This chapter addresses the significance of Clara Schumann as a composer, focusing specifically on analytical studies of her music that embrace the multiple perspectives of the composer, performer, and listener. I emphasise modes of analysis that are concerned with matters of structure and form. Yet I also cast the analytical net more widely to include studies that explore such parameters as text–music relations, cultural analysis, and hermeneutic analysis. Although Clara’s pianism and interpretations of other composers is a closely related topic, it lies beyond the scope of this chapter, except when the music she performed left a marked imprint on her compositional output. Acknowledging the gendered opposition between performance and composition that Clara herself endorsed, I concentrate on the works she created, as those she recreated receive ample attention elsewhere.