Sidekick: Unknown facts about Franz Liszt in Augsburg. News about concert organization in the 19th century in Augsburg and Munich. Found and written by Susanne Wosnitzka.
Blog text dedicated to my dearest friend Luise Kimm, singer.
Clara Schumann 1857, photographed in Munich by Franz Hanfstaengl © wikimedia.commons (public domain)]
If you go to a concert, you go to a concert hall, theater or church. In the 18th and 19th centuries, people went to a restaurant, hotel or one of the guild houses, which had a large dance hall for weddings and other occasions. Locations designed specifically as concert halls were only built relatively late, with increasing (mass) demand for concerts by virtuoso superstars Niccolò Paganini (1782–1840) and Franz Liszt (1811–1886), the sisters Teresa (1827–1904) and Maria (1832–1848) Milanollo, and entire orchestral groups such as that of Johann Strauss father (1804–1849), who wanted to be heard everywhere and by very many people on their tours. One of the first newly built real concert halls was the Munich Odeon, built in 1826/28 by Leo von Klenze (1784–1864) for exactly such purposes.
Public houses in the focus
[caption: Apollo Hall of the Golden Grape. Postcard around 1910 © property of Susanne Wosnitzka]
Bombastic-fantastic
Back to Augsburg. The then Drei Mohren (today Maximilian's) was (and still is) the most expensive hotel in the city, a fact that Leopold Mozart (1719–1787) was already aware of when he did his childs‘ prodigy tour in 1763, but the Golden Grape at the former wine market (today Moritzplatz) was the largest and next best house in the city with three concert halls (Rotunda Hall, a unnamed small hall, Apollo Hall), where unbelievable but true 2,200 people fit in during carnival or superstar concerts – and 110 horses in the stable. According to my researches, about 1,500 people could fit into the Apollo Hall alone (in comparison: 'only' about 1,000 people could fit into the old Augsburg city theater).[1]
Superstar in Augsburg
[caption: Franz Liszt, photographed in Munich by Franz Hanfstaengl 1858 © wikimedia.commons (public domain)]
Musician with a big heart
The real sensation, however, was a hitherto unknown event that I found in the Augsburg newspapers, which melted my heart: On the day before Liszt's concert in the Golden Grape, the travelling pianist Johannette (Johanna) Grieser [3] (1821–?) wanted to perform in the theater, but because people were saving up for the more expensive Liszt concert, she found no audience, which was a financial catastrophe for a little-known artist, as she had to rent the theater hall for her own purposes and now had to find a suitable venue.
Franz Liszt played not only one time in Augsburg, but a total of three times during this period. His second concert took place on November 1, 1843 in the city theater. On that evening he played not for the Augsburg audience only, but also for Johannette Grieser, of whose story he had heard and to whom he apparently gave his fee to compensate for her financial loss [4]. What a magnificent gesture!
Liszt's last concert took place on November 4, 1843, in the best interest of the poor and sick of the city of Augsburg [5]. Whether or not he stayed in Augsburg continuously during all these days would have to be researched more thoroughly and in more detail, which, due to Corona, is not possible for me at this time. However, the opening of Augsburg's first train station in 1840 made it possible to get to Munich and back relatively quickly and comfortably.
Christian Then as a ‚translator‘ of music
In his Augsburg concerts, Franz Liszt played a grand piano by the Augsburg instrument maker Christian Then (1803–after 1873) [6], who – after Johann Andreas Stein (1728–1792) and his piano-making daughter Nannette Streicher (1769–1833, who was Beethoven's piano maker, article for donne365) – was the most important Augsburg piano maker. Then – and especially his daughter Käthchen – will play an important role later in the text. Then was so important for Augsburg that he (along with other outstanding craftsmen such as silversmith Schmedding) was sent by the city of Augsburg with his works to the 1851 World and Industrial Exhibition in London [7]. Over the years, his new grand piano creations were repeatedly presented in concerts in Augsburg and discussed in the press. I wonder if he also instructed his daughter Käthchen on how to build pianos, as Johann Andreas Stein did with his daughter Nannette?
Franz Liszt's Augsburg concertos have never been presented to the public in this level of detail before. It is also relatively unknown how such great concerts were organized during this time. One thing is clear: the hotel owners made their halls and services available and collected rent for them. Often, people were invited to subscribe to such concerts, which meant that they could sign up in advance for tickets at a discount on lists that were displayed in the Augsburg music stores Böhm & Son and/or Andreas Gitter. This made it clear in advance whether a concert would be worthwhile. In the first half of the 19th century, the various semi-public Augsburg cultural societies, such as Frohsinn [cheerfulness] or Erheiterung [exhilaration], also invited musical guests, who also had their club premises in the various hotels and guest houses, whose performances were in turn announced in the newspapers.
Mutual Consideration
It is highly interesting that in all the years I have researched, almost no big concert or big event has overlapped with another! Even at the carnival events, which brought in good money, there was alternation at the beginning: In one year the carnival balls were held in the Golden Grape, in the other year in the then Drei Mohren. Most of the time they were not in competition with each other, but they supported and indulged each other. The events were also announced by posters and flyers. But how did the artists get on the stage, especially those who were just passing through and didn't know their way around?
Clara Schumann is a good example of this. From childhood on, she was directed towards the concert stage as one of the most important pianists and composers of the 19th century by her father Friedrich Wieck (1785–1873), whose sole property Clara became after a dirty divorce war with Clara's mother Mariane née Tromlitz (1797–1872). Wives/mothers had no right to their children after a divorce (which was very expensive and socially devastating, especially for the wife). Clara, who was five years old at the time, did not speak a word for many weeks in shock at the separation from her mother.
A living legend
The further life of Clara Schumann is legendary; it is almost exclusively thanks to women's music research that there has been decent research on her life and work since the 1970s and that so much is known about Clara Schumann today. In 2019, the whole world celebrated her 200th birthday, which in Germany led to the fact that the proportion of works by women composers in radio and concert programs climbed to an average of 4.5% [8]. Yes, you read correctly: Risen to 4.5 %. This says a lot about the appreciation of music in general and whose appreciation is not meant.
[caption: Former residence of the Friedrich List family, Vorderer Lech 19/19a © Susanne Wosnitzka]
But what about Clara and Augsburg and Munich? In July 1856 Clara's husband Robert (born 1810) had died. Now she was solely responsible for their seven children and still had to provide for an income, which she had to struggle with after moving from Düsseldorf to Berlin, as she wrote to her friend Emilie List in December 1857 [9]. Emilie was a childhood friend and one of the daughters of the national economist Friedrich List (1789–1846), who lived with his family in Augsburg from 1840 onward – on today's Vorderer Lech 19/19a at Holbeinplatz – where he also wrote his most important work, Das nationale System der politischen Ökonomie (1841), which is commemorated by a plaque there today. His daughters Emilie and Elise, who played an important role for Clara Schumann, are not remembered there. They got to know Clara in their youth in their common city of Leipzig, from which a friendship developed that lasted for about 60 years [10].
The cloverleaf
Eugen Wendler tells: „The three girlfriends embody completely different types of women: the early widowed mother of a large family, whose most important purpose in life was the artistic profession, in which she not only produced extraordinary artistic achievements as a pianist and composer, but also developed outstanding organizational talent as her own concert agent; then the unmarried bourgeois house-daughter who sacrificed herself for her family members, and finally the wealthy, also early widowed, aristocratic bourgeois daughter, who, due to insurmountable psychological inhibitions [terrible stage fright], was unable to pursue the longed-for artistic profession as a singer.“
How much Clara had taken her friend Emilie into her heart is shown by the form of address and greeting in the first letter: „Dear, best, good, beautiful, splendid, indulgent, consoling master“, and „Adio, my dear, dear good and pretty Emilie“ [original in English; with whom Clara had taken English lessons]; also the form of address and greeting in a letter dated August 6, 1835, „beloved Emilie“ and „I remain your dearly loving friend Clara Wieck“ [11].
In King Ludwig's beauty gallery
[caption: Elise List, painted by Joseph Karl Stieler © wikimedia.commons (public domain)]
Emilie's sister Elise (1822–1893) was also a pretty hottie: she was one of the most beautiful young women in the world for King Ludwig I. of Bavaria (1786–1868), who had her painted in 1842 by Joseph KarlStieler (1781–1858) for his so-called beauty gallery in Nymphenburg Palace, which still exists today [12]. Elise sang e.g. in 1843 in the Golden Grape in the annual charity concert (organizer: court counsellor Dr. Franz Reisinger (1787–1855), physician and music lover), „who is endowed with excellent means, especially an unusual vocal range“ and „sang very beautifully“ [13] an aria from Lucia di Lammermoor.
I knew almost nothing about Clara Schumann's concerts in Augsburg. It was rumored that she had played at the Drei Mohren, but when exactly and where she had stayed overnight – nothing precise was known. Until now. Until a few days ago, when I came across it while searching for something else: Bingo! As early as December 1856, Clara was wondering where she could perform anywhere to earn money after the death of her husband. From Düsseldorf, she wrote to Emilie List on December 24, somewhat breathlessly:
„My Mila, what have I been fighting these days, whether I should go to Munich, whether not! I have never been there, and now perhaps I should begin with sparse soirees? Although I don't love the large halls for piano at all, the small ones are full, and how dubious it is in Munich! In addition, I have no engagement where I could be heard before my concert!
Well, I will take a risk, trusting the other cities. I'll probably be there on Jan 12th: it's not going to work out any better, because I'm playing in Hannover on Jan 10th. Will you only have the goodness to call attention to my arrival in Munich and Augsburg very soon, and, when you are in Augsburg, speak to Käthchen Then [14] (who invited you to stay with me at her place when I come there), who will certainly do everything she can to arrange a good concert for me. I don't know which musician is approached there for the arrangement? That's probably why you would like to find out in Munich who is responsible for all the errands, advertisements, running around, police, etc. It would be best if you talk to Lachner [15] and Hauser [16]. I would have liked to be accompanied to the first soiree to play Robert's Quintet [op. 44]. [...] Give my best regards to yours! soon your Clara will embrace you. [17]“
Clara sends her friends
[caption: Augsburg around 1835. steel engraving by F. Höfer © wikimedia.commons (public domain)
Ah! So Clara knew Käthchen Then (1837–1905) from Augsburg, whom we had already heard about above. At the beginning of the 1850s, she
became Clara's piano student, who later lived in Donauwörth and performed „astonishing certainty brilliant“ works for piano in concerts in Augsburg [18]. Where and how Clara taught her in detail, given these distances and Clara's restlessness, is not known to me at this time.
„Advertisements, running around, police“ – someone must know and be able to rent a suitable performance site on site; for this, one literally had to walk the streets of the city, because every concert had to be permitted 'hochobrigkeitlich' [with the permission by the magistrate] in order to be able to exclude immoral things from the outset. By police, we mean official controls, because in another letter to Emilie, Clara wrote [19] that she would send along an (expired) passport to authenticate her person. Without a passport, no access to the city, which at that time was still surrounded by a gapless wall. In addition, every person had to register and every innkeeper (and also private persons) was obliged to provide the magistrate with information about his guests. This was intended above all to avert dangers, even in the event of an epidemic (which was very often the case at the time due to cholera epidemics [20] rampant in many places):
„Perhaps a soiree could be held in Augsburg in the time between 12–17, or 19? There I need nothing but two vocal numbers, no instrumental accompaniment, at least not the first time. How is the ticket price with you? I would like the highest price, of course, the one that is usual in Munich. I bring my own tickets. I probably don't bring letters of recommendation to the [royal] court, since I never strive for such – I consider that unimportant – the main thing is first of all that I play well, if I please them, then the gentlemen come of their own accord, and if they don't come, I don't feel sorry for myself either, because I don't care at all about playing to people who don't understand anything, on the contrary, I shy away from it. So farewell then – I greet you, above all you warmly. Yours, Clara. [21]“
In January 1857, there was no planned concert in Augsburg – at least not a word about it in the Augsburg newspapers. Only the following year could the plans apparently be put into practice. On November 11, 1857 (a Wednesday), the time had come; the concert, presumably organized by Käthchen Then, was announced in the Augsburger Postzeitung [22]:
With a spelling mistake [Wick instead Wieck], because an ancestor of John Wick is Clara Schumann by no means (joke in passing). The ad is repeated word for word one day later. At that time it was normal that artists didn't fill an evening all the time, but that there was always an escort who kept the audience happy (more or less) between the individual numbers of the artist, while the Artist could recover in retreat. Two days later, the Augsburger Tagblatt brought an enthusiastic review:
„Ms. Clara Schumann played the day before yesterday in the great [Apollo] hall of the Golden Grape in front of a large audience, which was enraptured to the most lively enthusiasm by the outstanding performances of this artist. Ms. Schumann played on a grand piano by Mr. [Christian] Then, and elicited the sweetest tones from this instrument. Frau Schumann's playing is an enthusiastic singing, the embers of which glow from every note, bright and clear. Her notes pearl without one affecting the other. Between the pieces of Ms. Schumann, the gentlemen [Karl] Kammerlander, Niggl, Weber, Weinmaier and Hofstetter delighted us with polyphonic songs, which were received very approvingly“ [23].
The tracks get hotter
First for Liszt a Then's grand piano, now for Clara! One thing is certain: Clara does not appear in the regular newspaper advertisements for the arriving travelers and gentlemen, which the Augsburger Tagblatt printed page by page in this time. There, only those persons who had stayed overnight in the hotels and public houses were publicly listed. We remember the above from Clara's pen to Emilie List: „Will you only have the kindness to call attention very soon to my arrival in Munich and Augsburg, and, when you are in Augsburg, to speak with Käthchen Then (who invited you to stay with me at her place when I arrive)?“
[caption: Frauentor Augsburg, photographed from the cathedral in 1881 © wikimedia.commons (public domain)]
So it is quite likely that Clara had actually stayed overnight with Käthchen Then. As an unmarried woman, Käthchen Then probably lived with her parents for moral reasons. Her father still lived and worked in Frauentorstraße Litera C 57a (old house numbering system) [24]. According to the historical city map [25], the house and workshop were then located directly at Frauentor, still within the very old fortification (to which the Frauentor belonged) – today's Frauentorstraße No. 8/corner Mittleres Pfaffengässchen! The original house, in which Clara Schumann most likely spent the night, no longer exists. The building standing in its place was rebuilt in 1886. Nevertheless, this place can be perfectly integrated into an official tour of Augsburg's women's history that is still lacking – there is no Clara Schumann street in Augsburg either.
Only three days after her concert in the Golden Grape, Clara played in the great hall of the Odeon in Munich on November 14, 1857, about which Renate Hofmann quotes this letter from Clara to her half-brother Woldemar Bargiel (1828–1897):
„I have done excellently everywhere, i.e., I have played with the greatest applause, but have not yet earned much money... Yesterday I gave a concert in the Odeon hall – it was very well attended, but today I hear that, despite the costs, it still amounts to 20 Louisdor. Munich, by the way, is still very much in its childhood from a musical point of view – it seems almost impossible for an artist to give more than one concert here. Although I received truly enthusiastic applause yesterday, there is still a lot of discussion today as to whether there is still a chance! – But I will stay here this week at least...also for the sake of my friends, who see everything from my eyes“ [26].
In October 1857, Clara Schumann wrote from Berlin, still very contrite, that she had to travel with her maid/assistant (Nettchen Junge), „therefore she cannot live with you, which I am very sorry about“, and asked further whether her friends could not find her a chambre garni with two rooms [27]. According to Renate Hofmann, however, it seems to have worked out with overnight stays with the friends after all, and that Clara lived during her stay in Munich „alternately with her friends Elise von Pacher nee List, Fürstenstraße 12, first floor, and Emilie List, Amalienstraße 89.“ [28]
Recurrent malaise
One can well imagine the joy of Clara's friends, who probably wanted to give her a time as free of stress as possible. Whether this was successful? And how did the friends communicate with each other – and about what – in the short time they spent together?
Another concert by Clara Schumann in Augsburg is announced in one of the newspapers for Saturday, November 21, 1857. In it she was to play a Soirée Musicale in the so-called Pompeijan Hall of the Drei Mohren, also „with the pleasing participation of Fräulein Käthchen Then“, who, according to the Augsburg newspapers, was an outstanding pianist and gave several solo concerts in the city during this time. However, because of „Unwohlsein“ [indisposition], Clara's performance did not come to anything [29]. What this indisposition consisted of was not further mentioned; presumably her rheumatic disease broke out again, which had affected her left arm and which could only be alleviated with opium supplements [30]. The Augsburger Postzeitung reported the cancellation, announced the concert at a later date and referred to an intervening concert tour of Clara's in Switzerland [31], where she gave seven (!) concerts in Bern, Zurich, Basel and Winterthur.
Police trouble
On December 25, 1857, Clara played – as if nothing had happened – the Piano Concerto in A Minor op. 54 by her husband Robert in a subscription concert as a Munich premiere [33], and on December 30, 1857, Clara Schumann gave a second concert in Augsburg, again in the Golden Grape [34]. Apparently someone in Augsburg had mocked the fact that this concert had not been officially announced (which caused police trouble), because the Tagblatt brought a short time later a listing and correction [35], where exactly the concert had been officially announced beforehand, namely in the Tagblatt, in the Augsburger Abendzeitung, in the Augsburger Allgemeine Zeitung, and in the Augsburger Anzeigblatt – did this gnaw at Clara, Elise, Emilie and Käthchen‘s already tortured nerves? In any case, the Munich residents Elise and Emilie List probably organized the concert that took place in Munich between the Augsburg concerts, but Clara was not interested in further concerts in Munich, because she was already restlessly in Leipzig and wrote to Emilie from there on January 2, 1858:
„Fürest [sic], my dear Emilie, all happiness for the new year, may it be a happy one for you. That we will see each other so soon makes me very happy, although I would rather come to you without a concert, because, truly, I can’t be bothered to play in Munich.“ [36]
Missed appointment
It is possible that Clara's soon-to-be-seen concert refers to a further concert planned for January 14, 1858, in Augsburg „of the first now living master of piano playing“, which was announced twice by the Augsburger Allgemeine Zeitung, but which does not appear on the day in question, nor does it appear as a review. [37]
In any case, Clara traveled to Leipzig and, according to the newspapers, performed concerts in Nuremberg, always restless and worried about money. Could she enjoy her own concerts? Did her playing become 'mechanized' at some point by this immense program workload? How did she manage all this again and again?
There is much more to tell at this point, but it would definitely go beyond the scope of a blog entry. I've already kept myself as short as possible with as much as is urgently needed. Due to the situation, I was not able to research it in depth – like Clara, I have to work here and there, currently mainly in the shipping department of a manufactory, for which I am very grateful. Such blog posts are true soul flatterers for me at this time, as they are a help to make my vocation visible: To be a restorer of hidden history, for which you need a certain 'nose'.
If you liked my contribution to music and city history, I would be happy about a donation (via PayPal click on my website www.susanne-wosnitzka.de
Other blog posts I am planning for the Monacensia Munich and #femaleheritage are
- Composer Ethel Smyth in her Munich time. How a British suffragette not only fell in love with the city, but also with a woman in the theater
- Vilma von Webenau, Arnold Schoenberg's very first (private) student, during her time in Munich and her possible role as mediator between the Blauer Reiter Art Society
- The most hair-raising murder case I could find around 1850 in Munich: Woman kills woman, but in such a brutal way I’ve never heard about... Or also something about the mysterious plait cutter, who molested women in Augsburg and Munich, similar to the so-called „Mädchenschneider“ (girl ripper) of Augsburg
- And/or to the one unknown woman who dared to show up at Odeonsplatz in Munich in pants around 1850, linked to the story of another previously unknown woman wearing pants at the same time, who left a political manifesto and several political poems linked to an unknown French women’s movement.
The ideas and stories never run out...
Notes:
[1] Documented by various historical advertising cards, lawyer's notes and event reviews. Please note in general: Due to corona and the situation it is currently not possible for me to continue my research in the libraries. For these blog post I use what I have direct access to at home and online.
[2] See Augsburger Tagblatt, No. 286. Wednesday, Oct 18, 1843, p. 1229.
[3] See ibid., No. 281. Friday, Oct 13, 1843, p. 1209.
[4] See ibid., No. 294. Thursday, Oct 26, 1843, p. 1261.
[5] See ibid., No. 303. Saturday, Nov 4, 1843, p. 1301.
[6] See ibid., No. 289. Saturday, Oct 21, 1843, p. 1241.
[7] See ibid., No. 100. Thursday, April 10, 1851, p. 517.
[8] My own samples, by checking several of the 130 professional orchestras in Germany for diversity/composers, as well as (large) classical radio stations. See also my findings on the year 2018: http://www.musica-femina-muenchen.de/wp-content/uploads/2018/06/FESTREDE-MFM-ENGLISH.pdf (retrieval date: Nov 8, 2020).
[9] See letter No. 85, Dec 20, 1857, in: Eugen Wendler (ed.): „Das Band der ewigen Liebe“. Clara Schumann: Briefwechsel mit Emilie und Elise List. Stuttgart–Weimar (Metzler) 1996, p. 206.
[10] See ibid., p. VII.
[11] See ibid., p. 2f.
[12] See https://www.hdbg.eu/koenigreich/index.php/objekte/index/id/889 (retrieval date: Nov 8, 2020).
[13] See Augsburger Tagblatt, No. 342. Wednesday, Dec 13, 1843, p. 1463.
[14] Viktoria Katharina (Käthchen) Then (1837–1905), student of Clara in Augsburg, daughter of the Augsburg piano manufacturer Christian Then (1803–1877) from his marriage to Theresia Baur in 1836. Joined Clara Schumann as a pupil in the early 1850s. In 1858 she married the district court councillor Ernst Justus Bezold (1822–1885), with whom she lived in Donauwörth. Her son Carl Bezold (1859–1922) became known as an assyriologist. See https://sbd.schumann- portal.de/Person.html?ID=2079 (retrieval date: Nov 8, 2020). There is also a business photography of her in the Robert Schumann House in Zwickau: Inv. No. 10401-B2v, see https://www.schumann-zwickau.de/media/archiv-sonderausstellungen/2019_Clara_Schumann_und_ihre_Schueler.pdf (retrieval date: Nov 8, 2020).
[15] Franz Lachner (1803–1890), Court Kapellmeister and General Music Director in Munich during this period, whose opera Catarina Cornaro (1841) was also performed many times in Augsburg in the city theater and who also conducted there at times.
[16] Franz Hauser (1794–1870), singer, singing teacher and music writer. Among other things, he was director of the Munich Conservatory from 1846 to 1864.
[17] See letter No. 77: Clara Schumann to Emilie List, Düsseldorf, Dec 24, 1858, edited in: Eugen Wendler 1996, p. 198.
[18] See Augsburger Tagblatt, No. 70. Tuesday, March 11, 1851, p. 353.
[19] See letter No. 78: Clara Schumann to Emilie List, Leipzig, Januar 2, 1858, edited in: Eugen Wendler 1996, p. 199.
[20] In 1832 this epidemic was averted in Augsburg, which was also due to the location and the particularly exposed supply of drinking water [today part of UNESCO world heritage]. See Susanne Wosnitzka: Cholera 1832 in Augsburg – just a ghost'? (published August 10, 2020), in: https://susanne-wosnitzka.de/die-cholera-1832-in-augsburg-nur-ein-gespenst (retrieval date: Nov 8, 2020).
[21] See letter No. 78: Clara Schumann to Emilie List, Leipzig, Jan 2, 1858, edited in: Eugen Wendler 1996, p. 199.
[22] See Augsburger Postzeitung, No. 305, Monday, Nov 9, 1857, p. 1220.
[23] See Augsburger Tagblatt, No. 312. Friday, Nov 13, 1857, p. 2498. The artists mentioned were members of the ensemble of the Augsburg city theater, among others.
[24] See Adreßbuch der Königlichen Kreishauptstadt Augsburg. Augsburg (B. Schmid’sche Buchhandlung) 1858, p. 106.
[25] Plan of the royal district capital Augsburg 1868, geodata office, with thanks for kindly providing a copy.
[26] See Eugen Wendler 1996, p. 6.
[27] See letter No. 83: Clara Schumann to Emilie List, Berlin, Oct 7, 1857, edited in: ibid., p. 204.
[28] Renate Hofmann (Ed.): The Berlin Flower Diary of Clara Schumann 1857–1859, Wiesbaden (Breitkopf & Härtel) 2019, p. 18. Digitalized at https://issuu.com/breitkopf/docs/bv_285_issuu (retrieval date: Nov 8. 2020).
[29] See Augsburger Postzeitung, No. 317, Saturday, Nov 21, 1857, p. 1268, and ibid., No. 329, Thursday, Dec 3, 1857, p. 1316.
[30] See letter No. 88: Clara Schumann to Emilie List (Dictation letter because of rheumatic complaints: writer = Clara’s help Nettchen Junge), edited in: Eugen Wendler 19
[31] See Augsburger Postzeitung, No. 329, Thursday, Dec 3, 1857, p. 1316.
[32] See https://www.schumann-portal.de/Basel_1857-1887.html (retrieval date: Nov 8, 2020)
[33] See Clara’s flower diary, p. 13.
[34] See Augsburger Tagblatt, No. 358, Wednesday, Dec 30, 1857, p. 2910, again with Käthchen Then as contributor, and Augsburger Postzeitung, No. 353, Wednesday, Dec 30, 1857, p. 1412.
[35] See Augsburger Tagblatt, No. 3. Sunday, Jan 3, 1858, p. 18.
[36] See letter No. 78: Clara Schumann to Emilie List, Leipzig, Jan 2, 1858, edited in: Eugen Wendler 1996, p. 199.
[37] See Augsburger Allgemeine Zeitung, No. 7. Wednesday, Jan 7, 1857, p. 104, and ibid., No. 11. Sunday, Jan 11, 1857. Attachment, p. 171
