women-music.

⁹ See Goertzen, Valerie Woodring, ‘Clara Wieck Schumann's Improvisations and Her “Mosaics” of Small Forms’, in Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries, ed. Rasch, Rudolph (Lucca: Brepols, 2011): 153–62Google Scholar; and Goertzen, Valerie Woodring, ‘Setting the Stage: Clara Schumann's Preludes’, in In the Course of Performance: Studies in the World of Musical Improvisation, ed. Nettl, Bruno and Russell, Melinda (Chicago: University of Chicago Press, 1998): 237–60Google Scholar.

¹⁰ These terms are borrowed from Webster, James, ‘The Rhetoric of Improvisation in Haydn's Keyboard Music’, in Haydn and the Performance of Rhetoric, ed. Beghin, Tom and M., Sander Goldberg (Chicago: University of Chicago Press, 2007): 172–212Google Scholar, at 176.