The purpose of this paper is to offer an
interpretive study of Clara Schumann’s Three Romances for Violin and Piano,
Op. 22, Andante molto, through the lens of feminist musicology. Although
the piece is widely performed, it has received little analytical attention.
This study seeks to bridge this gap and to illuminate new ways to understand
and interpret Clara Schumann’s compositional voice. In recent years, while
analytical research on Clara Schumann's works has increased, most studies have
focused on her lieder and piano pieces. Among her chamber music, most studies
concentrate on the Piano Trio in G minor, Op. 17, while the Three
Romances for Violin and Piano, Op. 22, has received comparatively little
attention. This paper aims to address this gap by offering both historical and
musical analysis of the piece, thereby providing future musicians with an
alternative framework for interpreting Clara Schumann’s music. The exclusion of
women from the Western music canon has led to a lack of studies of women’s works.
By situating the analytical work of this piece in the feminist musicology
discipline, this paper encourages future researchers to apply a similar
research method to study women’s music.
