Until relatively recently, reference to the Schumann “Piano Concerto” would likely have invoked Robert Schumann’s Op. 54—but no longer. Born in Leipzig in 1819, Robert’s wife, Clara, has been increasingly recognised for her compositions, crowning a renown during her lifetime as one of the century’s most influential pianists. Indeed, she pipped Robert to the post by a decade, premiering a piano concerto of her own (also in A minor) at the age of 16. Already a seasoned virtuoso, her recital tours would crisscross Europe almost to the end of her life. Chopin, who heard her in Vienna, was dazzled. Unfashionably, she programmed Baroque music including that of J.S. Bach alongside the works of contemporaries—such as Brahms, who often sought her musical advice and supported her through the bleak period of Robert’s mental collapse and early death. The piano pieces, increasingly more sophisticated and ambitious, appeared from her earliest days as a recitalist. But she was also a fine chamber musician, and composed a brooding Piano Trio in G Minor, Op. 17 (1846), as well as the Three Romances for Violin & Piano, Op. 22 (1853); like her songs, they are full of warmth and romantic sensibility. At the time of her death in 1896, it was as a pianist that she was universally mourned; today, with her status as a composer now secure, the picture is more nuanced.