Works in dispute
|"Was will die einsame Thräne" ["What does this solitary tear mean"] (Heine), lied in E minor, 5 bars, dated by the writer: 16th(or 18th) August 1834, no indication of composer (copy at the Brahms-Institut Lübeck/Familienarchiv Avé-Lallemant [Brahms Institute in Lübeck / Avé-Lallement family archive]|
|"Ferne, ferne flammen helle Sterne!" ["Bright stars are aflame afar!"], lied in C major, 39 bars, no indication of composer or poet (copy at the Brahms-Institut Lübeck/Familienarchiv Avé-Lallemant)|
According to current proof furnished by Dr. Michael Struck (Brahms Research Centre at the Institute of Musicology of the University of Kiel) in January 2011, two lieder by Geibel and a fragment of a sonata for piano, see below, compositions until now possibly attributed to Clara Schumann in the specialist literature, are NOT by Clara Schumann but a composer of Hamburg.
|2 lieder by Geibel: "Es schleicht ein zehrend Feuer" ["A wasting fire creeps"], lied in E flat minor, 61 bars, and "Nun ist der Tag geschieden" ["The day has now departed"], lied in E flat major, 32 bars, both dated: June 55, with an attribution in pencil by another hand "Clara Wieck" (copy at the Brahms-Institut Lübeck/Familienarchiv Avé-Lallemant)|
|Fragment of a sonata for piano, presumably in G minor, 3 movements: II. Andante - III. Intermezzo.Allegretto. - IV. Allegro, attribution in pencil "Clara Wieck" (copy at the Brahms-Institut Lübeck/Familienarchiv Avé-Lallemant)|
Michael Struck was able to unambiguously attribute the two lieder by Geibel and the fragment of a sonata for piano to the composer Carl von Holten (Hamburg, 1836 - Altona, 1912), a student of Theodor Avé-Lallemant.
The estate of the Hamburgmusician and friend of Brahms, Theodor Avé-Lallemant(1806-1890), recently acquired by the Hamburg State and University Library and presented to the public on 14th January 2011, includes two transcriptions of the first movement of the sonata, unknown so far, which also affirms Michael Struck's assumption, voiced already in 2001 in the Patrimonia issue on the Lübeckacquisition of parts of Avé-Lallemant's estate, that this was a sonata in G minor.
The two transcriptions of the first movement (Allegro, G minor, 4/4) represent slightly differing versions which the composer wrote down at different times; there are differences in bars, notes, accentual orthography, and other orthographic details.
(J.M.N. & I.B., translated by Thomas Henninger)
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