Question: Whose works were encouraged and featured by the famous pianist who was married to composer Robert Schumann?

Context articles: Geliebte Clara
Robert Schumann House
Clara Schumann
Scenes from Goethe's Faust
Master Raro
Robert Schumann in Three Pieces
Robert Schumann's Davidsbündlertänze
Piano Concerto (Schumann)
Liebeslieder Walzer, Op. 52 (Brahms)
Fantasy Pieces for Clarinet and Piano

Geliebte Clara ("Beloved Clara") is a Franco-German-Hungarian 2008 film, directed by Helma Sanders-Brahms, her last film before her 2014 death, about the pianist Clara Schumann and her marriage with the composer Robert Schumann.
Robert Schumann House is a museum in Zwickau in Germany.
 The composer Robert Schumann was born here in 1810; it now houses a large collection relating to the composer.
Clara Schumann ("née" Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era.
 She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public.
 Her husband was the composer Robert Schumann.
 Together they encouraged Johannes Brahms.
 She was the first to perform publicly any work by Brahms.
 She later premiered some other pieces by Brahms, notably the "Variations and Fugue on a Theme by Handel".
Scenes from Goethe's Faust ("Szenen aus Goethes Faust") has been described as the height of composer Robert Schumann's accomplishments in the realm of dramatic music.
 The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one baritone, and one bass) is the usual number for a performance.
 Schumann never saw all three parts of the work performed in the same concert, or published together.
 Eric Sams comments 'There is no coherence in the orchestration, which audibly dates from two different periods (hand-horns in Part III, valve-horns elsewhere)', leading him to conclude that Schumann did not conceive the work as a whole, although late nineteenth-century ideas of performance mean that in the modern era the piece is predominantly heard with all three parts.
Master Raro was a notable character that appeared in many of Robert Schumann's character pieces for solo piano.
 Raro may represent the union of (Clara + Robert).
 He was the personality that balanced the two contrasting natures of Eusebius (passive, dreamy) and Florestan (aggressive, enthusiastic).
 Master Raro was also the primary arbiter of the many pseudonyms under which Robert Schumann took guise in his critical writings within "Neue Zeitschrift für Musik", the journal through which he evaluated the music world.
 Raro appears to bring logic and reason into a complex mixture of views of the Davidsbündler.
 He reflects Schumann's writing mastery and musical genius.
Robert Schumann in Three Pieces is the collective title given to three works, composed for the "Avenue A" ensemble by the British composer, Matthew King.
 Together, they constitute a musical portrait of the German Romantic composer, Robert Schumann.
 The first piece, entitled "Ash on the Ground" is a passacaglia in which various compositions by Schumann are quoted; the second piece, entitled "Love in a Life" has a soprano soloist, and is a miniature song cycle to texts by Robert Schumann himself, along with poems by Robert Browning and Elizabeth Barrett Browning.
 It has been described, by one critic, as "rich and sumptuous, with some spine-tingling moments" the third piece, entitled "Night Phantoms and Rocking Horses" is a rapid musical survey of Schumann's piano music at a furious galloping tempo.
 The work ends with fragments of celeste and percussion sounding like a wound-down music box.
Robert Schumann’s “Davidsbündlertänze” is one of the last major works made by New York City Ballet's founding choreographer and balletmaster-in-chief George Balanchine.
 It is set to Robert Schumann's "Davidsbündlertänze" ("Dances of the League of David"), Op. 6 (1837).
 The idea for setting this piano work very likely came from a work created by Robert Joffrey for his own Joffrey Ballet Company, the premier of which took place at the City Center Theater in the late 1970s.
 Joffrey, in turn, received his inspiration from Jonathan Watts, a protege of Joffrey's and director of the Joffrey apprentice company, who, at the suggestion of pianist Neil Stannard (yours truly), created a ballet titled "Evening Dialogues" to this same score.
 This initial version of the Schumann cycle was featured on tour with the Joffrey second company in the mid 1970a.
The Piano Concerto in A minor, Op.
 54 (completed in the year 1845), is the only piano concerto written by Romantic composer Robert Schumann.
 The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part.
 Ferdinand Hiller, the work's dedicatee, conducted.
Johannes Brahms' Liebeslieder Waltzes ("Liebeslieder-Walzer") are distributed across two opus numbers: Op. 52 and Op.
 65.
 The waltzes are a collection of love songs in Ländler style for voices and piano four hands.
 The lyrics for the "Liebeslieder" come from Georg Friedrich Daumer's "Polydora", a collection of folk songs and love poems.
 While there is no concrete record indicating the exact inspiration for the Waltzes, there is speculation that Brahms' motivation for the songs was his frustrated love for pianist Clara Schumann, composer Robert Schumann's wife.
Three Fantasy Pieces ("Drei Fantasiestücke") for Clarinet and Piano, Op. 73, were written in 1849 by the German composer Robert Schumann.
 Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on viola or cello.