Editing Clara Schumann (section)

=== Later life ===
==== Concerts ====
Schumann still performed actively in the 1870s and 1880s. She performed extensively and regularly throughout Germany during these decades, and had engagements in Austria, Hungary, Belgium, Holland, and Switzerland. When in Basel, Switzerland, she often stayed with the [[Von der Mühll]] family.<ref name=":0">{{Cite web|title=Basel 1857 – 1887 – Schumann-Portal|url=https://www.schumann-portal.de/basel-1857-1887.html|access-date=28 August 2020|website=schumann-portal.de}}</ref> She continued her annual winter-spring concert tours of England, giving 16 of them between 1865 and 1888, often with violinist Joachim.{{sfn|Schumann Portal|2019}}

She took a break from concert performances, beginning in January 1874, cancelling her usual England tour due to an arm injury. In July, she consulted a doctor, who having massaged the arm, advised her to practice for only one hour a day.{{sfn|Altenmüller|Kopiez|2010|pp=101–18}} She rested for the remainder of the year before returning to the concert stage in March 1875.{{sfn|Litzmann Bio|1913|loc=v. 1 pp. 322–23}} She had not fully recovered, and experienced more [[neuralgia]] in her arm again in May, reporting that she "could not write on account of my arm".{{sfn|Litzmann Bio|1913|loc=v. 1 pp. 322–23}} By October 1875, she had recovered enough to begin another tour in Germany.

In addition to solo piano recitals, chamber music, and accompanying singers, she continued to perform frequently with orchestras. In 1877, she performed Beethoven's [[Piano Concerto No. 5 (Beethoven)|Fifth Piano Concerto]] in Berlin, with [[Woldemar Bargiel]] conducting, her half-brother by her mother's second marriage, and had tremendous success.{{sfn|Litzmann Bio|1913|loc=[https://books.google.com/books?id=Yit8CgAAQBAJ&pg=PT42 v. 2 p. 42]}}{{sfn|Litzmann Bio|1913|loc=v. 1 pp. 322–23}} In 1883, she performed Beethoven's ''[[Choral Fantasy (Beethoven)|Choral Fantasy]]'' with the newly-formed [[Berlin Philharmonic]], and was enthusiastically celebrated, although she was playing with an injured hand in great pain, having fallen on a staircase the previous day.{{sfn|Berliner Philharmoniker|2019}} Later that year she played Beethoven's [[Piano Concerto No. 4 (Beethoven)|Fourth Piano Concerto]] (with her own cadenzas) with Joachim conducting the same orchestra, again to great acclaim.

In 1885, Schumann once again joined Joachim conducting Mozart's [[Piano Concerto No. 20 (Mozart)|Piano Concerto in D minor]], again playing her own cadenzas. The following day, she played her husband's Piano Concerto with Bargiel conducting. "I think I played fresher than ever", she wrote to Brahms, "What I liked very much about the concert was that I was able to give Woldemar the direction of it, who had longed for such an opportunity for years."{{sfn|Berliner Philharmoniker|2019}}

She played her last public concert in Frankfurt on 12 March 1891. The last work she played was Brahms's ''[[Variations on a Theme by Haydn]]'', in a version for two pianos, with [[James Kwast]].{{sfn|Clive|2006|p=403}}

==== Teaching ====
[[File:Frankfurt Saalhof um 1900.jpg|thumb|alt=Black-and-white photograph of a large city building on the corner of a block, with conical towers on that corner|Saalhof, the first location of [[Hoch Conservatory|Dr. Hoch's Konservatorium]]]]

In 1878, Schumann was appointed the first piano teacher of the new [[Hoch Conservatory|Dr. Hoch's Konservatorium]] in Frankfurt.{{sfn|Riebsamen|2019}}{{sfn|Negwer|2002}} She had chosen Frankfurt among offers from Stuttgart, Hannover, and Berlin, because the director, [[Joachim Raff]], had accepted her conditions: she could not teach more than 1-1/2 hours per day, was free to teach at her home, and had four months of vacation and time off for short tours in winter. She demanded two assistants, with her daughters Marie and Eugenie in mind.{{sfn|Klassen|2011}}{{sfn|Riebsamen|2019}}{{sfn|Allihn|2019}}

She was the only woman on the faculty.{{sfn|Riebsamen|2019}} Her fame attracted students from abroad, including Britain and the United States.{{sfn|Reich Book|2001}} She trained only advanced pupils, mostly young women, while her two daughters gave lessons to beginners. Among her 68 known students who made a musical career were [[Leonard Borwick]], [[Fanny Davies]], [[John Arthur St. Oswald Dykes]], [[Ilona Eibenschütz]], Nanette Falk (1835-1928), [[Carl Friedberg]], [[Amina Goodwin]], [[Natalia Janotha]], [[Adelina de Lara]], Marie Olson (1867-1916), [[Jane Roeckel]], [[Franklin Taylor]] and [[Mary Wurm]].{{sfn|Klassen|2011}}{{sfn|Riebsamen|2019}}{{sfn|Allihn|2019}}<ref>{{Cite book |last=Cohen |first=Aaron I. |title=International encyclopedia of women composers |date=1987 |publisher=Books & Music USA |isbn=978-0-9617485-2-4 |edition=2nd ed., rev and enl |location=New York |page=593}}</ref><ref name=":0" /> The Konservatorium held events to celebrate her 50th year on stage in 1878 and her 60th career anniversary ten years later.{{sfn|Klassen|2011}}{{sfn|Allihn|2019}} She held the teaching post until 1892 and contributed greatly to the improvement of modern piano playing technique.{{sfn|Klassen|2011}}{{sfn|Riebsamen|2019}}