Johannes Brahms was never a pupil of Robert Schumann in the narrower sense. Nevertheless, it can hardly be denied that his colleague, 23 years his senior, was an inspiring patron who offered Brahms a platform on which he could unfold and develop his unique style. And it is not only Schumann, but also his wife Clara, who is an indispensable figure in Brahms' career. In October 1853, the young talent introduced himself in the Schumanns' Düsseldorf flat and presented his works on the piano - without sheet music. After a short time, Schumann interrupted the then 20-year-old composer with the words: "Clara must hear this." After fetching her, he is said to have said: "Here, dear Clara, you shall hear music as you have never heard it before; now start the piece again, young man." Clara felt that this visitor was "specially sent by God", as she recorded in her diary.
During his stay in Düsseldorf, which lasted around a month, Brahms now stood outside Schumann's door every day at eleven o'clock to pick him up for a walk. In the evenings, they organised house concerts together. When Brahms was later asked what influence his friend had had on his work, he said dryly: "I learnt nothing from Schumann except how to play chess. " This typically taciturn answer was probably a defence mechanism. He did not want to talk about this wonderful time with his now deceased friend, who had also taught him many things outside of music: in addition to chess, Schumann had also taught him how to turn the table - the ritual popular in the 19th century for making contact with spirits - and he had also read him poetry.
Schumann was impressed by Brahms on all levels. He wanted to share this enthusiasm. In an article in the "Neue Zeitschrift für Musik" entitled "Neue Bahnen" (New Paths), he praised him as a "called one": "A young blood, at whose cradle the graces and heroes kept watch [...]; we welcome him as a strong fighter." The prophetic tone did not fail to have an effect: renowned music publishers immediately began to take an interest in Brahms. On Schumann's advice, Brahms tried his hand at a larger orchestral work, but found it difficult to cope with the new pressure to succeed. However, he could no longer turn to his mentor: On 27 February 1854, Schumann, whose scholars are still debating whether he suffered from schizophrenia, bipolar disorder, syphilis or alcohol addiction, attempted suicide in the Rhine - whereupon he was committed to an asylum.
Brahms rushed to Düsseldorf to be with the pregnant Clara and her six children. There he stood by the family for two years and visited Schumann regularly - unlike Clara, who had been forbidden to do so by the doctors. Schumann died at the end of July 1856. In the same summer, during a stay in Switzerland, Clara and Brahms, who had fallen in love with her, decided to go their separate ways. Nevertheless, they remained in contact. Clara Schumann's experience as a composer, editor and performer was invaluable to Brahms and he continued to turn to her for reassurance and advice. Although there were occasional tensions, their complex relationship lasted for decades.
