Schumann, Clara.

about the enduring appeal of Brahms's music, Klinger, and the sudden death of Anton Rubinstein, news of which has come as a shock; Clara compares the likely fate of Rubinstein's music with that of Brahms: whereas Rubinstein sacrificed ten years of his life cultivating his reputation as a composer, probably not a single work will live on after his death, whereas Brahms is admired wherever he goes, even by those who would like to resist him, commending Hanslick's obituary of Rubinstein, expressing reservations about Klinger's illustrated book on Brahms, whilst admitting that she likes some of the sketches and one or two plates, thanking Brahms for his letter from Altenstein and discussing his trip to Meiningen



5 pages, 8vo (c.18 x 11.5cms), with a typescript translation into English, Frankfurt, 23 December 1894; together with an autograph inscription by Clara on a separate leaf, signed and dated (1890),



 

Condition is described in the main body of the cataloguing, where appropriate
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...jetzt ist er todt, und wohl kein Werk von ihm wird leben! Es kann Einen doch recht traurig machen. Wie anders schön stehst Du da, in Bewunderung umgiebt Dich Alles, alle Menschen, und auch die, die nicht wollen,  In allen Ländern bist Du geehrt, und das geht fort und fort! Welches herrliche Gefühl muß das für Dich sein!...

Clara Schumann (1819-1896) exerted an unparalleled and much-discussed role in Brahms's musical and emotional life.  Brahms had recently visited Clara in Frankfurt, introducing the as-yet unpremiered Clarinet Sonatas, before performing them with Richard Mühlfeld in Meiningen.  Klinger's Brahms-Fantasie was a series of forty-one drawings, etchings and lithographs, based on various vocal pieces by the composer, which was published in 1894, a copy of which Brahms had given Clara.