Creativity, Performance and Problems of Authorship: Clara Schumann's Cadenzas for Mozart's D minor Concerto, K466

In memoriam Manfred Hermann Schmid (1947–2021), Mozartian extraordinaire The cadenzas to the Piano concerto in D minor, K466 that Clara Schumann published for the Mozart centenary year raise intriguing questions about authorship: Upon correcting the proofs, she identified an uncanny overlap with a cadenza by Brahms. Following an ambivalent response from the latter, she went on publishing the work under her name regardless, and even left a note on her papers claiming that Brahms had made use of a cadenza by her. Rather than answering the author attribution either way, the article unpicks the conflicting evidence of the sources in light of the broader contexts within which they are situated. It demonstrates that conventional tools of music philology alone are inadequate for solving this issue (as they had been for Schumann in 1891). Notated sources are but one manifestation of a rich and complex creative process that operate within a multi-sensory, multi-modal and co-creative framework. As such, a close reading of the cadenzas to K466 by Schumann and Brahms interrogate false ontologies of the ‘work concept’ that may have mired our understanding of nineteenth-century music in general.