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Bditid by
FREDERICK J. CROWEST

THE

Master Musicians

Bach. By C. F. Abdy Williams.

Beethoven. By Frederick J. Crowest.
[Second Edition,
Handel. By C. F. Abdy Williams.

Haydn. By J. Cdthbert Hadden.

Mendelssohn. By Stephen S. Stratton.

Mozart. By Eustace J. Breakspeare.

Schumann. By Annie W. Patterson.

Wagner. By Charles A. Lidgey.

[Second Edition,

In preparation : Chopin.

4f^

/els'

Schumann

Annie W. Patterson

Mus. Doc., B.A.

fReyal Univertitf ef IrcUmdJ
Author of Tie Stay af Oratwr'n, Etc.

With
Illustrations and Portraits

London : J. M. Dent & Co.

New York : E. P. Dutton & Co.
1903

INSCRIBED

WITH MUCH S8T1BM
TO TBX OOMPOSBr's YOUNGI8T DAV6HTSR

FRAULEIN EUGENIE SCHUMANN

V-Wa '^o'^aj. \bO

P r e f a c e

Schumann, as editor, essayist and composer, occupies a
unique and striking position. His early literary culture and

J poetic tendencies, as his subsequent work in connection with
the Neue Zeitschrift fiir Musiiy rendered him a man of many
"^ parts. Thus it happens that, if we consider him from his
^ many aspects of endeavour, he appeals to a wider art circle
. than that which is bounded within the pale of Music alone.
^ Yet, in the realm proper of music, after a very limited
period of healthful activity, Schumann left behind him
specimens of well-nigh every form of classical composition,
in all of which he attained to a high and rare artistic standard
of originality and excellence.

So great, indeed, were Schumann's claims upon the public
for recognition as a musician that, whereas more than one
admirable biography exists of the composer, narrators scarcely
penetrate beyond historical data and critical notices of his
works, leaving the man — as he appears in his essays and
letters — but partially known to us. We have it upon the
authority of Madame Qara Schumann herself that, particu-
larly from his private correspondence, it is easiest to arrive
at a just estimate of the sterling personal traits of her
husband.' Hence the writer, in the present instance, while
' See page 141.

Preface

not neglecting a life narrative and necessarily brief survey
of musicianship, has endeavoured, as far as was possible, by
an analysis of his correspondence, to let the great tone poet
speak to the readers through his own thoughts and mental
aspects as displayed so vividly in his various writings and
letters. Thereby it is hoped to supply that which has
hitherto been wanting in the way of an accurate character
sketch.

For biographical details the authoress wishes to express her
special indebtedness to Wasielewski's Life of Schumann^ an
able work, which Spitta places first in the list of Schu«
mann authorities ; Reissmann's Life of Schumann (English
translation by A. L. Alger), which contains much valuable
information and critical material ; and, notably, to Spitta's
scholarly and sympathetic sketch of Schumann in (Move's
Dictionary of Music and Musicians, Other interesting works,
dealing with the musician and his output, will be found
catalogued in the Bibliography (Appendix B), from which
it will be seen that there is no lack of valuable Schumann
literature.

In presenting Schumann's personality, the writer has
sought, as has already been implied, by a careful and
thorough analysis of his essays and correspondence, to
comply with the wish of his late distinguished wife that
the man himself should be allowed speech through his
writings, and especially his letters. For this purpose fre«
quent references have been made to the published collections
known as Robert Schumann^ s Jugend Briefe (v^dth preface by
Madame Qara Schumann), Robert Scbumann^s Briefe (com-
piled and edited by F. G. Jansen), and what private

viii

Preface

(unpublished) correspondence the authoress has been privi-
leged to see and quote from through the courtesy of friends.
Short extracts from the published letters have been taken
from the excellent English translations by May Herbert of
the above collections, known respectively as Early Letters of
Roifert Schumann^ and The Life of Robert Schumann told in
His Letters^ to a perusal of which, in their entirety, the
reader is earnestly recommended. Regarding Schumann as
editor and essayist, space limitations in this case have pre-
cluded much in the way of quotation, especially as, apart
from context, it is unfair to an author not to '^hear him
out,'' and from all sides of the question. But acknowledg-
ment for the subject-matter dealt with is herewith made
to Fanny Raymond Ritter's apt translation into English of
Gesammelte Scbriften iiber Musii und Musiierf edited by
Schumann himself, and popularly known as Music and
Musicians.

Above all, the writer must not omit to mention F. G.
Jansen's exhaustive and highly - interesting book. Die
Davids biindlerf aus Robert 8cbumann*s Sturm und Drange
Periode, Professor Jansen ranks as one of the foremost of
Schumann authorities ; and for aid in translating extracts
into English from his work in question, the warmest thanks
are herewith tendered to Mrs Sophie Metcalfe. This lady,
herself a talented pianist and professor of music, and a
daughter of the late gifted pianist, Mrs Thomson {nee
Robena Laidlaw), has also most kindly permitted the publi-
cation, for the first time, of two interesting early letters of
Schumann to her mother, which throw light upon the
composition of that well-known pianoforte cycle, the

Preface

'' FantasiestUcke " (Op. 12). To many other musical friends,
and particularly to Mr A. J. Hipkins and Mr Algernon
S. Rose — both foremost authorities on the pianoforte
literature of the day — the authoress also desires to express
her sincere thanks for much kind interest and valued help
in collecting material for the present volume. Last, but
not least, she feels honoured in being permitted to inscribe
the book, with much esteem, to Fraulein Eugenie Schumann,
the composer's youngest daughter, to whom she has had the
privilege of a personal introduction, and who has rendered
valuable help in suggesting appropriate illustrations, as well
as by confirming the writer's opinion with regard to the
lines upon which a just and sympathetic estimate of her
distinguished father — both as artist and man — might be
laid before the reader.

In conclusion, the biographer pleads the vastness and
variety of the material at her disposal, if, at best, the
multiple accomplishments of one of the most original of
Master Musicians be touched upon in a light narrative,
rather than deeply critical or erudite, fashion. The story
in itself is more than interesting — ^it is deeply touching and
instructive.

ANNIE W. PATTERSON.

London, February 1903.

Contents

BIOGRAPHICAL
CHAPTER I

PAGB

Birth and Parentage — Inherited Characteristics— Early Musical Training—
Hearing Moscheles play— Literary Culture — The Mystic Nonade— The
Poetry Period— First Literary Attempts— friendship with Rosen— First
Year at Leiprig University — At Heidelberg under Thibaut — Music
versus Law— His Mother's Letter to Wieck— A Peep into Wieck's
House— Enthuriasm as a ^anist ...... i

CHAPTER II

A Fortunate Calamity— From Piano to Composition — Early Impressions of
Clara Wiedc— Musical and Social Life at Leipzig— The Origin
of the Neu€ Ztitschrift — Its Nature and Raison ttttrt — The
" Davidsbtlndler "—The Musician as Editoi^-The Writer as Composer^
Admiration of Mendelssohn — Mendelssohn's Attitude to Schumann —
Different Traits of the Two Musicians ..... 17

CHAPTER III

Schumann in Love— Ernestine von Fricken — ^A Broken Engagement—
"From Old Dreams to New"— The Love that lived— Early Love-
Letters— Clara Wieck as Composer— Parental Opposition— A Move to
Vienna— The Paper and " Red Tape "—Devotion to Schubert— A Steel
Pen — Composition in Vienna. ...... 30

CHAPTER IV

Aspiration to a Title— The Newly-fledged " Doctor "—Wieck's Persbtent
Opposition— A Weddmg Day at last— A Piano PresenUtion— Song,
S]nnphony and Chamber Music— Longing for an Opera Text— Composi-
tion of "Paradise and the Peri " — Mendelssohn and the '*Peri"—
" Paradise and the Peri " a Unique Work ... •43

Contents

CHAPTER V

PAGB

The Climax of Exertion— Letter from Russia to *' Papa Wieck"— A Trip to
Englandcontemplated — Professorship at Leipzig Conservatoire— A MoTe
to Dresden— Contrapuntal Work— Looking for a Libretto— The Writing
of " Genoveva" — The Composer and His Opera— Delays and Postpone-
ments— "Genoveva" performed at last — The "Faust" Music-
Conducting Choral Societies ...... 54

CHAPTER VI

Retrospective— The Composer as Conductor— The Apathy of Vienna— The
Shadow of the End— From Dresden to DOsseldorf— A Pleasant Start in
the New Sphere — Congenial Occupation— As Conductor*— Failing
Health— Compositions of the Time ...... 69

CHAPTER VII

Sacred Music— The Composer^s Scheme for " Luther " — Librettist and
Musician— Further Compositions of the Time — Meeting with Brahms —
A Last Yearning Viennawards— In the Valley of the Shadow— Release
atLast— "TheEnd isnotyet" ...... 81

THE MAN

CHAPTER VIII

Circumstances and the Man — The Short-lived Melodbts — The Musician
as Letter- Writer— Published Letters— Classification of the Schumann
Letters— To His Mother— Hypersensitiveness to Trouble— Maternal
Letters— Letter Reference to Early Compositions— Correspondence
with College Friends ........ 92

CHAPTER IX

Madame HenrietteVoigt— Ernestine von Fricken— Susceptibility to Feminine
Grace and S3rmpathy — The Poet-Musician and Beauty— Friendship for
Robena Laidlaw— First Meeting with Schumann— A Stroll in the
Rosenthal— Subjects of Conversation— Jansen's and Wenxel's Tributes
to the Composer's Early Conversational Powers— Youthful Sociability
—The Attainmenu and Personal Charm of Robena Laidbw — Two
Hitherto Unpublished Letters ...... loi

xii

Contents

CHAPTER X

PAGE

C3ara JoMphine Wieck — A Contemponuys Ofnnion upon Madame
Sdramann's Playing — Madame Schumann as Composer — Early
Admiration—A Musician's Love-Letters — Madame Schumann as an
Interpretative Artist— The Musician and His Children . . xx8

CHAPTER XI

Attitude to Professional Friend»— Able and Generous Criticism of Fellow-
MuMcians — Appreciation of, and Affection for, Mendelssohn — An
" Affectionate Visit" and Mutual Friendliness— Opinion of Meyerbeer
—Wagner and His Music— Kindliness towards Young Students, etc.—
Miscellaneous Correspondence — Senses of Detail, Courtesy and
Consideration— Pathetically Humorous even to the End— A Significant
Letter .......... taj

CHAPTER XII

The Man as seen in His Letters— Personal Aspects— Appearance and Build —
Tadtumity of Latter Years— A Silent Repast and Interview— Meeting
with Wagner — Alleged Vehemence — *rhe Composer's Reserve —
Importunacy quietly repressed— The Musician at Home— The Leipzig
Music-Room — At the Kaffeebaum — Evening Routine— Schumann's
Religion— Opinion of Berlioz— Moscheles and Mendelssohn— Abb6 List
— Resumi ......... 141

THE MUSICIAN AND WRITER

CHAPTER XIII

FSancrfbrte Playing — Manner of Performance — ^DOrffel's Testimony— Impro-
vising at Twilight— Other Authorities . . • XS5

CHAPTER XIV

A Liberal Education— Regarding Talent and Genius— The Inexpressible Ego
— Music and Metaphor— Essays from the Ntiu Ztifsckri/i—Advtxat
Comments— Defence of the Editor-Musician— Literary versus Musical

Work z6o

xiii

Contents

CHAPTER XV

PACB

Forging Ahead with "Full Steam" on— The Musician as Critic— Sensitive-
ness to Criticism — Style as a Writer— Some Remarkable Essays-
Mendelssohn versus Meyerbeer — Interesting Miscellaneous Topics-
Valuable Musical Advice and Opinions— The Writer as Poet 169

CHAPTER XVI

Piano Compositions— Music for Young People — Pianoforte Sonatas-
Variations on the Name " Abegg " — " Papillons " — " Camaval "—
"DavidsbundlertSnze"— Shorter Pieces— Piece Groups — " Fantasie-
stttcke *• (Op. la)— The Concertos— "Variation" Work . . .180

CHAPTER XVII

Compositicms in all Forms — Symphonies — Overtures — Chamber Music—
"Paradise and the Peri"— The Choral Ballads, etc. —Wanted, an
Ideal Grand Opera— "Gcnoveva" brought out under Difficulties— Faith
of the Composer in His Work — A Plea for the Libretto — Has
" Gcnoveva" had a Fair Hearing?— The "Genoveva" Music . 196

CHAPTER XVIII

Sacred Music— Well-known Songs— Other Vocal Favourites— Poetic Numbers
—Love Songs— Nature of the Song Music— Artistic Accompaniments
— Concluding Remarks ....... 207

APPENDIX A

Catalogue of Schumann's Published Compositions . .2x7

APPENDIX B

BibUography 22a

List of Illustrations

PAGB

Portrait of Schumann, from a Reproduction in
Lithography by G. Feckert of a Drawing by A.
Men%eL {Photogravure) . . . Frontispiece

The Birthplace, Hauptmarkt, Zwickau, from a

Drawing by J. A* Synungton ... 3

Medallion of Robert and Clara Schumann. {By
kind permission of Messrs Breitkopf £sf Hartel^
Leip%ig) ..... facing 46

Portrait of Clara Schumann, nee Wieck . facing 94

Facsimile of a Letter to Robena Laidlaw. {By

hind permission of Mrs Metcalfe) . . 106-107

Portrait of Schumann, from an engraving by M,

Lammel ..... facing 142

Design of Title-Page of "Album for the
Young." {By hind permission of Messrs Brnthopf
£sf H'drtel^ Leipzig) . . . .183

Facsimile op Scoring (from the B Flat Symphony) . 211

SCHUMANN

Biographical

CHAPTER I

Birth and Parentage — Inherited Characteristics — Early Musical Train-
ing — Hearing Moscheles play — Literary Culture — The Mystic
Nonade— The Poetry Period— First Literary Attempts— Friendship
with Rosen — First Year at Leipzig University — ^At Heidelberg
under Thibaut — Music versus Law — His Mother's Letter to Wieck
— A Peep into Wieck's House — Enthusiasm as a Pianist.

Music is not hereditary, else we should scarcely speak of
it as a "gift.** The Bach family, the Mozarts — father and
son — the Wesleys, and other noted instances of apparently
inherited musicianship, are, doubtless, but the exceptions
which prove the rule. We are now speaking of music as it
displays itself in a Master Musician, in other words, of
musical genius. Between talent and genius there is a wide
gap. Talent flourishes under favourable circumstances and
partakes, naturally, of the atmosphere in which it is reared.
Genius — most often a martyr as far as environment is con-
cerned — is born to over-ride obstacles and adversity, and
to come to maturity in surroundings of its own creation.
Beethoven's genius developed all the sooner, probably,
owing to the early if severe musical discipline which he re-
ceived ; but in later years he chose his own path. Handel

A I

Schumann

was a sturdy combatant from the first, and, by the power
of his indomitable will, even in childhood, he carved his
way to his heart's desire in spite of parental opposition.
Schumann, the dreamer and romanticist, won his niche in
Parnassus by the sheer devotion and poetry of his nature.
If Handel's claim to immortality might be compared to
the title of one of his last oratorios, "The Triumph of
Time and Truth," then Schumann may be considered to
have owed his victory to Love, the Conqueror.

Robert Alexander Schumann was born at Zwickau,
Saxony, on June 8, 1810, the exact hour of his birth
being given by Wasielewski as 9.30 in the evening. His

father, Friedrich August Gottlob Schumann,
Birth and the son of a clergyman, appears to have been
Parentage a man of no ordinary talent and culture. The

elder Schumann had begun life humbly as a
shop assistant. But he found time to improve himself in
literature; and having been employed by one Heinse, a
bookseller at Zeitz, he thereby won that experience in the
book trade which enabled him later on to start, in conjunc-
tion with one of his brothers, the eminent publishing firm of
Schumann Brothers. This event took place at Zwickau in
1808. Some thirteen years previously Friedrich August had
married Johanna Christina, daughter of Herr Schnabel, the
town physician of Zeitz. Madame Friedrich Schumann
seems to have been a remarkable woman in many ways.
She has been blamed for opposing her son Robert in his
desire to make music his profession ; and it was certainly
out of respect to her wishes that he only entered upon his
beloved calling after the first glow of youth was past. But

Schumann

mother's love, strong, solicitous and maybe almost morbid
in its anxiety for the boy's future prospects, surely covered
her mistake. The musician himself was all along deeply
conscious of this, and hence, out of filial duty, he came
near sacrificing himself and his art. But such a calamitous
happening was mercifully prevented. Love and genius,
instead of opposing each other, made a compromise. But
we are anticipating.

Robert was the youngest child. Usually the latest born is
the most favoured and petted by parents and elder members
of a family. The mother, especially, is tenderly drawn to
the last baby — she would fain keep him a baby
Inherited always. That much of Robert's romanticism.
Character- and that hyper-sensitiveness that amounted
istics almost to melancholy, were owing to the in-

fluence of his mother's disposition, has been
alleged. But the boy seems also to have inherited from
his father that ardent determination to win his way at his
chosen pursuits in spite of drawbacks ; and so the morbid
side of his temperament was generally fairly balanced by
the enthusiasm and ambition of his artistic nature.

Neither of Schumann's parents were musical in the
usually accepted meaning of the term. His
Early father, however, seems to have favoured his son's

Musical love for music, and it is certain that he pro-
Trdining cured for Robert the best musical instruction
that could be obtained in Zwickau. This in-
cluded lessons from J. G. Kuntzsch,^ the organist of the

' It is said that Kuntzsch, in later years, when Schumann had finaUy
launched upon music as a profession, prophesied that his erst pupil would

Biographical

Marienkirche, who appears to have been keenly struck with
his young pupil's talent. How early the boy's gift displayed
itself it is impossible to say. Writing to a distinguished
amateur friend^ in 1839, Schumann himself speaks of
having begun to compose in his seventh year. At eleven
we find him acting as accompanist at a performance of
Schneider's "Weltgericht,"*when he is described as having
stood at the piano throughout, his master, Kuntzsch, acting
as conductor.3 Shortly after this he is also accredited with
having organised many home musical riunionSy principally
among young people of his own age, and to have gained
quite a reputation in the social circles of his family- as
a clever extempore player. Thus early did the creative
yearning make itself evident. Ere long Kuntzsch declared
the boy could progress alone — in other words, the master
felt that his pupil was outstripping him. So impressed was
the elder Schumann with the musicianship of his son that
at one time he made an effort to procure for him the tuition
of C. M* von Weber, who had, some short time previously
(181 7), been elected Capellmeister in Dresden. Weber
was willing to undertake the training of the boy — then
only eight years old — but, for some unexplained reason, the
project fell through.

This circumstance serves to show that Robert's father
may have taken more interest and pride in the musical

attain to the highest fame, Schumann appears to have highly esteemed
his first pianoforte teacher, and, in 1845, dedicated to Kuntesch the
•' Studies for Pedal Piano," Op. 56.

' M, Simonin de Sire (of Dinant),

* Oratorio by F. Schneider (1786- 1853).

3 Spitta in Dictionary ofMusic^ and Musicians (Grove).

Schumann

tendencies of his little boy than is generally supposed. A
year later the parent again indirectly gave the
Hearing young musician that very impetus towards
Moscheks musical study which his probably dormant in-
clination required. He took the lad to hear
Ignace Moscheles play at Carlsbad. How deeply the child
was impressed was proved by after occurrences. During
the whole of his career the composer cherished the highest
reverence for the famous friend of Mendelssohn, and some
of his earlier works — perhaps notably the Pianoforte Varia-
tions on the name " Abegg " (Op. i) — show the influence of
the great pianist's technique. Again, in a letter to Moscheles,
dated 20th November 1 85 1 , Schumann tells the elder musician
how, thirty years before, he had preserved "as a sacred
relic " a programme which the virtuoso had handled.' Un-
doubtedly the hearing Moscheles play was a landmark in
the career of Robert Schumann. He was then about nine
years old.

Now followed a period in the youth's life which may be
described as more literary than musical, though music was
never quite forgotten. At ten the boy was sent to the
local school of his own town, through the
Literary various classes of which he passed, leaving in
Culture Easter 1828. On March 29 of this year he
matriculated at the University of Lieipsdg as
a law student. This step was taken to gratif;^ his mother.
The young man, now in his eighteenth year, longed to

' In later years the respect of both musicians seems to have been
mutual for each other. Moscheles' "Piano and 'Cello Sonata" (Op.
121) is dedicated to Schumann.

Biographical

follow the art to which he was so devoted, apd he had
little or no taste for jurisprudence. But his father, who
had been inclined to foster his youngest son's musical
tastes, had died in 1826, and his mother's wish that he
should be a lawyer seemed so urgent that the sense of filial
duty carried the day.

There are few life histories of celebrities which, if
analysed, do not present epochs of thought and activity
in some one direction which, more or less, colour after
achievements. That these epochs should serve
as periods of progress we willingly allow. That Mystic
the mind should work in a regular time-cycle, Nonades
passing from one phase of sentiment to another
with almost mathematical exactness, is a metaphysical
mystery scarcely as yet explored. Nature is supposed to
renew or rehabilitate the physical frame every seven years ;
perhaps a turning-point in mental development may be
reached — especially in emotional or poetical subjects —
every ninth year, nine being the mystic number, the three
times three of the seer. Be this as it may, the sequence of
numbers, which strangely influence the institutions of man
as the universe of the Creator, may affect the lives, and
especially the mental growth, of human beings more than
people think. It is certainly curious that Schumann's
adolescence, or development period, may be roughly classed
into two divisions of nine years each. His first nonade
witnessed his childhood's musical aspirations and early
triumphs in composition — ^that branch of art in which he
was destined, in later years, to win his laurels. His
matiurer work periods might also be relegated to nonades.

Schumann

The second nine, from his tenth to eighteenth year,
marked an undoubted divergence of interest. During this
time, partly owing to scholastic discipline and also due to

inclination towards general culture derived
Poetry from his father, we find the future composer
Period much attracted by the Muse of Poetry. The

shop of Schumann Brothers was a storehouse
of treasures to the lad ; and we may be sure that, in his
thirst for book knowledge, Robert was, at this period of
his life, enthusiastically aided and encouraged by both his
parents. Romantic literature, and especially emotional
verse, attracted him most. Among his favourite authors
Spitta^ quotes Schulze, the author of Die Bezauberte
Rose ("The Enchanted Rose"); Franz van Sonnenberg,
who afterwards went insane; Byron; and, notably, Jean
Paul Richter.

The influence of these writers, and especially that of
the last-named, Jean Paul, upon the susceptible, keenly
imaginative and somewhat sentimental mind of the lad

Schumann, was apparently very great. His
First admiration for Jean Paul, whose writings he

Literary first came across in his seventeenth year, never
Attempts wavered during his life. He frequently refers

to the poet in his letters ; and when, some years
later, he visited Bayreuth on a holiday trip, the musician
called upon Jean Paul's widow and obtained from her, as
a valued memento, a portrait of his favourite bard. Nor
was Schumann a reader only, but, in these days of his
teens, he aspired also to be a writer of verses. Some of

' Dictionary of Music and Musicians (Grove).
8

Biographical

these poems he subsequently (in 1827) set to music. He
must early have displayed facility with his pen, for at
fourteen years of age we find him one of the contributors
to a series, published by his father, entitled Bildergallerie
der beruhmtesten Menschen aller Volker undZeiten (" Portrait
Gallery of the Most Famous Men of all Nations and
Times"). Thus was doubtless sown the seed of that
facility in putting his thoughts to paper so characteristic
of Schumann the letter-writer, editor and essayist.

The commencement of his university career was pleas-
antly marked by his making the acquaintance of a fellow-
student, Gisbert Rosen, for whom he conceived a fast and
devoted friendship. Young Rosen had decided
to study at Heidelberg, and thither Schumann Friendship
accompanied him on a short pleasure trip with

before settling down to his own course at Rosen

Leipzig, from which town he frequently wrote
to his friend. During the first few months of his university
work Schumann grew low-spirited, as would appear from
those letters, and from others (to his mother) belonging to
this time. Always of a retiring disposition, he preferred to
keep to himself, finding little that was congenial to his
refined and sensitive nature in the students' club. It
speaks much for the sympathetic and congenial nature of
young Rosen that he should have succeeded in winning the
confidence of the reserved youth Robert, who hitherto had
been accustomed only to the society of the women of his
family, and communion with his books. That he experi-
enced the greatest difficulty in making up his mind to
regularly commence his selected course of study, seems

Schumann

evident. He confesses, in one of his letters to his friend,
that his first half-year was mainly spent in playing the piano,
writing letters ind "Jean Pauliads."

After a little he seems to have come somewhat out of his
shell and to have mixed in congenial society. He was a
frequent guest at the house of Professor Cams, whose

accomplished wife gathered round her a rare
J*irst Year musical and artistic circle. Among interesting
at Leipzig people met at these riunions was Marschner,'
University and notably Friedrich Wieck, who was destined

to be our hero's future father-in-law. That
music, rather than either law or literature, was very strongly
in the mind of Schumann at the time, there can be little
doubt. The early death of Schubert had just taken place
(1828). This sad circumstance seems to have keenly
affected Robert Schumann; and, with a band of fellow
musical students, he devoted special attention to the works
—only too little known then — of the greatest of song-writers.
J. S. Bach was another composer whom he regarded now,
as indeed always, with an admiration and respect akin to
worship. To some it might appear curious that the music
of the earnest and scholarly old Cantor of the Thomas
Schule, Leipzig, and the spontaneous melody of Schubert,
as the fanciful writings of Jean Paul, should all have
appealed to the mind of Schumann. Apparently the
mental characteristics of the two musicians named, as of
the romanticist, were as opposite in tendency as could well
be imagined. But Schumann had a great deal of the
philosopher about him, and he peered beneath the surface

' Heinrich Marschner, German opera composer (1796-1861).
10

Biographical

of scholasticism as of sentimentality. Bach bears analysis ;
in fact, only after the most careful and sympathetic study
does one find, under counterpoint and fugue, that staunch
nobility and resoluteness of aim and purpose which never
fail to stir the soul to loftiest thought and endeavour. If
anything can, this attraction which creative minds of a
heroic and fanciful cast exercised over Schumann shows
the many-sidedness of his own disposition, both as a
dreamer and thinker. It is also worthy of note that,
although he was lax in attending legal lectures at the
university, he was much interested in the philosophic
classes of Krug, and appears at the time to have delved
deeply into the works of Kant, Schelling and others.

In 1829 Schumann joined his friend Rosen at the
University of Heidelberg, where, doubtless, the presence
of the famous teacher, A. F. J. Thibaut ' — who combined
a love for music with the severer pursuit of the
law — ^was an attraction to both young men. It At Heidel-
does not appear, however, that, in Schumann's berg under
case, professor and student got beyond the Thibaut
formalities of a college intimacy, though, later,
we find Thibaut strongly encouraging Schumann in his
desire to relinquish law for music. No wonder that even
his master should so counsel him ; for, as in Leipzig, so
in Heidelberg, his beloved piano claimed almost all the
young student's attention. While in Heidelberg he prac-
tised seven hours a day, and those who then heard him
play speak in the highest terms of his technique and

* Author of Ueher Rheinheit der Tonkunst (" On Purity in Musical
Art.")

Schumann

execution. It is worthy of note that his first — and,
indeed, only — public appearance as a pianist was made
here at this time, when he again showed his appreciation
for Moscheles by playing that master's Variations on the
" Alexander-Marsch," and made quite a sensation. Pressed
often afterwards to play again at concerts and various
musical entertainments, he invariably refused.

On the whole, Schumann appears to have been much
happier in Heidelberg than in Leipzig. The restraints of
university life seem to have been very slight, and surround-
ings were more congenial. That the youth
Music spent more time over amusement than study

versus also appears evident. His letters at this

Law period to his guardian, Herr Rudel, request-

ing for increases to his allowance, make
amusing reading. "You would immensely favour me,
most esteemed Herr Rudel," he writes on one occasion,
" if you would let me have as much money as you can as
soon as you can." ' At another time, when he desires to
travel to Italy, he speaks comically of being obliged to
make the journey some time, so that it would make no
difference if he used the money for the purpose then or
subsequently. Indeed, pleasure trips at the time seem
frequent ; and it was during this very sojourn in Italy that
he first heard, and was deeply impressed by, the marvellous
playing of Paganini. It was only during his third year in
the artistic town of Heidelberg that Schumann seems to
have braced himself up to make a last attempt to interest
himself in his legal studies. He took what was called a
' Early Letter.
12

Biographical

Repetition Course with an old lawyer ; and, occasionally, it
would seem from his home letters that his mind was at last
being won over to the profession which his fond mother
had designed for him. But Nature would not be thus
outraged. The musician's entire want of appreciation of
Jurisprudence appeared only too evident upon closer
acquaintance with the subject, and at last Madame Schu-
mann was persuaded to leave the decision of her son
Robert's future career to the judgment of that eminent
teacher of the pianoforte, Friedrich Wieck, with whose
family Schumann was afterwards to be so closely asso-
ciated.

It is from a letter of hers to Wieck, written at this crisis
in her son's life, that we really get an insight into the true
devotion and solicitude of the mother for her
youngest and highly-gifted child. Instead of His

this representing her as being a hard and Mother^s
determined woman, whose personal ambition Letter to
for her offspring would allow her to over-rule Wieck

even his own happiness and healthful exertion,
we see therein the anxiety of mother-love, as also the earnest
desire that her son's future success should be assured before
any definite step was taken. An extract from this interest-
ing epistle ' may here be quoted : —

" I know that you love music — do not let that feeling
plead for Robert, but consider his age, his means, his
strength and his future. I beg, I implore you, as a
husband, a &ther, and the friend of my son, act like an

' Quoted in its entirety in Wasielewski's Life of Schumann, See also
Reissmann's Life (Translated by A. L. Alger).

Schumann

honest man, and give me your plain, frank opinion — ^let
me know what he has to fear or to hope."

Old Wieck must have been touched with the fervour of
the appeal in this letter, and probably he fully realised the
responsibility cast upon him in making him arbitrator in
such a case. His reply was to the effect that a final
decision could only lie with Robert himself, if he felt
sure of his powers. At all events, music carried the day ;
and, with newly-awakened ambitions and aspirations we
may be sure, Schumann found himself once again at
Leipzig, under the immediate tuition of Wieck himself,
in whose house he was for some time a resident student.
This was in the year 1830. Clara, Wieck's gifted daughter,
was then but a little girl of eleven. Schumann was twenty.
Alfred Dorffel, the pianist, gives us a pleasant little peep
into the abode of Wieck, which, although the period is a
few years later,' gives us an idea of homeliness and sim-
plicity which is pleasing. The Wiecks were
Peep into giving a concert and Dorffel wished to go. At
Wiecks the time he was but a small boy, and had
House no money. Upon the advice of his master

he called upon old Wieck and begged for a
ticket, saying he was learning Schumann's ^' Papillons,"
which Clara Wieck was to play at the concert. "Show
me your hands," said Wieck to the tiny lad, who could
barely stretch a seventh. Eventually, much amused,
Wieck got the embryo pianist to play the piece, which
he did manfully, though the piano stool was far too low
for him. However, the child had the knack of playing

' 1835.
14

Biographical

octaves as if broken (in arpe^w\ but very quickly, and
he took the '' Papillons " at a brisk pace. Wieck roared with
laughter, while a young girl (Clara) and a young man
(Schumann), who were standing together at the window
listening, appeared to enjoy all immensely. "Good,"
said Wieck, when the brave little performer had finished.
"Come to the orchestra; you want no ticket" Conse-
quently, young Dorffel was admitted that evening, and,
finding a place near Clara, was in ecstasies of delight.'

Such was " Father Wieck," under whom Schumann now
began to pursue his pianoforte studies with intense ardour
and energy. The young musician's first aim seems to have
been, naturally, to perfect himself as an execu-
tive artist. To this end he worked assiduously Enthust-
at wrist and finger exercises, and rather shirked asm as a
the study of harmony, which Wieck considered Pianist
he ought to combine with his daily technical
drill. The fact was that, as is often the case with most great
creative minds, Schumann had a disinclination to assimilate
dogma in the usual humdrum fashion, and must have early
formulated his own rules of composition, reading between
the lines, and following the spirit rather than the letter of
cut-and-dry theory. From the circumstance that Schumann
sought to perfect himself first as a performer, it has been
suggested that, at the commencement of his studies with
Wieck, he was not quite certain of his powers as a com-
poser. But as the " Toccata " had been commenced (accord-
ing to his own statement in a letter) in 1829, and there
seems reason to believe that the Variations on the name
' Narrated in Jansen's Die Dcandshiindler,
15

Schumann

" Abegg " and the " Papillons " were also written about this
time, it seems more likely that, while under Wieck, he
was simply putting forth his best energies as an executant,
not unlikely spurred on to excel in this department by the
remarkable talent already displayed as a performer by the
youthful Clara Wieck.

CHAPTER II

A Fortunate Calamity — From Piano to Composition — Early Impres-
sions of Clara Wieck — Musical and Social Life at Leipzig — The
Origin of the Nem Zeit5chrift—\\& Nature and Raison d?'//«— The
** Davidsbttndler "—The Musician as Editor— The Writer as Com-
poser — Admiration of Mendelssohn — Mendelssohn's Attitude to
Schumann — Different Traits of the Two Musicians.

Accident and adversity are often spoken of as blessings in
disguise. In the case of Schumann the calamity, or experi-
ment, rather, which led to his maiming his hand, and so
effectively putting a stop to his career as a
virtuoso, must be regarded as a fortunate one. Fortunate
The way it happened was as follows: Schu- Calamity
mann, to facilitate the rapid acquirement of
perfect freedom of finger action, used a device whereby
the third finger was drawn back and prevented from mov-
ing while the other fingers played. This contrivance, if it
had not been carried to the point of overstraining, might
perhaps have effected its purpose and produced greater
agility of finger. But the pianist, anxious to make up for
the lost time of his first youth, wherein the hand is best
made naturally nimble, overdid the experiment and per-
manently maimed his finger. Thus was an executant
baulked on the very threshold of his career. But thus also
B 17

Schumann

was an emotional tone poet turned perforce to that very
channel of output in which he could find most congenial
scope for expressiveness of the wondrous thoughts which
burned within him.

On Professor Jansen's authority we learn that Dr Otto
of Schneeberg tried to cure the injury to Schumann's finger
by electricity, but the weakness — the result of overstraining

—could not be eradicated. This put an end, not
From only to the young musician's pianoforte studies

Piano to under Wieck, but also to a contemplated course
Compost' which he had hoped to take with Hummel.
tion Writing to Topken in 1833, he refers casually

to the accident : " I still play the piano very
little," he says, ''as I have a lamed finger on my right
hand. Through a trifling damage and subsequent care-
lessness the injury has become so serious that I can hardly
play with the whole hand." ' That the musician deeply felt
the calamity that had befallen him we can scarcely doubt.
Yet it is characteristic of his eminently philosophic spirit
that, having parted company with one aim in life, he imme-
diately turned his attention to another branch of musician-
ship — that one in which he was destined to shine so con-
spicuously — composition. His pianoforte lessons having
been brought to an abrupt conclusion, he now determined
to perfect himself in the theoretical part of creative work,
and, for this purpose, placed himself under the instruction
of Capelkneister Dorn,^ then a notable figure in the musical

' Die Damdsbundler (Jansen).

* Heinrich Dorn (1804- 1 892), conductor and composer, was highly
respected as Capellmeister at Leipzig, Colc^ne and Berlin.

Biographical

world of Leipzig. That Schumann worked for his new
master in anything like a conventional or methodical way
was scarcely to be expected of one of his exceptional tem-
perament. He had already imbibed the leading principles
of form and construction; he utilised these now as mere
skeletons around which to wreathe the wealth of his poetic
fancy, probably often to the astonishment of his preceptor.
But Dom speedily recognised the rare talents of his gifted
pupil ; and though he protested against too much " free ''
work, yet he thought very highly of the young musician.
Schumann himself afterwards expressed his indebtedness
to Dom's instructions, averring that he had learnt more
from his teaching than Dorn could believe.

The winter of 1832-1833 was spent principally at his
home in Zwickau and with his brothers at Schneeberg. A
Symphony in G belongs to this period ; but, as it was never
published, the composer probably considered
it an immature work, and simply as the out- Early Im-
come of his student period under Dorn. It pressions
was, however, performed at Zwickau (Nov. of Clara
18, 1832); and this occasion, apart from the Wieck

rendering of the Symphony in itself, was per-
haps a significant happening in the life of Schumann. The
concert on this occasion was given by Clara Wieck, then
thirteen years of age.

When at her father's house, Schumann had doubtless had
many opportunities of becoming acquainted with and
marvelling at the wonderful executive talents of the young
performer, who was one day to be his devoted helpmeet
and the foremost exponent of his pianoforte works. But

Schumann

this was probably the first occasion upon which we can
record any de^nite expression of his appreciation for the
young pianist herself and her, even at that early age,
brilliant powers as an executant. "Zwickau," he writes,
" was enthusiastic for the first time in its life." He also
characterises the young artist's rendition as ''perfect."
Thus was forged, perhaps, the first link in a chain of
admiration, later on destined to develop into the most
earnest devotion, for a woman whose talents and many
excellent qualifications of character entitle her to rank
among the foremost musical artists of her sex.'

In 1833 Schumann was again in Leipzig. Unlike many
of his fellow-artists, he had certain small private means of
his own, so that the necessity of making a living out of his

profession was not pressing; consequently we
Musical find him spending his time, for the most part,
and Social over his early compositions, or in the society of
Life at congenial friends. Among the latter was the
Leipzig charming Madame Henriette Voigt, for whom

the composer cherished the highest respect and
esteem and whom he afterwards corresponded with in
terms of affectionate regard, making her a confidant in his
love affairs. Henriette Voigt was an amateur pupil of L.
Berger, and both she and her husband, Carl Voigt (a
Leipzig merchant), entered with keen appreciation into the
musical achievements of the day. That Madame Voigt
thoroughly sympathised with the reserved, if strongly
imaginative, temperament of Schumann is evidenced from
a little incident. After a spell of some delightful music
' 5tf^pagc 118.
20

Biographical

together, they went out for an hour's boating. During all
this time Schumann observed a complete silence, which
was unbroken by the lady. Upon making his adieux, the
strangely reticent but deeply sensitive man exclaimed that
never before had they understood each other so perfectly ! '
Compositions of this time appear to have been an Im-
promptu for the piano on a Romanza by Clara Wieck,^ who
added composition to her executive attainments; the
" Toccata " (Op. 7) ; and a second set of Studies for Piano,
after Paganini's " Capriccios " (Op. 10), a first set having been
written in 1832.

Another social influence of this time were the evening
riunions held, with other enthusiastic musical young men,
at a restaurant. These meetings, which extended from
1833 to 1834, were mainly given up to the
discussion of musical topics of the day. The Origin of
spirit of art reform was strong among the little the Neue
coterie. Many were the subjects of their de- Zeitschrift
bates and conferences, but no themes appeared
of such " burning " import as the decadence of music of
the day — Rossini alone on the stage and Herz and Hiinten
at the pianoforte — ^and the weakness and servility of
criticism, even in the Allgemeine Musikalische Zeitung,
the principal musical journal of Leipzig, edited by Fink.
To remedy these abuses it was proposed to start a musical
paper which, with unbiassed honesty and independence,
might bring about a better state of public opinion, as much
with regard to music itself as to improve the status of its

* Spitta, Dictionary of Music and Musicians (Grove)

* Published August 1833 (Op. 5).

Schumann

foremost makers and exponents. Thus originated the idea
of the Neue Zeitschrift fur Musik^^ the first number of
which was issued on April 3, 1834.

The literary talents and inventiveness of Schumann
found congenial scope in the Neiie Zeitschrift, From his
poetic fancy he evolved and incorporated in the new

journal his mythic Society of the Davidsbundler
Its Nature — an art confraternity which originated from,
and and existed only in, the brain of the musician-

Raison editor himself. Even in his early youth, spite
d'etre of unmusical surroundings, Schumann seems

to have always entertained the loftiest ideals
in musical art. For sham, mediocrity, and the pro*
saicism of ordinary talent he had but little tolerance;
yet so refined and hypersensitive was the nature of the
man that, instead of attacking abuses fiercely and in a
state of bitter hostility, he preferred to work reform in the
most chivalrous and courteous spirit. Thus, without de-
scending to personalities or recriminations, he sought ever
to show " a better way " than overstep a moderated tact
and tolerant judgment by self-assertiveness and fault-finding.
With the exalted models of Bach and Beethoven before
him, he knew that their works, at this time, scarcely got
deserved recognition, owing to the paltry taste in musical
matters brought about by the mere "display" methods
and often charlatanism of ambitious self-seekers. As has
been already mentioned, the early death of Schubert, before

'Associated with Schumann in this undertaking were Friedrich
Wieck, Ludwig Schunke (more a pianist than a litUratmr) and Julius
Knorr, an ex-philological student.

Biographical

publishers or the world knew that a genius had, almost
in vain, solicited a hearing, had deeply affected his
sympathetic countryman, and instilled in Schumann's
mind the urgent need for bettering the relations of
composers with publishers as with impressatii and operatic
managers. Several schemes of this kind, for the wide-
spread benefit of his beloved art and its devotees, were,
from time to time, much in the thoughts of Schumann ;
but none, save the paper, took anything like a practical or
lasting shape.

It may be asked, What really was the Society of the
Davidsbiindler? The idea, a Scriptural one, found its
origin in David, the divinely-favoured one, as opposed to
the Philistine host of ignorance, apathy and
superficiality with which all great and noble Davids-
impulses have to make war. There was also, biindkr
doubtless, in Schumann's mind, the contest of
poetry in art as at righteous variance with the more
prosaic and often mercantile aspect in which artists, un-
worthy of the name, regarded their calling. Under the
title of Davidites, Schumann ranged his followers.
Almost all his friends and fellow-workers are referred to
by some one or other fanciful name ; thus old Wieck
was (sometimes) Master Raro, Mendelssohn was Felix
Mentis, Clara was Chiara, and perhaps also Zilia (Cecilia),
etc. Even many rising lights in the musical firmament, as
was the case with Chopin and Berlioz, were brought into
the ranks of the Davidsbiindler. Schumann himself, as
characteristic of the fire as the gentleness of his nature,
figured respectively as Florestan and Eusebius. When

Schumann

any special abuse had to be warmly attacked or strong
enthusiasm expressed, he wrote under the nom de plume of
Florestan ; while Eusebius ever qualified the impetuosity or
severity of a judgment. The arbiter between the two was
represented by the man of moderate, more philosophic
views. Master Raro, an imaginary character, occasionally
pointing to Wieck, but more often the ideal of the perfect
critic and counsellor to whose standard of excellent and
impartial judgment Schumann himself was ever striving.
Only one endowed with such a keen sense as he had of
poetic imagery could have thought out and effectively
sustained such an idea. In fact, not only did Schumann
speak through the mouths of all his creatures of the
Davidsbiindler, but he was the Davidsbiindler himself from
the several points of view of his large, liberal and imagina-
tive mind.

The good which an honest and authoritative paper
like the Neue Zeitschrift did for the art which it supported
can scarcely be too fully estimated. It arose at a time

when, as Schumann and his coadjutors knew,
Schumann musical criticism was at a very low ebb on the
as Editor Continent. Even in musical Vienna, probably

owing to press censorship, the only organ of
recognised musical importance was the Allgemeine
Musikalische Anzeiger^ ^ and this was really more of a trade
paper. Fink's paper in Leipzig was influenced more or
less in its opinions by the tastes and fashion of the day.
Schumann broke fresh ground with utter fearlessness and
independence. He had a very perfect understanding with
* Published by Tobias Haslinger in connection with his own firm.
24

Biographical

his helpers and contributors, who seem to have worked for
hitn to the best of their abilities and upon the friendliest of
terms. Schumann, who was at first associated with Wieck,
Schunke and Knorr in the venture, became, in 1835, sole
editor and proprietor, in which dual capacity he continued
until 1844 — ^strange to say, once more a period of nine
years' activity in a particular groove! His expressions
with regard to art, and opinions upon music in general and
its exponents, are pungent, thoughtful, and of more than
passing worth. Among notable achievements of the editor-
musician was the first press recognition of the genius of
Chopin, as also of Berlioz. Schumann s insight, as touch
ing the works of his great predecessors, cannot fail to be
of assistance to the intelligent reader. After his resignation
in 1844 he only contributed one more article to the paper
— ^and that a remarkable one — ^upon Brahms.

That, during this busy literary nonade, Schumann
should have found time to write some of his most famous
compositions, is little short of marvellous. To this period
belong the F sharp minor Sonata (Op. 11), the
famous " Fantasiestiicke "(Op. 12), the F minor Writer
Sonata (Op. 14), as also the '* Davidsbiindler- and

tanze," " Novelletten," "Kinderscenen," "Kreis- Composer
leriana," " Humoresken," etc., etc. Varied, and
sometimes cold and hostile, were the opinions of contem-
porary critics and composers with regard to the most of these
works. A few, however, recognised that, in the "Carnival*'
and other pieces, a new master of striking originality, and one
who thoroughly understood the resources of the pianoforte
keyboard, had arisen. Thus Grillparzer, the poet, favourably

Schumann

noticed two of the earlier pieces in the MusikaJUche Zeitung in
1832 — ^an honour which Schumann very much appreciated.
Liszt and Moscheles were always sympathetic admirers.
Mendelssohn, however^ although a personal friend — ^he
and Schumann frequently dined together — ^was strangely
silent upon the subject of Schumann's musicianship. That
Mendelssohn should have failed to estimate the high
artistic attainments of his contemporary, or rather have
been so reticent in acknowledging them, is all the more
inexplicable when we discover how enthusiastic Schumann
was, both in his letters and criticisms, about his dis-
tinguished compeer.

Thus, while in the many charming letters of Mendelssohn
we look in vain for some appreciation of Schumann the
musician, the epistolary fervour of Schumann with regard

to his great fellow-artist is worthy of note.
Admira- Writing to his sister-in-law, Thdrese Schumann,
Hon of the editor of the Neue Zeitschrift refers to
MendelS' Mendelssohn as a man to whom he looked up
sohn as to a lofty summit. He even speaks of him

as being ''a perfect god."' Again, in a com-
munication to Zuccalmaglio, ^ he mentions having shown
this able writer's essay on " Erste Tone " (a contribution
to the Neue Zeitschrift) to Mendelssohn, who seems to
have been very pleased with what the critic had said
therein. In this letter ^ Schumann speaks of Mendelssohn's

' Letter from Leipzig, April I, 1836.

' A. W. von Zuccalmaglio, a friend and contributor to the Neue
Zeitschrift,
3 To Zuccalmaglio, January 31, 1837.

Biographical

wonderful enthusiasm and describes his face as a marvellous
one, as it were immortal. Therein he also refers to Sf Paul
in glowing terms, as a work in which one exquisite thought
is constantly succeeded by another. At a later date ^ he
characterises Mendelssohn as the first musician of the age*
Such strong admiration of Mendelssohn, the man and
musician, was unquestionably the outcome of a sincere
heart, as free from envy of a more fortunate brother artist
as it was incapable of empty adulation or time-serving.

Mendelssohn's attitude with regard to Schumann —
certainly a negative rather than a depreciative one — has
been accounted for by Dr Spitta^ in that Schumann's
occupation as a newspaper critic was distasteful
to the composer of ** Elijah," and that he Mendels-
(Mendelssohn) could not reconcile the idea sohn's

of a journalist and musician being united in the Attitude to
same personality. That, spite of his generous Schumann
and unqualified admiration of his great con-
temporary, Schumann had heard, probably exaggerated by
the idle gossip of well-meaning (?) mutual friends, certain
reports that Mendelssohn was not altogether friendly
disposed towards him, seems evident from a casual remark
in an early letter to Clara Wieck in their courtship period.
To her, from whom he concealed nothing, and to whom he
was in the habit of pouring forth his heart in his corre-
spondence, he wonders if it was true what people had said,
that Mendelssohn was not sincere with him. He then

* Letter to Simonin de Sire, March 15, 1839.

' See the scholarly and exhaustive article by Spitta on '* Schumann " in
Dictionary of Music and Musicians (Grove).

Schumann

speaks of his own high estimation of his brother artist, but
adds that the reports referred to would put him on his
guard not to throw away devotion upon one who, perchance,
criticised him adversely behind his back.

How far there may have been foundation for the reports
— whatever they were — which had reached Schumann's
ears, it is difficult to say. The frank and genial dis-
position of Mendelssohn, as the generosity of
Different his character, coupled to his almost daily
Traits of intercourse with Schumann, scarcely allow us
the Two to think that he was in any way unjustly biassed
Musicians against his distinguished fellow-musician.
Perhaps the best way of explaining the situation
is to remember how very opposite they were to each other
in temperament as in methods of musical output, albeit
both were so strongly tinged with the spirit of modern
musical romanticism and colour. Even in personality they
were diverse : Schumann was reserved and taciturn and did
not shine in social converse, preferring letter-writing to
speech whenever possible. Mendelssohn, with his wondrous
charm of expression and magnetic personality — although
also an adept at correspondence — ^was the pet and idol
of society, never failing to fascinate whatever circle
he moved in by his ingenious and bright manner and
address. Added to this, the music of the two men is so
diverse : the clear form, smooth harmonies and general
symmetry of Mendelssohn's polyphony have little in common
with the veiled mysticism and, at times, intense passion
displayed in the daring tone combinations of Schumann.
We have purposely made this digression in the biographical

Biographical

narrative of Schumann's life in order to emphasise the
fact that his creative works won their way but slowly
at first, even with those most competent to judge of their
originality, intensity of feeling and colour, and artistic
excellence.

CHAPTER III

Schumann in Love — Ernestine von Fricken — A Broken Engagement
— ** From Old Dreams to New "—The Love that lived— Early
Love-letters — Clara Wieck as Composer — Parental Opposition — A
Move to Vienna— The Paper and "Red Tape "—Devotion to
Schubert — A Steel Pen — Composition in Vienna.

Besides the start of the paper and his early musical com-
positions, another matter occupied the mind of Schumann
in 1834. We have referred to his friendship for the ac-
complished Madame Henriette Voigt and the
Schumann musical society which he met at her house.
in Love That one of his romantic turn of mind should
early become susceptible to the influence of
charming and sympathetic womanhood was only to be
expected. He had already dedicated his Opus i to a
young lady named Abegg, whom he had met at a ball,
though no sentiment beyond admiration is connected
with the incident, as the maiden in question was beloved
by one of his friends. Among old Wieck's pupils was a
certain Ernestine von Fricken, and for her Schumann
appears to have now cherished a warmer feeling. In the
summer of 1834 he wrote a very interesting letter' to his
' Early letter to his mother, from Leipzig, July 2, 1834.
30

Biographical

mother, in which he speaks of having lately met this young
girl, and of being struck with the purity and innocence of
her mind, and her devotion to the highest art ideals. Her
rare talents as a musician are also referred to, and then
Schumann confides in his mother that, were he to select a
wife, his future choice would rest here. Strange to say, in
the same letter he mentions the youthful Clara, who was
then in Dresden, and he speaks of her genius becoming
more and more evident, and of the remarkably able letters
which she sometimes wrote to him.

At the time it must be remembered that Clara Wieck,
the noble and gifted woman who was afterwards his wife,
was little more than a child. Of Ernestine von Fricken we
only know that she was a talented pupil of
Wieck, and an intimate friend of Madame Voigt, Ernestine
who, doubtless, gave the young people many von

chances of meeting and conversing with one Fricken
another. For a time Schumann was very
much in love. About the beginning of September 1834
he wrote to Madame Voigt in his impulsive way about
crying over some words of Ernestine written on the margin
of his correspondent's letter — evidently Madame Voigt was
in the secret of their mutual attachment. In this letter he
speaks of his unmeasurable love for Ernestine, as of his
great friendship for Madame Voigt herself. The treasure
he possessed, he said, consisted in 'Uhree names," i.e,^
Henriette, Ernestine and Ludwig.^

Shortly about this time Schumann had become engaged
to Ernestine von Fricken. But the betrothal was ter-
* Ludwig Schunke, the pianist.
31

Schumann

minated by mutual consent in the following year. In how
far the affections of either or both) were
Broken seriously concerned it is impossible to say.
Engage- It is pleasant, however, to record that, after
ment their respective marriages, their friendship

continued. Schumann dedicated his Book of
Songs (Op. 31) to Frau Grafin Ernestine von Zedtwitz, as
she then was. The lady herself seems always to have
preserved a kindly memory of Schumann. She died young.
After her death there was found among her belongings the
first volume of Herlossohn*s Damenconversationslexicon,
The title of the volume scarcely suggests what one would
associate with a romantic memento ! Yet the binding was
very costly and elegant — pink satin with gilt edges — and
the musical articles therein had been written by Schumann.
It was probably, to the owner, the one link with the dead
past of things that might have been.^

But a still more potent influence than that of the ** child-
like mind " of Ernestine von Fricken was commencing to
sway young Schumann. In the very year of his engage-
ment (1834) he had written a wonderful letter
^^ From to Wieck's gifted young daughter, who was
Old already making her name famous as a brilliant

Dreams to and successful pianist. In that letter he had
New *' spoken of ** distance " being but an " extended
vicinity." Thus could he talk to her every
day — " in a gentler whisper even than usual " — and know

' F. G. Jansen (author of Die Davidsbiiftdler aus Robert Schumann^ s
Sturm and Drange Periode) mentions this incident in the published
collection of Schumann's Letters (English translation by May Herbert in
Life of Robert Schumann told in His Letters),

Biographical

that he was understood. Then he tells her of all the plans
he had made for their correspondence — ^how he would fill
a balloon with ** unwritten thoughts" — how he longed to
catch butterflies and send them as his messengers to her,
etc. Finally he speaks of the joy which the postillion's horn
gives him. Apparently the post had just brought him a
missive from the girl pianist. "That postillion with his
horn sent me out of my old dreams into new ones."'
From this it seems evident that something stronger than his
first love was claiming the right to pre-eminence. Even
absence and distance — Clara was then on tour — but
strengthened the yearning of his soul for the sympathy of
the one most akin to him. And thus, rather through
spiritual communion than by personal intercourse, arose in
the emotional musician's heart his life's strong devotion to
Clara Wieck.

How this love grew and gradually became a glad reality
to him, a glance through the letters of Schumann, written
at this time, can best show. On August 28, 1835, we
see how unmistakably his heart is with Clara.
He then writes to her of '* an angel face " which Lovt that
he sees constantly before him who was the lived

exact image of "a certain Clara" of his ac-
quaintance. The letter ends with, " You know how fond
I am of you, so good-bye, Robert Schumann." With
Schumann's usual superstitions about lucky names and
dates, he calls his correspondent's attention to the fact that
he was writing to her on Goethe's birthday — doubtless, to his

' See this remarkable epistle in its entirety in Early Litters of
Robert Schumann,^

C 33

Schumann

mind, a lucky omen ! It was only to be expected that
such a lover should choose a propitious occasion upon
which to express himself with final decision. Thus, on the
Eve of St Valentine's Day (February 13, 1836), he penned
a characteristic epistle while waiting for the Zwickau
coach. The substance of this, which we quote from the
English translation of May Herbert,' runs as foUows : —

" I am quite clear about my heart. Perhaps your father
will not refuse if I ask him for his blessing. Of course
there is much to be thought of and arranged. But I put
great trust in our guardian angel. Fate always intended us
for one another. I have known that a long time, but my
hopes were never strong enough to tell you and get your
answer before." *

From this on, Clara, " that glorious girl," as he so often
calls her, is the bright, particular star of Schumann's exist-
ence. In his many letters to her he discusses their future
hopes, confides in her all his aspirations, retails
Earfy Zave-hits of news in his daily life, talks of his own
Letters works, of the people he meets, and of his
opinions upon men and things in general:
in short, he looks upon his betrothed as if she were a
part of himself— of his own soul. " If you only knew,"
he writes, "how I value your opinions, not only in Art,
but in everything, and how your letters cheer me." His
remarks to his fiancke concerning his compositions are

' Early Letters of Robert Schumann, Translated from the
German by May Herbert, with an Introduction by Mme. Clara
Schumann.

» IHd,

Biographical

specially interesting. There are " bridal thoughts," he tells
her, in the " Davidsbiindlertanze " and the ** Fantasiestiicke,"
which he will explain to her some day. On another
occasion he speaks of happiness and perfect solitude as
being essential to successful composition. Referring to
one of Clara's own criticisms, he appears to think she
makes too little of the " Davidsbiindlertanze." These he
characterises as differing very much from the " Carnival " —
as much as a face does from a mask. " They," he adds,
meaning the "Davidsbiindlertanze," **were written in
happiness, and the others in toil and sorrow." V

Clara Wieck was not only a young pianist of rare and
striking ability, but she had a facile gift as a composer.^
Several pianoforte compositions of hers have been pub-
lished, and they show excellent musicianship
and accurate knowledge of the technique and Clara

capabilities of her instrument. Schumann, Wieck as
severe and just critic as he was, and lofty as Composer
was his standard of creative output, hails her,
even in his own department, as a companion artist. He
realises, he writes to her, that, from her Romanze, they were
meant to be man and wife. All her ideas came as if from
his own soul, even as he ascribed his musical inspiration to
her.3 On one occasion he had even suggested that they
should publish some things under their two names, in
order that generations might look upon them as truly
one in heart and thought, and might not be able to
distinguish the work of one from the other."^ We see

' Early Letters, * See also page 120.

3 Letter from Leipzig, July 10, 1839. ■♦ Letter, June 22, 1839.

Schumann

here the enthusiasm of the lover, doubtless. At the same
time it is to be remembered that Schumann was too
genuine and conscientious to praise art work if it were not
worthy, no matter how high might be his personal esteem.
As far as the lovers themselves were concerned in their
devotion towards, and trust in, each other, the courtship of
Robert Schumann and Clara Wieck seems to have been

an ideal one. But they were destined to suffer
Parental much from parental opposition to the match,
Opposition in the form of the persistent refusal of Clara's

father, Friedrich Wieck, to give his sanction to
their union. Probably the old man hoped for a still more
ambitious match for his distinguished daughter; at all
events, he disapproved of Schumann as a son-in-law until
the latter was in a better position of wealth and recogni-
tion. It may be also that the maestro was somewhat
displeased that the young people had settled it between
them before he was aware of what was going on; for
Schumann, writing to his friend, Dr A. Kahlert, speaks
of himself and his fiancit having discussed matters and
exchanged vows without the knowledge of Clara's father.'
Time passed on, however, and "Papa Wieck" was still
obdurate. Writing on the subject to his sister-in-law,
Schumann speaks of the old man being much wrapped
up in Clara and not wishing to part with her; yet, with
his customary tolerance and charity, the lover upholds
the action of the parent to a certain extent, allowing that
it was quite true that they both should be making more
money in order to live comfortably. But he looks for the
» Letter, March i, 1836.

Biographical

** blessing of Heaven " to bring all to a hoped-for and joy-
ous ending. Clara he describes as being firm in not giving
him up ; and he applauds her great strength of character.'
Later on ^ he writes to his brothers, Edward and Carl, in a
more hopeful spirit as to a near solution of the difficulty,
trusting that ere long Wieck would soften and that " one
of the most glorious girls the world had ever seen " would
be his. Then he begs his brothers to arrange his finances
so that he may not appear ** empty-handed " before Wieck.
It was doubtless with a view to improve his own
prospects and standing, as well as to increase the interests
of the paper, that, about this time, he made an effort to
establish the IVeue Zeitschrift in Vienna. For
this reason he moved thither in 1838. A

Schumann naturally hoped much from this Move to
venture; for he was fain to believe in the Vienna
grand musical traditions of the Austrian
capital, which had been the home of so many noted
musicians, including Mozart, Haydn, Beethoven and
Schubert. But although Schumann liked the city itself
immensely, no doubt being largely attracted to it on
account of its artistic prestige, he himself and his paper
failed to get the appreciation there which they deserved.
The people he seems, however, to have found very genial
and musically inclined ; and although deploring the want
of public spirit and co-operation there, as well as the
"petty cliques," he remarks that there was no want of
good intentions among the musical residents themselves.^

' Letter, December 15, 1837. ' From Leipzig, March 19, 1838.

3 Letter to Clara Wieck, written from Vienna, 25th October 1838.

Schumann

The opposition which Schumann and the Neue Zeitschrift
met with in Vienna seemed, indeed, mainly owing to *' red
tape" and the strictures of the public censors. Staunch

and honest criticism, he found, would be con-
The Paper stantly under supervision in his columns.
and ^^ Red Yet there was urgent need in the city for a
Tape^^ thoroughly authoritative musical paper, there

being, at the time, none of real weight
published there save the Allgemeine musikalische Anzeiger
of Haslinger.' So Schumann struggled on bravely for a
time, although the many delays and the obstacles placed in
his path by the city officials must have been particularly
galling to one of his sensitive and ardent nature. The
fruitless battle lasted for over half a year. At length the
editor-musician wrote to his friend Zuccalmaglio that both
his paper and himself were "out of place" in Vienna.*
He then speaks of returning, with renewed experiences and
courage, to resume his work in Leipzig on the old lines.
Thus the year 1839 found Schumann once more in his
former surroundings. That he was keenly disappointed
at his want of success in Vienna there can be little doubt.
The prospect of his marriage with Clara now seemed
further off than ever. It is even said that, upon leaving
Vienna, he thought seriously of crossing the water to settle
permanently in England. Perhaps the idea of making
England his future home had occurred to him through his
acquaintance with Stemdale Bennett, who was in Leipzig
from 1837 to 1838.3 In any case, the intention came to

' See page 24.

' Letter to Zuccalmaglio from Vienna, March 10, 1839. 3 Spitta.

Biographical

nothing, for in 1839 we find him once more at work in
Leipzig, as he had inferred he would be in his communica-
tion, just mentioned, to Zuccalmaglio.

But the sojourn in Vienna had not been without its
interesting incidents. While there, Schumann met many
distinguished and influential people; but nothing so
enthralled him as the unearthing of several un-
published compositions of Schubert. This he Devotion
had accomplished through a visit to Schubert's to Schubert
brother, whom, in a letter ' to the noted firm of
Leipzig music publishers, Messrs Breitkopf & Hartel, he
describes as "a poor schoolmaster, entirely without means,"
with eight children to support and having only the manu-
scripts of his famous brother as a legacy. Among the works
which Schumann thus happily discovered were Schubert's
Masses and Symphonies. It was indeed owing to
Schumann's introduction and warm recommendation that
the Symphony in C was shortly afterwards published by
Breitkopf & Hartel, and performed at Leipzig on March
21, 1839, under Mendelssohn's bAton. It is particularly
praiseworthy of Schumann that at this particular time —
personally a very trying and anxious one for him — ^he
should have spared no pains to kindle an interest on
behalf of a brother artist who had died so young and
almost without honour in his own land. The first
performance of the C major Symphony at the Gewandhaus
Concerts, followed by a glowing and remarkable article
on the event from Schumann in the Neue Zeitschrift^
undoubtedly called erudite attention to this beautiful work
' January 6, 1839.
39

Schumann

and added it to the list of musical art treasures.
Schumann was also happily instrumental in obtaining
liberal terms, from the Leipzig publishers named, on
behalf of the needy schoolmaster and his large family,
for the accepted manuscripts.

Another little episode — ^we may even so characterise it, for
Schumann himself, with all the romantic superstition of his
poet's nature, is greatly stirred by it — was the finding, upon

visiting the graves of Beethoven and Schubert
A Steel in the Vienna churchyard, of a steel pen on the
Pen last resting-place of the former! With this

Schumann afterwards wrote his own B flat
Symphony — as if to propitiate his creative muse — as also
the critical notice of Schubert's C major Symphony,
already referred to, after the Leipzig periformance.
Although it might more properly be spoken of when we
come to discuss the characteristic traits of the man
himself, yet, in passing, it may be noticed that this
faculty which many great minds possess of treasuring
" inconsidered trifles" with a history "for luck," as the
observance of happy anniversaries, habits of commencing
and finishing important tasks on "fortunate days," and so
on, had a strong hold upon Schumann. We have already
seen how he looked upon a programme which the hand of
Moscheles had touched as a " sacred relic," preserving it
for years. Similarly we perceive him, close upon his
thirtieth birthday, clinging with reverent aflection to, and
using, as it were a potent charm, a little rusted pen that
his fancy probably suggested may have been dropped by
Schubert on Beethoven's grave. Such things staid folk

Biographical

may criticise as childish and foolish. To scientists of the
twentieth century, however, there is nothing past belief in
the transference of an electric current from the animate to
the inanimate, and vice versd. The " bump of veneration "
may yet be proved rational enough in its apparent vagaries.
Neither during, nor previous to, his editorial experiment
in Vienna had Schumann, the composer, been idle. While
in the Austrian metropolis he had written his '* Faschings-
schwank aus Wien " (Op. 26), in which he intro-
duced, quite "under cover," the tune of the Compost-
forbidden " Marseillaise " — probably, as Spitta ^ions in
aptly suggests, a playful hit of the composer's at Vienna
the strict official surveillance of the city. In
a highly interesting letter ' to Simonin de Sire,^ Schumann
himself gives a table, in order, of his compositions up to
date, stating that he had not published his very early efforts,
commenced from his seventh year. This list commences
with the "Toccata " — which, according to the composer, was
started in 1829 but not finished until 1833 — ^and con-
cludes with the " Blumenstiick," " Humoreske," and the com-
mencement of a Concerto and a "great Romantic Sonata"
(doubtless the " Faschingsschwank "), all of which Schumann
allots to the latter part of his Viennese period, a whole
group — including the "Novelletten," " Kinderscenen,"
" Klreisleriana " and " Arabesque " — being placed as belong-
ing to the year 1838. Apparently never had the composer
been busier. Of these he speaks of liking the " Kreisleriana "

' March 15, 18^9.

' Simonin de Sire (of Dinant, Belgium) was an enthusiastic amateur
admirer. He and Schumann wrote to each other, but they never
appear to have met.

Schumann

the most, the idea for his fantastic Kapellmeister Kreisler
being found in a novel of E. T. A. Hoffmann.' This letter
to M. de Sire is, indeed, a remarkable one ; but it should be
read in its entirety to be thoroughly appreciated.* In it
Schumann speaks of the greater facility which came to him
with repeated practice as a composer. But he concludes, with
customary modesty, by begging his correspondent not to
place him between Beethoven and Weber, " but somewhere
near them," so that he might still continue, throughout his
life, to learn more from them.

' See page 191.

* See The Life of Schumann told in His Letters^

CHAPTER IV

Aspiiation to a Title—The Newly-Fledged" Doctor "—Wieck's Per-
sistent Opposition — A Wedding Day at last — A Piano Presentation
— Song, Symphony and Chamber Music — Longing for an Opera
Text — Composition of "Paradise and the Peri" — Mendelssohn
and the " Peri "— " Paradise and the Peri " a Unique Work.

During all this period the opposition of Friedrich Wieck
to his daughter Clara's marriage with Schumann continued.
Not even the fact that the musician was rising to eminence
as critic and composer could incline the heart
of the obdurate father towards him. It Aspiration
was, perhaps, natural that the old man, to a Title
owing to his pardonable pride in a gifted
daughter who was fast winning quite a European reputation
as an executant, should be unwilling to consent to the
possible termination of her brilliant public career if she
united herself to a man who, although unquestionably
talented, held, as yet, no position or title of distinction.
Schumann seems to have realised this. Early in 1838 he
conceived the idea of getting a Doctor's degree conferred
upon him by the University of Leipzig. The motives of
the composer, in aspiring to this dignity, appear to have
been actuated solely by his love for, and pride in, \iis fianUe^
and not by personal vanity — if we judge the point through

Schumann

the lines contained within a letter' to his sister-in-law,
Th^rise Schumann, in which, having referred toClara Wieck's
decoration as Court Pianist,' he says that although person-
ally he would desire nothing beyond what his art had made
him, yet, for the sake of the pleasure that it would give the
parents on both sides, he would like to have some titular
distinction. A year afterwards ^ we find him inquiring
definitely from Keferstein upon what conditions and terms
the University would grant him a Doctor's degree. In par-
ticular he expresses a hope that the honour may be con-
ferred upon him in recognition of some work already
accomplished either as essayist, or musician, or both ; and
especially he seems anxious that, if possible, the title might
take the form of Doctor of Music, He also asks Keferstein
to put in a good word with the authorities on his behalf,
and he seems to have sent his friend some of his writings
and certain honorary diplomas as a guarantee of personal
ability and worth.*

To hear genius thus pleading for recognition is touching ;
but it is an oft-repeated story. Still oftener, if there be not
friends and influence behind, do we find that such appeals

are made in vain, and nothing is then left to the
TheNewly- creative mind but to carve out its own way to
Fledged appreciation, unaided and alone. Schumann
^^ Doctor*^ was, however, more fortunate. After a trifling

delay he was made Doctor of Philosophy honoris
causa — ^a tribute to his general culture which seems to have

» March 25, 1838. » To the Emperor of Austria.

3 About February 184a

4 He had been elected member of certain musical societies in Leipzig
and Stuttgart.

Biographical

delighted the recipient very much. In a letter of thanks to
Keferstein he expresses himself pleased, and speaks of
having at once sent the news to his betrothed, who at the
time was on tour, and whom he describes as being just such
a child as to dance with delight at the idea of being en-
gaged to marry a Doctor ! We smile also at the writer's
own boyish glee in signing himself in this letter, and some
that follow, as "Dr" Robert Schumann. It seems a
pity that his request, that the title should take the form of
a musical one, could not have been granted, probably owing
to the fact that Continental universities do not appear to
recognise music as a faculty, as British universities now
agree in doing. When pleading that he might be decorated
in reference to his beloved calling, Schumann had men-
tioned to Keferstein that, during the two preceding years,
he had written some 400 pages of music which was, for the
most part, published — surely a sufficient guarantee of his
creative musicianship!

Yet even the high University distinction, won by
acknowledged and richly-deserving merit and achievement
in polite learning generally, could not move Wieck. The
trials of the lovers were, indeed, severe. Some
time previously, owing to the persistent refusal Wieck* s
of Clara's father to permit the wedding of the Persistent
faithful couple to take place, Schumann, with Opposition
extreme reluctance, had been obliged to appeal
to the Court for sanction to marry apart from the consent
of hisfiand^s father. How much such a proceeding must
have pained the sensitive natures of both gifted artists may
well be imagined. That Schumann's highly nervous and

Schumann

emotional temperament was much perturbed is keenly
evident from many letters written to friends and relatives
at this period. To Dorn he speaks of the whole a£fair
being ** a wretched story " in that because he (Schumann)
was not a Von Rothschild, Wieck continued to forbid the
banns. For months it appears that the painful case
dragged on, during which time, as editor and musician,
Schumann was making most strenuous efforts to effect
worthy provision for his future home, which ever, like the
tgm's fatuus^ seemed further off as attempts were made
to reach it.

At length, after many delays and suspense, Schumann
having satisfactorily proved that his income was sufficient to
support a wife, the decision of the Court was given in the

favour of the suppliants; and at last, on
Wedding September 12, 1840, Robert Schumann and
Day at Clara Wieck were made man and wife. The
Last date upon which the happy event took place

was considered, with his usual belief in "lucky
days," as a propitious one by the composer, as it was the
eve of his betrothed's twenty-first birthday. On that day
he had desired that she should be his own; and thus,
after long waiting and many trials, did the happy event
befall. So impressed was the joyous bridegroom with the
month number ofhis bride's natal day that, writing on his
wedding day, the 12th, to an old friend, Robert Friese,
he dates the letter (in advance) the 13th of September
1840! In the short note referred to Schumann begs
Friese to think kindly of him and his Clara between the
hours of ten and eleven, and to wish them every blessing.

Robert and Clara Schumann.

Biographical

A pleasing little incident that took place some short
time before the marriage is of interest as showing at once
the thoughtfulness and the devotion of Schumann. From
musician to musician, especially when the re-
ceiver was so brilliant and accomplished a Piano
pianist as Clara Wieck, no gift from her lover Presenta-
could be imagined more appropriate than a Hon
pianoforte. This Schumann purchased for her
— ^a Hartel Grand — but his mode of presenting it was the
most charming part of all. He arranged the arrival of the
instrument as a surprise to the recipient. The way in
which matters were managed is best learnt from an interest-
ing letter ' of the composer's to the firm of Messrs Breit-
kopf & Hartel, from whom the piano had been purchased.
In this epistle he mentions that at half-past four upon an
appointed day he will call to take his betrothed for a walk.
Between that hour and six he requests that the instrument
should be delivered at Clara's residence. The delight of
the girl may be imagined when she returned with her lover
to find such a suitable present awaiting her acceptance.
We can well believe that some delightful music followed,
and that the appropriate gift, as well as the graceful way
in which it was given, was highly appreciated.

That the marriage of the two young musicians was a
supremely happy one none can doubt. A more ideal
union could scarcely be imagined than that of a creative
and an executive artist, both of the first rank, whose aims
were of the highest and whose artistic sympathies tended
to the advancement of pianoforte music in its noblest
* July 4, 1840.
47

Schumann

and most poetic aspects. We are not surprised then to
find that the opening years of Schumann's married life
mark the most active, as the most varied,
Song^ period of his musical output and editorial

Symphony labours. In 1840, his marriage year, having
and previously confined his attention almost ex-

Chamber clusively to pianoforte music, the composer
Music bursts into ecstatic song. Over a hundred

Lieder are traced to this period, all of them
charming, and, in the opinion of many, representing
Schumann, as melodist and harmonist, in his happiest
and most spontaneous vein.

In 1 84 1, Symphony form seems to have particularly
attracted him. During this year he wrote no less than
three; and an important event was the performance of
his B flat Symphony at a concert given by his wife at
the Gewandhaus, Leipzig, with Mendelssohn conducting.
1842 saw him active in yet another department of creative
output — Chamber Music. The rapidity with which he
wrote at this time was marvellous. Three string Quartets
were completed within a month. These were dedicated to
Mendelssohn. Ferdinand David, the famous violinist and
friend of Mendelssohn, seems to have been frankly and
sincerely delighted with them. There is no doubt but
that this appreciation pleased the composer, though he
received the praise lavished upon him in his characteristic
modest spirit.

It was in this year also that the beautiful Quintet for
pianoforte and strings (Op. 44) saw the light Among
some famous contemporaries who heard this work, and

Biographical

who appeared to have been favourably impressed by it,
was the great French composer, Berlioz, who was in
Leipzig when it was first performed, with Madame
Schumann at the piano, early in the year of 1843. ^^
Berlioz was known to have been scathing in his remarks
about the music of Mendelssohn and other German
artists, his favourable opinion of Schumann is worthy
of note. Eccentric and defiant as the gifted Frenchman
was, he was undoubtedly original. He favoured daring
tone -painting and so-called ''programme" music of a
poetic and fanciful kind. In all these respects, if from
a differing artistic standpoint as might be expected from
his strong and somewhat fiery temperament, Berlioz re-
sembled Schumann. It is also to be noted that both
were musical journalists of considerable acumen and
brilliancy. Among other Schumann compositions of this
year were the well-known Pianoforte Quartet (Op. 47), and
a Pianoforte Trio.

The year 1843, ^o which so much chamber music
belonged, seems indeed to have been a very prolific and
generally busy one. Not only was editorial work press-
ing, but new forms of composition were power-
fully occupying the musician's mind. Hither- Longing
to, with the exception of the burst of jubilant for an
song which marked his marriage year, Schumann Opera

had restricted himself to instrumental music. Text

It will have been observed how first the piano-
forte, next the orchestra, and lastly the string quartet
suggested sound pictures to the tone-painter. In the
early spring of 1843 ^^ seems certain that the construc-
D 49

Schumann

tion of great choral works was in his mind. For some
considerable time he had been contemplating an opera.
The trouble was, as it always has been with the great
Masters, to get a suitable libretto. On the 31st October
1841, Schumann, in writing to Dr Robert Griepenkerl,*
had begged him for an opera text, telling his correspondent,
in his impetuous way, how much he longed for a good
book. But if he was not destined to get his heart's desire
immediately in regard to a work for the stage, the idea
of a great composition of somewhat similar genre was
suggested to him in reading Thomas Moore's Lalla
Rookh. Therein he found the charming phantasy of
" Paradise and the Peri " ; and the even flow of the musical
verse, as also the vivid and spiritual imagery of the Irish poet,
at once appealed to the emotional imagination of Schumann.
The result was that, having himself arranged and adapted
the text to suit his purpose, he conceived the plan of
writing an oratorio on the subject. He speaks in a letter
to Kossmaly of being at this time busy over a great work,
describing it as, indeed, one of the most important he
had hitherto attempted. Detailing the nature of the
task he writes that it is not an opera, but rather " a new
departure for the concert-room. " * Later on, the term " pro-
fane oratorio" was the title given to '* Paradise and the
Peri."
This work inspired the composer very much and was

' Author of the musical novel, Das Musikfest^ oder die
Beethovcner^ which Schumann calls a '< lovable creation," only
objecting to the dedication to Meyerbeer, towards whom he
cherished an artistic aversion.

* Letter, May 5, 1843.

Biographical

written rapidly. Commenced in the spring of 1843, at
the beginning of June we find him informing Dr E.
Kriiger that so busy had he been writing
notes {t\e., musical notes) that he was in danger Compost-
of forgetting how to form letters ! In this Hon of
interesting epistle' he gives Ascension Day ^^ Paradise
of the year as the time about which he had and the
finished his magnum opus^ and he describes /fen"

it particularly as "an oratorio; not for the
conventicle, but for bright, happy people." The writing
of the work seems to have considerably enthralled him,
for he adds that, while composing it, he was aware of a
voice which seemed to whisper to him, "It is not quite
in vain, what you are doing;** Probably a little polish-
ing and re-writing was done subsequently, for about a
fortnight later* we find him telling his friend Verhulst
that, a few days previously, he had finished " Paradise and
the Peri," having written Fine at the end of the score with
deep thankfulness to Heaven that his energies had been
so well maintained throughout. Once more he mentions
his impression that this work was one of the best and
greatest he had hitherto penned ; and he comments upon
the immense amount of labour entailed in putting together a
score of such dimensions, adding that, only after completing
it, did he realise what a feat Mozart must have accomplished
in writing eight operas within so short a period of time.

" Paradise and the Peri " was first performed, under the

composer's own direction, on December 4, 1843. So great

seems to have been the success of this, its first public

* Letter, June 3, 1843. ' Letter, June 1% 1843.

Schumann

rendering, that a repetition performance was given a week
later (December nth). It was for this occasion that

Madame Schumann wrote to Mendelssohn, invit-
Mendels- ing him to be present. Her letter, however,
sohn and seems not to have reached Schumann's famous
/^ ^'/Vf:;'" contemporary in time. Mendelssohn appears,

from his reply, to have been genuinely sorry not
to have been a listener on this occasion. *' I am quite
too disappointed about it" (i>., at getting the letter of
invitation too late), he writes. Then he begs Madame
Schumann to tell her husband how heartily he rejoiced to
hear of the splendid success of the new work. " Every one
who wrote to me," he continues, " was full of the * Peri '
and the pleasure it had given," and he adds that the lady is
to tell Schumann that he (Mendelssohn) looked upon this
triumph as good fortune that had befallen himself. While
Mendelssohn's sincerity must be believed in thus expressing
himself, it is to be regretted that circumstances pre-
vented him from honouring the occasion with his presence
and so paying a graceful tribute to a fellow-composer who
was one of his own warmest and most appreciative admirers.
On the 23rd of the same month (December) " Paradise
and the Peri " was again heard, this time at the Dresden

Opera House. It is clear that Schumann was
^^Faradise at this time a well-known and respected per-
&* the Pert*' sonage in the musical circles of his native land.
a Unique The work itself was a notable one. That its
Work composition had interested and fascinated him

very much seems evident from correspondence
of his own on the subject. It is indeed certain that his

Biographical

poetic fancy was much attracted by Moore's poem, which
he speaks of as " one of the sweetest flowers of English
verse." The unique character of the work is also to be
remembered. The term "profane oratorio" has been
applied to it, though some might prefer to describe it as a
sacred cantata, or else a secular oratorio. But no one of
these terms, perhaps, are quite appropriate in this case to
the minds of those who know the work well. Schumann's
own description of "a new departure for the concert
room " ' is that most adapted to classify a composition at
once lyrical, emotional and more ethereal than possessing
the sacred-writ dignity of Oratorio or the dramatic and
mundane elements of Cantata.

' See page 50.

CHAPTER V

The Oimax of Exertion—Letter from Russia to «*Papa Wieck"—
A Trip to England contemplated — Professorship at Leipz^
Conservatoire — A Move to Dresden — Contrapuntal Work —
Looking for a Libretto — ^The Writing of "Genoveva" — The
Composer and His Opera — Delays and Postponements — "Geno-
veva" performed at last— The "Faust" Music — Conducting
Choral Societies.

Here we reach a period of Schumann's life when the great
strain of creative exertion in two departments — ^that of
editor and composer — was beginning, perhaps, to tell upon

a sensitive and highly-strung nature which, in
T%e Clitnax its ceaseless mental output, was doubtless over-
of Exertion straining energies more mercurial than robust.

Not that Schumann had suffered much of the
"wear and tear" of the artist's life. Want of adequate
means was never a serious trouble to him, as was the case
with more than one of his compeers, nor was he much
before the public in a social or personal sense. The first
four years of his married life were spent almost in complete
retirement — his literary and musical labours fully occupying
his attention. Outside the home circle and its environ-
ments he took but little interest in mundane matters. Nor
did he ever, at this or any other time, attempt to shine as a

Biographical

conversationalist or figure in society. To a few familiar
friends Schumann could unburden himself; but he did so
with more ease in correspondence than in speech. It was
with difficulty that his wife could persuade him to accom-
pany her on some of her brilliantly successful concert tours.
Yet the need at this time that he should have rest and
change of scene made her urge him all the more, when
a Russian journey was anticipated in 1844, to go with her;
and this he somewhat reluctantly consented to do. Once
started, however, he got out of himself and thoroughly
enjoyed the trip.

This tour to the land of the Czar — ^upon which Schumann
and his gifted wife started on January 26, 1844 — was an
eminently successful one. Madame Schumann appeared in
several towns, including St Petersburg and
Moscow, and was highly appreciated and Letter

enthusiastically received everywhere. Some from

time before, a complete reconciliation had Russia to
taken place between Wieck and his daughter " Papa
Clara ; and although Schumann felt it difficult Wieck "
to resume the old friendly familiarity which
a near relationship still further intensified, it is evident that,
previous to 1844, the past had been happily condoned on
both sides. Doubtless the arrival of two little grandchildren
-—daughters who had been bom to the Schumanns — turned
the hearts of the elder and the younger man to each other.
Anyway it is evident that, from letters written to '^Papa
Wieck" on the Russian journey, father-in-law and son-in-
law were once more on a becoming footing with each other.
In these communications we get much interesting informa-

Schumann

tion about the gratifying reception which Schumann and
his wife received wherever they went, especially at St
Petersburg, where Clara had given four concerts and played
before the Empress. Schumann affords his father-in-law a
most interesting glimpse of the artistic standing of the
Russian capital, where all depended upon the favour of the
Court and the haute volke^ and the Press could do but little.
At the time of the Schumanns' visit to St Petersburg it
appears that Italian Opera was the rage, and that Madame
Garcia was the prime favourite. Thus it had happened
that Madame Schumann's first two concerts had not been so
well attended ; but the third, and especially the fourth —
which was given at the Michael Theatre and seems to have
attracted the notice of several aristocratic amateurs — ^left
nothing to be desired in the way of enthusiastic patronage.
Schumann, in one of his letters, mentions especially the
kindness which they had received from the distinguished
brothers Wielhorsky, both of whom were on daily intimacy
at the Imperial Court. The Prince of Oldenburg (nephew
of the Emperor) and his wife are then referred to as having
warmly patronised the two famous artists. "They" (the
Oldenburgs), writes Schumann,' "showed us over their
palace themselves yesterday." The two Counts Wielhorsky
also organised a soirie with orchestra in honour of the
Schumanns, and at this the composer's Symphony was
performed. It seems that the Pianoforte Quartet (Op. 47)
was dedicated to Count Mathieu Wielhorsky, whom, with
his brother Michael, Schumann describes as very excellent
and genial amateurs. Probably the Henselts, who were
' Letter, April I, 1844.

Biographical

then resident in St Petersburg and familiar with Prince
Oldenburg, and whom Schumann speaks of as being
particularly friendly, did much in the way of introducing
the two gifted artists to these high-placed patrons. Other
little incidents of the Russian tour which Schumann details
in his home letter were the popularity of Mendelssohn's
'* Friihlingslied " (Spring Song), which. Madame Schumann
was asked to repeat everywhere; the meeting with
Schumann's maternal uncle, Schnabel; the expenses of
living at St Petersburg; and their anticipated fears of
a journey to Moscow — which afterwards passed off
pleasurably enough. Altogether the letter referred to
was a bright, delightful and informative one, such as
Schumann could pen so well when in good health and
humour.

For a while, indeed, after his return from Russia, Schu-
mann was much benefited by the change, and wrote in
good spirits to his many friends. He even contemplated
an early trip to England on his own account.
He was desirous of bringing out " Paradise and Trip to
the Peri" in London, as it had, as he says England
himself, "sprung from English soil." There contem-
had been some correspondence with Mos- plated
cheles' on the subject, and Mendelssohn
encouraged Schumann in the project. Nothing came of
it, however, owing to difficulties in producing the work
with English words. Schumann was keenly disappointed,
as he had a strong hankering to visit London. This desire
was never gratified.

' January 27, 1844.
57

Schumann

One piece of news that gare him pleasure was that
Queen Victoria liked his music and had his B flat Sym-
phony played by the Windsor private band. He subse-
quently thought of dedicating his '' Manfred " music to her,
but this was not carried through.

Upon the opening of the Leipzig Conservatoire on April
3, 1843, Schumann was appointed a professor of composi-
tion. Little is known of him as a teacher.' Carl Ritter,
a former pupil of Hiller, was under him for a
Professor- time, and Schumann wrote to Hiller to say
ship at that the young student had made some pro-
Leipzig gress with him. Beyond this personal testimony
Conserva- we look in vain for information respecting Schu-
toire mann as a teacher. It is probable that, like

most creative minds, he found the art of instruc-
tion ill suited to his temperament and inclination. It is one
thing to know how to do a thing by instinct — and it is thus
that genius knows — ^but it is quite another matter to impart
such knowledge to the ordinary learner. Schumann felt
this, as many expressions in his letters and essays clearly
show, and doubtless he was conscientiously relieved when
(failing health necessitating his leaving Leipzig for a time) he
decided to resign his professorship at the Conservatoire.

A nervous ailment, which was kept in temporary abey-
ance by the trip to Russia, began to reassert itself with
serious symptoms soon after Schumann's return home in
the summer of 1844. His memory at times deserted
him, and composing fatigued him greatly. At length he
was obliged to give up work of all kind, including his
" We are not forgetting his Hints to Young Musicians — A P.

Biographical

editorial duties in connection with the Nem Zeitschrift, A
move to Dresden was tried later in the year in Order
to recruit his shattered energies. Here the com-
poser was less likely to live in an atmosphere of Move to
music, as was the case in Leipzig. Some friends, Dresden
who saw him at this period, were distressed to
notice how broken down in health he appeared to be. Sea
bathing was tried, but only slowly d>^ health and strength
return. While in Dresden he saw a good deal of his friend,
Ferdinand Hiller; and among interesting people whose
acquaintance he made were Weber's widow and Wagner.
About this time "Tannhauser" was produced, and Schu-
mann, although he speaks highly of the work, deplored
Wagner's lack of melody therein ! Likely, owing to their
vast difference of temperament, the two composers never
cultivated any great measure of personal intimacy.' Schu-
mann, it is to be remembered, was generally reserved as a
conversationalist, and he was, perhaps, at this time, not
being in good health, less communicative than ever.

As soon, however, as he was pronounced convalescent,
once more the active brain of the musician turned to
creative work, and, as if to make up for lost time, Schumann
occupied himself with the severer contrapuntal
forms, writing, before the year 1846, his Studies Contra-
and Sketches for Pedal Pianoforte (Op. 56 and puntal
Op. 58), six Fugues on the name of Bach Work

(Op. 60), and the four Pianoforte Fugues (Op.
72). To this period also belongs the C major Symphony
(Op. 61) produced by Mendelssohn at the Gewandhaus
' 5(ff^*pages 132 and 144.
59

Schumann

Concerts, Leipzig, on November 5, 1846. After so much
purely imaginative writing in his earlier works, that Schu-
mann should have reverted to strict forms at this time is
striking and suggestive. Doubtless, in the more mechanical
structure of the fugue, he found not only wholesome exer-
cise for contemplation and memory, but also a respite from
that striving for vivid imagery which often too powerfully
affected his emotional nature. The musical paper no
longer occupied him, since be retired from the editorship of
the Neiu Zeitschrift in 1844.

The success of the " Peri," which greatly gratified the com-
poser, suggested to him, upon his complete recovery, the
undertaking of a work suitable for the stage. Even previous

to the Russian tour he had been in consultation
Looking with his friend Zuccalmaglio over likely plots,
for a and as early as 1841 ' he had asked Dr Grie-

Libretto penkerl for an opera text. In the September

of 1842 he wrote that German opera was the
subject of his ** morning and evening prayer." In the New
Year of 1844 we gather, from a letter of the composer to
Zuccalmaglio,^ that the latter had suggested **Mokanna"
(another " Moore " subject) and " The Invasion of Spain by
the Moors." The latter seems to have appealed most of all
to Schumann, and he wrote to his friend to the effect that
he would be very pleased to find the book ready for him
upon his return from Russia in May of that year. Nothing,
however, appears to have come of the correspondence.
Commencing with the year 1847, and for some years after-
wards, Schumann compiled a "Theaterbuchlein,"in which he
" See ps^e 50. " Letter, January 22, 1844.

Biographical

jotted down his impressions of certain operas heard during
that period. At length, upon reading the tragedies of
Tiecke and Hebbel on that subject, he was much struck with
the legend of St Genevieve. He endeavoured to get
Robert Reinick, the poet, to draw up a suitable book of
words from Hebbel's version, but the result was far from
satisfactory. He then approached Hebbel himself on the
matter, and tried to persuade him to revise or recast
Reinick's work. Hebbel, though strongly attracted to
Schumann himself, somewhat resented the cutting down
of his work to suit lyric requirements. Finally Schumann,
like Berlioz and Wagner, had to turn his own librettist,
and thus he wrote his own " book " of " Genoveva."

That he was yet far from well is evident ; and probably
" Genoveva " did not progress so rapidly in its evolution as did
his earlier "profane oratorio," " Paradise and the Peri." In
a letter ' to Verhulst he speaks of having been
very busy from January to August of 1848 over The Opera
his opera "Genoveva," feeling, when he had"(7ww«?a"
finished it, that he had, on the whole, been
successful in the expression <A his musical ideas therein.
The same epistle speaks of occasional fits of melancholy,
which music, however, is effectual in driving away; and he
also mentions the many blessings of his home circle — his
good wife, beloved little ones — a son had lately been bom
to him — and the general musical activity of his life. Further,
in regard to the newly-completed opera, he expresses his
strong desire to see and hear it, adding that, as yet, he had
' Letter, November 4, 1848.

Schumann

taken no definite steps about getting it produced, on account
of the then "stormy " aspect of the world. Other works of
this busy year had been the "Album for the Young," the
composition of which had given him pleasure, and which
he hoped would prove to be a most successful publication.
The ultimate production of " Genoveva " was, however,
destined to cause him worry and annoyance. He decided
to have it brought out at Leipzig, where he felt the people
were kindly disposed towards him, and with that view he
put himself in communication with Conductor Julius Rietz.
Some correspondence having passed, and a promise being
given that the opera should be mounted, Schumann appears
to have been slightly apprehensive that the matter was not
being taken up by the directors with sufficient enthusiasm.
So, on the 2 1 St November, he wrote to Rietz to beg him to
fulfil his promise (i>., of performing the work) as soon as
possible. With that spirit of modesty which is only found
with the highest genius, he declared himself willing to
sacrifice anything in the music that might interfere with
the dramatic action, his great desire being that Rietz — who
perhaps had shown him some coldness or formality about
the matter — would take the project up with sufficient warmth
to ensure a rendition early in the ensuing year. The fact
that a form of agreement, drawn up by Schumann, is
appended to this communication, points to the musician's
legal studies as conducive to business-like habits. In this
agreement he stipulates (a) for the performance of the work
upon an early date to be mutually agreed upon ; (d) that
the proceeds from the sale of the libretto, which he pur-
posed to have printed at his own expense, should remain

Biographical

the composer's property ; and {c) that the fee for perform-
ing rights was to be paid to the composer on the day of the
performance.'

This agreement was not carried out. In the sketch
referred to Schumann had named February 15, 1849, ^ ^
probable date for the production of the work. But Feb-
ruary arrived, and there was a postponement of
the promised performance. Schumann speaks ^ Delays and
of being very much annoyed about this ; and Postpone-
later on there was no satisfactory information ments

from either Rietz or the manager of the theatre
with regard to the date of the production of his work. The
entire matter troubled him considerably. He complains
bitterly to his friend Hartel that the whole winter had been
wasted over the procrastination of the appearance of his
opera, and thus he had been unable to bring out any of his
latest works at Leipzig, where he was always sure of a grati-
fying reception. Easter of the year passed, and yet there
was no word of his opera being staged. In a letter to
Brendel he confesses to having heard that the delay was
caused by the intrigues of local musicians. But, like the
honest, unsuspecting and thoroughly generous soul that he
was, he disbelieved this, and pleaded the honesty and
straightforwardness of his own motives in art.^ Later on,
apparently, some mischief-maker wrote to Schumann with
regard to Rietz, but the composer refuted the gossip by
writing directly to the Leipzig conductor, telling him of tiie

' In full in letter to Rietz, November 21, 1848.
* Letter to Dr HSrtel, February 7, 1849.

3 Su the entire letter referred to in The Life of Robert Sehumann
told in His Letters,

Schumann

tale-bearing that was going on, and assuring him that, when
the ill-disposed missive arrived, he (Schumann) had said to
his wife, "That is a lie.*' Even had there been any truth
in the report, doubtless the friendly candour of Schumann
— ^in refusing to harbour an unworthy suspicion of one con-
cerning whom, as an artist, he expressed admiration, and,
as a man, in whom he reposed faith — spurred Rietz on to a
tardy fulfilment of his promise. Anyway, definite arrange-
ments seem to have been made forthwith for the mount-
ing of the long-delayed opera in the summer of the year.
But fate seemed to be against its production. At the time
arranged Schumann found himself unable to attend owing
to a domestic circumstance.

So time dragged on, Schumann protesting and the man-
agement putting him off with evasive promises. At last,
keenly exasperated by the continued postponements, the

composer, in a communication to Dr Hartel in
" Geno- the beginning of 1850, said he felt inclined to
veva " compel the theatre folk to keep faith with him,

performed if only by threatening to make public the cir-
(1850) cumstances of the case. But friends, happily,

dissuaded him from taking such a course and
also from going to law about it. Finally, " Genoveva " was
produced, under Schumann's own direction, at the Leipzig
Theatre on June 25, 1850. The time was unfavourable.
It was the summer season, and, as the composer said,
people preferred to be in the woods. There was, never-
theless, a large attendance ; but the reception of the work,
although complimentary to a musician who was highly
respected at Leipzig, could scarcely be called enthusiastic.

Biographical

Spohr alone, who had attended many of the rehearsals,
was thoroughly appreciative. Certainly the fact that
Schumann had, in "Genoveva," done away with the con-
ventional operatic recitative, appealed to the famous
violinist-composer, who approved of the innovation and
had adopted it himself. But one eminent musician's
decision could not sway the balance of public opinion.
There were, in all, only three representations of the opera ;
and the whole aifair seems to have left Schumann much
distressed and annoyed. Dr E. Kriiger wrote an unfavour-
able critique of the work in the Neue Zeitschrift The
opinions therein expressed so vexed Schumann that he
penned, for him, an exceedingly sharp letter to the critic,
the consequence of which was that the friendship between
the two terminated. It is to be remembered that Schumann
was particularly sensitive to adverse criticism, and also that
his health and nerves, far from robust at the time, had been
severely tried by the worries and annoyances which the
production of his opera cost him.

Another important work, belonging to this period, gave
Schumann more satisfaction. He was powerfully attracted,
as so many other composers have been, by Goethe's
immortal "Faust" poem. The end of the
second part, the Salvation of Faust, especially ^^ Faust**
fascinated him. He commenced to write the Music

"Faust" music in 1844 — a time when he may
be said to have entered upon his maturity as a composer.
The composition of the whole extended over some nine years
— the mystic nine again ! — different parts being composed in
1849, ^^50 and as late as 1853. The earlier portion was

E 65

Schumann

performed privately in Dresden on June 25, 1848. Writ-
ing to Nottebohm ' of this event, he speaks of the pleasure
which the rendering of the work gave him, and mentions
that he considered the music to have made an even greater
impression than that of the " Peri," probably on account of
the grandeur of Goethe's noble language. He expressed
himself similarly to his friend Brendel,^ adding that what
gratified him most was to hear so many of the audience
say that the musical setting had first made the poem clear
to them. A year later, on the hundredth anniversary of
Goethe's birthday, August 28, 1849, " Faust " was heard,
with added scenes, at a Festival Concert in Dresden
(Mendelssohn's "First Walpurgis Night" being also
included in the programme), at Leipzig on the 29th,
and similarly at Weimar — both in celebration of the same
event Schumann's music seems to have been much liked
at Dresden; but it was heard with varying opinions at
Leipzig and Weimar. The composer, always eager for
appreciation in the town of the Gewandhaus Concerts, was
disappointed that Leipzig did not receive the work so
favourably as he had hoped. He writes 3 to tell Brendel
that nothing could have been more satisfactory than its
performance and reception at Dresden. In this letter he
mentions that the chorus-singing had been excellent. The
solo singers named were Fraulein Schwarzbach and Herr
Weixelstorfer — Mutterwurzer the composer particularly
commends for his singing of the air (with harp accompani-
ment) allotted to Dr Marinus. '^The audience," says

* Letter, July 3, 1848. * Letter of same date.

3 September i, 1849.

Biographical

Schumann, "listened with rapt attention." Speaking of
the several " Faust " performances to Dr Hartel, the com-
poser declared that he would have liked to have had
Faust's cloak for the day, so as to have heard it every-
where. He stated also, as a curious fact, that the work
had been laid away in his desk for five years, and had been
almost forgotten by him, when it found at last a suitable
occasion for performance at this great celebration. The
Overture to "Faust" was not written until 1853, when the
whole work, with added scenes, was finally divided into
three parts. It was not published until 1858, when the
composer was, alas! no more. The first performance of
the work in its entirety took place in December 1862 at
the Gewandhaus Concerts, under the bdton of Carl
Reineke.

Besides composition, another element of musical activity
had come into the composer's life, during his residence in
Dresden, which is worthy of note. Shortly after " Genoveva "
began to occupy him, Schumann had under-
taken the conducting of local choral societies. Conducting
His friend Hiller, upon leaving Dresden to Choral
fulfil an appointment at Diisseldorf, transferred Societies
the duties of conducting a Dresden male voice
choir to Schumann. For a time the composer enjoyed the
work entailed. In any case it suggested his writing three
Songs of War and Liberty (Op. 62) and seven Vocal Canons
to words by Riickert (Op. 65). There is also to be noted,
in this connection, a Motet for double chorus of male
voices (Op. 93). But the drilling of the male choir was
work that could not long appeal to him. As he says, he

Schumann

scarcely felt in his element at the rehearsals. He speaks '
of not caring to hear those perpetual chords of 2, neces-
sitated by male part-song writing, after a long day of music-
making. A ** mixed" chorus, which he afterwards got to-
gether himself, afforded him a much more congenial field of
action. His " Faust " music, as his " Paradise and the Peri,"
were performed by this body of picked singers, who
numbered from sixty to seventy voices. Duties of this
description took the composer "out of his shell" more
than formerly, and he was even persuaded at times to join
in social festivities with his chorus-singers. On one occa-
sion he writes to his frieiid Ferdinand David in pleasant
anticipation of a picnic which he and his wife were organ-
ising in connection with the choir.

' Letter to Verhulst, November 4, 1848.

CHAPTER VI

Retrospective — The Composer as Conductor — The Apathy of Vienna —
The Shadow of the End—Frpm Dresden to Diisseldorf— A Pleasant
Start in the New Sphere — Congenial Occupation — As Conductor —
Failing Health — Compositions of the Time.

Before speaking of the events which followed 1850, the
last year of his residence in Dresden, a brief retrospective
glance at Schumann's career may not here be out of place.
From his earliest childhood music was
struggling within him for pre-eminence. The Retro-

literary pursuits, and especially the poetic spective
tendencies, of his youth — aroused by the
romantic sentimentality of such imaginative writers as
Jean Paul — invested his mind with a wealth of emotional
thought and intense striving for a lofty idealism which,
even in his young manhood, tended to keep him as a
being apart from intimate social converse with his fellow
men. Strong counteracting forces that opposed this self-
seclusion were to be found in his editorial labours; the
keen sympathy of his refined nature, which instinctively
attracted many kindred spirits within his almost forbidden
circle of confidence ; and, notably, his great love for Clara
Wieck, under whose beneficent influence he undoubtedly

Schumann

poured forth the noblest achievement of his genius. But
his keen sensitiveness sustained many shocks in his inter-
course with the world — even from those within his own
immediate circle. His mother's strong opposition to his
following a chosen career, the utter uncongeniality of his
University (legal) studies, the long waiting and struggle for
his wife, the inevitable worries and anxieties connected
with his editing of the Neue Zeitschrift^ his vain effort to
make a home for it and himself in Vienna — these and
other petty worries were so many indentations upon an
impressionable surface which even comparatively easy
circumstances and the ultimate fulfilment of his most
ardent desires could not efface. Dr Spitta^ speaks of
Schumann as being predisposed to worry. Such natures
find it difficult to recruit, especially if they are somewhat
morbidly inclined to hug the luxury of grief. Even when
the greatest good falls into the lap, gloomy anticipations
of possible mishaps will blight a life's happiness in its
budding time. The most tranquil period of Schumann's
life was probably that from 1840 to 1844. This com-
menced with his marriage, included his Song, Symphony
and Chamber Music period, and culminated in the com-
position and successful performance of his one oratorio,
" Paradise and the Peri." In 1844 came that trying break-
down of nerve and health which, for a time, suspended all
active labours. His half-dozen years' residence in Dresden
were, in many ways, a new phase of life for the composer.
At first his physical and mental well-being demanded a
pause of well-earned rest. But, once recruited, so incessant
^ " Schumann " in Dictionary of Music and Musicians (Grove).
70

Biographical

was the spurring on of the voice within for action, that new
forms and new kinds of exertion evolved themselves out
of surroundings. Thus pianoforte music in the stricter
contrapuntal forms belongs to this time, and dramatic
music — including ** Genoveva," " Faust "and " Manfred " —
were all written at this period. In the year 1849 Schumann's
creative gifts reached their maximum of output. He was
said in that year to have been able to write anywhere and
anyhow. Some thirty works of all varieties — vocal,
instrumental and orchestral — are to be catalogued within
this twelvemonth, the prolific speed with which he executed
some of them being remarkable. Even concentration and
quietude were not now such needful adjuncts to him. In
a letter to Dr Hartel, on the 23rd June 1849, he speaks
of composing the song, " Kennst du das Land," in the midst
of noisy children, though certainly not without inspiration.^
Before his Dresden sojourn, Schumann had only been
before the public prominently as writer and composer.
We then find him employed, as has already been stated,
in the new capacity of choir-trainer and con-
ductor. That he was genuinely interested in Schumann
his chorus drilling, and especially in his mixed as Con-
choral society, seems evident. We have ductor

spoken of this work as being a factor to draw
him pleasurably, in a social way, from too close commune
with his own thoughts. In a letter to Brendel in 1848,
shortly after his Dresden choir had given the admirable
private rendering of the " Faust " music already alluded to,*
Schumann speaks of his societies being a great delight
1 Quoted in the Published Letters. ^ Page 66.

Schumann

to him. He commends them for their ability in reading
Beethoven's " Missa Solemnis " at first sight, talks of the
pleasure it gives him to lead the singers "over hedges
and ditches," and refers to their powers in studying new
works, such as Gade's *' Comala," which Schumann speaks
of in the highest terms as deserving of a laurel wreath.

So much indeed did conducting interest him that,
hearing a report that Rietz — who had been appointed
after Mendelssohn's death to preside over the Gewandhaus
Concerts — was about to accept Nicolai's place at Berlin,
he (Schumann) at once made inquiries as to whether the
directors would be likely to favour his application for the
post if it were vacant. Nothing came of this, however,
as Rietz decided to remain on at Leipzig. Immediately
upon his recovery from the nervous prostration of the
years 1844 and 1845, the musician seems, indeed, to have
been more anxious than at any other time of his life
for some regular routine of duties. Thus we find him
applying for information to Nottebohm about the vacant
Directorship at the Vienna Conservatoire in the July of
1847, mentioning that a post of the kind would be just the
sort of a position he would like. But his destiny did not
lie Viennawards.

The apathy of Vienna towards Schumann is difficult to
understand, especially as he himself had always a strong
affection for the art - loving Austrian capital.
Apathy of We have seen how, owing mainly to censor-
Vienna ship, he was obliged to relinquish his hopes of
establishing the Neue Zeitschrift there. In
1846 he and Madame Schumann had paid a professional

Biographical

visit to Vienna, and had been but indifferently received.
Speaking of this to Brendel,^ he mentions the performance
of " Paradise and the Peri " as being sadly handicapped
by the fact that, owing to the sudden refusal to sing of
the two theatrical artists who had been engaged for the
solo parts, these had to be given to amateurs who, accord-
ing to the composer, *' barely hit the notes, to say nothing
of other things."*

How trying such an experience must have been to the
sensitive ear of Schumann, one can well understand. It
did indeed seem as if the chances were against Vienna
learning to appreciate him as he deserved.
Worries of this kind, coupled to the procras- Shadow of
tinations, annoyances and disappointments the End
received in connection with " Genoveva," must
assuredly have been exceedingly painful in Schumann's
case. It is also to be remembered that he had but barely
recovered from a serious nervous illness, probably con-
sequent upon the strain and anxieties of the years leading
up to his relinquishing of the editorship of the Neue
Zeitschrifi, He appeared to reach the zenith of his
creative powers in the year 1849, which was perhaps the
most prolific of all as far as varied styles of composition
went. That date also represents — with brief periods of
return to his former strength — the commencement of the
last few years of his all too short life, when the vivid brain
became over-wrought, and the grand powers were obscured
by their own very intensity, which, piercing, perhaps,
beyond that imaginative border across which mortal mind
'Letter, February 20, 1847. ' Ibid.

Schumann

dare hardly venture with safety, the result was a sad
shattering of nerves and premature decay.

We return to the year 1849, about the November of
which letters passed between Schumann and his friend
Hiller ' as to whether he (Schumann) would care to accept
the post of musical conductor at Diisseldorf
From which Hiller was about to resign. At first

Dresden to Schumann, though attracted by the proposal,
Diisseldorf seems to have been loath to break up his
household at Dresden, and he asks for time
before giving a decisive answer. Reports, too, reached him
that the state of musical proficiency in Diisseldorf was at
a low standard. This, however, was not so, as he dis-
covered afterwards, for Hiller had accomplished excellent
work there. Thus when, in the following year, 1850,
Schumann moved with his family to the new sphere, he
was surprised and delighted to find himself in command
of a most intelligent and expert body of performers. In
his preliminary correspondence with Hiller, a rather
melancholy topic — one might almost call it a foreboding
— is touched upon in one of the letters. He speaks of
having looked up for some notice of Diisseldorf in an old
geography and found that, among its buildings, there was
the notice of three convents and a madhouse. He
mentions having no objection to the former, but that the
reading about the latter had made him feel quite distressed.
Then he proceeds to explain why. It seemed that, a few

' Hiller had accepted the post of Chapel Master at Cologne, whither
he went in 1850, having suggested and obtained the appointment of
Schumann as his successor at Diisseldorf.

Biographical

years previously, when the Schumanns were staying at
Maxen, the composer found that his window commanded
a view of the Sonnenstein.' He speaks of having thor-
oughly disliked the sight of it, and that its proximity quite
spoilt the pleasure of his sojourn there. Then he mentions
the necessity of his having to be very careful in guarding
against melancholy impressions of that kind. He then
draws the metaphor of the musician living on the " sunny
heights " who can ill brook to look upon the darker aspects
of life, especially if, as was the case with him, the imagina-
tive faculty was a vivid one.*

The first year or so, nevertheless, of the residence of
Schumann and his family at Diisseldorf seemed to have
given the lie to all gloomy prognostications and anticipation
of indifferent musical successes. Arriving early
in September of 1850, he and his wife were Pleasant
received with universal respect and esteem, and Start in
the entire surroundings seemed most congenial the New
and appreciative. The opening concert of the Sphere
season included portions from his *' Genoveva "
and " Paradise and the Peri," as well as some of his songs.
On this occasion Julius Tausch conducted, and the
event was, in every way, calculated to give the composer
an honourable and gratifying introduction to his new round
of duties. So pleased, indeed, were the directors at having
secured his services, and so successful was this first season,
that several extra concerts were arranged for, a notable
feature of which, suggested by Schumann himself, was that
at least one performance yearly should be devoted to the
' Lunatic Asylum. * Letter, December 3, 1849.

Schumann

works of living composers. Thus was Schumann always
true to the underlying principle of his own life — ^that dis-
interested generosity which was ever ready to give a help-
ing hand to the young and unknown, and to encourage
talent and genius, especially in days of struggle and mis-
understanding. This had been his aim all along in the
Neue Zeitschrifti and he had had more than one beneficent
scheme in his head on behalf of composers in their deal-
ings with publishers and theatrical impressariu

Thus the opening part of Schumann's Diisseldorf sojourn
seems to have passed most pleasurably. In a letter^ to
Dr Klitzsch, he speaks of being very content in his present
position, and mentions that, although he found
Congenial conducting very fatiguing, what he had to do
Occupation of it did not overtax his physical strength.
Later in the same year,^ when corresponding
with Moscheles, who had dedicated his Sonata for Piano-
forte and Violoncello (Op. 121) to the younger master,
Schumann again refers to his surroundings as agreeable
and suitable. In addition to his duties as orchestral con-
ductor, he started a Chamber Music Society at Diisseldorf
for the performance of important works both new and old.
Thus there appeared to have been no diminution of his
musical fervour and activity, and he tells Moscheles that he
is happy at having found a field of action which suited
him in so many respects.

Conducting was far from being Schumann's forte. Ere

long this became evident, even to those who loved and

admired him most. He was too sensitive and too poetical

' August 9, 1851. » November 20, 1851.

Biographical

to bend his imagination to the mechanical part of beating
time. It was also soon apparent that neither his health
nor nerves could, for any continued length
of time, stand the strain, physical and mental, As

which, more or less, falls upon one who wields Conductor
the Mton with real success. Many of the
necessary traits of the ideal conductofr were wanting in his
reserved and almost timid temperament. " He had," says
Dr Philip Spitta,' " neither the coUectedness and prompt
presence of mind, nor the sympathetic faculty, nor the
enterprising dash, without each of which conducting in the
true sense is impossible. He even foimd a difficulty in
starting at a given tempo; nay, he sometimes shrank from
giving any initial beat, so that some energetic instru-
mentalist would begin without waiting for the signal with-
out incurring Schumann's wrath." Schumann, we are
further told, was incapable of going over difficult portions
bit by bit and getting all perfect. He would repeat a
whole movement again and again, if its first or reiterated
rendition was not satisfactory, but he never trusted himself
to make a long speech or to enter into details as to how
such and such a passage should go. It was the old story
of the inability of genius to give an explanation for its
raison cFitre. The thoughts of great creative minds are
often too deep for words. Thus, as we have before
noticed in the case of Schumann as instructor, the com-
poser is seldom the best teacher. He knows, but cannot
tell why or how much he knows. In particular was this
the case with Schumann, whose keenly emotional, though
■ " Schumann " in Dictionary of Music and Musicians (Grove).
77

Schumann

reserved, mind shrank from intercourse with the outside
world, and preferred to meditate upon and evolve his
imaginings in musical and poetic thought rather than plead
with other intelligences for a better understanding of his
own.

Moreover, after the first two seasons or so of his
residence in Diisseldorf, it is evident that Schumann was
feeling far from well. The previous nervous breakdown,

which had necessitated his migrating from
Failing Leipzig to Dresden for rest and change.
Health threatened him at times again, and in a still

graver form. A love for the occult and the
mysterious — an outcome of his poetic and meditative
nature — now led him into channels of thought and inquiry
far from healthy for one of his intensely imaginative and
somewhat superstitious nature. At this time he was deeply
drawn to table-turning and spirit-rapping, and was much
under the thraldom of dreams and omens. When writing
to Hiller to arrange for the division of the conductor's
duties at the Lower Rhine Festival of 1853, he was fuller
of the results of his recent spiritualistic investigations .than
keen upon business detail. He mentions having tried table-
turning {or the first time shortly before, and being deeply in-
terested in having received some remarkable message from
the Unseen as to the rhythm and tempo of the C minor
Symphony of Beethoven. The festival to which he referred
was that held at Diisseldorf on the 15th, i6th and 17th of
May 1853. On this occasion Schumann conducted the
" Messiah "and his own D minor Symphony, Hiller wielding
the bdton during the remaining performances. It was

Biographical

among the last of poor Schumann's successful public ap-
pearances. His illness seems to have been rapidly gaining
ground. After a concert on October 27th, in the same year,
an attempt was made to induce him to retire for a little
while from the active exertion of conducting. But the
hypersensitive musician misunderstood ; and probably the
brooding over an imaginary slight aggravated the ailments
of those delicate imaginative and physical organisms which,
in his case, were ill fitted to combat opposition or mis-
apprehension of any kind.

The Diisseldorf period was not, however, without its
results in creative work. It saw the completion of the
great £ flat Symphony (Op. 97) popularly known as the
" Rhenish." This noble tone picture was sup-
posed to represent the composer's impression Composi-
of a Festival at Cologne. It was given, for the tiohs of the
first time, at Diisseldorf on the 6th of February Time

1 85 1, and later on in the month at Cologne.
But on neither occasion did it meet with a due meed of
appreciation. It was not heard in England until the 4th
December 1865, when the charms of its intense colouring
and imagery were warmly admired at a concert given by
Signor ArcUti. That Schumann's works were gradually
gaining ground and fascinating an ever-widening circle was
evident. From March 14th to 21st of the year 1852 a
" Schumann week " was given at Leipzig, and this, if it did
not invoke universal enthusiasm, strongly attracted the
highest artistic circles of the day^ both Liszt and Joachim
being keenly attentive listeners and admirers upon this
occasion. In the year 1853 Schumann was much

Schumann

" heartened up " by a successful professional tour which
he and his wife took through Holland. Writing to
Joachim from Utrecht, on the nth December 1853,
Schumann speaks of having been most successful on this
trip, having received a warm and gratifying welcome every-
where. "The Dutch public," he remarks, "is most
enthusiastic, and their taste is, on the whole, of a high
standard."^

' Letter, December 1 1, 1853.

CHAPTER VII

Sacred Music — The Composer's Scheme for ** Luther" — Librettist and
Musician — Further Compositions^ of the Time — Meeting with
Brahms — A Last Yearning Viennawards — In the Valley of the
Shadow— Release at Last— "The End is not yet."

While in Diisseldorf Schumann was strongly drawn to
compose sacred music. In 1849 ^^ ^^ written to Dr
Kruger that he was turning his thoughts to the Church, but
not without some diffidence. He had already
set Riickert's Advent Hymn. The inhabitants Sacred
of Diisseldorf were principally Catholic, and Music

this probably induced Schumann to try his
hand at a Mass (Op. 147) and a Requiem (Op. 148), both
completed in 1852. He even hoped to do something on a
still more ambitious scale. This was no less than a great
oratorio, which was to be something rather out of the beaten
track and a work that would attract all classes of people.
The idea of this oratorio first came to him through his
correspondence with Richard Fohl, an enthusiastic and
gifted student of Natural History at the Leipzig University.
Pohl had suggested " The Bride of Messina " as a possible
text. Although Schumann could not see his way to an
F 81

Schumann

entire work on that subject, the idea inspired him towards
activity in another direction. When writing to his young
correspondent, he remarks that he would much like to com-
pose an oratorio, and wonders if Pohl could assist him with a
theme and book of words. "Luther," <' Ziska," and a biblical
theme are all suggested by the composer himself, and he
adds quaintly that afterwards he might try a bright and
amusing opera. The " Luther " idea was subsequently a good
deal discussed, and appealed very forcibly to Schumann.
In a letter of February 14, 1851, he speaks of it as **a
tremendous subject," and one from which it would be
necessary to abstract all ultramundane topics. "To my
mind," he continues, " the spirit of Huss alone is in its
proper place here." '

Schumann seems, indeed, from his correspondence with
Pohl, to have formulated a well-defined scheme, and one
which, had it come to fruition, might have resulted in a
work both striking and original. The pur-
The Com- posed oratorio was to be as suitable for church
poser's as concert - room. Two and a half hours'

Scheme for duration, including intervals, was the amount of
" Luther " time which it was to occupy in performance.
Anything of a narrative or reflective nature was
to be avoided as much as possible, the dramatic element to
be introduced in preference. Evidently Schumann pur-
posed to restore oratorio to its pristine and probably future
character, when it should be something between a sacred
opera and a musical mystery or miracle play. He begged
his librettist in particular to give him plenty of opportunity

' See this interesting letter in its entirety in the published collections.
82

Biographical

for chorus work, instancing HandePs " Israel in Egypt " as a
model which, in this respect, he wished to follow. He
refers to the introduction of Catherine as furnishing a
soprano part, and indicates that the third part of the work
would be best for the celebration of the marriage. The
Choral, " Ein' Feste Burg," he intended should furnish the
great climax and be reserved for the final chorus. He speaks,
when writing, of the difficulty to be contended with in
dealing with too many secondary characters — evidently
Pohl had submitted a skeleton plot with dramatis persona
— ^and he considered that the Choral would be more
appropriate than portions of the German Mass. Luther's
musicianship and his well-known devotion to the Divine Art
were also to be borne in mind and gracefully referred to.
Finally, Schumann agrees with his librettist that the whole
should be endued with the national spirit of the Father-
land. Schumann's own earnestness and thorough grasp of
his subject are apparent, and evidently Pohl was as ardent
over the topic as his distinguished musician correspondent.
But the pity is when librettist and composer are not
unanimous as to the form which a text is to assume.
Much letter-writing passed between the two. Pohl's idea
was a kind of grand Reformation Trilogy,
with which Schumann did not agree. The Librettist
musician wanted what he called a distinctly and

"popular" oratorio, which all classes could Musician
appreciate, since Luther himself appealed to
men of all kinds. In the September of the year Pohl called
upon Schumann to personally discuss the " Luther " text.
Yet, although the young author was anxious to please his

Schumann

distinguished collaborator, in January 1852 we still find
Schumann looking forward to a book upon the Reformer.
But the oratorio " Luther " was not to be. Again and again
Schumann wrote to Pohl or instructed him upon special
points, and repeatedly did Pohl try, but in vain, to fulfil the
composer's wishes. 1851 to 1852 — one of the last years of
the composer's healthful activity — was passed in fruitless
anticipation of what would certainly have given food for
his genius. Such happenings, in the economy of life and
art, are hard to be understood ; just as it seems sad that
Mozart, Schubert and Mendelssohn should have been cut
off on the very threshold of their prime. In how far Pohl
was remiss in supplying material for the book of words, it
is impossible to say. He appears to have done his best, or,
at least, tried honestly to do so. On the 27th December
1852 Schumann writes to him that, although ill for six
months from a distressing complaint, he was far from
giving " Luther " up and hoped his correspondent would not
do so either. Even as late as March 1853 the musician
wrote that he was still " deeply attached " to the " Luther "
idea.

One thing, at all events, Pohl did for the composer.
He re-modelled, at considerable labour and trouble,
Uhland's Ballad, " Des Sanger's Fluch " ; and this, as Op.
139, Schumann subsequently set to music.
Further Previously, about Christmas 185 1, he had
Compost- written an overture to Goethe's " Hermann and
Hons Dorothea." The Chemnitz poet, Moritz Horn,

supplied him with material for " The Pilgrimage
of the Rose" (Op. 112), the music to which was composed

Biographical

in the early summer of 1851. Indeed, this period proved
a very fertile one, for to June of this year belongs another
Ballad of Uhland's, " Der Konigssohn " (Op. 116), set for
Wi, chorus and orchestra. This work appears to have
specially interested the composer. So also did "The
Pilgrimage of the Rose." Speaking of the first performance
of the latter work in a note to Dr Kiitzsch, Schumann
refers to it as having made " a very agreeable impression
on the audience." Other productions of this marvellously
active brain at this time were musical settings of Geibel's
"Vom Pagen und der Konigstochter " (Op. 140) and
Uhland's " Das Gliick von Edenhall " (Op. 143).

Although the year 1853 was saddened by periods of
mental depression and unmistakable signs of failing
health, yet it was not altogether without its times of
cheer and brightness. The tour to Holland,
in company with his gifted wife, was very Meeting
gratifying and encouraging to the composer. with

Another event, which, for the time, roused Brahms
Schumann, was his meeting with and re-
cognition of the genius of Brahms. This is the more
remarkable as Johannes Brahms, being then only a youth
of twenty, might naturally have appeared but an apprentice
in musicianship to the matured master. But Schumann did
not regard his junior fellow-artist in this light. Joachim
had sent Brahms to him with a letter of friendly
introduction. Schumann then heard Brahms play, and was
powerfully struck, as much with the young man's ability as
an executant as in r^ard to his gifts as a composer. With
that keen insight of critical appreciation which he had

Schumann

shown in regard to Chopin, Berlioz and others, Schumann
recognised in the youthful aspirant those qualities which
were destined to make Brahms the man of mark among his
fellow-musicians that he became. Consequently, with all
that noble liberal-mindedness and freedom from bias and
envy which so eminently characterised him, the elder tone
poet at once hailed in the younger a brother bard fully
equipped rather than one who had yet his badge of honour
to win. Speaking of Brahms to Dr Hartel,' he char-
acterises the newcomer as a young man who had deeply
thrilled all with his marvellous music, and who was
destined, without doubt, to make an immense stir in the
musical world. Writing, on the same date, to Joachim,
Schumann compares Brahms to a young eagle ; to a grand
river ; to the Niagara " thundering down from the heights
as a waterfall, bearing the rainbow in its waves, its banks
courted by butterflies, and accompanied by nightingales'
songs." ^ He further esteems Brahms as an apostle who
should reveal many things which the Pharisees would be
unable to comprehend for centuries. Indeed, for some
considerable time after this memorable meeting, Schumann's
letters are full of a wonderful enthusiam about young
Brahms. After a silence of about nine years — once more
the mysterious nine — the musician again assumed the rdie
of critic, and wrote a remarkable article, entitled " Neue
Bahnen " (New Paths), to introduce Brahms to the public.
This essay appeared in the Neue Zeitschrift of 28th
October 1853, the day after the last Diisseldorf concert
which poor Schumann was able to conduct — though
» Letter, October 8, 1853. » Letter, October 8, 1853.

Biographical

clearly in failing health — in its entirety. Ever generous
and active in giving a helping hand where real merit or
earnestness displayed itself, our Master Musician exerted
himself successfully in obtaining an introduction to, and
good terms for his works from, the famous .music
publishers, Messrs Breitkopf & Hartel (of Leipzig), for
the youthful composer. Thus, almost with the expiring
spark of that wonderful ardour and energy which so
characterised his life exertions, Schumann bestirred
himself to aid another to gain a footing upon the slippery
ladder of fame which he himself had mounted so bravely,
almost unaided and unappreciated.

Partly owing to the restlessness occasioned by his serious
state of health, and partly no doubt due to that innate
hypersensitiveness which keenly felt the want of delicacy
and tact displayed by a certain section in
Diisseldorf in endeavouring to supplant him in Last

his duties as conductor, Schumann for many Yearning
months contemplated a move to Vienna. A Vienna-
strange fascination still attracted him to the wards

home of Haydn, Mozart, Schubert and Beet-
hoven, in spite of the fact that the Viennese had failed,
on more than one occasion, to give himself due
appreciation.' At the close of 1852 he definitely ex-
pressed to Van Bruyck a wish to go and settle in Vienna if

' See p£^e 37, et, seq. He had written, on May loth, 1852, to Van
Bruyck as follows : " All that you tell me about Vienna I had noticed
m3^elf in former years. And yet something always draws me back
again, as though the spirits of the departed great ones were still
visible, and as though Vienna were Germany's true musical home."
(See Letters,)

Schumann

any position as conductor opened up there for him. That
the desire to migrate Yiennawards had become a resolve,
proved certain towards the close of 1853. He mentions
to Joachim that he had received an indirect offer from '^a
certain town " wherein he and his wife had long wished to
live ; ' and also, about the same time, he tells Van Bruyck
that he hoped soon to be nearer to him. The winter of
1 854- 1 85 5 is even named as the time when the Schumanns
purposed going to Vienna, as Schumann himself quaintly
puts it, to free themselves from the narrowness of life in a
small town and for " change of air."

But Heaven had willed it otherwise. The coming of
Brahms, for a while, drove the gloomy broodings from the
composer's soul. In company with the youthful maestro

and Dietrich,' Schumann had written a
" Valley Pianoforte and Violin Sonata as a greeting to
of the their mutual "beloved and honoured friend,

Shadow*^ Joseph Joachim." It was almost his latest

musical effort — this portion of a work penned
by three as a tribute to one whom they mutually admired
and esteemed. ^ Ere long, fits of terrible depression would
seize Schumann. Sometimes he fancied he heard the
incessant sounding of one note; on other occasions
strange harmonies haunted him and distracted his rest
and peace. One night he dreamed that the spirits of
Mendelssohn and Schubert appeared to him and gave
him a theme. He afterwards tried to work up the subject
thus mysteriously given, but he never completed this,

' Letter, November 1853. * Hofcapellmeister at Oldenburg.

3 In a MS. in Herr Joachim's possession.
88

Biographical

practically his last, composition. ' At length, on February
27, 1854, a sad incident occurred. In one of his ''mortal
agonies of mind " the unhappy composer left his home and
was seen to throw himself into the Rhine. He was rescued
and brought back to his distressed and sorrowing family,
and for a little while he rallied in spirits. But the awful
depression of mind kept recurring at intervals, and even
the sufferer himself expressed a wish that he should be
placed in an asylum. That painful expedient at length
became a necessity ; and so, for two years, with temporary
returns to his former self, Robert Schumann was under
the care of Dr Richarz, at Endenich, near Bonn.

The pathos of genius thus blasted in its full prime must
have been heartrending for those near and dear who were
obliged to witness it. It is not for biographer or reader to
linger long over the contemplation of such a
sad and trying period. A merciful release came Release
finally on July 29, 1856, when, in the arms of at Last
his faithful and noble wife, the harassed spirit
at last broke free from its fleshly prison. Schumann was
but forty-six when he died. He was buried at Bonn.
Some seventeen years later, in August 1873, a great
** Schumann Festival " was held in that town, the proceeds
of which were devoted towards erecting a monument* over
the grave of the deceased musician. Thus now, in the
birthplace of Beethoven, whose genius he so keenly appreci-
ated and admired — and close to the fair Rhine which he

' Brahms afterwards utilised this ** spirit " theme in his Variations for
Four Hands (Op. 23), a work dedicated to Schumann's daughter, Julie.
* Executed by Donndorf of Stuttgart.

Schumann

loved so well, and beneath the waters of which he had
almost found a grave — a beautiful trophy of the sculptor's
art marks the last resting-place of Schumann.

If a cloud obscured his powers in the hour of his
maturity, and if silence fell all too suddenly where rare
melody and richest harmonic combinations had reigned
supreme, at least Schumann lived to make
" The End an indelible mark in the musical world, and
is notyet^^ to leave behind him the imperishable achieve-
ments of a great mind truly remarkable and
unique. In his life, if he yielded too much at times
to a morbid romanticism, he was always actuated by a
lofty spirit of wholesome enterprise and exertion. In his
writings he strove to inculcate the noblest and most straight-
forward of sentiments ; and his entire freedom from envy
and malice towards fellow-workers, as his sympathy and
kindliness to the young and struggling, made him a man
among men. Reticent and reserved, for the most part, in
converse with his fellow-creatures, through the medium of
music Schumann had an unrestrained channel whereby he
could pour forth the inner and most sacred thoughts of his
soul. That his marvellous tone forms and colouring should
not appeal to all is no more to be wondered at than that
the deepest and most earnest emotions of our natures, if
demonstrated in unsympathetic surroundings, often bring
upon us but the apathy and misunderstanding of those in
whose powers of insight and appreciation we place most
faith. But no grand impulse, no heart-whole effort, is ever
quite in vain. Schumann had a message to give, and he
gave it — fearlessly, tenderly and effectively. He was more

Biographical

than a mere musician ; he was a poet and philosopher. In
his letters — the mirror of his soul — his essays, and his
musical compositions we get a fuller glimpse of his mind
than any narrative of his life could give us. Let us turn,
then, to these ; and from the creative output of this great
tone poet's soul learn what a noble resolve, coupled to
remarkable gifts, may accomplish, even when the path is
beset with difficulties and the close is apparent failure and
collapse.

Schumann : The Man

CHAPTER VIII

Circamstances and the Man — The Short-lived Melodists — The Musician
as Letter-writer— Published Letters — Classification of the Schu-
mann Letters — ^To his Mother — Hypersensitiveness to Trouble —
Maternal Letters — Letter Reference to Early Compositions — Cor-
respondence with College Friends.

We now come to consider Schumann, the man. With
much sympathy, with deepest veneration, with tenderest
solicitude, let us raise the veil that shrouds the soul of
Schumann, the tone genius ; and, while we wonder at the
revelation, let us reverence and esteem.

Robert Schumann, the child, grew up, in comparatively
unmusical surroundings, with music in his soul. From his
earliest years he played and composed. In his teens he

was strangely drawn to literature, discovering
Circum- in romantic poetry a reflex of some of his many,
stances even to himself, incomprehensible thoughts.
and the In early manhood his creative yearnings were
Man overshadowed by maternal opposition to his

adoption of music as a profession, and by the
struggle he was obliged to go through before he could
claim as his wife the woman of his choice. Later, even
upon the accomplishment of his fondest hopes and desires,

The Man

the incessant strain of editorial and musical output told
upon a sensitive temperament and a frame not over robust.
To such a spirit as Schumann's — tender, refined and
poetic — the wear and tear of daily life, and the inevitable
contact with a world mainly hard and self-seeking, were
influences which threw him back upon himself, and caused
him to live apart — a reserved and taciturn, but by no means
soured or "unapproachable," man.

The creative musician is strangely constituted. The
music that is within, while it inspires, often burns and
sears. The brilliant, flashing steel may even wear out the
scabbard before its time. When coupled with
romanticism, and unsalted by the sterner Short-

qualities of giant endurance such as Bach and lived

Handel possessed, music ofttimes rends soul Melodists
from body long before the "threescore years
and ten." It is strangely pathetic to mark that three of
the greatest composers whom the world has ever seen —
Mozart, Schubert and Mendelssohn — died young. With
the two former the struggle for existence may have told
upon otherwise strong physiques ; with the latter no such
excuse can be pleaded. If Haydn and Spohr lived to be
old men, Weber and Chopin "passed" on the threshold of
their prime. Schumann saw but his forty-sixth year. His
fruition — owing to circumstances which were unavoidable —
was late. Scarcely did he reach his maturity period when
blight fell upon the golden harvest-field. It is not for
mortals to say, "Oh, the pity of it!" We need but
remember that "the end is not yet." Beyond the veil of
flesh surely the light will be clear.

Schumann

Schumann was a great and gifted letter-writer. In his
epistles, rather than in speech, he poured forth his heart.
From these missives, then — written to relatives, acquaint-
ances and strangers — may we best gather what
Musician kind of man our Master Musician was and what
as Letter- he aspired to be. If we want confirmation of
writer this statement, it is only necessary to recollect
what she says who understood Schumann best
of all. We refer to those touching words of Madame Clara
Schumann herself with regard to his early correspondence.
" These letters," writes the distinguished wife of a gifted
husband, " form a beautiful and touching memorial, reveal-
ing all the treasures of an ideal youthful nature, strong and
energetic, and filled with the highest aims and aspirations." '
Up to the present time the letters of Schumann which
have been published are contained in the two collections to
which we have frequently referred, namely, the Early
Letters and TTie Life of Robert Schumann
Published told in His Letters^ both ably translated into
Letters English from the original German by May
Herbert. Numerous other letters of great
interest still remain unpublished, and some of these,
through the courtesy of friends, the writer has been privi-
leged to see and quote. The space limits will, however,
only permit the briefest summary of some of the most
salient points of this interesting and really remarkable corre-
spondence.

If an attempt were made to classify roughly all the

' PrefiELce by Madame Clara Schumann to Early Letters of Robert
Schumann (translated by May Herbert).

Clara Schumann, n^e Wieck.

The Man

Schumann letters now available for perusal, perhaps the
following order of consideration would give the best idea of
the variety of style, freedom and reserve which
we may expect to find in the whole series. Classifica-
First are the youthful letters; particularly Hon of the
those to his mother, his guardian, Herr Rudel, Schumann
and his college acquaintances, Rosen and Gotte. Letters
In the second category would come, perhaps,
those emotional letters of early manhood to sympathetic
friends, such as Henriette Voigt ; and, as a great addenda
to this division we must include the wonderful epistolary
chats of his "love period," when the scribe raised the
curtains of his inmost soul to Clara Wieck, the noble artist
who afterwards became his loving wife and true helpmeet.
Thirdly, there are groups of letters to students, fellow-
workers, publishers, and, notably, to famous contemporary
musicians — the latter being particularly interesting to the
connoisseur. Under a miscellaneous heading we might
place the purely business letters (though these were by no
means prosaic), as also the many characteristic communica-
tions with strangers, outsiders, and admirers generally with
whom Schumann was brought in touch through one circum-
stance or another.

How deeply Schumann revered his mother, and how
keenly her nature and his could enter into the thoughts and
aspirations of each other, is more than evident, especially in
those early letters written by the youth when a student at
the Leipzig University. Imbued, as he was at the time,
with the melancholy romanticism of Jean Paul, and striving
in the dark for those repressed musical powers which it

Schumann

almost seemed a filial duty to keep in abeyance, a letter
written from Leipzig, and dated August 31, 1828, may be
referred to as characteristic and tending to throw
Schu' a strong searchlight upon the mind of the

manrCs dreamer, poet and musician. In this the youth
Letters to of eighteen speaks of his life as being " monotoc-
hxs Mother ous and joyless,*^ Thus early had morbid feel-
ings taken possession of him. He continues
that it gives him little pleasure to go about in public, and
that it worries him to meet with silly folk. Music, how-
ever, he says, supplies the void to him which the outside
world cannot fill. His piano whispers to him the thoughts
he cannot put in words. When sad and lonely he thinks
of the loved ones at home, and of the pleasant country
places — the Weissenborn meadows, the Bankenberg, and
Oberhohndorf — where, as a child, he so often wandered,
full of blissful dreams. Pondering over those things he is
both glad and sad, and feels as though he could weep.
" Ah, mother," he concludes, *' I have too soft a nature, I
feel that ; and every creature who feels so deeply must be
unhappy.'' '

That this somewhat brooding and melancholy spirit was
inherited seems evident from the many little appeals which
he makes to his mother to write brighter letters. Doubtless
the more hopeful and sanguine temperament of his father
inspired the lad when, in a subsequent letter,^ he proceeds to
remonstrate tenderly and almost playfully with his mother
to be more cheerful and not to lose the heaven-bestowed
gifts of life through want of proper enjoyment and appreci-
' Early LetUrs. » Early letter, October 24, 1828.

The Man

ation of them. A year later he chides her gently for being
sad, and bids her look out upon Nature and be happy,
adding, "Why, indeed, can you not enjoy jomx happiness as
much as you deserve to do ? " ^

The fact was that, so sensitive was the highly-strung mind
of the young poet-musician that he shrank from all that
jarred or interrupted the harmony of his own vivid musings.
In an ordinary nature the disinclination to
allow himself to be upset by the troubles of Hypersen-
others might have appeared selfishness or sitiveness
hyper-self-solicitude. In Schumann's case one to Trouble
must recollect that the musician's nervous
temperament was developed in him to an extent that
rendered him peculiarly vulnerable by discords literal and
figurative — grievances real and fancied. Hence we are not
surprised to hear him confess that he kept a letter of his
mother's unread for a week when he perceived the gloomy
frame of mind in which it started. He could not bear even
to be told of sickness and death in his family.^ " I have
never before known sorrow," he writes, " now it has come
upon me, but I cannot get over it, and it has crushed me a
thousandfold." 3 At the time of writing this, however, the
composer himself was recovering from a severe illness.

But it should not be conjectured from the above that his
mother always, or even often, wrote to her absent son in a
melancholy or morbid strain. Her letters, which seem to

' Early Letter, December 4, 1829.

' In this connection musicians will remember how keenly Men-
delssohn felt the news of the death of his sister Fanny, a sad happening
which, many believe, hastened his own end.

3 Early Letter, January 4, 1834.

G 97

Schumann

have come to Schumann with much frequency during his
university career, appear to have been highly appreciated
and cherished by him. He sp^s of them
Maternal being as intellectual as herself — " a lovely crystal
Letters mirror of your soul, which lights up and warms
your son's heart." On one occasion he writes
to tell her how much her recent letters had brightened and
comforted him.^ He then refers to her "self-sacrificing
love," which he had, at times, perhaps misunderstood.
Sleeping or waking, he says, he seems to see her stand
before him as his good genius, "always gentle and loving,
and as though transfigured by youth." '

It is quaint to hear him beg her, in another letter, with
his poet's conception of all that was dainty and beautiful,
to write upon better notepaper! Then he reminds her
that he always liked to see her well dressed, in her white
lace cap and black silk gown, and could not endure the
sight of her old grey one. It is a charming, affectionate
letter, more like what a loving daughter would write than
a young student, whatever his profession. But youth just
entering manhood is all there, and must have made his
proud mother smile when she read his postscript : — " Apro-
pos, Don't be frightened ! I am growing a moustache."

But for the full and very entertaining correspondence —
such of it as has been preserved — that passed
Letter from this devoted son to an equally devoted
Reference mother, we must refer the reader to those
to Early Early Letters^ from the English version of
Compost' which such quotations as we have made have
tions been taken.

* Early Letter, March 19, 1834.

The Man

Occasionally, but not often, Schumann speaks of his
musical attainments to his mother. When in Leipzig,
about the summer of 1834, Gottfried Weber had written
an interesting criticism of the " Papillons " and some other
early works. In this the writer had spoken of the young
artist, Herr Schumann, who emitted " fiery sparks some-
what early.*' Weber had, however, highly commended the
work and prophesied future success for the composer,
although he animadverts upon the straining to be " extra-
ordinary and original." This notice the young composer
sent to his mother with his own unique and highly per-
spicuous comments. He was evidently pleased, and not
a little flattered, by the verdict, such as it was, and speaks
of it as coming from ** our greatest critic." But he defends
himself with all the confidence of genius. "They" (the
"Papillons"), he says, "are anything but ultra-original; and
I am inclined to question whether we young artists (Chopin,
Hiller, etc.) have not rather more genius than they give us
credit for, when the word is applied to things we have
known and done with for a^es." '

Of youthful letters, full of great thoughts and aspirations
for the future, few are so entertaining as those
written to his college friend, Rosen, to whom Corre-

he was deeply and sincerely attached. In spondence
these, more than in any others,^ perhaps, of with

his communications, we see the trend of the College
young student's thoughts when life, with Friends
all its mysteriousness and solemnity, was
just opening up to him. One letter in particular,
' Early Letter, written from Leipzig, July 2, 1834.
99

Schumann

that to his chum, William Gotte, is well worth perusal.
In this we see Schumann the dreamer striving for the
indefinable something which means the great ideal of the
earnest-minded man. He distinguishes between the epk
and lyrk nature, claiming to belong to the latter himself.
Thus, to him, music, the twilight, the sunrise, all arouse in
him the yearning for a greater, higher phase of energy and
existence. Schumann the philosopher and seer, perhaps,
speaks when he writes: — "We can scarcely imagine the
great unfinished picture of man in space \ but in time the
titanic giant spirits join hands for the formation of the
highest, and for the gigantic work of completed creation." '

' Letter to William Gotte, written from Schneebei^, October 2, 1S28.

100

CHAPTER IX

Madame Henriette Voigt — Eraestine Von Fricken — Susceptibility to
Feminine Grace and Sympathy — The Poet-Musician and Beauty
— Friendship for Robena Laidlaw — First Meeting with Schumann
— A Stroll in the Rosenthal — Subjects of Conversation — ^Jansen's
and Wenzel's Tributes to the Composer's Early Conversational
Powers — Youthful Sociability — The Attainments and Personal
Charm of Robena LaidlaW — Two Hitherto Unpublished Letters.

Thus far have we glimpses of Schumann, the youth-
ful aspirant. Tinctured, as he confessedly was, with
the sentimentality of Jean Paul, there is, nevertheless, a
sanguinity of impulse and endeavour which is pre-eminently
Schumannesque and nobly resolute in this pouring forth of
his most sacred yearnings. As he verged into manhood,
and was gradually drawn, almost unconsciously, into a
social circle of young people of his own age, and of
sympathetic natures akin to his, the more ecstatic fibres
of his being were thrilled to expression; and, in many
fervid letters to his early friends, notably of the other sex,
we see manifestations of a gentle, refined, and yet exultant
spirit that was deeply moved by the beauty, grace and
talent of several fair and gifted women who came within
the group of his acquaintances.

Schumann's early friendship for Madame Henriette Voigt
has already been noticed. This charming woman entered

Schumann

thoroughly into the musical and poetic yearnings of the
young man ; and it is evident from their corre-
Madame spondence — Schumann made her his confidant
Henriette in regard to his passing fancy for Ernestine
Voigt Von Fricken — that Madame Voigt took a

kindly and sisterly interest in him, and, with
refined womanly instinct, wished to see him happily
married. Writing to her in the summer of 1834, the
composer refers to the spiritual and musical affinity that
existed between them, and discloses his own strange sen-
sitiveness and reserve by confessing that her kind expres-
sions of sympathetic concern for him sometimes drew him
out and sometimes caused him to shrink within himself,
after the manner of polar attraction and repulsion.'
Through the years that followed Schumann did not forget
this early friend, and several letters passed between them
with regard to his work and hopes for the future. One of
the last of these communications, written in the autumn of
1839, speaks of having got her letter late at night, and,
although it was dark, knowing who it came from. He tells
her how he has noticed that, in Berlin, nearly everyone
appears to be fond of reading, whereas in Vienna they think
more of eating. Then he speaks of hearing very little music,
adding that it was perhaps better so, as he only cared for the
best, and found his greatest comfort and encouragement
in Bach. He then refers briefly to his own compositions
of the time, and hopes that the publishers may soon bring
out his Sonata^ dedicated to her "as a sign of old affec-

* Letter to Henriette Voigt, July 3, 1834.
' Sonata No. 2, in G minor (Op. 22).
102

The Man

tion." Concluding, he sends greetings to her husband
and little daughter, Ottilie, "with her great blue eyes,"
adding that these latter just suited his "Kinderscenen." The
last sentences of the letter ' are significant. He bids his
friend good-bye, begs her to take care of herself, and hopes
that they may meet soon again. Two months afterwards
Madame Voigt ^ was no more.

Arising out of his intimacy with the Voigt musical family
came another friendship of a still more romantic character.
We have spoken of his profession of love for, and brief
engagement with, the amateur pianist, Baroness
Ernestine von Fricken, to whom, in 1831, he Ernestine
inscribed his " Allegro " (Op. 8). Those who are von

acquainted with the composer's ** Carnaval," know Fricken
that it is largely based on four letters, A.S.C.H.,
and their transposition, S.C.H.A. The former spelt the
birthplace of the young lady referred to, and the latter were
the musical letters in Schumann's own name.^ Schumann
had a great vein of superstition in him, and was much affected
by impressions, coincidences and the like. In a touching
and almost reverential letter which he wrote to Ernestine,
before he had definitely become betrothed to her, he speaks
of his good genius having brought them together in a kind
of external relationship.^ " I am too modest," he says,
" to think you would care to acknowledge a deeper, more
artistic, mental relationship."^ In closing the letter he
expresses his deepest devotion, and wishes that time might

' Letter to Madame Henriette Voigt, August 11, 1839.
* See page 20. 3 See also page 186.

< They had both been sponsors to one of Wieck*s children.
5 Early Letter, July 28, 1834.
103

Schumann

stand still, probably that he might continue in his then
happy frame of mind.

That Schumann was in earnest about this early attach-
ment we can scarcely doubt. To their mutual friend,
Madame Voigt, he declared that Ernestine's love was a

heaven-sent gift to him. It is not for us to
Suscepti' speculate as to why this little romance so soon
bility to resolved itself into dust and ashes. Nor can
Feminine we allow any suspicion of fickleness to attach
Grace and to the name of Schumann. Here again his
Sympathy susceptible and deeply emotional nature must

be taken into account. For him to meet with
tenderness and sympathy, especially when it was combined
with talented and attractive womanhood, meant that his
heart was stirred rather with an affectionate yearning for
the unattainable, than with an unreasoning and transient
passion for a beautiful face. For one so prone to human
kindliness and grace in others as was Schumann, it was
impossible to let such pass by without his warmest
tribute of appreciation, and even devotion. His spirit was
essentially a loving and lovable one, and thus we can well
understand that, until he realised the strength and power
which alone could fully satisfy him in the heroic yet gentle
nature of Clara Wieck, he could ill refrain from pouring
forth his feelings under the influence of kind eyes or
tender words of appreciation and fellow-feeling. Even to
Clara herself, when they were engaged, the lover unfolds
this trait of his mind. In one communication, while be-
wailing his habitual coldness and reserve, which often
made the best-intentioned friends misunderstand him, he

104

The Man

speaks of feeling very deeply the least display of kind-
ness, and being stirred by even a look or the almost im-
perceptible softening of other natures towards him. '' For
I have not got a bad heart," he says naively, " and love all
that is good and beautiful with my whole soul." '

On a previous occasion he had confessed to his
betrothed that he had many faults, though they were
growing less than formerly. Their having to wait so long
before marriage, he continues, had at least the
advantage that they should gain a better ex- Poet-

perience of each other — a knowledge that often Musician
came only after marriage to other people. The and Beauty
" faults" that Schumann then acknowledges were
his fondness for showing his affection for the people he
loved by playing tricks on them, and his admiration for
beautiful women. Then he playfully begs his fiancke not
to be distressed or to scold him if, some day they are out
walking together and they meet somebody really pretty, he
should exclaim, ** Oh, Clara, look at that divine creature ! " ^

We now come to Schumann's meeting with, and friend-
ship for. Miss Robena Laidlaw (the late Mrs Thomson), the
gifted pianist, who is mentioned in the Life of Louis Berger
as one of his most famous pupils. Anna Robena ^ came
of an old and highly-respected family that had once owned
large landed property in the south of Scotland. The

' Early Letter to Clara Wieck, written from Vienna, December 29,
1838.

* Early Letter, April 13, 1838.

3 The order of the lady's names was Robena Anna Laidlaw, bat
Schumann himself suggested the transposition to Anna Robena as
being more " musical. "^

105

Facsimilb of Schumann's Lbttbr to Robbna Laidlaw.'

^Ju X^ "i.— U^^'*u A'^'^e.^', d^

/w^ (xA-^ >(^^ yt'^^ ^ ^^y* "^ y'/ *^^ ^'

u 'ifiJ -^..^y ^-^C-^ >^^^ ^^

' Translation on page 115.

Schumann

Laidlaws had been on very intimate terms with Sir Walter
Scott, Robena's grandmother having once made a cap for

the great novelist, which he habitually wore
Friendship when writing, and which he used to call his
for Robena "wishing cap."' At an early age Robena
Laidlaw had shown marked musical talent, and, when

studying in Germany, had placed herself, at the
advice of Rellstab (one of Schumann's friends), under the
tuition of Louis Berger. Rellstab spoke very highly of her
beautiful touch and tone and interpretative powers (she
was then but fourteen years of age), and Berger seems to
have been much attached to her and to have thought most
highly of her playing. Later on she performed with great
success before the Court at Berlin ; in the presence of English
royalty in London ; obtaining the most flattering of all
receptions from the imperial circle in Russia. In Vienna,
Paris, Brussels, and indeed all the chief art centres of
Europe, Miss Laidlaw invariably delighted and charmed all
who heard her, receiving jewels from numerous Courts,
and being warmly and enthusiastically complimented by
crowned heads, as by famous artists of the day like
Paganini, etc.^

But there was more than mere virtuosity about Robena
Laidlaw. In a most interesting account, by Professor Jansen,

' This old Mrs Laidlaw referred to told Sir Walter Scott of the
existence of the creature — ^a real personage — who afterwards gave name
to the romance of The Black J>ivarf,

* Paganini, writing of Miss Laidlaw's playing at hb farewell con-
cert, says, '* I shall never forget the prodigious effect she produced at
my concert, and confess never to have heard that instrument (the piano)
treated so magnificently."

lo8

The Man

of her meeting with Robert Schumann,' we are told of
her ** charming and modest personality and
great beauty," as of " the delicacy and sympathy First

of her style," and her " strength and bravura " Meeting
in rendition. At the time when she met with

Schumann her artistic gifts were beginning to Sciumann
bring her into prominence, and in appearance
and temperament she had inherited the beautiful eyes and
lively disposition of her Irish mother. Such was the brilliant
young girl when, in 1837, having obtained an introduc-
tion to him, she called one morning upon Schumann, ac-
companied by Mrs Laidlaw and one Herr Fiirstenau (a
brother of the celebrated flautist of that name in Dresden).
The interview is best told in Miss Laidlaw's own words : —

"As I entered Schumann's sitting-room,'' she writes, "I
was struck by its simplicity and want of ostentation. He was
in a dressing-gown, seated at his writing-table and smoking a
cigar. At first he appeared slightly embarrassed at being
found in this attire, but very soon, having presented our con-
ductor to him, we entered into most friendly conversation,
and, indeed, remained there a considerable time. Among
the furniture of the room the one thing I remember dis-
tinctly was a grand piano, but I am not very observant of
details and my whole attention at the time was fixed upon
the very distinguished and unaffected man we were visiting.
Schumann was kindness itself, spoke of my artistic success
in Warsaw, and said, in taking leave, that he would soon

' " Robert Schnmann and Robena Laidlaw," by Professor Jansen.
Article published in 1895 in the Grenabotm,

109

Schumann

return our visit, which, in fact, he did (if I remember rightly)
the same afternoon. We laughed about a mistake he made
as to the identity of the gentleman who accompanied us.
Knowing I had just returned from Warsaw, and not catching
exactly the name Fiirstenau, Schumann was under the im-
pression that our escort was * Ein- Fiirst aus Warsau ' (a
prince from Warsaw)."

Schumann then heard Miss Laidlaw play pieces by
different composers, and expressed himself exceedingly
pleased with her remarkable interpretative powers in various

styles. He at once undertook to help her with
A Stroll her forthcoming concert, and secured for her
in the the valuable assistance of David, of the cele-

Rosenthal brated baritone, Hammermeister (creator of the

part of the Templar in Marschner's opera) and
others, as well as drawing special attention in his paper to
the remarkable gifts and attainments of the young English
pianiste. Subsequently the Laidlaw ladies — mother and
daughter — saw a good deal of him. On one occasion he
escorted them to the Rosenthal (Valley of Roses). "The
weather," writes Miss Laidlaw, " was beautiful, and we three
wandered about the gardens. After coffee I proposed a
walk round the place. We had hardly started when
Schumann suddenly left us and hurried to a little hillock.
While my mother and I waited for his return we noticed
him examining minutely every rose bush on the path, always
shaking his head and then going further on. At last, at
the top of the motmd, he stopped, and having carefully ex-
amined a rose tree, cut off a blossom. Coming down the

The Man

hill very quickly, he handed it to me, remarking that he had
looked in vain among the trees for a rose without spot or
blemish fit to offer me, and had at last only then found one
on which even the green leaves were perfect. I thanked him,
and then he suggested a row on the lake. My mother
would not venture on the water and was rather against my
doing so, but remarking Schumann's disappointment I said
I was quite ready to go tmder his care. He then secured
a boat, arranged the cushions, and we started, leaving my
mother sitting at the water side. He rowed very well, and
sometimes drew my attention to the pretty surrounding
scenery, or else conversed on other subjects, always intel-
lectually and with charm. After an hour's delightful row we
returned to my mother, and then we all three had a pleasant
walk together." Schumann, Miss Laidlaw adds, was very fond
of these rowing expeditions and often repeated the pleasure.
Referring to Schumann's conversation. Miss Laidlaw re-
marks that it was *' always spiritual and fascinating — in fact,
entirely original, for he never copied anyone either in manner
or words." Hoffmann was often mentioned, of
whom the composer seemed very fond. He Subjects
was also a great admirer of Sir Walter Scott of Con-
and his works, and was much interested to hear versation
how intimate the famous poet and novelist had
been with the young pianist's grandparents — the Laidlaws of
Glenrath and Chapelhope. Stemdale Bennett was also fre-
quently referred to; in fact, Bennett, who had previously been
much struck with Miss Laidlaw's talent, had written to
Schumann of her as '< a kind of wonder," and had asked
the composer to help her in every way he could.

Ill

Schumann

"Once," continues Miss Laidlaw, "we were talking of
Raphael's Madonna in Dresden, and Schumann said his
idea of the Madonna was that she should be half child, half
woman. His own favourite picture was Murillo's Madonna
in the Louvre." When discussing various musicians and
singers of the time, Miss Laidlaw remarks that she never
heard Schumann malign or belittle any artist, nor did she
ever observe in him anything approaching taciturnity or ill-
humour. ** Of Schumann's manners and character," proceeds
Miss Laidlaw, " we formed the impression that he was, in
every sense of the word, a gentleman^ and absolutely devoid
of any little vanity or self-importance." He seems, indeed,
to have been courtesy itself to the two English ladies. One
evening he took them to the theatre to hear Hammermeister
sing. Miss Laidlaw noticed he had a deep red carnation
in his hand. After much hesitation he at length handed
it to her, saying, " Bitte nehmen sie diese Blume " (Please
accept this flower). " He was, indeed, full of German kind-
heartedness and simplicity," remarks the lady, in reference to
this little incident, " and I have never met an artist, Paganini
perhaps excepted, who could approach him in true modesty
both as composer and as man. In some ways he recalled my
honoured teacher, Louis Berger, whose manners were like
his — simple, straightforward, and without any pretensions."

Professor Jansen, in his article referred to, "Robert
Schumann and Robena Laidlaw," to which we are indebted
for much of the above interesting information, adds a note
to the effect that Miss Laidlaw's description of Schumann's
kindliness and geniality of manner and address, which
accords exactly with that of Wenzel, shows that the com-

112

The Man

poser's taciturnity, of which so much was said during his later
years, did not exist to any great extent in his younger days.
Jansen himself (who is undoubtedly one of the
foremost of Schumann authorities) has said that Jansen^ s
Schumann could be very chatty. Wenzel also and

told Jansen that, when in his talkative moods, WenzePs
the composer had discussed " everything under Tributes
the sun " with him.*

Nor does it appear from the reminiscences of the late
Mrs Thomson {n^e Robena Laidlaw) that Schumann was
by any means a recluse, or eschewed social gatherings or
the companionship of fellow-artists. He seems
to have taken the Laidlaw ladies about a good Youthful
deal, and to have introduced them to his friends. Sociability
In this way they were frequent guests at the hospit-
able house of the Frieses, who were on very intimate terms
with the composer ; and the Brockhaus ^ family also made
the acquaintance of Robena through Schumann, and thought
very highly of her, giving a dinner in her honour. After
Miss Laidlaw's concert at the Gewandhaus, the composer
himself turned entertainer, and inaugurated a dinner to
the heroine of the day at the Hotel de Baviere, inviting,
among others, Dr Reuter, Walter von Goethe, Dr Monicke,
Wenzel and Anger. Again, shortly before their departure
from Leipzig, Schumann entertained the English ladies to
supper at the same place. " As we returned late through

' Wasielewski appears rather to have doubted the correctness of
Jansen*s statement. But the weight of personal testimony which we
have been able to obtain p[oes to prove the £act that Schumann could
be very bright and talkative in congenial surroundings.

' A sister of Richard Wagner married Brockhaus, the publisher.
H 113

Schumann

the silent streets," writes Miss Laidlaw, "I remarked to
Schumann, who was walking by me, that it reminded me
somewhat of a Don Juan exploit Herr Anger, who was
immediately behind us, mumbled some words which no
one could understand, but Schumann declared he was vexed
because he was not walking by me, so I turned round
from time to time to address a few friendly words to
him.""

Shortly afterwards Miss Laidlaw left Leipzig. That
Schumann esteemed the brilliant young artist highly seems
evident. <' I must especially congratulate you on having
made the acquaintance of Herr Schumann,"
Robena wrote Louis Berger to his pupil, '^a very clever,
Laidlaw critical genius" — ^at the time our subject was
better known as an editor than a composer —
" and he appears to be extraordinarily taken with your great
musical talent." The Frieses also wrote to her, saying,
''Schumann speaks very often of you." That Robena Laid-
law possessed rare charm of manner as of appearance all
who ever met her will readily bear testimony. Wenzel
always spoke of her as " Hldhubschen " (girl beautiful as a
picture). " It is easy," says Jansen, '' to understand Anger's
admiration for the beautiful young Englishwoman whose
poetic and charming appearance attracted every eye."
Even in her last days the artist rejoiced in excellent health,
bodily and mental. "She is a very amiable lady," says
Pauer, " of medium size, a beautiful complexion, most ex-
pressive eyes, very lively in conversation, taking interest in
everything." Well does the writer remember being intro-

' Su the letter from Schumann to Miss Laidlaw on pages 115-116.
114

The Man

duced to her a few years before her death. Surrounded by a
happy circle of admiring friends and her gifted daughters,
the late Mrs Thomson looked like a queen, and beamed
upon all with that wonderful tenderness and sympathy
which kept her ever young in heart. She had the rare gift
of personal magnetism, which drew all to her. It lay partly
in her glance. Probably she had inherited " the Irish eyes "
of her mother, which Schumann had warmly admired.^
There was in her voice also the faintest soupfon of the
musical Munster dialect, just enough to stir the hearer with
its fervour and enthusiasm, which age could not chill. One
could have listened for hours to her account of the pleasant
recollections of days gone by ; but no reminiscence seemed
so cherished by her as her meeting with, and being so kindly
treated by, Schumann. Her judgment of the great com-
poser is the more valuable as it was grounded upon her
personal knowledge of him, and has been expressed in her
letters with entire unconventionality. She passed away on
May 29, 1 90 1, full of years and honours.*

Such was the gifted lady for whom Schumann wrote, and
to whom he dedicated, his wonderful ** Fantasiestiicke,"
known as "Opus 12." He thus writes of the group of
pieces to Miss Laidlaw on August 19, 1837 : —

'* Best thanks, my dear Fraulein, that you have kept your

' 5^^ page 117.

* The authoress is indebted to the late Mrs Thomson's daughter, Mrs
Sophie Metcalfe (herself a distinguished pianist and most success-
ful teacher of piano) for the above personal reminiscences, as also for
permission to quote in extenso two letters of the composer (on pages
1 15- 1 17) which have never hitherto been published. See also fecsimile
illustration.

Schumann

promise (to write). The time of your stay here will always
be a most beautiful memory to me, and that this is true
you will soon see in 8 " Phantasiestiicke " for
Un- pianoforte that will shortly appear bearing your

published name upon their forehead. It is true I have
Letters not asked for permission to make this dedica-
tion, but they belong to you, and the whole
' Rosenthal,' with its romantic surroundings, is in the music.
The " Phantasiestiicke " will be ready by the end of Septem-
ber. How, and in what way, shall I send them to you ? All
goes well with me — ^yes, very well — ^and if so many miles did
not separate us you should hear more about it. Writing
is too long, and who knows if you will be able to decipher
the letter, notwithstanding the pains I have taken, and am
taking even now, to make it distinct. Herr Anger has be-
come very absent-minded since your departure, and often
raves about that June evening in the Hotel de Baviere. Dr
Renter begs to be remembered to you. I have not yet re-
ceived your picture. You will not forget it, will you ?

" Write to me about your plans, studies, etc. You can-
not think how interested I am in all. Petersburg is a long
way off— are you going there? Remember me to your
honoured mother, whom I think I can see before me now,
and also to your father; and give soon a sign that you
remember your devoted

"Robert Schumann.

" Please answer me in English. I should like that very
much.'*

In a later letter to Miss Laidlaw, Schumann showed how
ii6

The Man

prettily and gracefully he could pay a charming compliment
without being either fulsome or sentimental. Writing from
Leipzig on September 8, 1837, he says: —

" Honoured Fraulein, — First of all in my name, and
in those of all your friends here, give your father the
heartiest thanks for the cigars. In my life, I swear to you,
I have never seen any better. I sit like a god between the
blessed clouds and murmur to myself, 'No, this is too
good 1 ' Now imagine to yourself all the rest.

" I have just received your picture and the drawings of
the flowers. At a time when people promise so much
which they do not fulfil, your attention has an elevating
effect upon me. I thank you from my heart for all, and
remain greatly your debtor. The picture is, however, un-
flattering in the highest degree. Where can one see some-
thing of the eyes as they are, and of the blue velvet bodice ?
Truly I value you more highly than the picture. I want to
hear a great deal about you soon. What are you playing ?
What are your plans for the future ? Is Leipzig entirely
out of the question, and will you not soon come back
to us?

** Let me have a line about all this, and soon. And, once
more, I should like it to be in English.

" Remember me to your parents. The eyes of Mistress
Laidlaw ' I seem to see before me. — ^Your devoted

"Robert Schumann."

' Schumann had said that the " Irish eyes " of Robena Laidlaw's
mother were the most beautiful he had ever seen.

117

CHAPTER X

Clara Josephine Wieck — A Contemporary's Opinion upon Madame
Schumann's Playing — Madame Schumann as Composer — Early
Admiration — ^A Musician's Love- Letters — Madame Schumann as
an Interpretative Artist — The Musician and his Children.

Passing from this correspondence of friendship, and even
admiration, we come to something stronger, deeper than
all, in the life of the composer. We refer to his great love

for Clara Wieck, which was faithful to her

Clara through years of trouble and unrest, through

Josephine absence, and through trials of all kinds. When

Wieck the composer first met Friedrich Wieck's

famous daughter she was very young, little
more than a child. But even then she was displaying
talents, as a pianist, of a remarkable order. Clara Jose-
phine Wieck, born in Leipzig, September 13, 181 9, had
commenced her musical studies at a very early age under
her father, one of the foremost teachers of the day. She
made her Mut as a pianist at the age of nine, and appeared
at the Gewandhaus Concerts in October 1832, being then
but thirteen, upon which occasion she played the solo part
of Moscheles's G minor Concerto. At first ^e favoured
bravura music ; but, ere long, doubtless under the influence

118

The Man

of Mendelssohn and Schumann, her tastes turned definitely
and permanently to classic work of the highest order.
Shortly before her husband's death, Madame Schumann
visited England, and played at the Philharmonic Concerts
on April 14 and 28, 1856. She was not heard in London
again till the season of 1865, when her engagements at the
Philharmonic Society and the Musical Union established
her fame to such an extent in this country that subsequently
her visits to the English metropolis became annual ones
with but few intermissions. In 1878 this truly great and
remarkable artist, having obtained European reputation,
was appointed Professor of Pianoforte at the Frankfort
Conservatoire, where many now famous pupils had the
benefit of her instruction. Critical estimates of her skill as
a pianist are numerous. Perhaps one of the best known is
that admirable one of Mr Franklin Taylor, quoted in the
able article on " Clara Schumann " in Grove's Dictionary
of Music and Musicians.

In a brightly-written biography of Madame Amina
Goodwin, a distinguished pupil of
Madame Schumann, the author, Mr Al- A Contempor-
gernon Rose — ^a foremost authority on afys Opinion
the pianoforte and pianoforte playing upon Mme,

— thus conveys the lady pianist's esti- Schumann*s
mate of her famous instructress: — Flaying

** In Madame Schumann's playing, so deep, full and clear were the
sounds produced that the two hands conveyed an impression that they
were each possessed of five index fingers — the index finger being usually
the strongest and most flexible of one's hand. Especially in slow and
cantalnle playing was this effect noticeable. By the method adopted it

1x9

Schumann

seemed as if the nerve bulbs at the end of each finger became abnormally
sensitive, so deep was the touch when depressii^ each note. In rapid
execution the runs were clear and even ; and in passives formed of notes
of the same value throughout, so equal was the execution that there
was no irregularity in lapse of time between the playing of each note.
In putting forth complete strength, however great, the tone produced
by Madame Schumann was never harsh nor hard. It remained mellow,
deep, persuasive and sonorous. In very soft playing it was apparent
that an endeavour was made to elicit the tone in such a manner from
the instrument, by gently pressing into the keys, that the piano rang
with resonance and carrying power. In this method the left hand was
cultivated until competent to play all the loud and brilliant passages
with the same strength and solicitude as the right hand, and, according
to Chopin's idea of what ought to be, the left hand served as chef
(Torchestre to the right. Further, the subtle charms of light and shade,
the chiaro'scura of tone and expression, were accomplished in the left
with equal precision as in the right, one part never unduly prepon-
derating over the other. It was unity in the production of the sound
which caused brilliancy." '

Such, as a performer, was the gifted woman so closely
connected with the career of the subject of our biography.
Madame Schumann was more than a mere virtuosa. She

had a good theoretical knowledge and much
Mme. inventive skill. She composed quite a number

Schumann of pianoforte pieces — as well as several grace-
ax fully -written songs — all characterised by a
Composer charm essentially their own. Most of these

have been published. Among them we would
draw special attention to the " Three Preludes and Fugues,"
which not only supply excellent legato work to the player,
but also serve to show the scholarship, as well as the facile

' Amina Goodwin^ a bi(^aphical sketch by Algernon S. Rose,
author of Talks with Bandsmen^ How to Choose a Piano, etc.

1 20

The Man

powers in handling the severer musical forms, of this
remarkably talented artist.

That Schumann was early struck with admiration, nay,
even reverence, for the talented girl pianist, was evident.
For a time, when he was a pupil of Wieck, the two young
people had lived under the same roof. At this
period they probably saw a great deal of one Early

another, and took mutual interest in each Admira-
other's studies and practice. Perhaps one of Hon

the first letters that passed between them was
that written in the New Year of 1832, when Schumann
addressed the youthful artist as "Dear honoured Clara,"
and signs himself, in friendships as " Fraulein C. W.*s
warmest admirer."^ Two years afterwards there appears
to be the awakening of a deeper feeling. He speaks of
finding himself at the piano when he thinks intently of her.
She even suggests chords of the Ninth and the Thirteenth
to him! He quotes the following chord as being her
musical equivalent: —

•73-

ini

"^fW

@ =i^^^=^

Then he speaks of her recent letter to him as being herself

all over. He can picture her in it as she talks and laughs,

" rushing from fun to earnest as usual, diplomatically play-

' Early Letter, February i, 1832.

121

Schumann

ing with your veil : in short, the letter was Clara herself —
her double." Then he goes on, in his playful, merry,
affectionate way, about music, his literary work, etc, and
plies her with questions about herself. He concludes
with, "Addio, carissima Clara, cara Clarissima ! " '

As yet there had been no talk of marriage between them.
At the time, indeed, Schumann was contemplating betroth-
ing himself to the fair Ernestine von Fricken, an event
which took place shortly afterwards ; but the engagement
was, ere long, terminated by mutual consent In 1834 it
should be borne in mind that Clara was in early girlhood,
having but entered upon her fifteenth year. In 1836,
however, all came to be fully arranged between the
young couple themselves, and, save for the opposition of
Father Wieck, there was nothing to mar their mutual
happiness in loving each other. We would gladly enter
into the wonderful " love-letters " that follow, but as these
are best read in their entirety, and as they can easily be
consulted by interested readers, both in the original
German as in the English versions, we must be content
with a general analysis of their nature and contents.

In the first place, these billets-doux have nothing whatso-
ever of sickly sentimentality about them. They are written
in a straightforward, earnest spirit, and seem
A rather to be a colloquy of two kindred souls that

MusiciarCs beat as one than the fervid adoration of the
Love-Lettersloyei who looks upon the woman of his choice
as simply a beautiful toy. There is that
remarkable letter in which Schumann tells his betrothed
' Early Letter, July 10, 1834.
122

The Man

of his ''faults."' In the same epistle he speaks of being
deeply touched by all that takes place in the world. In
his own way he ponders over politics, literature and people,
and then longs to describe his sentiments in music,
" That," he says, " is why my compositions are sometimes
difficult to understand." He then attempts to analyse his
own feelings as a composer. To talk about it, he declares,
he cannot, though the subject deeply occupies his thoughts.
He warns his future wife that she will find him very serious
sometimes, and may not know what to make of him. It is
quaint to hear of him asking her beforehand not to watch
him too closely when composing, or else it would drive
him to desperation. In return he will undertake to listen
very seldom at her door when she would be practising!
"Well," he concludes, "we shall indeed lead a life of
poetry and blossom, and we will play and compose to-
gether like angels, and bring gladness to mankind.

Correspondence of this kind is deeply interesting and
instructive, and tends to show how thorough was the
mutual understanding and tolerance of these two. Theirs
was no rash and hasty love match which, upon marriage,
was to end in speedy disillusionment through want of
comprehension of each other's temperaments. On the
contrary, we see, even in their courtship period, the
growth between them of that tender affection, deep solici-
tude, and the determination to " bear and forbear " with
each other which alone constitutes the love that is death-
less, and the soul's devotion which outlives the most ardent
protestations of passion. That Schumann looked upon his
' See page 105. * Early Letter, April 13, 1838.

123

Schumann

wife as rather part of himself than a separate identity is
apparent. Satisfied in his home surroundings and his
work, he, latterly, did not care to face the world. But in
Clara he possessed a ¥dlling and able medium whereby his
musical thoughts could best obtain a hearing. Thus was
this noble woman literally "a right hand " to her husband —
devoted, earnest, conscientious, highly gifted, and yet won-
derfully simple-minded and womanly wherewithal.

The playing of Madame Clara Schumann is still fresh in
the memory of many who were privileged to hear her, as
essentially full, rich and thorough, coupled ¥rith a clear and

perfect technique. Her insight in interpreta-
Madame tion, with regard to the meaning of composers,
Schumann was as honest as it was convincing and striking.
as an The soul of Clara Schumann, artist and woman,

Interpreta- revolted from anything that was tawdry or
tive Artist unworthy. Thus, in a time of claptrapism and

mere empty virtuosity, she invariably aimed at
and maintained a high standard of purity in tone, perfect
execution apart from mere display, and intelligent and
thorough rendition of the spirit as the letter of the music
she undertook to perform. Added to all this, Madame
Clara Schumann's interpretations had distinct characteristics
all her own, in which were truly delineated the loyalty,
sincerity and womanliness of her nature. The opinion of Mr
A. J. Hipkins — the greatest living authority on the history
of keyed instruments — is one of the most valuable that the
writer has had the privil^e of receiving, especially as it is
based on personal experience and intimacy. Speaking of
Madame Schumann as an artist, Mr Hipkins says : " She

124

The Man

was not a moon to Schumann, shining by reflected light,
but an independent luminary, giving her own reproduction
of Schumann's creations, and possibly differing from what,
had he continued a pianist, he might have made authori-
tative himself."

That Schumann made an exemplary son and ideal lover
and husband there can be little doubt, if we read aright
these early letters to those who drew forth his most tender
sympathies. He who, towards the close of his
career, seems to have avoided converse with The

strangers and the outside world as much as Musician
possible, never failed, as a father, to find delight and his
in the family circle. Like his famous con- Children
temporary, Mendelssohn, Schumann entered
with zest into the little ones' games, and became, when in
their midst, as if one of themselves. He had also a
pleasant, " jokey " way with him that the young folk never
failed to appreciate. Thus, on one occasion, as his
youngest daughter has described to the writer, he met the
little people in the street and pretended not to know who
they were — ^a little piece of " funning " on the part of their
father which the children much enjoyed, but which was per-
haps slightly misunderstood by one of his biographers.' Were
oral proof wanting to confirm this, there is the fact that, even
in the zenith of his powers as a creative artist, the composer
wrote his famous "Album for the Young." He tells Reinicke
that the first pieces of this were specially written for his
eldest child on her birthday, and speaks of the collection as

' WasielewskL The authoress has this incident on the authority of
Fr&olein Et^enie Schumann, to whom this volume is dedicated.

Schumann

containing traces of his old humour. He characterises them
as "quite distinct from the ' Kinderscenen/ which are
recollections of a grown-up person for those of his own age,
while the ' Christmas Album ' consists more of imaginings,
presentiments and future states for younger people." ' He
adds later that he feels that, of all his works, this for the
little ones will be the most popular, and he expresses the
intention of having an attractive and appropriate cover
designed for it, this being subsequently done in most
artistic manner by Richter.^ No father could have been
prouder pf, or more deeply devoted to, his children than
indeed was Schumann ; and for his three elder daughters
he specially wrote the group of Sonatas known as Op. ii8.

' Letter to Reinicke, October 6, 1848.
* See Illustration, p. 183*

126

CHAPTER XI

Attitude to Professional Friends — Able and Generous Criticism of
Fellow- Musicians — Appreciation o^ and Affection for, Mendelssohn
— An " Affectionate Visit " and Mutual Friendliness — Opinion of
Meyerbeer — ^Wagner and his Music — Kindliness towards Young
Students, etc. — Miscellaneous Correspondence — Senses of Detail,
Courtesy and Consideration — Pathetically Humorous even to the
End — A Significant Letter.

As a friend, it was inevitable that a man in Schumann's
foremost position as editor and eminent musician should
command a wide and notably distinguished circle. Con-
nected with his stair on the Neue Zeitschrift were
such eminent critical writers as Zuccalmaglio, Attitude
whose excellent literary talent he frequently to Pr(h
refers to, and with whom he constantly corre- fessional
sponded in terms of the highest appreciation Friends
and intimacy. His old master, Dorn, was never
forgotten. He addresses him as his "dear and most
honoured friend," and makes a confidant of him in many
little matters. For Ignace Moscheles Schumann had
always, since hearing him play in early childhood, cherished
the deepest respect and esteem. Some highly interesting
correspondence passed between them which it will repay
the reader to look through in the published Letters. Shortly
after Schumann's "Carnaval" was published, Moscheles

127

Schumann

had spoken very favourably of it, and this greatly en-
couraged the young composer. The elder musician
criticised some parts of it, but apparently in the kindest
spirit. Schumann, in reply, while thoroughly modest in
acknowledging his senior's good judgment, defends a little
point in the notation with much spirit and effect' In this,
as in many other instances wherein Schumann speaks of
his own works, albeit with utmost self-restraint, there is
always the conscious expression of savoir-faire which is
inseparable from the true genius which knows because it
knows, and gives vent to nothing that it cannot explain.
In November 1851 the devotion to the elder master
appears as great as ever, for about that time Moscheles
accepted the dedication of the fine Sonata for Pianoforte
and 'Cello (Op. 121), an honour much appreciated by
Schumann, who had been deeply inspired by Moscheles's
playing when a little lad.^

No trait, indeed, of Schumann's character is so notable
and admirable as his respect and modest admiration for the
work of fellow-artists and composers. His appreciation of

contemporaries was keen and enthusiastic, and
Able and his critical estimate of their work of lasting,
Generous and in many cases prophetic, value. His early
Criticism recognition of Chopin, Berlioz, Brahms and
of Fellow- others is well known. Musicians are usually
Musicians accredited with a lack of the nobler feelings of

generosity towards each other — that colour-
blindness which can allow no rival to the *' ego " — ^but this
accusation can certainly not be laid to the charge of
' Letter from Leipzig, September 22, 1837. ^ Set p. 6.

128

The Man

Schumann. He was ever ready to esteem others better
than himself, and thus fulfilled at once one of the noblest
as well as the most difficult precepts of Christian virtues.
We have spoken of the friendly relationship between him
and Mendelssohn, and to a certain extent endeavoured to
discuss why, seeing the almost ecstatic admiration which
Schumann had for his great compeer, Mendelssohn's corre-
spondence is strangely free from reference to the editor-
composer. The fact that Schumann, during the period
when he was most closely brought into contact with
Mendelssohn, was better known as a musical critic than a
creative artist, may have somewhat repelled the composer of
" St Paul'' and " Elijah " — indeed, some discussion as to the
legitimacy of art criticism apparently passed between them.
Temperamental difierences must also be taken into account,
as the fact that Mendelssohn's musical ideas — in regard to
symmetry, form and polish — were widely at variance with
those of his famous contemporary. One little incident of
outside testimony may, however, be quoted to disprove the
statement that Mendelssohn failed to recognise any merit
in the musicianship of Schumann. Christopher Hilf, a
noted violinist, reports having overheard Mendelssohn, at a
Gewandhaus rehearsal, express a wish to Schumann that he
would, in person, conduct his (Schumann's) ^'beautiful
Symphony." But Schumann's reply was : "No, no, it is in
the very best hands." ' Schubring also, in his Recollections
of Felix Mendelssohn Bartholdy^ says that Mendelssohn
spoke to him in terms of the highest estimation of
Schumann's musicianship, adding that it was not alone for
' Ufe of Robert Schumann as told in his Letters (May Herbert).
I 129

Schumann

the sake of Madame Schumann's playing that Mendelssohn
fostered a friendship for the Schumanns.

Of one thing we are certain. In Schumann, Mendelssohn
had an admirer and champion as sincere as he was devoted
and enthusiastic. Many letters to different individuals

contain the most glowing comments upon the
Apprecia- gifted "Felix Mentis," as he figured in the
Hon of mystic Society of the Davidites. Even apart
Mendels- from his esteem for Mendelssohn the composer,
sohn there existed a real personal affection on the

part of Schumann for his brother in musician-
ship. While in Dresden, probably just when convalescence
was beginning to cheer him after his long illness of 1844,
Schumann writes to hope that Mendelssohn still thinks of
his friends and asks if they may come to see him often. In
the letter ^ Schumann speaks of the severe nervous break-
down which had so long depressed him and prevented him
from working. He then refers to Clara's playing of the " old
ever-young Caprice in E,"* which was the first number with
which she tried her new Streicher piano. The writer
further speaks of having heard accounts of '' CEdipus," some
organ sonatas, and a new oratorio, and the epistle concludes
as follows: ''Farewell, my honoured Mendelssohn, and
soon send me a line to say whether you still think of yours
faithfully, Robert Schumann."

It is evident, from correspondence that followed, that

Mendelssohn replied in the kindest and most friendly

spirit; indeed, he appears to have called upon the

Schumanns shortly afterwards, for Schumann writes in the

' From Dresden, July 7, 1845. ' By Mendelssohn.

130

The Man

following September thanking him for his ''affectionate
visit ** and the conversation that then passed between them.
Further most interesting correspondence also
took place subsequently; and in the October An

of the year (1845) Madame Schumann played at " Affection-
the Gewandhaus, receiving particularly cour- ate Visit ^^
teous and kindly treatment from Mendelssohn and Mutual
himself. On the same occasion a repetition per- Friendliness
formance of Schumann's B flat Symphony was
given, which gratified the composer very much. Schumann,
writing to express his appreciation of Mendelssohn's
geniality towards himself and his wife, speaks of having
tried over his (Mendelssohn's) recently published Organ
Sonatas on the piano. Nos. 5 and 6 especially appeared to
have pleased; and, in most tasteful language, the corre-
spondent contrasts the organ music of Mendelssohn and
that of his great predecessor, J. S. Bach. The latter
Schumann pictures as sitting at the instrument ; the former
appears to him as a St Cecilia bending over the keys. '' It
is really a fact, dear Mendelssohn," says his warm-hearted
friend, " that no one else writes such pure harmonies ; and
they keep on getting purer and more inspired." ^

Enough has been said to show that Schumann could
fully enter into and take a pride in the attainments of
others, and that he was quite free from any spirit of envy or
bias whatsoever.^ He has been accused of not being just to
the talents of Meyerbeer, whom he criticises with, for him,

' Letter from Dresden, October 22, 1845.

^Schumann himself writes: "The artist who refuses to recognise
the efforts of his contemporaries maybe looked upon as lost." — Letter
to Brendel, September 18, 1849.

131

Schumann

severity almost approaching disdain. Writing to Hiller
he speaks of the music of "Le Proph^te" as being

" very poor/* and that he could not say how
Opinion of distasteful it was to him.' It must be remem-
Meyerbeer bered that always, in Schumann's estimates of

his contemporaries, the aims of the man, as
the output of the musician, were taken into account. That
Meyerbeer wrote for the populace and for the whim of the
moment, rather than in accordance with the higher dictates
of classical art, disturbed the righteous mind of the critic
whose ideals were ever of the loftiest, and who, if he
heartily despised anything, held up the finger of just scorn
to all that savoured of time-serving or paltry display.

With regard to Wagner, Schumann has expressed himself
in terms which were undoubtedly prompted by sincerity and
critical insight, but they are not altogether flattering to the

composer of "Der Ring des Nibelungen."
Wagner Perhaps his first mention of Wagner in a letter
and his occurs in a communication addressed to
Music Mendelssohn,^ in which he speaks of Wagneir

showing the text of his contemplated "Lohengrin "
to a group of distinguished art connoisseurs, among whom
were Bendemann, Hiller, Reinick (the poet) and Schumann.
The text appears to have been admired by all, and the seeing it
caused Schumann to abandon thoughts of a plot upon a
similar story connected with King Arthur and the Round
Table. A couple of months later,^ Schumann, after hearing
" Tannhauser," thought it striking and original, and much

* Letter to Hiller, January 15, 1850. * November 18, 1845.

3 January, 1846.

132

The Man

superior to Wagner's earlier operas, though some of the
music he characterises as " trivial." Yet he adds, almost
prophetically, that " he (Wagner) may become of immense
importance to the stage,'' ' having the courage and technical
knowledge to constitute success. It is curious to note that,
nearly seven years later,^ Schumann is almost scathing
about the music of Wagner apart from scenic accessories.
He calls it '* downright amateurish, meaningless and
repulsive." He deprecates the artistic taste of the day,
which compared German masterpieces of dramatic com-
position with Wagner's productions, but adds ominously,
"The future will decide." 3 Probably Schumann had
imbibed a slight personal misunderstanding of his great
contemporary.

No feature is so praiseworthy in the disposition of
Schumann as his kindly tolerance of, and deep interest taken
in, the work of young students and artists. Few men in his
exalted and independent position would have
taken the trouble to notice beginners in the art Kindliness
of composition who sought his advice, or have towards
set himself the task of answering their letters Young

at length and giving them valuable gratuitous Students
advice. Yet this Schumann did over and over
again, never wounding his correspondents with the coldness
or rebuke which their temerity doubtless often deserved,
but ever entering into their thoughts and aspirations with
the devotion of a friend, and, at times, almost of a father, and
invariably softening criticisms and corrections of style and

' Letter to Dom, January 7, 1846. ' In 1853.

3 Letter to Van Bruyck, May 8, 1853.

133

Schumann

workmanship with words of kindly encouragement and
most helpful counsel Young composers, especially for the
organ, cannot do better than read that excellent letter of
his to the music-teacher, J. G. Herzog of Bruck.' Therein
Schumann gives proof of his practical knowledge, as of his
infinite experience, as a composer. He quaintly warns his
correspondent against getting into too easy a way of writing
for the organ, as almost anything sounded effective upon it.
Not too many things should be written at first, but rather
there should be steady practice in the more exalted forms,
such as the fugue, of which J. S. Bach had left such notable
examples. The applicant is further advised to write for the
voice, as being the most helpful aid of all in the develop-
ment of musicianship, and moreover to sharpen the mental
faculties by reading as much good music as possible before
playing it He concludes by the comforting injunction to
never lose heart, but to confirm courage by turning to the
work that the great (Germans — Bach, Handel, Mozart
and Beethoven — had accomplished. How much Carl
Reinicke must have been encouraged, at the commencement
of his career, by the beautiful letter of helpful advice and
kindly criticism which Schumann wrote him,* we can well
imagine. In this the composer speaks of the extreme
difficulty of being quite original at first, one's early efforts
being more or less a reproduction of music already heard.
'*The ore," he adds, "has to go through a great many
washings before it becomes sterling metal."

Almost the last letter, indeed, that this gifted and sym-

' Letter to J. G. Herzc^, Leipzig, August 4, 1842.
* Letter, January 22, 1846.

134

The Man

pathetic scribe penned was to one L. Meinardus, a young
musician who had, on more than one occasion, solicited
his expert comments and advice upon compositions sub-
mitted. Evidently the work done was not up to
Schumann's standard of excellence. "I wish,'' he says,
** you composed in the same style as you write your letters —
so easy, thoughtful, and full of natural humour." ^ He then
proceeds to counsel that beautiful original melody should
always be striven for, and that pianoforte music should not
have exclusive attention, the study of choral and orchestral
writing being specially commended. The writer concludes
his note by hoping that all comments will be taken kindly.
*' I am anxious," he adds, " to help all young and honestly-
striving artists, and that is only possible by a frank ex-
pression of opinion."

The marvel was that one so active with his thought and
pen on matters of great moment, and one who, really within
but a limited period of healthful activity, managed to write
such a number of works in such varied forms,
found time for the voluminous correspondence Miscellane-
which, even as it stands in its present published ous Corre-
editions, can but represent a fraction of the spondence
letters written. Outside the family, friendly
and artistic letters which we have already spoken of come
a large number of miscellaneous epistles, many of them of
uncommon interest and value as throwing light upon the
many-sided mind of this truly marvellous imaginative artist.
Thus there are, among others, the beautiful letters to the
various correspondents with whom he was in treaty for
' Letter, December 28, 1853,
135

Schumann

opera and other texts, notably those to the poet Hebbel,
for whom he had a profound admiration which was mutu-
ally reciprocated. There were also the numerous business
letters to publishers — those to the heads of the eminent
firm of Breitkopf & Hartel, Leipzig, partaking more of the
character of intelligent and friendly intercourse than the
transaction of mercantile matters. Nor must it be thought,
as is so often alleged, that Schumann wrote invariably in a
solemn, if lofty and artistic, strain. In his early letters
especially we find frequent traces of playfulness and boyish
light-heartedness which developed into a subtle if exalted
humour toward the close of his career. An amusing early
effusion to his landlady at Leipzig cannot fail to entertain
the reader. In it he merrily arranges with her about his
lodging, his laundry, and even his diet, giving her a long
list of the dishes he likes and dislikes. Of fatty foods,
sweets, fruits and jam he is to have none! Soups and
broths he particularly favours ; he fancies all kinds of fish,
eels alone excepted; and so on.'

Like most great inventive minds, Schumann had a keen
sense of detail--one might almost call his faculty in this

respect a womanly one for minutiae. We see
Senses of this coming out in different ways in his private
Detail^ correspondence, no small item of information
Courtesy being considered too trivial for the comple-
and Con- tion of the word-picture. The composer's
sideration consideration for others, and the delicacy and

tact with which he transacted even the homeliest
duties, were also remarkable. One instance of this may
' Letter to Madame Devrient, September i, 1837.
136

The Man

suffice. During his and Madame Schumann's absence upon
the Russian trip of 1844, their children had been left to
the care of Carl Schumann, Robert's brother, at Schnee-
berg. The father and mother called for the young folk on
the homeward journey ; and later on, upon arrival at their
home in Leipzig, the composer wrote a charming letter
of acknowledgment and thanks to Herr and Madame Carl
Schumann. In this he refers to the expenses and anxieties
which the children must have cost their kind guardians.
For the latter he can only thank, but for the former he and
Clara beg that a certain enclosure — the least amount that
the young folk's maintenance must have cost — ^may be
accepted and added to Pauline's pin-money. (Pauline
was Carl Schumann's daughter.) "It really will not do
for you to be the losers," adds the writer, " while we have
been making money." Concluding, he says he feels sure
this offer will not be misunderstood or misinterpreted. " If
you were in our place you would do just the same, would
you not?"' How few friends or relatives think of such
little matters, and often thoughtlessly mulct those belong-
ing to them on the plea of family connection. Fewer still
would have the nice feeling to take the initiative in making
a practical return in these cases ; and fewest of all would
put the matter with such nicety and delicacy. Truly
Schumann was, even in the most trivial and ordinary of
everyday matters, a man of rare refinement, courtesy and
consideration for others — in short, a gentkman in every
sense of the word.

We have endeavoured to do away with the impression
' Letter to Carl Schumann, dated from Leipzig, June 3, 1844.
137

Schumann

that Schumann was morose or "impossible" in manner,
and have quoted Jansen and others to bear witness to the

fact that in early manhood the maestro could
Pathetically be light-hearted, merry and genial, and that, in
Humorous company with others of corresponding enthusi-
even to the astic temperament, he was as bright and easy a
End conversationalist as any. His music, despite

its undercurrent of poetic melancholy, sparkles
frequently with a naive spirit of hopefulness, jubilance and
humorous jollity. Even after the development of that
sad mental disorder which overclouded his closing years,
Schumann had his bright moments, when the old "jolly"
humour would return to him and he could be again as a
child among the children. But how strangely do the opposite
phases of a sentiment overlap one another, and often merge
the one into the other ! Thus, under a cloak of aversion,
in some reserved and sensitive natures, may we find a
devotion too intense for word utterance. Beneath a smil-
ing mask there often hides a tortured heart. The sublime
at times verges on ridicule ; the odd and humble things of
life are seldom apart from the highest nobility of aim and
purpose. Pathetic, indeed, in its humour and extravagant
phantasy, is almost the last letter that Schumann wrote. It
was penned to his friend Joachim on February 6, 1854,
exactly three weeks before the unhappy musician attempted
to put a quietus to his over-fervid imaginations in a
desperate plunge into the Rhine waters. In this epistle
he speaks of having dreamt of being three days with his
friend, who appeared to him to have heron's feathers in
his hat, from which champagne was running. "How

138

The Man

prosaic, but how true 1 " comments the narrator, probably
referring to the sparkle of the great violinist's virtuosity.
Then the letter-writer proceeds to tell how he has been
working in his Garden,^ which was growing more and more
gorgeous, and that he had been putting up " sign-posts " at
various points to prevent folk from going astray — " I mean,"
he adds, "explanatory notes." History, he says. Homer
and Plato all have furnished him with wondrous sayings.
Then he refers to music being, for the time, silent It was
an ominous remark with a view to the sad earth silence
that was soon to fall upon himself as a creative artist.
But his friend, in a previous communication, had ap-
parently tried to cheer him up with some choice specimens
of his favourite weed. " I like the cigars very much," he
says. "There seems to be a Brahmsonian flavour about
them which is, as usual, rather strong but tasty. Now I
see a smile hovering about him. Now I will conclude : it
is getting dark already. Write to me soon — in words and
sounds too." ^ And the scribe attached a postscript to say
that his wife sent her regards, and he begged also to be
remembered to Herr Grimm, who seemed so unlike his
name.

This letter is curiously, almost weirdly, symbolic of the
man, zxA prophetic of the sad happening that was to follow.

At the time it is clear that, even in sleep, the overwrought
imaginative mind could not rest. He saw his friend in

* The " Dichte^[arten," a collection of musical ideas from the poets,
over which Schumami was much occupied at the time.

' Last letter quoted in May Herbert's English Translation. It is
dated from Dusseldorf, February 6, 1854. On the 27th of the month
Schumann attempted to commit suicide.

139

Schumann

fantastic garb, jet this he invests with artistic, poetic signi-
ficance. The love for poetry was as strong with him as ever,

just as, when in his teens, he pored over the
A Signifi- tomes in his father's book shop and first made
cant Utter the acquaintance of Jean Paul, Byron and Moore.

The great models of antiquity in literature
and philosophy were as gigantic to him as ever — ^those titanic
minds which he worshipped in early college days. For the
time being his music was mute, but in the letter he adds,
''outwardly." Fancy this from one who, between his
twentieth and fortieth year, had bequeathed such treasures
to musical art, and that in every imaginable form — ^the
quantity as the quality of his pianoforte music alone being
marvellous ! But he still has the solitary thinker's fondness
for the philosophic, tranquilising smoke, and, with all that
wondrous and sympathetic interest which never left him for
young and soaring talent, he saw the face of the coming genius
of the youth Brahms, smiling at him through the vaporous
curls. But the end was nearing — ^the end of his letter — ^the
end of his earth work. He speaks of it getting dark already.
Did the eyes of the seer perceive a greater darkness before
him than that of the fading of mortal daylight ? May not the
shadow of the gloom that already brooded over him, and was
fated to find its dispersion only in death, already have been
overclouding the mental vision of the poet-musician ? Still
he can remember his friend, his wife, his acquaintances.
He asks Joachim to let him hear speech and music soon.
And ere he lays down the pen that is soon to forget its
cunning, he makes the playful remark of the child — Herr
Grimm is not like his name !

140

CHAPTER XII

The Man as seen in his Letters — Personal Aspects — Appearance and
Build — Taciturnity of Latter Years — A Silent Repast and Interview
— Meeting with Wagner — Alleged Vehemence — The Composer's
Reserve — Importunacy quietly repressed — The Musician at Home
— The Leipzig Music-Room — At theKaffeebaum — Evening Routine
— Schumann's Religion — Opinion of Berlioz, Moscheles and
Mendelssohn — ^Abb^ Liszt — Resume.

Thus far the man and his circle, as they came, through his
letters to them, within his inner life. The topic is of vast
and wonderful interest. If anyone was competent to express
an opinion upon the value of our mode of
arriving at the personality of this beloved The Man
Master-Musician, it was surely Madame Clara as seen in
Schumann, that faithful and devoted wife, who his Letters
shared his triumphs as his sorrows, and was
by his side through hours of sunshine as through days of
gloom. Writing to Fanny Raymond Ritter, when referring
to the deficiencies and inaccuracies of the biographies of
her husband that had already appeared, Madame Schumann
says : —

" I could have wished Schumann to have been placed
more truthfully before the public as a man (the italics are
ours) ; his works speak sufficiently for him as a musician,
while his writings testify to the discrimination of his judg-

141

Schumann

ment and the variety of his talents. But the purity of his
life, his noble aspirations, the excellence of his heart, can
never be fully known, except through the communications
of his family and friends, and from his private corre-
spondence." *

With such an opinion the most critical cannot but be
content ; and so it seems almost superfluous to add any-
thing further on the temperamental characteristics of
Schumann.

Thatable Schumann authority, Professor Jansen,^ describes
the composer as of stately and powerful build, adding that,
although his clothing was not at all striking or studied, his
general bearing was a distinguished one. Truhn,
SchumanrCs as quoted by Jansen, enters into further par-
Fersonality ticulars. He says that Schumann had a good-
sized and very German style of head, which
was plentifully covered with fine, dark-fair hair, and a full
and beardless countenance, with lips shaped as if in the
act of commencing to whistle softly. His eyes, although
neither large nor energetic in expression, were of a beautiful
blue, and they had an absorbed look about them as if the
owner was always intent upon finding out something within
his own inner being. He held himself uprightly, but the
walk was leisurely — that of one whose bones were loosely
put together and hardly compatible with the strong, broad-
shouldered figure that he presented. An eyeglass was used
a good deal — he was short-sighted — but this without a

' Preface to Schumann's Music and Musicians, translated from the
original German by Fanny Raymond Ritter.

^ Su the exhaustive book, Die Davidsbiindler aus Robert Schumann* s
Sturm und Drange Feriode,

142

.^'

The Man

shadow of affectation, as one would well imagine from the
honest, straightforward nature of the man himself.

In personal intercourse he was sparing of words, and this
was especially noticeable during the latter part of his career.
It might well be said of him, as it had been of Uhland, whom
he possibly resembled also in other ways, that
he said "only half," while others said "the Taciturnity
whole," it being remembered that he felt the of Latter
whole, as many feel but the half of what is spoken. Years

His taciturnity was by no means the outcome
of surliness or proud indifference. "Few artists," said
Hiller, whose personal acquaintance dated from 1839,
" were more difficult to describe from their outward bear-
ing than Schumann. His intercourse was entirely opposed
to the characteristics of his music. In the latter he ex-
pressed himself with all the eloquence of his deeply im-
pressionable soul; in the former his peculiar trait was
silence."

Brendel gives a remarkable instance of this silence.
Schumann had discovered some excellent Marco-brumer
(wine) at a certain restaurant, and thither he asked Brendel
to accompany him to luncheon. During the
walk there and back, the only remark Schumann Silent

made was about the rare beauty of such a Repast and
summer day as it happened to be, when all Interview
was silence, and perfect peace reigned in
Nature. A second excursion of this kind had a similar
result. At such times the outward world only existed for
Schumann in so much as it chanced to form part of his
dreams. He looked upon Society merely as a means to

143

Schumann

awaken him from the feeling of solitude. This reticence
was not so marked in Schumann's early youth and young
manhood,' but certainly it was aggravated towards his latter
years, so much so as to become very trying to strangers or
to those who did not fully understand the temperament of
the musician. In 1845 Hiller and Concertmeister Schubert
took Felicien David to see Schumann. They were received
in a friendly way and asked to sit down. " Schubert and
I" said Hiller, '< kept on talking chiefly in order to break
the almost painful silence that had fallen upon us after the
first greetings were over. Schumann and David listened to
our talk without making any remark, in spite of the oppor-
tunities we gave them of doing so. After some time," con-
tinued Hiller, ''I began to feel oppressed. Presently
Schumann said, in a low voice, to me, ' David speaks very
little.' 'Not much,' I replied. 'That is nice,' was
Schumann's comment as he smiled pleasantly." ^

According to Hanslick, Wagner is reported to have said,
upon meeting Schumann in 1846, that he was a highly-
gifted musician but an impossible being. It appears that
when he (Wagner) visited Schumann on his
Meeting return from Paris he spoke to his fellow-
wifh countryman on every possible subject — music,

Wagner literature, politics, etc. — but all in vain. Schu-
mann remained almost dumb for nearly an
hour. " One cannot always speak alone," Wagner is said
to have remarked, naturally enough, after narrating the
incident. Hanslick further reports that Schumann said of
Wagner — referring to this one-sided conversation — that the

' See page ill et seq. ' Davidsbundler (Jansen).

144

The Man

composer of " Tannhauser " was a very well-informed and
talented man, but that he talked incessantly and one could
not put up with it for long !

Opposite to this testimony we must place the record oC
many intimate friends, who have affirmed that Schumann
could, at times, be very eloquent, especially in dialogues.
This was particularly the case when the talk
turned upon artists or compositions in which Alleged
he was keenly interested. Occasionally he Vehemence
could be even vehement when an opinion was
given with which he did not agree, or when remarks were
made that hurt his senses of justice and kindliness. Once
a celebrated artist, when a guest of Schumann's in 1848,
happened to speak in a joking and partially contemptuous
manner of Mendelssohn in the composer's presence. For
a while Schumann listened in silence. Suddenly, however,
he rose, seized his visitor by the shoulder, and exclaimed
excitedly, "Sir, who are you to dare to speak so of an
artist like Mendelssohn?" With these words Schumann
left the room.'

The composer seems to have been himself fully conscious
that his silence was often misunderstood and unfavourably
commented upon. "Don't think I am sulky," he had
said in his quiet, modest way to Madame Voigt,
"if I cannot always reply when spoken to,^* Schumann^ s
Once, when his friend Zuccalmaglio had an- Reserve
nounced that he was coming to see him,
Schumann answered, "I shall be delighted to see you
again, but there is not much to be had from me — I
' Jansen.
K 145

Schumann

hardly speak at all — ^in the evening more, and most at the
piano."' The fact was that Schumann, as Professor
Jansen says, did not belong to that class with whom one
could be intimate all at once. "Those who understood
his individuality and truthfulness — what he was and what
he appeared to be — were devotedly attached to him." The
musician's customary reserve in meeting strangers naturally
limited his intimate circle. No one than he was more
exclusive, in spite of his kindly and amiable ways, in his
choice of familiar friends. ''He possessed a certain
aristocratic manner whereby he invariably succeeded in
keeping at a distance people who were inclined to be un-
sympathetic towards him. Importunate folk and chatterers
seldom obtained much access to him, for he understood
(the aims of such people) and, with an indescribable grace,
quietly dismissed them." ^

Jansen quotes Truhn as giving an example of this. It
seems that a certain Thuringin singer was going round
Leipzig with an Easter Cantata which he had composed,

endeavouring to find a publisher for it. He
Impor- succeeded in getting a few kind lines in recom-
tufuuy mendation of his work from Fink, and, armed
quietly with this and the cantata, he forthwith sought
repressed out Schumann, in the hope that he too would

add a line of introduction or approval. Schu-
mann, upon hearing of Fink's commendation, is reported
to have said, " Good, good ! Do you not know that the
old musical paper (Fink's) is in a state of enmity with the
new (the Neue Zeitschrift) ? I and my fellow-workers are
' Jansen. ' IbiiL

146

The Man

considered by the old ones as new as well as devilish
romantic, and we have a hard struggle to hold our own.
A recommendation from me, the General of the devilish
romantic ones, would arouse the suspicion and enmity of Fink,
and one from me in my own name would cause your work
to remain unpublished for ever. Pin your faith to Fink's
introduction and you will soon see the good results." So
the musician made his adieux without the recommendation,
and Schumann related the occurrence with unusual glee in
the evening at the Kaffeebaum. A few days later, when
Schumann was taking his customary stroll in the Rosenthal,
the singer saluted him and told him, with apparent self-
satisfaction, that the work had found a publisher. " There
you have the good result," replied Schumann, as, replacing
his cigar in his mouth, he continued his way.'

In his home life Schumann was a pattern of all that was
active and methodical. He was a marvellously busy man.
Composition, pianoforte playing, writing for the Neue
Zeitschrift^ his large correspondence, as well as
reading, of which he was particularly fond, Schumann
occupied a full day. He never lost his taste at Home
for books, and often carried one about with
him when out walking, taking every stray chance of looking
into it as he went along. His sitting-room was simply
furnished, and, when a youth, was as usually topsy-turvy
as most students' rooms are. Becker says that, when once
in the musician's apartment in 1834, being asked to sit
down, he experienced some difficulty in finding a seat, as
chairs and sofa were heaped with books and music. In
' Jansen in Die Davidsbiindler,
147

Schumann

these earlj years Schumann often changed his quarters,
until, in 1836, he moved into a nicely-situated abode,
which he occupied with much comfort and contentment
until his marriage in 1840.

Truhn's description of the workroom of the editor-
musician is interesting. "The window looked out upon
the most wooded part of the Promenade which surrounded

old Leipzig. ... It was so still in this place
Leipzig that, when the trees rustled in front of the
Music- window, one could have fancied oneself placed
roam in a lonely castle surrounded by a wood, as

described in the wonderful romances of Eichen-
dorf. ... In this window nook, and raised from the floor
by being placed upon a little platform, was a table on
which were to be seen writing materials, an arrangement
for hanging a watch, also a charming miniature of a
thoughtful-looking girl's head. Schumann's watch, which
he wore on a hair chain, was, while he worked, to be found
upon the stand. . . . Although this poet's room had
only one window in it, there was also space for a grand
pianoforte — ^placed against the opposite wall, through
which a door led to the next room — a sofa and a table. . . .
The room was oblong in shape. . . . Besides the pictures
of Bach, Beethoven, Schunke and his Clara, a Raphael's
Madonna also adorned the wall. When Schumann wrote
in 1839 from Vienna to announce his return to this apart-
ment, to which he had become attached, he particularly
asked that this special picture might not be missing." '
In the evenings, after work, it was customary for Schumann
' Die DaoidsbUndUr.
148

The Man

to frequent Poppe's " Kaffeebaum " — a place of meeting of
young men of his own age — where a spirit of good fellow-
ship seems to have reigned, as much apart from
onesidedness as it was from bacchanalian At the

excess of any kind. Schumann had a rather Kaffee-
retired corner, to which he was particularly taum

partial. Jansen describes him as generally
sitting sideways from the table, so that he could lean his
head on his hand. Often he would be observed to push
back the hair which fell over his forehead. At these times
his eyes were half closed and he appeared buried in
dreamy musings. '* When an interesting exchange of ideas
was going on one could see him awakening out of his
dreams — I might almost say stepping again into the outer
world — and we would then notice the splendour and
brightness of his eyes." '

In this unrestrained society, where, apparently, his silent
meditative ways were thoroughly understood and sympa-
thised with, Schumann spent many pleasant hours with the
inevitable cigar in his mouth. The drink he
usually partook of was beer, but he liked good Evening
Rhine wine and champagne. However, in the Routine
matter of liquids he was invariably moderate,
and frequented the Kaflfeebaum more as the man of to-day
visits his club of an evening, /.^., in order to have a chat
with congenial friends, than in any spirit of conviviality.
Often, indeed, he would leave the table suddenly, without
bidding good-night to any of the company. In this case
he invariably had music in his head, which evidently would
' Jansen.
149

Schumann

brook no delay until it was written down at home. Indeed,
Schumann's evening visits to the coffee-house were simply
a part of his quiet and well-ordered diurnal routine. They
formed, doubtless, a pleasant relaxation after the mental
exertions of the day, and invariably the charm of his own
family circle found him home again at an early hour ; for
he was never so happy as when in the society of his gifted
wife and his children, of whom he was extremely fond.

It is difficult, and would be unbecoming of us, to form
an exact opinion upon Schumann's creed. Wasielewski
considered him a "Freethinker" in the broadest, most
liberal meaning of the word. From intolerance,
Schu- bigotry or sectarianism the man was decidedly

mantCs free. In his generous preference of others to
Religion himself in the case of gifted contemporaries, he
certainly put in practice one of the noblest of
Christian maxims. ' In his kindness to young and unknown
musicians he was acting as one who doeth good apart from
any desire of return or public applause. A remark, attri-
buted to the composer himself, may give us the most
reliable sidelight upon this matter of his Faith. He says :
" If a man knows the Bible, Shakespeare and Goethe, and
has taken them into himself, he needs no more." It is not
without significance that the devotional form of the Mass
attracted him during his last few years of activity.

The opinions upon Schumann — the man and artist — ^as
expressed by some of the most distinguished of his contem-
poraries and circle, are worthy of note. Schumann's early
appreciation of the great gifts of Berlioz is well-known.
Berhoz, who was generally most piquant and scathing in

150

The Man

his remarks, always cherished a most friendly personal
regard for his fellow-worker, and characterises him as
'* one of the most distinguished composers and
critics of Germany." Beyond this remark and Opinion
Berlioz's warm appreciation of Schumann's of Berlioz
'* inestimable applause" bestowed upon his
own works, it does not appear that the French musician
committed himself to a definite estimate of the value of
Schumann's work. Wenzel related to Jansen that he had
witnessed Berlioz looking through one of Schumann's string
quartets, but, although he turned the leaves over very
slowly, no remark was forthcoming. The different tempera-
ments of the two men must be remembered, albeit, from
many points of view, they held similar lofty and original
theories upon their art. To Schumann music was as the
food of his soul. Impetuous, fiery Berlioz is reported to
have said, " I want music to put me in a fever and shatter
my nerves. Do you think I hear music for pleasure ? "

Moscheles, writing in his diary in 1836, says: "Finger
gymnastics find their proper place in Thalberg's new com-
positions ... for the intellect give me Schumann.
Romanticism strikes me so forcibly in him.
His geniality is also so great that I must lose Moscheles
myself more and more in his works in order to and

estimate fairly the qualities as the weaknesses of Mendels-
the new school." As we have already inferred, sohn, etc,
there is some difficulty in arriving at the exact
opinion which, as a musician, Mendelssohn held of Schu-
mann. The personal friendship between the two great con-
temporaries is an assured fact. We regret that the

151

Schumann

composer of " St Paul " (of which work Schumann so fre-
quently speaks with the most intense enthusiasm) leaves us
no opinion either upon his friend's individuality or his work
as a musician, the little remark, quoted upon hearsay in
ps^e 129, as to Schumann's "beautiful" Symphony, being
all we have been able to discover. Here, again, the diverse
natures of the two men must account for much. Mendels-
sohn's charming, almost " sugary," personality is seen in his
clear melody and polished harmonies; Schumann's mute
soul-yearnings only dawn upon us after a long and loving
analysis of his often veiled, if richly-coloured, tone poems.
In the same way the philosophic and determined Wagner
failed to '* draw out " the sensitive dreamer. Schubert,
had he lived, and Chopin, had he seen more of him,
might have experienced all the charms of the highest type
of artistic soul communion — that which wants not words to
emphasise it — with our hero.

Of all the distinguished galaxy of musicians with whom
Schumann came in contact, few so intuitively and justly
estimated his characteristic traits as Liszt. " He " (Schu-
mann), says the famous Abb^, *' appears to us
Character- good and lovable, as is every sublime person-
isation by ality ; gifted and variable like every true artist ;
the Abbi with a predilection for digressions and surprises
Liszt which denote the poet ; before and above all,

however, as a straightforward man in his con-
victions and the manner in which he expresses them. His
criticisms present a fine example of a somewhat strict, but
really kindly-intentioned, mind, which, while expecting a
great deal for art, is indulgent towards artists ; who, from

152

The Man

his home in the clouds, is pleased to visit, in a friendly
manner, those on a lower plane ; who pardons much to those
of high aspirations ; who encourages honest opinions and
persevering efforts ; who protests with courage and indigna-
tion against gifted intelligences who will not use their
talents solely for art; who, even in blame, is merciful to the
weak, and in praise is never cringing to the successful —
being honourable to all." '

To add aught to such a kindly and able characterisation
by a great pianist-composer of a brother artist seems super-
fluous ; so, with Liszt's words, we take leave of this part of
our work. Therein the writer has endeavoured to allow
Schumann to present himself, through his circle, in his
aspects as son, lover, husband, father, friend — and in all of
these capacities he calls for our deepest respect and admira-
tion. If he was over-tainted with romanticism, it formed
part of the hypersensitiveness of a peculiarly refined and
gentle nature. If we discover him morbid and even super-
stitious at times, much of this is to be attributed to that
poet's nature of his which always hankered after the mysteri-
ous and the unseen. In his wondrous freedom from envy
or petty narrowness we see the true nobility of his disposi-
tion. From the fact that he was both Uttirateur and
musician we perceive an esqplanation of his many-sidedness
and liberality of thought That, spite of his alleged reti-
cence and reserve, he attracted around him a coterie of
devoted friends and admirers, who included some of the
foremost poets and musicians of the day, gives us an insight
to the rare personal qualities of the man himself who, with-
■ Die Davidsbundler.

Schumann

out effort, and as it were insensibly, drew within his magic
circle the truest and best essence of the artistic life of his
country. Essentially Teutonic in earnestness and upright-
ness of aim and endeavour, when matched with Bach,
Mozart, Schubert, Beethoven and Wagner, Schumann,
although partaking of the traits of these great musical
minds, stands forth a unique figure upon a pedestal of his
own making. Thus in him we see a Master-Musician
without model and without disciple, save as far as his
originality of tone colouring and grouping, as his intensity
of underlying expression, opened up new and undreamt-of
fields of thought for generations of so-called " romantic "
composers yet to come. From the narrative of his life we
may gather the environments which influenced him and the
circumstances under which he waged the imaginary war of
the Davidsbiindler. As he dealt with and appeared to his
circle we can understand the kind of man that he was. In
his literary and musical output we can best judge of the
force of his genius.

154

Schumann : The Musician and Writer

CHAPTER XIII

Pianoforte Playing — Manner of Performance — Dorffel's Testimony —
Improvising at Twilight — Other Authorities.

With regard to Schumann's pianoforte playing, Jansen has
gathered a few records which remind one not a little of the
executive gifts of Chopin, allowing for the fact that accident
had impaired the hand of the subject of our
biography. Topken speaks of Schumann's Pianoforte
playing of some of his earlier compositions. Playing
especially the "Toccata," which he took at
allegro commodo speed, and therefore not at the rate to which
we are accustomed. In duet and four-handed performances
Schumann always took the treble, and Topken describes
him as finding particular pleasure in the rendering, in this
way, of Schubert's Polonaises, which he played with much
expression. Frequent improvisations are also mentioned.
" I own," says Topken, '* that these spontaneous musical
effusions of Schumann have always afforded me an enjoy-
ment that, later on, no matter what famous artists I have
heard, I never experienced. Ideas poured in upon him in
abundance, and were never exhausted. From one principal
thought all else seemed to spring forth without effort, and,
throughout all, his peculiar genius, with all its depth and

155

Schumann

originality, as with its magic of poetry, strongly attracted the
listener." '

It seems that Schumann best liked to play at the twilight
hour, and appears to have been happiest over his perform-
ance when quite alone, as might be expected from one of his
reserved and dreamy nature. At the same time
Manner of he was always ready to play to his . friends.
Perform- Lorenz says, " His performance was, above all,
ance original, and the exact opposite of that of

virtuosi^ who .make imposing effects by strength
of percussion and sharp contrasts." Upon the authority
of Lorenz we also learn that Schumann seldom played
single complete pieces, but rather short, fanciful effusions
in preference to anything published or written down.
His style of playing, the narrator considered, resembled
what one might expect from the nature of the Eusebius
numbers in the DavidsbundUr, His almost uninterrupted,
but ever discreet, use of the pedal is also referred to,
Lorenz adding that nevertheless no discordant mingling
of harmonies was heard,

Alfred Dorffel, who was introduced to Schumann in
1839, and who frequently played the composer's own
compositions before him, speaks with kindliest recollec-
tion of much useful advice from Schumann
DorffePs himself as to the way in which he wished his
Testimony works rendered. " It is all too stiff," Schumann
once commented, when the young performer
had been interpreting some of the earlier works, such as
" Fantasiestiicke " and the " Novelletten." " This remark,"
' Die Davidsbundler,

156

The Musician and Writer

says Dorffel, " was of great use to me, as it enabled me after-
wards to attain a far freer and easier touch." ' The pianist
also speaks of the invariable friendliness of Schumann
towards him. " He " (Schumann) " had so much of the
mildness of a father that I was not only extremely fond
of him, but also always approached him with confidence,
whereas I often went tremblingly to Mendelssohn, and,
through my nervousness before him, seldom played as well
as I otherwise could have done."^ Dorffel further de-
scribes what he calls Schumann's " organ style " of piano-
forte playing, and confirms the remark of Lorenz in regard
to the composer's fondness for the pedal. It seems that
Schumann always kept the pedal somewhat open, so that
there was ever a slight mingling of the middle harmonies,
and that he was also very adroit at " springs," t.e,^ in striking
one low note alone or in octave, and from thence rapidly
and smoothly springing to a chord higher up on the key-
board.

The following description of Schumann's playing '< at the
twilight hour," quoted by Professor Jansen in jDie Davids-
bundler^ on the authority of this same Alfred Dorffel,
reminds one forcibly of the tales that are told
of J. S. Bach's improvisations to the shadows Improvis-
in die Thomas Kirche. It appears that Schu- ing at

mann had a pedal keyboard attached to his Twilight
grand piano. Dorffel expressed a desire to
hear him play, and was told to come when the dusk was
falling. The young man came accordingly, and, hearing
the composer playing within, knocked once or twice at the
'Jansen. * Ibid,

Schumann

door but received no answer. "Quietly opening the
door," says Dorffel, "I therefore entered the room and
placed myself silently near the entrance. It was already
so dark that Schumann could not see me. He continued
to improvise while I listened breathlessly. In the course
of about ten minutes he wanted to light his cigar, and by
ts gleam he perceived me." Schumann smoked very
strong Havanna cigars, it seems, and Dorffel mentions
parenthetically that there were many xemains of them upon
his desk. At first the composer was somewhat surprised
to see the mute listener; but, upon matters being ex-
plained, he smiled and said it was all right. "What he
had been improvising," continues Dorffel, " made a great
impression upon me, and I recognised it afterwards in one
of the * Nachtstiicke * (which I cannot now remember). The
playing moved me in a strange manner. It seemed as if
the pedals were always half down, so that the note groups
mingled; the melody, however, stood out softly, like the
twilight. He (Schumann) must have had exceptional
execution (or agility) as a player."^

Truhn, who had heard Schumann play from the " Kinder-
scenen," "Novelletten " and " Kreisleriana," writes : — " Schu-
mann's playing was indescribable. He moved his fingers

with almost alarming rapidity, as if ants were
Other groping about the keys. He played his own

Authorities compositions (others' works I certainly never

heard him perform) with very slight accent
but considerable use of both pedals. Yet in this habit
of bis there was not the slightest want of taste." Brendel

' From Die DavidsbuncUer.
M8

The Musician and Writer

expresses himself in the same way about Schumann's
peculiarities as a performer, and speaks of it as giving
him an insight into the character of the composer's works
at that period. Knorr, who must frequently have heard
him play as a young man, years afterwards spoke with
intense admiration of Schumann's improvisations, and
characterised, in particular, a certain '* dying away"
(vanishing) mode of diminuendo which he favoured,
"which fell softly upon the ear and won the heart."
Even the somewhat phlegmatic F. Whistling seems to have
been strangely affected upon once hearing Schumann try
a grand piano. This performance he described as essen-
tially original, and so striking that, as long as he lived,
he would never forget it. Hauptmann and Spohr also
refer in enthusiastic terms to the rare and apparently
unique charm of Schumann's playing. Spohr had visited
him and heard him perform when passing through Leipzig
in 1838, and he speaks, in his Autobiography^ of being
delighted with the composer's rendering of several of his
interesting " Fantasiestiicke " (Op. 12).

159

CHAPTER XIV

A Liberal Education— Regarding Talent and Genius— The Inexpres-
sible Ego— Music and Metaphor — £ssa3rs from the Neue Ztit-
schrift — Adverse Comments — Defence of the Editor- Musician —
Literary versus Musical Work.

Schumann, as author and composer, presents an almost
unique figure in the history of Master-musicianship. It is
true that Berlioz and Wagner, as librettists and journalists,
have left records of their critical and literary skill behind
them. Again, Weber, Mendelssohn and others were
expert at penmanship, and, in their correspondence
especially, have shown themselves facile in letter as in -
"note" writing. There is, however, in most musical
authorship which one meets with, a certain onesidedness
— a tendency to clothe one's language in technicalities not
appreciable to the general public — in fact, a kind of " shop
talk " (if we may transpose an apt colloquial expression)—
which, though interesting to the initiated, scarcely appeals
outside a charmed circle, and leaves the casual reader
little wiser than he was before. In the musical scribe this
is almost inevitable. His education, from early youth up,
has taught him to think in the phraseology of Notation.
His surroundings are usually those of the art. His occu-

i6b

The Musician and Writer

pations range from the theoretical to the practical work of
his profession. His leisure moments are most often spent
listening to the musicianship or the musical opinions of
others. If he reads at all — and there are some who say
" the musician never reads books " ! — it is in a kind of
desultory way. His hobbies outside his calling are natur-
ally of rather a recreative than a studious kind. Even if
he travels, the music of other nations interests him mgre
than their ethnology, religion or politics. The artist
cannot help himself. It is part of his disposition to
live in an atmosphere of tone forms.

With Schumann things were different. Although his
musical genius early displayed itself, he did not grow up in
musical environments. His father's tastes were literary;
his mother, though keenly sympathetic, emo-
tional and cultured, could scarcely be called Liberal
musical. From his childhood Robert saw life Education
from other aspects than that of the onesided-
ness of music. In his youth, poetry and literature (classic
and modem) had a large share of his afifections. Well
on into his early manhood, his university legal studies
(such as they were) and his penchant for philosophy kept
him from getting into a groove. Hence we find him a
man of many parts, and one who was ever striving to shake
himself free from near-sightedness of mental vision and
narrowness of scope. Thus, while he wrote pre-eminently
of music and musicians, and for a music-loving public,
there is a certain generality and picturesqueness about
his literary work that makes it readable for its style,
piquancy and originality, and charms us from its rich
L i6i

Schumann

strength and beauty of imagery, quite apart from the
subject-matter of which it treats.

The fact was that Schumann, like most many-sided intel-
lects, was a close (and kindly) observer of human nature.
We see this in almost everything he wrote, and especially

in his aphorisms, which might well be character-
Regarding ised, like Shakespeare's sayings, as " household
Talent and words." Take, for instance, his views upon
Genius the difference between Talent and Genius.

"Talent," he says, '* labours, genius creates."^
Following out the idea in its detail, we also find that Schu-
mann scarcely agreed with the well-known saw that genius
consists in "the capacity for taking infinite pains." This,
anyway, is not what genius itself feels when it is in activity.
"It is the case of talent," writes Schumann, "that, al-
though it labours more steadily and perseveringly than
genius, it does not reach a goal ; while genius, floating on
the summit of the ideal, gazes above, serenely smiling." ^
In expressions such as these there is no limitation to the
world of music only. In art, literature, even mechanism,
we form our own private corollaries from the proposition,
and feel such utterances as universal truths. That Schu-
mann was the originator of these maxims, those who are
familiar with the great schools of philosophic writings will
scarcely allow. There is no copyright in fact. But genius
knows best how to bring it — and the burning truths of
existence — home to many hearts. Thus it is possible that

' Schamann's Music and MusiHans (English Translation by Fanny
Raymond Ritter).
» IHd.

162

The Musician and Writer

we all realise the value of using opportunity, of striking the
iron while it is hot, of taking time by the forelock, and so
on. Schumann thus crystallises the idea when he char-
acterises the secret of success to consist in *^ understanding
of the passing moment while it passes." ^

4 few of Schumann's proverbs have the additional charm
of directing our thoughts to that most interesting of pro-
blems — the complexity of one's own soul. Take what he
says about an ideal. " It is more difficult for
a man to discover his own ideal within his own Tke Inex-
heart than in that of another."* It is probable pressible
that not a few of us, in self-egotism, will deny Ego

this. We think we know ourselves; but do
we ? Who does ? Else were we all giants and geniuses,
thoroughly self-reliant, independent and totally free from
obligation to our neighbours. The trouble is that we are
ever forging fetters of our own making and incarcerating
ourselves in self-made prisons. "He who sets limits to
himself will always be expected to remain within them,"^
says Eusebius, alias Robert Schumann.

Nor, even when he treats of music and musical matters,
does Schumann forget the great outside public who know
not the jargon of the calling but can enjoy a neatly-put
metaphor, no matter of what subject it treats.
Schumann compares Music to Chess. Melody Music and
is the Queen; Harmony the King. How Metaphor
keenly those who know the moves of the
Royal game will relish reading that " The Queen has the
most power, but the King turns the scale."* Even in com-
^ Music and Musicians, ^ Ibid, ^ Ibid, ^ Ibid,

163

Schumann

paring such two poles in the profession as Rossini (of
operatic fame) and Beethoven (of sonata and symphony
celebrity), our author-musician has something readily
attractive to say. Concerning the coming in contact of the
two, **Eusebius" writes: "The butterfly flew in the way
of the eagle ; he moved aside lest he might have crushed
the insect with the beating of his wings.** There is sarcasm
in this, but it is scarcely bitter and certainly not malignant
The butterfly is a thing of beauty, and we feel sad to think
of its ephemeral existence. The eagle soars aloft and lives
alone in the mountain fisistnesses. He is a terror to many ;
a glory only to those of his own calibre who can afford to
set conventionality at defiance. That Schumann was a
hero-worshipper in his own department of art, it is not
difficult to perceive. With the addition of his predecessor,
Schubert, he acknowledged three great master-musicians of
surpassing genius. "So that genius exists," he says, "it
matters little how it appears; whether in the depths, as
with Bach; on the heights, as with Mozart; or in the
depths and the heights at once, as with Beethoven^* ^ A
more vivid or succinct comparison of these three great com-
posers has perhaps never before been made. Schumann,
as a writer, had the rare art of thus placing in a nutshell,
or depicting in a miniature, the attributes of others. He
even utilises this gift in his music. Witness the panorama
of personalities who are introduced in his " Camaval.*'

Schumann's Collection of Essajrs, known by its English

(translated) title as Music and Musicians^ was a reprint, in

its original (German) issue, under his own editorship, of

' Music and Musicians,

164

The Musician and Writer

papers and essays that had appeared from time to time
during the years when he was actively at the head of the
Neae Zeitschrift. There is no need here to
say more of the " Davidsbiindler " Society, that Essays
mystic musical circle which really only existed from the
in the mind of its originator. The poetry, Neue

as the philosophy, of the idea is at once ap- Zeitschrift
parent. The skill with which Schumann worked
in his art ideas, under the various phases of mild, ecstatic
and moderate criticism, beneath the names of Eusebius,
Florestan and Master Raro respectively, is worthy of the
highest praise.

Many have been the adverse and wholly unjust com-
ments with r^ard to Schumann as a literary man and
editor. Perhaps the most uncalled-for of all was embodied
in a remark of Lobe's to the effect that the
composer's great fame was attained unworthily, Adverse
not by the inherent strength of his creative Comments
work, but '' through the pens and journal of a
shameless coterieJ^^ Jansen takes up the cudgels victori-
ously for him in this matter and brings evidence to prove
that, up to the end of Schumann's period of presidency
over the Neue Zeitschrift^ in July 1844, out of the forty-six
or so of the editor's musical works that had hitherto been
published, only fioe^ had been named in the paper, and
these merely by way of mention as having appeared. As
Schumann himself wrote to Keferstein, any attempt by an
artist tp influence public opinion concerning personal works

' Musikalishe Briefi eines fVohldekaMnten (Lobe).
' Op. ID (1836), Op. 2, 4 and 5 (1835) and B flat Symphony (1843).
165

Schumann

done was hatefiil to him. "To-day," says Jansen, "we
know the man and artist Schumann well enough to laugh
at these criticisms " {Le,^ the adverse comments).

The editor-musician himself puts the whole matter
honestly and clearly enough in a letter to Kossmaly,
written in the spring of 1843. Even as late as this year,
the one preceding the last of his connection
Defence of with the Neue Zeitschrift^ Schumann speaks of
the Editor- his own compositions as being yet but little
Musician known, quoting as reasons the fact, acknow-
ledged by himself, that they were not readily
easy of comprehension in construction and material ; that
he himself, not being an executive artist, was unable to
render them in public; and that, being editor, he was
debarred from referring to them in his own paper; and
that Fink, being the editor of the other paper, could scarcely
mention them.' That Schumann used his press influence
for othersy to the almost utter exclusion of self, is evident
to any careful reader of his essays. But the man was far
from being insensible to criticism. He seems to have
highly valued the opinions of his erudite contemporaries,
and, indeed, to have keenly suffered from adverse notice or
comment of any kind. At one time he approached Dom,
hoping he would give him a place in bis Gallery as the
world knew so little of him ; saying playfully that, in the
main, he agreed with Jean Paul that "air and praise are
the only things man can and must always swallow."^
Upon the approach of his marriage, too, he seems to

' Letter to Kossmaly, May 5, 1843.
' Letter to H. Dom, September 5, 1839.
166

The Musician and Writer

have been naturally anxious that the press should take
some recognition of him and his distinguished wife that
was to be, and so expresses himself to that effect in the
letter to Keferstein just referred to.^ Therein he con-
fessed to be too proud to influence Fink through his friends
the Hartels, and strongly depreciated any courting of
public criticism by the artist himself. But, for his beloved
Clara's sake, it is evident that such encouragement would
please him as it would cheer her. In the letter already
mentioned as written later to Kossmaly (in 1843), ^^ con-
cludes by remarking that although formerly he did not
care whether people noticed him or not, matters were
different since he had a wife and family to consider.
Surely these side-lights upon the straightforwardness and
integrity of the man entirely free him from the calumny of
ever being guilty of "blowing his own horn."

Another matter of debate in connection with Schumann's
literary labours was that these militated against his musical
output, and prevented him giving that thorough devotion
to composition which the exigencies of so all-
engrossing an art demanded. It is worthy of Literary
note that this criticism comes mainly from the versus

musical fraternity proper, which is not, as a rule. Musical
inclined to many-sidedness in art. While it is Work

absolutely true that the shoemaker should stick
to his last, the mere paltriness of ostracising a man from
the highest achievement because he looks not at life through
one pair of spectacles alone, is too palpable to need com-
ment. There can be but one ruling passion in the soul of
' Page 165.
167

Schumann

a man, but it may find its outlet in varied ways, and the
more varied the wider his world of influence. Schumann
puts the matter fairly when he mentions ' that his editing
the paper was but a secondary consideration to him, much
as he enjoyed the work. " For," he adds, " it is the duty
of every man to develop the higher gifts which are given
him." Later on, in the same connection, Schumann says
that any reproach upon his editorial duties is scarcely war-
ranted, as he worked so hard at " other things " as being
part of that " higher destiny " which he felt called upon to
fulfil in his life. In fact, as he says,^ literature, personal
environment, as also his own individual experiences, all in-
fluenced him; and through these he intimates that he
began to compose from his earliest years, soon getting to
an understanding of Beethoven and Bach. Far from
fettering his musicianship then, the authorship of Schumann
was one of the many channels through which his poetic
wealth of imagery found an outlet. The mere musician,
who is only such, never rises to a real appreciation of his
art or his own powers. Had Wagner not been endowed
with a fervid perception of the philosophic meaning of the
Nibelungen sagas, and had not had the ability to put his
thoughts into tangible shape, the famous "Ring" would
probably never have come into existence.

' Letter to his friend Keferstein.

' Letter to Edward KrUger, June 1, 1839.

168

CHAPTER XV

Forging Ahead with ** Fnll Steam " on — The Musician as Critic— Sen-
sitiveness to Criticism — Style as a Writer— Some Remarkable
Essays — Mendelssohn versus Meyerbeer — Interesting Miscellaneous
Topics — Valuable Musical Advice and Opinions — The Writer as
Poet

Although Schumann himself, during his editorship, occa-
sionally expressed the longing to relinquish writing and
devote himself entirely to music,' yet it is significant that
some of the best and freshest of his works were
composed during the years 1835 to 1844 — his Forging
period of full responsibility in connection with Aheadwitk
the Neue Zeitschrift. That the musical worid ''Full

lost little from him through his devotion to pen- Steam '' an
manship may then be accepted without much
demur. There are some natures which work best when
forging ahead with "full steam" on. To these a single
aim or impetus is scarcely sufficient for fervid endeavour ;
added energies come to cope with extra work, and there is
a certain triumph about leaving no detail undone in a
many-sided avocation which does not come into the
measured fulfilment of a monotonous line of action. Thus
Schumann the writer may be said to have strengthened
' Letter to Dorn, his "dearest master and friend,'' April 24, 1839.
169

Schumann

the hands of Schumann the musician, though not certainly
through advertising his own wares. It was in this respect
that even Mendelssohn perhaps slightly misunderstood his
great contemporary.'

In regard to Schumann's abilities as a critical writer we
have already given testimony in quoting his ever-charitable,
though thoroughly just and unbiassed, as often marvellously
striking and prophetic, verdict upon the work of
Schumann other musicians and artists. His reverence for
as Critic the older masters, and especially Bach, is well-
known. Some of his sayings about the great
Cantor of the Thomas Schule, Leipzig, have become musical
aphorisms, such as the making Bach one's " daily bread,"
etc. That Schumann practised what he thus preached to
young students is evident. He speaks of Bach as like his
Bible — "day by day." He further refers to Mozart and
Haydn having had but an imperfect perception of Bach
through want of familiarity with his works. He considered
that all " the thoughtful combinations, the poetry and the
humour of modern music originated chiefly in Bach."*
His contemporaries of the so-called German romantic school
— among whom he mentions Mendelssohn, Bennett, Chopin
and HiUer — he instances as approaching nearer Bach in
their compositions than did Mozart " I myself," he con-
cludes by saying, " confess my sins daily to that mighty one,
and endeavour to purify and strengthen myself through
him." 3 When he characterises Bach as "unfathomable"
we think of Coleridge's estimate of Shakespeare — "myriad-
minded indeed he was." Doubtless Bach is to our fore-

' See page 27, * Letter to Keferstein, January 31, 1840. ' Ihid.
170

The Musician and Writer

most musical spirits what the Bard of Avon is to the
litterateur — the great rock upon which rests the glorious
reputation of the language.

He who could thus enter into the creative output of
others, and so fervently and fondly give to each a worthy
laurel crown of appreciation, was himself painfully sensitive
to, and hurt by, criticism which displayed the
spirit of superficiality or want of thorough un- Sensitive-
derstanding of the subject-matter. Schumann ness to

knows how to defend himself — in fact, no one Criticism
was able to do so better — and this he does in a
manly and conscientious way. When a certain critic ' wrote
of the " ^inderscenen " that the music was " awkward " and
" narrow-minded," he criticises the critic. The discrimin-
ator had erred in his judgment It was not " a screaming
child " he (the composer) had got his ideas from. Though
child faces had been before his mental vision when com-
posing, the titles of the pieces had been an after-considera-
tion, and had simply been intended as mildly suggestive
of the conception as the interpretation of the music.^ Con-
cerning anyone who, in sheer ignorance, constituted him-
self an adviser or judge, Schumann could be severely
scathing. To a certain young man who had written
offering him a text for an opera, and at the same time had
remonstrated with the musician to give up romanticism
and write music that people could understand, Schumann
indited an epistle which must have made the luckless
recipient think twice in future before he expressed an

' Rellstab.

' Letter to H. Dorn, Leipzig, September 5, 1839.

171

Schumann

opinion upon matters out of his depth.' We have also said
that, after Dr Kriiger's verdict upon the opera, " Genoveva,"
the composer wrote so strong a letter to the critic that the
intimacy between the two friends terminated. To describe
this warm championship of his own output as egotistical on
the part of Schumann, is unjust. No man was really more
modest than he. But it was the diffidence of genius.
When he uttered what was within him he only did so in
the firm belief that he had something which was worth the
saying. To recant would have been treason to his better
intelligence and to the motives that inspired him. What
he had written he had written, and he was prepared to
stand by it without flinching.

Schumann's style as a writer is that of a cultured thinker
who has something worth saying and knows how to say
it clearly, succinctly, and in such a manner as to appeal,
with pleasing imagery, to a wide and varied
Style as a circle of readers. His epigrams, having the air
Writer of spontaneity about them, never appear studied
or overweighted — he saysjenough, and no more,
to imprint a vivid mental image of a definite thought-germ
from which other intelligences may develop aj whole
series of resultant ideas. His criticisms, being couched in
such an original way, stir us as no mere cut-and-dry de-
scription of a man or his works could do. Thus, one who
knows not a note of music might take up the article on
Hector Berlioz and his Symphonic Poem, " An Episode in
the Life of an Artist " (Op. 4), and read it with intense
pleasure, apart entirely from any technicalities that are
' See Letters (English TranslatioD, Vol. II., page 146).
172

The Musician and Writer

mentioned therein. This is true art ; and had Schumann
not had a literary as well as a musical training, he could
not thus have learnt how to write for the general public.
So we would again emphasise that the many-sidedness of
Schumann's education comes out best in his penmanship
(literary), and as a critical writer of eminence he must
always occupy a worthy place in German literature.

The exact nature of Schumann's literary work may best
be described by referring briefly to one or two of his most
famous short articles. The first in the published series
(as collected and arranged by himself),' known
as '' An Opus 2," is a fair specimen. In this Some Re-
he treats, in the most vivid, descriptive style, markabk
of Chopin's early Variations upon Mozart's Essays
celebrated duet from " Don Giovanni," " La ci
darem la Mano." Enthusiasm, emotion — indeed rapture
— characterise the opinions of "Eusebius" and "Florestan";
even "Master Raro's" maturer judgment implies an
interest to see the new composition. " I bend," says the
writer, "before Chopin's spontaneous genius, his lofty aims,
his mastership."* This was the first public (press) recog-
nition of the great Polish composer, and it probably had no
little share in making Chopin's name known to musical
Leipzig and its surroundings. Occasionally Schumann
speaks as if he were an orator whose province it was
to stir his listeners by an eloquent appeal to their
senses of duty and right. When pleading for a monu-
ment to Beethoven, no public speaker could more

' Gesammelie Schriften liber Musik und Musiker^ Leipug, 1854.
(English Translation, Music and Musiciansy^ by F. R. Ritter.)

173

Schumann

powerfully thrill an audience than would the following
words rouse the earnest, musical - minded German : —
*'Rise, throw off your indifference, and remember that
his monument will also commemorate yourselves ! "

Schumann's critical comments upon noted contemporaries,
as tributes paid to great predecessors like Bach, Mozart, etc.,
are among the most valuable portions of his writings. In
this connection readers are specially recommended to read
his opinions upon Sterndale Bennett, Field, Gade, Henselt,
Heller, Hiller, Liszt and many others. With regard to
Mendelssohn, this generous brother composer was always
the most enthused of champions. The foUomng, among
many other remarkable excerpts, may serve to show how
keen and how kindly was the estimate at which Schumann
valued the output of his fellow-worker: — "It^sometimes
seems," he says, ''as though this artist (Mendelssohn), to
whom accident gave the right name ' at his baptism, broke
off a few measures and chords from his '' Midsummer Night's
Dream,'' and enlarged and evolved them into separate works,
as painters have repeated their Madonnas in angels' heads." ^

A notable essay also is that in wh^ch Schumann compares
the respective successes of his favourite Mendelssohn and
the well-known object of his aversion, Meyer-
MendelS' beer. The editor-musician has been censured
j^^ff versus as having been unduly severe in this article
Meyerbeer upon ''Les Huguenots" and its composer.
Certain it is that seldom has a famous work got

' Felix, f.*., "the happy one."

' Upon the " Three Giprices'' (Op. 33) of Mendelssohn, from Music
and Musicians ,

174

The Musician and Writer

so thorough a slating from an expert pen. In '* II Crociato,"
says the critic, he was inclined to place Meyerbeer among
musicians; in "Robert le Diable" he began to doubt
whether he had not made a mistake in so doing ; in " Les
Huguenots " the music was best fitted for circus people 1
Could anything be more scathing ? Yet we must remember
that Schumann ever went by motive rather than achievement.
That Meyerbeer could write Italian, German and French
operas, according as the fashion of the moment demanded
one or other variety from his facile pen, was enough for
this high-souled son of the Fatherland, who strenuously
despised work for gain or fame if he considered art was
relegated to a secondary place. Several there are who will
commend Schumann for taking this stand. But, after all,
if the musician be looked upon par excellence as a public
entertainer, is it altogether a fair view of the case? Music
is made to be listened to. The wider the circle of listeners,
the greater the beneficent or pleasurable influence. As
long as the means used to enthral the public are worthy
and legitimate, are we authorised to cavil thereat ? Schu-
mann animadverts upon the plot of Meyerbeer's master-
piece. On the same grounds few opera libretti are entirely
blameless. It cannot be said, for instance, that Mozart's
" Don Giovanni " is precisely the kind of tale our young
folk are benefited by reading. Yet we must pause ere we
condemn. The stage is supposed to hold the mirror up to
nature. If vice is punished and virtue rewarded or trans-
ferred to a worthier sphere, we may surely always draw a
helpful moral lesson from the narration. The courage and
religious fervour of the fearless French Protestants are,

175

Schumann

however, worthier themes than the follies of a Spanish
libertine. Perhaps if Meyerbeer had been poor and
struggling, as was Mozart, Schumann would not have been
so severe upon him.

In the article referred to, Schumann contrasts Mendels-
sohn's oratorio '' St Paul," performed at the same time in
Leipzig as *^Les Huguenots," mth the French opera named,
speaking of the sacred work as " of pure art, the creation of
peace and love." Very valuable also are his remarks as to
the title of the composition. It is spoken of as a " concert
oratorio," even as a "Protestant concert oratorio." Later
on, in a criticism of Lowe's ''John Huss," he qualifies
that work as a ''sacred opera" and a "dramatic oratorio."
Evidently he felt the want of adequate terms to describe
the dramma per musica when it deals with religious or
solemn topics. It is curious, in this connection, to note
that Schumann's own "Paradise and the Peri" has been
called a "profane oratorio."

Among miscellaneous types of Schumann authorship we
might instance his " Characteristics of the Keys." In this
most musicians will agree with the remark that, though

much may be said on both sides, the truth lies
Interest' more in the middle. Schumann's fanciful char-
ing Miscel' acterisation of the Major mode as the mascu-
laneaus line (active), and the Minor as the feminine
Topics (passive or suffering) principle, seems apt, and

recalls to us his comparison of the Queen

(Melody) and the King (Harmony) in the game of chess.'

Pleasing, and very widely readable also, is his method

' Page 163.

176

The Musician and Writer

of treating The Literature of Dancings in which some
productions of the time by Kessler, Thalberg, Clara Wieck,
Schubert, etc., are airily and prettily diagnosed by his
capable pen. From a purely erudite point of view, most
valuable of all Schumann's writings are, perhaps, his critical
articles on specific art forms as demonstrated in the work
of the composers of his time. In the course of these
essays we get an authoritative musical verdict upon many
famous works which the world has since fully sanctioned.
Therein also are crystallised the names and works of many
whose fame was but local and ephemeral save for these
references. We commend our readers to a perusal of these
in the second series of Music and Musicians .^

Schumann's opinions on many matters, as embodied in
his writings, are also of the highest worth and utility. His
advice and " Maxims," addressed to young musicians, deserve
the earnest attention of all music students. If
these could be summarised very briefly we Valuable
might state that they embody exhortations to Musical
play scales advisedly, to cultivate habits of Advice
accurate time keeping, to see that one's piano and

is always in tune, and to form the habit of Opinions
hearing music in one's mi^ as much as pos-
sible.^ Upon debatable matters, the opinions of a thinker
and musician of Schumann's calibre must always carry
weight. The legitimacy of "arrangements" has often
been called into account. Schumann has something inter-

' Fanny Raymond Ritter's English Translation.
' Elsewhere Schumann speaks poetically of '* the veiled enjoyment
of music one does not hear * (on ** An Opus 2 ").
M 177

ScKumann

^sting to tell us with regard to Liszt's brilliant transcriptions
of some of Schubert's songs. These (Liszt's transcriptions)
he speaks of as having been stigmatised as the most diffi-
cult things ever written for the pianoforte, and he jokingly
refers to the remark of some amateur as to whether an
easier '' arrangement " would not restore the Lied to its
original form again. Then, most convincingly, he debates
the "right" to arrange, "A bungler," he remarks, "is
ridiculous when he does it badly, but we approve of the
intelligent artist's arrangement unless he destroys the sense
of the original."'

Before leaving the subject of Schumann's authorship, a
word might be said as to his poetic inclinations. During his
youth, and especially in the course of that nine years when
the spell of Jean Paul, Byron and others was
TTie Writer upon him, he wrote verses which display an
as Poet ingenuity of imagination and a flow of rh3rthm
that might well justify one in saying that, had
Music not had a stronger claim upon him, he could have
won a niche in the " Poets' Corner " of his country. While
it is true that some celebrated poets appear to have been
wholly wanting in an appreciation of music, the keen ears
of musicians are seldom indifferent to the measured beat of
well-constructed verse or the melody of vocal and flowing
syllables. Occasionally they can even find a poetry in
prose, as undoubtedly is the case in the oratorio settings of
Scriptural texts by Handel, Mendelssohn and others. The
natural romanticism of Schumann inclined him to poetry —

I On '* Liszt's Transcription of some Schubert Songs " {Music and
Musiciafis),

178

The Musician and Writer

the language of the dreamer and the idealist. He was
particularly fastidious also in his choice of words for setting
to music ; witness the long and unfortunately fruitless
correspondence with Pohl about a word-book for " Luther." "
In the matter of a libretto for " Genoveva " it is to be remem-
bered that, failing to get adequate aid from Reinick and
Hebbel (the author of the drama), Schumann himself
turned librettist and produced a text, if not practically
adapted to the best stage requirements, at least an indis-
putable piece of artistic workmanship from a poetical point
of view.

' Page 82, et seq.

179

CHAPTER XVI

Piano Compositions — Music for Young People — Pianoforte Sonatas —
Variations on the name " Ahegg "—" Papillons "— " Camaval "—
"DavidsbOndler "—Shorter Pieces—Piece Groups— " Fantasie-
stiicke " (Op. 12)— The Concertos— •« Variation " Work.

As Madame Schumann herself infers, Schumann the
musician is best viewed in his must'c itself. Commencing
with the pianoforte music, this is amazing in its quantity,
variety and rare excellence. Childhood, the student, the
amateur, the virtuoso are all catered for ; and to each his
pabulum is given in a most acceptable and attractive
fashion, can one but take the trouble of peering beneath an
apparently complicated and sometimes difficult exterior for
the hidden mine of wealth beneath. For the beauties of
Schumann's Clavier music are not superficial, nor are they
always disclosed upon a first reading. Like his great pre-
decessor, to whom he himself so strongly pinned
Piano his faith, 1.^., J. S. Bach, Schumann requires

Composi' study — earnest, deep and devoted — ^if we would
iians draw the veil of his mysticism aside and taste

the sweetness of the kernel that lies within
the often apparently obstinate casing of the nut Those

180

The Musician and Writer

things which cost us most in expenditure of means,
thought and trouble, once being acquired — if they have the
genuine ring about them — seldom fail to win our lasting
afifection. So is it with the music of Bach and Schumann.
Herein we want more than a facility to "sight read" in
order to fully comprehend. But once having done so, we
realise that to penetrate one shaft deeper into the un-
fathomed mine of music has disclosed richer ore than we
hitherto dreamed of, and so we count the labour of extra
digging light.

To give a chronological summary of Schumann's piano-
forte music is unnecessary. To begin with Schumann's
"Child " music. By this we do not mean his own earliest
compositions,' but those works which, even
towards the close of his period of activity, he Music for
always delighted to pour forth for, and with Young

regard to, young people. Foremost among People

these comes, perhaps, the famous " Album fiir
die Jugend " (Op. 68), the artistic cover of which, as we
have said, was specially arranged for by the composer with
Richter, who designed it Among these forty-three charm-
ing little pieces, "The Merry Peasant "is, doubtless, the
best known. But many other numbers — ^gems in their
own tiny and unpretentious way — might be mentioned.
Such a passage as the following (from the " Volksliedchen ")

' Wiedebein, the Brunswick song-writer, thus wrote to Schumann
of some early songs submitted to him : *' Your songs have many faults^
some of them very many ; but I should call them natural and youthful
errors rather than intellectual ones. You are highly endowed by
nature ; profit by your gifts, and the respect of the world will not be
denied you."

l8i

Schumann

LusHg.

is sprightly and quaint for little fingers, and contains, in a
nutshell, an excellent lesson in early staccato playing and
phrasing. In the '* Kleine Studie," beginning

we can well imagine that the composer, while inculcating
legato arpeggio playing, was preparing the child's mind for
future acquaintance with J. S. Bach's exquisite "First"
Prelude from the "Well Tempered Klavier." The dainty
" Mignon " and many other short fragments are also note-
worthy. Among Child Music are the " Kinderscenen," an
earlier work (Op. 15), in which occurs the tranquil and
pleasing "Traumerei"; and the "Drei Clavier Sonatenfiir die
Jugend" (Op. 1 18), which the musician specially wrote for his

182

DESIGN OF TITLE-PAGE OF ** ALBUM FOR THE YOUNG "
Printtd^ kind ^trmission 0/ Mturs Brtitkopf ^ H Artel {Ltip*if)

Schumann

three eldest daughters, Julie, Elise and Marie. The freshness
and naivety of this Child Music is all the more remarkable
when we consider the philosophic intensity of Schumann's
musical genius. Yet with the children he could be a child,
and this embodies one of the most charming traits of his
disposition.'

Of regular pianoforte sonatas, Schumann wrote three,
that in F jj; minor (Op. 1 1), dedicated to Clara by Florestan
and Eusebius ; Sonate No. 2 (Op. 22), inscribed to Madame

Voigt ; and Grande Sonate (Op. 14), a tribute
Pianoforte of his friendship and respect for Ignace
Sonatas Moscheles, from whom he had obtained his

youthful inspiration.' Concerning these works
much might be said, and the scholarship of the latter
especially calls for admiration ; but we must leave them
to every musician's personal exploration. Many other
separate items for the piano, such as the Scherzo (Op. 14),
as also the Toccata (Op. 7), dedicated to his friend Louis
Schunke, and apparently written under the inspiration of
J. S. Bach; and the Allegro (Op. 8), composed in 183 1 and
inscribed to ^' Mdlle. la Baronne Ernestine de Fricken " — a
little sketch full of daring key change, and redolent,
indeed, of many modes — must be merely named in this
connection. The same remark applies to much of the
miscellaneous work in classical form, such as *^ Vier Fugen "
(Op. 72), the ** Vier Marsche"(Op. 76), and the "Sieben
Clavierstiicke in Fughettenform " (Op. 1 26). In these we see

' Su reference to that interesting letter of the composer's in which
he himself contrasts his feelings when writing the " Kinderscenen " and
the " Album fUr die Jugend," p. 125.

« Page 6.

184

The Musician and Writer

Schumann more or less under the slavery of "form"
requirements. He meets his obligation with marvellous
abandon^ and adorns the dry skeleton of scholasticism with
trappings all his own ; but the poet-musician is happier
when, as in his fantasies and purely imaginative pieces, he
gives full smng to his mental imagery and power of
portraiture in tone.

Particularly do we see Schumann unique in his powerful
and original treatment of the piano when he depicts definite
personalities or poetic images of places or things. Even in
his Opus. I, the theme on the name " Abegg,"
there is promise of a strength and musical de- Variations
pictment which was to reach a climax in works on the

like the " Camaval " and the " Davidsbiindler- Name

tanze. ** The young lady, Fraulein Meta Abegg,* " Abegg "
he had met at a ball when an impressionable
student, and he thus immortalises the circumstances in
tone forms : —

Animate,

' He poetically inscribes the piece to Mademoiselle Pauline, Comtesse
d' Abegg.

I8S

Schumann

This was not the first time that *^ musical " letters in a
name had furnished a tone subject. Bach had written a
fugue on his own name ; but Schumann was to carry the
idea to a fanciful extent, never dreamt of before,
^^Fapillons** in his famous " Camaval." Preceding this had
come the " Papillons " (Op. 2),^ a series of short
pieces, in which he bases the subject-matter upon a fanciful
idea of a masked ball as described in Jean Paul's Flegeljahre,
The sections in " Papillons " are little more than fragments ;
but they have a rare charm and a youthful sparkle of
tenderness and merriment. The familiar " Grossvatertanz,"
an old German folk-song, is introduced with much humour
and effectiveness, and the whole forms a kind of sound-
picture representing the various personages in the dance, as
also the talk of the lovers.

On a still more advanced, as well as more developed,
scale comes the famous '^ Carnaval " (Op. 9). This is based
almost entirely upon the musical letters of Schumann's
name, i>., S, C, H, A,* which, when transposed,
"C(ar«at'a/"gave A, S, C, H, the birthplace of Ernestine
von Fricken, to whom the composer was for a
short time betrothed. This explains the title " Sphinxes "
of one of the segments; and the "letters" themselves
come bounding in, boisterously and merrily, to impress
themselves as lettres dansantes upon the listener.^ Few
but one of Schumann's imaginative nature could have con-
ceived such a quaint and charming short panorama of
sound-pictures. As the name of this composition — or

' Dedicated to Th^rese, Rosalie and Emilie.

' In German nomenclature, Es (Eb , C, H (B), A. 3 Spitta (Grove).
186

The Musician and Writer

rather series of short compositions — suggests, we might
well imagine a gzy fite where, between the pauses of
the dance, we get glimpses not only of the fanciful Pierrot
and Arlequin, but also of Eusebius and Florestan (various
phases of the composer's own nature), Chiarina (Clara
Wieck), Chopin, " Estrella," ^ach personality depicted with
a delicacy and charm which would, in a kindred art, remind
one of cameo painting. Under the title " Estrella," we may
or may not have a musical delineation of the fair Ernestine.
It is not uninteresting to note that this episode is marked
con affetto, whereas "Chiarina " is characterised 2ls passionato.
We quote a short opening passage from each : —
"CHIARINA."

Passionato.

'¥

Pedaie,

' ESTRELLA."

Cofi affeto.

=KZ=

187

2=*:

Schumann

The essentially romantic idea of the whole tone-picture,
and especially its effective winding up with the vigorous and
ever-quickening so-called "march" of the Davidsbiindler
against the Philistines, gives one a sense of something quite
novel in the domain of Clavier music. Therein is no vulgar
demonstration of "programme" billeting; yet we see in
dim veiled forms, as it were, the dream visions of Schu-
mann, the poet-musidan, pass before us, with a keen
appreciation of all that was pure and fair and lovable in
womanhood, and a manly and joyous determination to
trample under, foot everything that savoured of paltriness
and superficiality in his art. No one can hear the " Camaval "
well rendered by a talented performer — ^and it takes a truly
gifted player to do it justice — and not be impressed by a
feeling that therein the piano speaks a word language,
tender, dreamy, and, in a way, daring, yet entirely free from
mere display or even show of the virtuosity which it
demands to render it adequately. The extreme difficulty
to the ordinary pianist in the correct interpretation of
Schumann's pianoforte music — ^the abnormal stretches and
the requirements of neat and dainty pedalling as well as taste
in the use of tempo rubato — has perhaps deterred many
students from a closer familiarity with the works of a master
that grow more enthralling the better we get in touch with
them. This is a pity; but, in one way, it is better so.
Mozart, Mendelssohn and even Beethoven are often merci-
lessly " murdered " by the mere note-mechanic. Schumann's
works offer less temptation this way from the innate reason
of their exclusiveness.
Preceding the^Carnaval," in date of composition, had come
i88

The Musician and Writer

the " Davidsbiindlertanze " (Op. 6), a series of character
sketches and phases of musical thought which deserve to
be better known than they are. They consist
of no less than eighteen short segments, and ^^Davids-
these, with their ever-varying rh3rthms and bundler-
ingenious harmonic changes and combinations, tame "

may well be considered to convey many varied
sentiments, among which humour — quaint, merry, and at
times playfully mocking — ^is not wanting. That these
movements are '^ dances" in the usual sense of the word
can scarcely be asserted, any more than Schumann's
"march" of the " Davidsbundler," which introduces the
well-known "Grossvater" dance, partakes of the customary
march form. Even in these matters Schumann was uncon-
ventional. He suggests a shadowy outline rather than a
cut-and-dry formula. Thus is he the true poet and genius
—ever moulding his materials after a pattern of his own
rather than upon the models of others.

Of short pieces of Schumann's that enjOy quite a mde
popularity are some of the " Albumblatter," among which
"Wiegenliedchen" and " Schlummerlied " are well-known.
The "Novelletten" (Op. 21), especially that
beautiful opening one in F, with its exquisite Shorter
cantdbile second part, are frequently played. The Pieces

melody and flowing rhythm of these, as also their
fresh chordal progressions and novel phrasing, render them
particularly attractive to accomplished pianists. Among
favourite numbers must also be quoted ^' Arabesque " — the
tender flow, the varied inner sections, and the sudden key
changes of which linger pleasurably in the memory of the

189

Schumann

hearer long after the strains have ceased to fall upon the
physical ear. The dreamy mysticism, as displayed in
the daring modulations which the composer is so fond of
using, may be partially exemplified in a short quota-
tion from this particular piece, especially as its context,
owing to the popularity of the item itself, can be the more
easily consulted by our pianist readers : —

rit.

P-

ifsct

zzEz

at=«=

lot:

*^ Ped.

Ped.

The whole concludes with a beautiful tranquil cadence
worthy of Bach.

In noble piece-groups, or sound-cycles, as we might call
them, Schumann the musician seems to have been most
at home. The vigorous and stirring *' Faschingsschwank "
(Op. 26), written in his Vienna period, and
dedicated to his letter-friend, Simonin de Sire,'
may be classed under this heading. In this
category is particularly to be mentioned the
delightfuP'Waldscenen" (Op. 82), in which series occurs
the weird and wonderful " Vogel als Prophet," marked by the

' Su page 41.
190

Piece
Groups

The Musician and Writer

composer Langsam^ sehr %art^ (Slow, and very delicately).
Very few players, perhaps, truly grasp the almost ethereal,
spiritual nature of this little fragment. It seems nearly
always rendered too quickly or too heavily. Very lovely,
too, are the " Nachtstiicke," the first of which is of a choral
character. Concerning the " Humoresken," Schumann has
himself something of interest to say, for he remarks^ that
the French could not understand the term, and deplores
that there is no word in their language for Gefniithliche
(good-naturedly), and for humour. " Kreisleriana " (Op. 1 6)
is also referred to by the composer in the same connection.^
He mentions liking it best of any of his compositions
written up to that date (1839), and again speaks of the
title being only properly understood by Germans. He then
describes Kreisler, as he was created in Hoffmann's novel,
as "an eccentric, wild, and gifted Capellmeister."^ The
fantastic character who appears in Hoffmann's sketch
blowing bubbles, with a reckless air of utter unconcern of
the world and its ways, appealed strongly to Schumann ;
and it is not a little pathetic to note that the imaginary and
the real musician had many points in common, even in the
matter of the last sad catastrophe, as Hoffmann eventually
represents his Capellmeister going insane.

We cannot leave the piece-groups without noticing in
particular that very well-known one, the " Fantasiestiicke "

' Be it remarked here that Schamann prefers to attach musical ex-
pression indications by German words, to the almost complete exclusion
of the usual Italian terms.

' Letter to Simonin de Sire, Vienna, March 15, 1839. See also
page 41.

3 Ibid, * Ilfid.

191 »

Schumann

(Op, 13). One of the sections, though but a mere
fragment, "Wanim?" (Why?) has become
^^J^antasie- deservedly popular. It is full of a tender,
stikke^^ passionate melodiousness which grows upon
{Op. 12) one with closer familiarity. The first move-
ment, **Des Abends," is also particularly
beautiful. It reminds one of the fall of a mellow and
tranquil twilight — the time of musing and sweet memories.
" Aufschwung," which follows, is a complete contrast to the
two segments just named. It is full of life, subtle aspira-
tion, and a kind of exultant joy coupled to tender
solicitude — ^an ecstatic soul-song of gladness and triumph.
" Traumes Wirren " is a dainty and exquisite fragment ; but
requires, for its adequate rendering, a particularly facile and
finished technique. It might almost be called a fairy-piece
— so light is it, airy as a dream, and full of a delicate and
fantastic imagery which baffles description. Other portions
are the beautiful "In der Nacht," "Fabel," and "Ende
vom Lied." Nor should we forget "Grillen," with its
quaint, humorous touches, not unmixed with a slight
pathos. How striking, for example, is the follomng passage
from this fragment : —

From "GRILLEN." ^^^

The Musician and Writer

What energy, exhilaration, and yet a touch of yearning is
here! The student is especially directed to note the
strong climax at {a\ the syncopations at (d) and (^), and
the "free" resolution of the dominant 13th at (r), giving
the pathetic glamour just alluded to.

Among works for the pianoforte may also be included
the masterly Concertos for that instrument and orchestra.
Opus 54, dedicated to Ferdinand Hiller, is a fine work of
this class. In it, as might be expected, the
pianoforte plays by no means a secondary part T^

in the ensemdle; yet the orchestra is treated Concertos
with a power and intensity of colouring which
heightens rather than eclipses the importance of the solo
instrument. Other works of this kind were the '* Concert-
stuck" for pianoforte and orchestra (Op. 92), written in that
fruitful year 1849, almost the last, alas! of creative
productiveness; and the " Concert-Allegro " (Op. 134) com-
posed for J. Brahms as late as 1853. While on the subject
of Concertos it is worthy of note that Schumann has
bequeathed to musical literature Concertos for violin and
for 'cello— both with orchestra — as also a remarkable work
for four horns and orchestra (Op. 86).
N 193

Schumann

But it is manifestlj impossible, amid such an emdarras
de richesse^ to speak of all that Schumann did for his

favourite instrument One department, how-
" Varior ever, calls for a passing notice. Most of the great
tion^ musicians tried their hand at Variations on a

Work given theme. In fact, that form of composition

is, in a way, the basis of the creative musician's
art, and is the stepping-stone to, as the highest develop-
ment of, the best thematic work. Doubtless the '* Etudes
Symphoniques " are the most important instances of Schu-
mann's scholarship in this department. In the treatment
of Variations, as in all other work, he was original, and
showed how little influence his predecessors' or con-
temporaries' methods really had upon him. He brings out
the resources of the pianoforte in ways scarcely dreamt of
before and hardly rivalled since. Nor, under his pen, is
the Variation ever trivial or a mere volley of fireworks.
Display of any kind, indeed, he strenuously avoids. Yet
in harmonic treatment, rhythm and speed we are constantly
reminded of the diversity in which one dominant idea can
be presented to us. Once more, in this branch of his
work, the many-sidedness of Schumann's genius shows
itself. Variations seem to have attracted him from the
first. We have aheady referred to Opus i, the Theme with
Variations on the name ''Abegg." There is also to be
noted the "Etudes," written after hearing Paganini play
(Op. 3 and Op. lo), and especially the " Impromptus " on a
theme of Clara Wieck (Op. 5), which, as it would doubtless
interest our readers, we venture to quote heremth : —

194

The Musician and Writer

(j! i ij J J I j_F-4^-rj- 1 J tj

fr-p : I ^. r i ^=Fii=fif]^

The above is highly interesting and suggestive. There
is a certain earnestness and energy about the melody itself
which is, in no small degree, characteristic of its composer.
For the able way in which Schumann treated this theme
in Variation form the reader is recommended to a personal
study of the Opus 5 in question.

195

CHAPTER XVII

Compositions in all Forms — Sjonphonies — Overtures — Chamber Music
— " Paradise and the Peri "—The Choral Ballads, etc.— Wanted, an
Ideal Grand Opera — " Genoveva" brought oat onder Difficulties —
Faith of the Composer in his Work — A Plea for the Libretto —
Has " Genoveva " had a Fair Hearing ?— The " Genoveva "
Music.

We have lingered over the pianoforte compositions of
Schumann, because in them, more than in any other
department of his art — if perhaps we except his
Compost' Songs — the composer appeals to the widest
iions in all circle of listeners. This is only natural, as his
Forms own training was, at first, directed altogether

toward that wonderful domestic instrument.
The importance and value of Schumann's work in other
branches of musical art cannot be dismissed summarily.
His skill is orchestral colouring, considering that he played
no orchestral instrument ; the excellent specimens of his
chamber music ; and the fact that, with an almost abnormal
power of scope, he tried his powers at cantata, opera and
oratorio form — ^all these points call for our reverent
attention and sincerest admiration of his fertility in output,
as the immense expenditure of inventive thought and
unceasing exertion which the vast and varied full catalogues
of his musical works display.

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The Musician and Writer

Concerning Schumann's Symphonies, with Dr Spitta's
able estimate, in Grove's Dictionary^ that these works are
unquestionably the nearest of all to the ^' Immortal Nine "
of Beethoven, the connoisseur will readily agree.
That in B flat, the first, is very fresh and bright, Sym-

and vividly brings, as the composer intended it phonies
should, the image of the fair but fleeting Spring
before us. This was written at the zenith of his activity and
happiness, in 1841, one year after his marriage. The D
minor Symphony also belongs to this year, and by many
it is considered an advance in intensity and scholarship
upon the first In that fine work for orchestra which is
composed of Overture, Scherzo, and Finale, and is often
called Schumann's Third Symphony, we have an example
of a Scherzo which, for striking originality, is worthy of
being placed side by side with the similar masterpieces of
Beethoven. Musical humour wonderfully affected both
these great minds ; and none have, it may be, before or since,
better emphasised the musical "joke" than they. The
C major Symphony is more in classical style than any of
the others. Schumapn himself says^ that it was written
when he was recovering from the serious illness of 1845,
and hence he accounts for the "sorrowful music" of the
melancholy Adagio in which the bassoon is so ably treated.
In the E flat Symphony, generally known as the " Rhenish "
(Op. 97), the composer gives full play to his fancy for scene
depicting. Herein we are bade to imagine a great Festival
at Cologne, with its attending ceremonies, such as the
installation of the Archbishop, etc. The themes in the
' Letter, April 22, 1849, to D. C. Otten, Musik Director at Hamburg.

197

Schumann

opening movement of this fine work are well contrasted,
and the development is novel and effective. The scoring
of the " Intermezzo " is particularly beautiful. Those who
have heard the work performed cannot fail to remember the
melodious phrase on the 'celli, the cantabile passages for
horns, and the telling staccato accompaniment on strings
and wood. The whole has been compared to '*a pleasant
trip on the Rhine at sunset." ' Then follows that delicious
" Andante " in A flat, the impressive slow movement in £ flat,
and lastly the strong, vividly-coloured " Finale " which brings
the work to a striking close.

Next to the Symphonies might be mentioned the Over-
tures. Among these, that to the opera " Genoveva " is a
wonderful piece of orchestral colouring — ^an epitome in tone

of the tale that follows, wherein the composer
Overtures treats of true love as opposed to baulked

passion, with the attendant episodes of mur-
derous jealousy, treachery, and the final triumph of virtue
and faith. The Overture to " Manfred " is also a striking
example of instrumentation, suggesting a keen mental
struggle, and full of the tragic intensity of Byron's morbid
poem. Mostcritics consider the " Faust " Overture as scarcely
commensurate with the significance of Goethe's famous
tragedy. Other compositions in this form, issuing from
Schumann's wondrously prolific pen, are the " Braut von
Messina," '' Hermann und Dorothea," and the ^'Rheinwein-
lied " Overtures — the latter of which, in particular, forms a
very attractive concert piece.

In writing Chamber Music, probably as he played no
' Louis Kelterbarn.
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The Musician and Writer

member of the "quartet of strings," Schumann treated
hi$ melodic phrases generally from a pianist's point of view.
For all this, his three string quartets are works
full of originality and charm. Most musicians Chamber
are familiar with his beautiful "Quintet for Music

Strings and Pianoforte" (Op. 44), a work which,
even upon a first hearing, impresses one with its fervour
and rich harmonic structure. Wasielewski ' considers it as
the tone picture of a wanderer or mountaineer climbing
ever higher and higher till the glorious prospect of a fair
landscape bursts upon one's view from the highest summit.
Hence we might apply to the Quintet the term which
Longfellow has immortalised in his well-known poem,
" Excelsior." No better estimate of Schumann's Chamber
Music can be mentioned than that of Dr Spitta in his
article on the composer's works in Grove's Dictionary. To
this the student is referred, and the best known of the
string quartets. Op. 47, is recommended as being well
worth a careful analysis.

We pass now to a necessarily limited survey of
Schumann's larger choral works (with orchestral accom-
paniment). Pre-eminently among these stands "Paradise
and the Peri," a composition which has not
obtained the recognition which it deserves. ^^Faradise
Described as a profane oratorio^ it can, in and the
reality, be classed neither as cantata, opera or Peri^

oratorio. It occupies a unique position among
works of this kind, and is best understood as the musical
reflex of Moore's imaginative and fascinating poem on a semi-
' Lift of Schumann,
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Schumann

mythical, semi-sacred topic, the whole being embellished
with the rich glow of the East, while underlying all are the
universal emotions of patriotism, self-sacrifidng love, and
the djdng sinner's repentance. Albeit the choral and vocal
parts generally of the " Peri " have been criticised from the
performer's aspect of adequate effect produced, the score
itself discloses only beauties of the highest order. The
Peri's solo music throughout, if sung at the lowered
(As 439) pitch, is redolent with grace, charm and
appropriateness; nor can the dramatic soprano desire a
more telling number, with its fine cadential climax, than
" Rejected " and the aria which follows. The " Chorus of
Houris " is a poem within a poem. Now nearer, now further
away, are wafted to us the singing of the happy spirits ; and
through the rifts in the clouds we seem to get glimpses of a
Land where all is calm peace and unalloyed joy. Even
thQ pianissimo concluding bars seem but the gentle dropping
of the veil over a beatific vision ; and those who trouble to
penetrate the poet -musician's meaning are much more
impressed by a diminuendo treatment than they would be
by the final crashing of loud dominant and tonic cadence
chords. To enter fully into the rare attractiveness of such
tone painting, one should examine the score, and then hear
the work well and sympathetically performed.

More than one able critic has given an erudite verdict
upon the Choral Ballads (a style of composition which
seems to have strongly attracted Schumann). Possibly the
texts of these scarcely lend themselves to lyrical musical
treatment The weakly sentimentalism of the libretto of
*' The Pilgrimage of the Rose " had also, doubtless, its effect

200

The Musician and Writer

uppn the music. The wonder of the " Faust " music, as a
kind of tone-elucidation of Goethe's immortal text, is perhaps
only fully appreciable to the German mind, to
which the poem is as an Heroic of the people. The

Among shorter compositions for chorus it may Choral
be that Schumann's settings of Hebbel's " Nacht- Ballads^
lied" (Op. 1 08), and especially the beautiful etc,

"Requiem for Mignon " (from "Wilhelm
Meister "), carry off the palm. The *• Requiem " seems to us
a choral gem of subtle and delicate charm. Short portions
for solo voices are most effectively and judiciously intro-
duced, and the orchestration possesses a certain weird
exquisiteness which cannot fail to enhance the poetry of the
text. All who have heard this little work well rendered will
remember the Pianissimo opening for oboes, bassoons and
horns, as the effective introduction of the harp in the score.
Grand Opera is generally the crowning ambition of the
composer ; but few, indeed, are they who achieve therein
a lasting or wholly satisfying success. Many causes militate
against the production of the perfect opera.
Text and music are often ill-assorted; scenic Wanted^
and dramatic requirements are overlooked by an Ideal
the musician \ the claims of the Divine Art are Grand
frequently made subservient to the vanity of Opera

singers or the mere mechanical notions of
stage accessory. If an acting manager existed who was a
poet and creative musician as well as a man of unlimited
means, energy and ambition, we might look for a Grand
Opera which would leave the critics nothing to cavil at;
but such a combination did not exist even in Mozart, still

201

Schumann

less in Wagner. That sensitive, highly-strung Schumann
could have succeeded where even the giant Handel notably
failed, was scarcely to be expected. In no way, however,
is the multi-sidedness of Schumann's genius shown than in
his treatment of the drammaper mustca.

Some enterprises seem fettered from their conception
and are only carried through by sheer force of their
originator. This was remarkably the case with " Genoveva."

When the story tardily presented itself, neither
^^Genoveva" its author Hebbel nor the poet Reinick gave
brought the musician much assistance in arranging an
out under opera book ; and finally Schumann became his
Difficulties own librettist. When, at length, the musical

score was complete, procrastinations and diffi-
culties of all kinds delayed its production. The perform-
ance, finally, fell at that period of the year when audiences
prefer to be in the open air to the close atmosphere of a
theatre. The more fully to seal the fate of " Genoveva," the
greatest critics, with perhaps the one exception of Spohr,
have since been unanimous in condemning both text and
music — ^the one as cutting out all the strongest situations
of Hebbel's and Tieck's tragedy; the other as deficient in
supporting the dramatic situation, and altogether inadequate
to convey a satisfactory or pleasurable impression.

In view of so much opposition, it is significant that
Schumann himself never lost faith in his "Genoveva" ; and,
even in the face of an apparently unanimous opinion in
the other direction on the part of connoisseurs and the
public, he maintained to the end that every phrase of the
work was fraught with dramatic meaning. This was not

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The Musician and Writer

through mere egotism or obstinacy — no musician was freer

from these traits than Schumann. What if the

inner sense of the seer saw what others of more Faith

material mind saw not ? What if the tone poet, of the

who chose a subject only after years of thought, Composer

and whose libretto requirements even the in his

foremost versifiers of the day could not satisfy, Work

knew infinitely better than his would-be critics

and advisers what was or was not fitting in the great

sound-poem to which his genius gave birth ?

Upon a careful reading, the libretto of " Genoveva " strikes
one as being coherent, interesting and notably strong in
character delineation — 2l trait we do not often find in
opera books. As to the omissions of the
" hind " and the " child,'* which have been much A Plea
animadverted upon by commentators, where for the
Schumann was striving to maintain the one Libretto
dominant idea, i>., the ultimate triumph of
virtuous love — such matters are trivial side-lights which he
probably showed mature judgment in discarding. The
episode of the faithful retainer, Drago, being accredited
with amorous intentions towards his liege lord's young
wife, is no more incredulous than many other incongruities
which we are bade believe in fiction, and which constantly
confront us in daily life. If the story seems *' hurried " in
places, more praise than blame may be given to the
narrator on this account. The majority of operatic scena
are dragged out to an inordinate length, nor is great
Wagner himself the least sinner in this respect. The
jealous husband, who leaves his young wife to the care of

203

Schumann

a man of his own years, and who, upon a written rumour
of her unfaithfulness, ruthlessly commands her to be
handed over to the assassin, his murderous ire turning to
repentant love-making when he discovers that his almost
victim is innocent, commands neither our honour nor regard ;
and probably Schumann did not mean to make a hero of his
Siegfried. Indeed, as the title of the work suggests,
" Genoveva," the shrinking yet dauntless woman who, in the
hour of danger, can save herself by a well-directed scornful
word — as later on, from the death-dealing sword, by
prayer — is a creature around whom the entire interest of
the drama centres, and at the close we could wish her
a better spouse. It is, moreover, worthy of note that
Schumann, like Shakespeare, does not make his villains
utterly bad.^ Thus Golo has his many qualms of con-
science, and at times we are more inclined to pity than to
blame him. Even Margaret, the wicked witch, regrets that
she ever let the angel-child of tenderness and sympathy
depart from her in youth. There is a power in little touches
of this kind which would reclaim any work from reproach.
Indeed, where the reproach in the case of Schumann's

work comes in we scarcely see, save that it lies
Has in the fact that it has not yet had a fair chance

^^Genovevd^ of wide and repeated hearings to enable one
Aad a Fair to judge of its manifold beauties. That it would
Hearing f be '* popular" in the sense of furnishing tunes

to the humming and whistling fraternity we can

scarcely maintain ; but no more do we look for this element

in the other works of Schumann. Like his great model, J. S.

^ The logo ('< Othello ") of Shakespeare perhaps alone excepted.

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The Musician and Writer

Bach, Schumann is essentially the '* musician's musician";
and, as such, he must also be classed as an opera composer.

Of the many musical beauties of ''Genoveva" we
may mention the tasteful meios or arioso which, through-
out, takes the place of recitative — another matter of
erudite condemnation which resents anything outside
stereotypism ; the strong soprano rdle of Genoveva —
notably her sacred solo, "O Thou, Whose ever watchful
care"; such duos as "If but a bird were I"; and the
chorus work, and notably the overture — ^all dainty, appro-
priate, and tinged with a fine poetic imagery which only
needs closer acquaintance to endear it to the hearer.

We have said enough — ^more than our space limitations
warrant — on the subject of Schumann's one opera, "Geno-
veva," and it only remains to hope that theatrical impressarii
will once more turn their attention to this
worthy score; it certainly appears to us 2ls^* Genoveva"
much more deserving of public notice than Music

many highly-vaunted modem successors. The
allegations that it is dry and monotonous can only be dis-
proved by the vox populi. We cannot better conclude
our notice of it than by quoting the opening of a bright
little chorus which precedes the Finale.

^^^ f.rr. l rcr'.r'^ i'

Schumann

S. & A.

T. & B.

=P^^^

Bestrew the path with blooming May. &c.

^=^w^

-j-gi-

fgltf" f-'H l f HJ^I^g^

The entire chorus should, of course, be examined in
order to appreciate its tenderness and naivety. From the
few bars given it will, however, be evident that, in musical
form at all events, the construction is neither obscure
nor repellent. In concluding, we would reiterate that
" Genoveva " deserves at least a fair hearing.

206

CHAPTER XVIII

Sacred Music — ^Well-known Songs — ^Other Vocal Favourites — Poetic
Numbers — Love Songs — Nature of the Song Music — Artistic
Accompaniments — Concluding Remarks.

So many able notices of the "Faust" as of the "Manfred"
music have been written ' that it appears superfluous on our
part to add further. It is curious to note that, towards the
close of his career, Schumann turned his atten-
tion to sacred music In this he resembled Sacred
many great composers; witness Handel's and Music

Haydn's oratorios, as indeed the similar famous
works of Mendelssohn and Gounod, composed within view,
one might say, of their " passing." Writing to one Strack-
erjan, an Oldenburg officer, Schumann remarks that "a
musician's highest aim is to apply his power to religious
music." *

The " Mass," as the " Requiem " (known as Op. 147 and
Op. 148 respectively), were specially composed for Diis-
seldorf, and were in reality his "swan songs." Even
among the strict Church forms he introduced an original
number. His poetic reverence for the Madonna comes
out in the Mass in the form of an Offertory, "Tota pulchra

' Su references in Wasielewski's, as in Reissmann's, Life ; also Spitta's
article, " Schumann," Dictionary of Music and Musicians (Grove).
> Letter, dated January 13, 1851.
207

Schumann

es, Maria." One is reminded also, in this connection, of
his beautiful song in the " Dichterliebe " (The Poet's Love)
cycle, in which he has set Heine's exquisite poem begin-
ning, ** Im Rhein im heiligen Strome," wherein the Virgin's
picture in the Cologne Cathedral reminds the poet of his
best beloved.' That Schumann, as Mozart, should each
have written a " Requiem " when entering the Valley of the
Shadow, has a strange and pathetic coincidence about it.
We have already spoken of the profane oratorio, " Paradise
and the Peri." Schumann himself seems to have been
seriously interested in his scholarly setting of Riickert's
"Advent Hymn."

Last, but not least, among the Schumann compositions
which our space permits us to notice, come the Songs,
most of which were composed in that, probably, most

blissful year of his life, 1840-1841, when his
Well- happy marriage with Clara Wieck put an end

known to a long period of struggle and uncertainty.
Songs Perhaps no Schumann numbers, after a small

group of his better-known pianoforte pieces, are
so widely appreciated as the songs, "Ich Grolle Nicht" (I
will not grieve) and "The Two Grenadiers." In the
former we see intense passion — at once exultant and
despairing — and the closing climax makes this item par-
ticularly acceptable to vocalists, albeit a touch of morbidity
is not wanting. The fine rousing song of the " Grenadiers "
is very popular with our best baritone vocalists, and the
masterly introduction of the " Marsellaise " — a tune to which

' See '* Dichterliebe " (English version by Lady Mac&rren) in the
Schumann Song Series, publiShed by Novello.

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The Musician and Writer

Schumann was particularly partial — never fails to stir a
mixed audience when well rendered.

Other favourite songs' include "Widmung" (Devo-
tion), in which Schumann indulges in that pet key-change
of his, /.^., from A flat to E. "Der Nuss-
baum" (The Almond Tree) is short but very Other

dainty, no small portion of its charm lying Voccd

\TL the flowing arpeggio accompaniment, the Favourites
following scrap from which will give a fair
idea of its nature : —

t»j. A^.^^^'

Ptd.

The dreamy, poetic spirit of the composer is particularly
seen in his short setting of Heine's "Lotusblume" and
Byron's " My Soul is Dark." Essentially German — full of
devotion to and calm pride in Fatherland — is
"A Holiday on the Rhine," which, in its re- Poetic

iterated accompaniment, gives quite a wonder- Numbers
ful idea of the placid flow of the river and the
onward progress of the boat. The lovely "Abendlied,"
with its organ-like accompaniment and wonderful tranquil-

> For all songs quoted see " Schumann's Songs " in the Royal Song
Book Series,

O 209

Schumann

lity not unmixed with pathos, is too well known to need
comment. An indescribable exquisiteness characterises
" Mondlicht " (Moonlight), while a touch of almost hope-
less sadness broods over "Zwielicht" (Twilight). "Er,
der Herrlichste von alien " (usually known as Humility) is
eminently vocal; and the same remark applies to the simple
and touching '<Aus alten Marchen" (Old Stories). Nor
does Schumann always write in solemn strains; witness
the sprightly little song, " Die Rose, die Lilie " (The Rose
and the Lily), and many others.

All the musician's Love Songs, separate and in cycle
form, are delicate, refined and dainty, yet by no means
wanting in manly fervour and devotion. This is especially

the case in his setting of the love poems of his
Love Songs own countrymen. In the Bums ditties, notably

''My Heart is sair," we feel that Schumann
was less at home. The childlike exuberance of the Gael,
now rising, now falling in sunlight and shadow, is really
untranslatable save in Keltic Folk Song. The difference
between a Teuton and Milesian love rhapsody may best be
described by instancing the contrasted feelings that are
awakened by the singing of nightingale and skylark. The
one is a songstress within the leafy thicket when night and
moonlight make the soul pensive ; the other is the hidden
music of mysterious cloudland, which is heard only in per-
fection in the early summer morning or in the full glow
of noontide sunshme. For the true understanding and
appreciation of either, on6 needs to partake of the mental
attitudes inseparable respectively from the dweller in low-
lands and upon the heights.

2IO

Schumann

The *'flow " of Schumann's vocal music has often been
criticised. He certainly did not write for the "flashy"
concert vocalist, nor yet for the bravura prima donna.

Nevertheless, if fair trouble is taken to master
Nature of difficult passages, there is nothing really unsing-
the Song able about his music. On the contrary, as in
Music the piano, so in the voice j the composer depends

more upon his eflfects obtained in the medium
range rather than by deep drum rolls and ethereal fire-
works on the keyboard, and low growls or piercing shrieks
from the human throat. Schumann was too much in
earnest to fetter himself by the fashion of his own or
any time.

The accompaniments of Schumann's songs, as might be
expected from his intimate knowledge of the pianoforte,
are works of art in themselves. At times, indeed, one

feels that therein, rather than in the melody.
Artistic we see the composer in his happiest mode as
Accompani' a tone painter. His methods are well worth
ments the student's analysis; and in the rendering

of his song music the good accompanist
appears to claim quite as full a share of honour as the
solo vocalist. Though the quoting of a single short
excerpt can give but the most stunted idea of the variety
and ingenuity of devices which Schumann handles with
such skill in accompaniment writing, yet we cannot well
leave this interesting department of his work without
giving at least one instance of his musicianship in this
branch. The following are the closing bars (exclusive of
the final symphony, by no means an unimportant part of

212

The Musician and Writer

any of the songs) from the composer's "Ich Wand're
Nicht" (usually known as "The Pleasures of Home") : —

Con Allegrezta.

P=fs

^rff-^ gi^r ' ^1

A-lone, why should I jour-ney, My home is £urmore

jhj J i i 'J=g

|p -pp p ^ " — ' ■

rit.

:fi

fair

My home is far more fair I &c.

feQ

^^re^^

Herein is vocal fervour, simplicity, and yet consummate
artistic design in support and instrumental colouring. It
is worthy of mark that the high note is introduced not for
effect so much as to enhance the enthusiasm of the implied

213

Schumann

sentiineiit It is needless to add that the song will best
be enjoyed and appreciated in its entirety.

Our brief survey of the compositions of Schumann does
not include much of his miscellaneous work,
such as the vocal and pianoforte duets,' part Concluding
songs, etc. These will be found in Appendix Remarks
A, in the list of compositions arranged accord-
ing to Opus number.

The obscurity of the musician has been allied by those
who, perhaps, took not the trouble to look beneath the
surface. Once more, like his revered predecessor. Bach,
Schumann was ahead of his times. His work represents,
in truth, a step forward in the onward march of poetic
musicianship— '^ An essential link," as Reissmann puts it,
'Mn the history of the general, development both of culture
and of art." To comprehend this great creative artist
properly, one must, as has been frequently hinted, under-
stand the man himself — his early environment, his poetic
temperament, his literary tastes and aptitude, and his
rare gifts of tone imagery and originality in musical
output. We cannot help feeling with Wasielewski that,
in the composer's songs especially, we see the individuality
of the man, both as mortal and musician : and in the vast
variety of these we can best grasp that "myriad-minded-
ness " of his which brings Coleridge's Shakespeare before
our eyes. Wasielewski's opinion on this point seems
apt in this connection. Speaking of Schumann's songs,

' <* The Twelve Pianoforte Duets " (Op. 85), for players of all ages, are
well worth the attention of students and teachers. In this collection
occurs an arrangement of " Abendlied," the melody alone being given to
the right-hand player.

314

The Musician and Writer

that able biographer says that they are, " in every respect,
the true children of his mind. They reveal the whole
inner man, with all his lights and shades. We here
find, in singular accord, depth and warmth of nature,
enthusiastic feeling, fanciful deep conception, ingenious
and poetic wealth of expression, and a very happy
characterisation, even in the smallest details, and
especially developed in the pianoforte accompani-
ment."'

Over the grave of Robert Schumann, in the Bonn
churchyard, is the superb monument executed by Donn-
dorf and erected in the composer's memory through the
appreciation of a wide circle of his eminent friends and
admirers. A still greater monument — and one doubtless
more imperishable than stone — exists in his works. His
essays — as well as his music — grow upon us with closer
acquaintance; nor can we think that the present genera-
tion has, as yet, grasped their rich meaning and signifi-
cance. To a study of these living emblems of one who
has passed from sensual vision, we commend student as
professor. Therein is the output of the genius of a great
tone poet worthy of our highest reverence and admiration.
Therein music and poetry immortalise the man who,
though he be dead, yet speaketh.

' Wasielewski's Life of Schumann,

215

Appendix A

CATALOGUE OF SCHUMANN'S PUBLISHED COM-
POSITIONS.

{Arranged according to Opus Number,)

Opus

1. Variations for Pianoforte on the name " Abegg."

2. Papillons (i2 short pieces).

3. Studies after Paganini's Caprices.

4. Intermezzi (2 books).

5. Impromptus (Variations on Clara Wieck's theme)

6. Davidsbiindlertanze (18 numbers)

7. Toccata.

8. Allegro.

9. Carnival (21 pieces).

10. Second Set of Studies after Paganini's Caprices.

1 1. Sonata in F sharp minor.

12. ^antasiestiicke (8 pieces).

13. Etudes Symphoniques.

14. Sonata in F minor.

15. Kinderscenen (13 pieces).

16. Kreisleriana (8 pieces).

17. Fantasia.

18. Arabeske.

19. Blumenstiick.

20. Humoreske.

21. Novelletten (4 books).

22. Sonata in G minor.

23. Nachtstiicke.

217

Schumann

opus

24. Liederkreis (9 songs by Heine).

25. Myrthen (26 songs).

26. Faschingsschwank aus Wien (pf.).

27. Lieder und Gesange (5 songs).

28. Drei Romanzen (pf.).

29. Setting of Three Poems by Geibel, for small chorus, triangle,

and tambourines ad lib^ (choral).

30. Setting of Three Poems by Geibel.

31. Setting of Three Song Poems by Chamisso.

32. Four Pianoforte Pieces (Scherzo, Gigue, Romanze, and

Fughette).

33. Six Four-Part Songs (for male voices).

34. Four Duets for Soprano and Tenor.

35. Setting of 12 Poems by Justinus Kemer.

36. „ „ 6 Poems by Reinick.

yj' ,) n 12 Poems from Riickerfs "Liebesfriihlinp '* (N OS.
2, 4 and II by Clara Wieck).

38. Symphony in B flat.

39. Liederkreis (12 poems by Eichendorflf).

40. Five Songs.

41. Three Quartets (for 2 violins, viola, and 'cello).

42. Song Cycle, " Frauen-Liebe und Leben."

43. Three Two-Part Songs.

44. Quintet for Pianoforte, 2 violins, viola, and 'cello.

45. Romanzen und Balladen (vocal).

46. Andante and Variations (duet for 2 pfs.).

47. Quartet for pf., violin, viola, and 'cello.

48. Song Cycle, " Dichterliebe."

49. Romanzen und Balladen.

50. Paradise and the Peri (oratorio).

51. Lieder und Gesange

52. Overture, Scherzo, and Finale (orchestra).

53. Romanzen und Balladen (vocal).

54. Concerto for pf. and orchestra (A minor).

55. Songs by Bums (for mixed chorus).

56. Studies for Pedal Piano (6 pieces in canon form).

57. Belsatzar (Ballad by Heine).

58. Sketches for Pedal Piano.

59. Four Songs for mixed chorus.

218

Appendix A

Opus

oo. Six Fugues on the name Bach (pf.).
6i. Symphony in C major.

62. Tnree Songs for male voices.

63. Trio for pf., violin, and 'cello (D minor).

64. Romanzen und Balladen (vocal).

65. Ritonelle (for male voices in canon form).

66. Bilder aus Osten (pf. duets).

67. Romanzen und Balladen (for chorus).

68. Album for the Young (43 short pf. pieces).

69. Romances for female voices (pf. accompaniment <ui

lib.),

70. Adagio and Allegro for pf. and horn ('cello or violin ad

Ilk),

71. Adventlied (poem by Riickert).

72. Four Fugues (pf.).

73. Fantasiestiicke for pf. and clarinet (violin or 'cello ad

lib.),

74. Song Cycle, " Spanisches Liederspiel " (vocal and choral).

75. Romanzen und Balladen (for chorus).

76. Four Marches.

77. Lieder und Gesange.

78. Four Duets for Soprano and Tenor.

79. Album of Songs for the Young.

80. Trio for pf., violin, and 'cello.

81. Genoveva (opera in 4 acts).

82. Waldscenen(pf.).

83. Three Songs.

84. A Parting Song.

85. Twelve Clavierstiicke (pf. duets).

86. Concertstiick (for 4 horns and orchestra).

87. Der Handschuh (Ballad by Schiller).

88. PhantasiestUcke for pf., violin, and 'cello.

89. Six Songs by Willfried von der Neun.

90. Setting of 6 poems by Lenau, and Requiem.

91. Romances for female voices.

92. Concertstiicke for pf. and orchestra.

93. Versweifle nicht im Schmerzensthal (motet for double male

voice choir).

94. Three Romances for pf. and oboe (violin or 'cello ad lib),

219

Schumann

Opus

95. Three Songs from Byron's Hebrew Melodies (harp or pf.

accompaniment).

96. Lieder und Gesange (vocal).

97. Symphony in £ fiat.

98a. Lieder und Gesange (from Goethe's " Wilhelm Meister.")
98^. Requiem for Mignon (from Goethe's "Wilhelm Meister.")
99. Bunte Blatter.

100. Overture to Schiller's " Braut von Messina."
loi. Minnespiel (from Riickert's " Liebesfruhling.")

102. Five Pieces for pf. and 'cello.

103. Madchenlieder (by Elizabeth Kulmann).

104. Seven Songs (by Elizabeth Kulmann).

105. Sonata for pf. and violin.

106. Schon Hedwig (BaUad by Hebbel).

107. Six Songs.

108. Nachtiied (by Hebbel).

109. Ballscenen (pf. duets).

no. Trio for pf., violin, and 'cello.

111. Three Fantasiestiicke.

112. The Pilgrimage of the Rose.

113. Marchenbilder (for pf. and viola — ^violin ad lib,),

114. Three Songs for three female voices.

115. Music tolByron's " Manfred."

116. Der Kdnigssohn (Ballad by Uhland).

117. Four Husarenlieder (by Lenau.)

118. Three Pf. Sonatas for the Young.

119. Three Poems from the ** Wildlieder " of Pfarrius (vocal).

120. Symphony in D minor.

121. Sonata for pf. and violin.

122 .(No. i) Ballade vom Haideknabe (Hebbel).

122. (No. 2) Die Fluchtlinge (Ballad by Shelley).

123. Rheinweinlied (Festival Overture with chorus).

124. Albumblatter (pf.).

125. Funfheitere Gesange.

126. Seven Pieces in fughetta form.

127. Lieder und Gesange.

128. Overture to Shakespeare's " Julius Caesar."

129. Concerto for 'cello and orchestra.

130. Kinderball (p£ duets).

220

Appendix A

opus

131. Phantasie for violin and orchestra.

132. Marchenzalungen (for pf., clarinet, and viola — violin ad

lib.),

133. Gesange der Friihe (pf.).

134. Concert- Allegro with Introduction (for p£ and orchestra).

135. Gedichte der Konigen Maria Stuart (vocal).

136. Overture to Goeth^s " Hermann und Dorothea."

137. Five Hunting Songs (for male chorus).

138. Spanische Liebeslieder.

139. Des Sangers Fluch (Ballad after Uhland).

14a Vom Pagen und der Konigstochter (4 Ballads by

Geibd).
141' Four Songs for Double Chorus.

142. Four Songs.

143. Der Gliick von Edenhall (Ballad by Uhland).

144. New Year's Song (Ruckert).

145. Romanzen und Balladen (for chorus).

146. Ditto.

147. Mass.

148. Requiem.

( Without Opus Number^ or Parts Published separately).

Scenes from Goethe's " Faust."

Der Deutsche Rhein, patriotic song by N. Becker (with

chorus).
Introduction and Allegro Appassionato (Concerto).
Overtures to " Genoveva," " Manfred," and " Faust."
Pf. Accompaniments to Bach's Suites and Sonatas for violin

solo (Leipzig, Breitkopf & Hartel).
Scherzo (pf.), originally with F minor Sonata (Op. 14).
Presto Passionato, originally with G minor Sonata (Op. 22).

321

Appendix B

BIBLIOGRAPHY

Robert A. Schumann's " Gesammelte Schriften iibcr Musik und
Musiker." English version—" Music and Musicians,"
translated, edited and annotated by Fanny Raymond
Ritter.

" Musikalische Haus — und Lebensregelm.'' English ver-
sion — " Advice to Young Musicians,'* translated by H.
H. Pierson.

" Briefe," edited by F. G. Jansen. English version—" The

Life of Robert Schumann told in his Letters," v/iih
preface by F. G. Jansen, translated by May Herbert

" Jugendbriefe," edited by Madame Clara Schumann.

English version — " Early Letters of Robert Schumann,"
translated by May Herbert

Ni^ue Zeitschrift fUr Musik (edited by Robert Schumann).

Biographies—

By J. A. Fuller Maitland (in the "Great Musicians"
series) ; Hadow ; A. Niggli ; H, Reimann ; A. Reiss-
mann ("The Life and Works of Robert Schumann,"
translated by A. L. Alger) ; J. W. von Wasielewski ;
Frederick J. Crowest (in " The Great Tone Poets ") etc.

Biographical sketch of Schumann in Grove's Dictionary of
Music and Musicians^ by P. Spitta.

" Die Davidsbiindler ; aus Robert Schumann's Sturm und
Drange Periode," by F. G. Jansen.

Miscellaneous—

Ambros (A. W.)— "Robert Schumann's Tage und Werke"
(in Culturhistorichen Bilder aus dent Musikleben der
Gegemvari),

222

Appendix B

Miscellaneous — Continued,

Bagge — " Robert Schumann und seine Faust scenen."
David — "Les Mendelssohn-Bartholdy et Robert Schu-
mann.''
Hueffer (F.)— "Die Poesie in Der Musik."
Imbert — " Faust, par Robert Schumann."
Kalbeck (Max) — "Robert Schumann in Wien" (in Weiner

All^emeine Zeitun^,
Laurencm (Count F. P!) — " Das Paradies und die Peri."
Lohmann — " Ueber Robert Schumann's Faust Musik."
Mesnard — "Un successeur de Beethoven" (Etude sur

Robert Schumann).
Pohl (R.) — " Erinnerungen au Robert Schumann."
Vogel(B.) — "Robert Schumann's Klaviertonpoesie."
Waldersee (Count P.)— "Robert Schumann's Manfred."

Historical and critical articles in magazines, in Series of
Musical Biographies, etc., etc.

223

Index

Abbgg, Fraulein, dedication of
Opus I to, 30; extract from,

Accompaniments, song, artistic
nature of, 212

** Advent Hymn" (Rttckert), set-
ting of, 81

** Album for the Young," pleasure
in composition of, 62 ; occasion
of writing, 125 ; notice of, l8l

"Alexander Marsch," playing of
Moscheles' variations upon, 12

Alger, A. L., letter from English
version of Reissmann's L^e of
Schumann^ 13

AUgemeine Musikalische Anzeiger
of Haslinger, 24, 38

AUgemeine Musikalische Zeitung
of Fink, 21

"An Episode in the Life of an
Artist" (Berlioz), on, 172

Anger, Herr, at Hotel de Baviere,
113; Robena Laidlaw, 114,
116

** An Opus 2" (Chopin), on, 173

Appendix A, catal(^e of pub-
lished compositions, 217-221

Appendix B, bibliography, 222

Arditi, Signor, pr(xiuces "Rhen-
ish " Sjrmphony in Ei^land, 79

'*Arrangements,"opinion upon, 177

Bach, J. S., musical heredity
of, I ; influence of, 10, 22 ;
Mendelssohn, as organist, con-

trasted with, 131 ; appreciation
of, 170

Baviere, Hotel de, dinner at, 113

Becker describes Schumann^s
music-room, 147

Beethoven, genius of, i ; influence
of, 22 ; Vienna associated with,
87 ; on monument to, 174

Bendemann sees text of " Lohen-
grin," 132

Bennett, Stemdale, acquaintance
with, 38; speaks to Robena
Laidlaw of, 1 1 1 ; opinion upon,

174

Berger, Louis, Robena Laidlaw a
pupil of, 105 ; letter of, 1 14

Berlioz among DavidsbUndler, 23;
recognition of, 25 ; approves of
Quintet, 49; regarding Schu-
mann, 151

Bildergalleriey early contribution
to, 9

Black Dwarf, The (Walter Scott),
footnote, loiS

Bonn, death at, 89

Boosey & Co., Messrs, RoycU
Song Book edition of Schu-
mann's songs published by, 209

Brahms, recognition of, 25 ; meet-
ing with, 85 ; reference in letter
to, 139

Breitkopf & HSrtel, Messrs, 39 ;
introduces Brahms to, 87 ; letters
to, 136

Brendel, letters to, 63, 66, 71, 73 ;

225

Schumann

Schumann, anecdote of, 143 ;
upon Schumann's pianoforte
pUying, 159
Byron, influence of, 8; inspired
to write poetry by reading, 178 ;
writes overture to "Manired"
of, 198

Calamity, fortunate, 17

"Camaval," composer's impres-
sions when writing, 35 ; letters
forming basis of, 103 ; Mos-
cheles' criticism of, 125

Chamber music, period o^ 48;
notice of, 199

** Characteristics of the Keys,"
upon, 176

Chess, Schumann compares music
to, 163

"Chiara" (Clara), 23

Chopin among Davidsbttndler, 23 ;
recc^nition of, 25; on **An
Opus 2 "of, 173

Choral ballads, 200

Choral societies, conducts, 67

"Comala" (Gade), Schumann's
opinion of, 72

Composer, the writer as, 25, 153,
167

Concertos, notice of, 193

Conductor, the composer as, 71

Contrapuntal work, 59

Critic, Schumann as, 170

Criticism, sensitiveness to, 166,
171

DamenconversaticnslexicoH (Her-

lossohn's), romance of the, 32
Dancing, the literature of, upon,

177
Das Musikfest oder die Beetkovener
(Griepenkerl), Schumann upon,
footnote, 50

David, F., letter to, 68 ; services

seciund for Robena Liaidlaw, 1 10
Davidsbttndler, Society of the,

22 ; nature of, 23
*• Davidsbttndlertfinie," composer's

impressions upon writing, 35;

notice of, 189
Devrient, Madame, letter to, 136
** Dichtergarten," letter reference

to, 139
Dietrich, associated in composition

with, 88
Doctor's degree at Leipzig, 43;

in music, 44
" Doctor Robert Schumann," 45
"Don Giovanni" (Mozart), and

"Les Huguenots" (Meyerbeer),

175
Donndorf, monument by, 215
Dorffel, Alfred, early reminiscences

of, 14 ; testimony of, 156 ; hears

Schumann plav, 157
Dom, under, 18; letters to, 46,

127
Dresden, move to, 59
Dttsseldorf, new duties offered at,

74 ; Lower Rhine Festival, 78

Education, literary, of Schu-
mann, 161

Ego, the inexpressible, Schumann
upon, 163

"Ein' Feste Bu^" (Luther),
reference of the composer to,

83
Endenich, last days at, 89
"Estrella" and "Chiarina," 187
" Eusebius," 23

" FantasiestOckb," letter refer-
ence to, 116 ; notice of, 192

** Faust" music, composition of
the, 65 ; performances of, 66 ;

226

Index

first performance in entirety of,

67 ; notice of, 201
"Felix Meritis" (Mendelssohn),

23» 130
Field, regarding, 174
Fink, Allgemeine Musikalische

Zeitung of, 21 ; Schumann's

reference to, 146, 166, 167
"Florestan,"23
Fricken, Ernestine von, in love

with, 30; broken engagement

with, 32 ; letter to, 103
Friese, Robert, letter on wedding

day to, 46
"FriihlingsUed" (Mendelssohn),

Madame Schmnann asked to

repeat, 57
Fttrstenau, Herr, 109

Gadb, N., r^arding, 174 ; on the

"Comala"of, 72
Garcia, Madame, in St Petersburg

at same time as, 56
Geibel, sets ballad of, 85
Genius and talent, I, 162
** Genoveva," writes text of, 61 ;

delays in production of, 62 ;

performance of, 64 ; notice of,

202-205
Gewandhaus Concerts, Schubert's

C major Symphony performed

at, 39 ; desires conductorship

of, 72 ; Madame Schumann

kindly treated by Mendelssohn

at, 131
Goethe, letter on birthday of, 33
Walter von, at Hotel de

Bavi^re, 113
Goodwin, Amina, reminiscence of

Madame Schumann's playing in

Algernon S. Rose's Biography

of, 119
Gotte, W., letter to, 100

Gounod, period of sacred music

of, 207
Griepenkerl, Dr, letter to, 50
Grillparzer upon early composi-
tions, 25

Hammbrmbister, the baritone,

no
Handel, concerning genius of, 2
Hanslick on Wagner and Schu-
mann, 144
H£rtel, Dr, letters to, 63, 64, 67,

71,86
H^tel grand piano, gift of a, 47
Haydn, Vienna associated with, 87
Hebbel, correspondence with the

poet, 61
Heidelberg, at, ii
Heinse, of Zeitz, 2
Heller, regarding, 174
Henselt, reference to, 174
Herbert, May, English trans-
lations of Schumann letters

by, 94
Heredity in music, i
Herz, 21

Herzog, letter to, 134
Hilf, Christopher, a Mendolssohn

reminiscence of, 129
Hiller, letters to, 58, 74, 78 ; at

Dresden with, 59; regarding,

174
Hipkins, A. J., upon Madame

Schumann as an artist, 124
Hoffmann, £. T. A., the Kreisler

of, 42, 191
Holland, the Schumanns in, 80
Horn, Moritz, Libretto of "The

Pilgrimage of the Rose " from,

84
Httnten, 21

* ICH Grolle Nicht " (song), 208

227

Schumann

" 111 Crodato " (Meyerbeer),
Schumann's opinion upon, 175

'' Im Rhein im heiligen atrome "
(from **Dichtcrliebc"), 208

JANSEN, F. G., "Die Davids-
btindler" of, 32; "Robert
Schumann und Robena Laid-
law" of, 1 09- 1 12; personal
description of Schumann, 142 ;
defends the editor-musician, 165

Joachim, J., appreciated b)r, 79 ;
letters to, 80, 138 ; a friendly
tribute to, 88

ICaffebbaum, Schumann at, 149

Rahlert, letter to, 36

Kant, reads, 1 1

Keferstein, letters to, 44, 165, 170

"Kennst du das Land," com-
position of, 71

" Kinderscenen," composer's re-
ferences to, 103, 126, 171

" King Arthur," Schumann aban-
dons scheme for, 132

Klitzsch, Dr, letters to, 76, 85

Knorr, associated in the paper
with, 22 ; upon Schumann's
pianoforte pla3dng, 159

Kossmaly, letter to, 166

'* Kreisleriana," fondness of com-
poser for, 41 ; notice of, 191

Krug, studies philosophy under, 1 1

KrUger, Dr, letters to, 51, 81 ;
friendship terminated with, 65

Kuntzsch, early lessons from, 4

Laidlaw, Robena, friendship for,
105 ; describes meeting with
Schumann, 109 ; Wenzel's
opinion of, 1 14 ; Pauer's re-
miniscence of, 114

Lalla Rookh (Moore), reads, 50

Law, music versus, 12
Leipzig Conservatoire, professor-
ship at, 58
University, matriculation at,

" Le Proph^te " (Meyerbeer),
regarding, 132

"Les Huguenots'* (Meyerbeer),
Schumann's scathing criticism
of, 174

Letters, the Schumann, 94 ; classi-
fication of, 95; to his mother,
96 ; reference to early composi-
tions in, 98 ; to college friends,
99 ; to Henriette Voigt, 102 ;
to Ernestine von Fricken, 103 ;
to Robena Laidlaw, 115 ; to
Clara Wieck, 121 ; to friends,
127 ; to young students, 133 ;
pathetic last letter to Joachim,

138
Liszt, appreciated by, 26, 79 ;

characterisation of Schumann

by, 152
Literature and music, 167
Lobe on Schumann, 165
" Lohengrin," Wagner shows

Schumann libretto of, 132
London, Schumann desires to

visit, 57
Lorenz upon Schumann's piano-
forte playing, 156
" Luther," suggested oratorio text

of, 82

Macfarrbn, Lady, English ver-
sion of " Dichterliebe " by, 208

Madonna, Schumann's frivourite,
112, 148 ; poetic reverence for,
207

"Manfred," overture to, 198;
music of, 207

" Marseillaise," introduced into

228

Index

" Faschingsschwank," 41 ; in
"The Two Grenadiers," 208

Marshner, meeting with, 10

Mass, writes a, 81

Master Musicians, Schumann's
comparison of, 164

Maxen, the Sonnenstein at, 75

Maxims to young musicians, 177

Meinardus, letter to, 135

Melodists, short-lived, 93

Mendelssohn, admiration of Schu-
mann for, 26, 130 ; attitude of,
27 ; letter to Clara Wieck con-
cerning, 27 ; compared to Schu-
mann, 28; Schumann upon
organ pieces and playing of,
131 ; reference to Schumann's
music of, 152

"Messiah," Schumann conducts,

Metcalfe, Mrs Sophie, acknow-
ledgment of authoress to, 11^

Meyerbeer, Schumann's opinion
of, 132 ; upon works of, 174

" Mignon," Requiem for, 201

*' Mokanna," suggested opera text
of, 60

Monicke, Dr, at Hotel de Bavi^re,

"3
Moscheles, heanng, 6 ; letters to,
76, 127 ; regarding Schumann,

Mozart family, music hereditary
in, I ; Vienna associated with,

Music and Musicians (Schu-
mann), translated by F. R.
Ritter, 164

Mutterwurzer as "Dr Marinus"
in "Faust," 66

< Nbub Bahnbn,"
Brahms in, 86

introduces

Neue Zeitschrift fur Musik^ or^;in
of, 21 ; first issue of, 22 ; retires
firom editorship of, 60
Nonade, the mystic, 7
Nottebohm, application to, 72
Novello, Schumann Song Series
of, 208

Oldenburg, Prince, meeting

with, 56
Opera text, loi^s for, 49
Otto, Dr, tries to cure Schumann's

maimed hand, 18
Overtures, 198

Paganini, hearing, 12 ; reference
to Robena Laidlaw's playing by,
footnote^ 108

" Papillons," Dorffel's playing of,
15; notice of, 186

"Paradise and the Peri" de-
scribed by the composer, 50 ;
composition of, 51 ; first per-
formance of, 51 ; Mendelssohn
and, $2 ; unique character of,
52 ; Vienna performance of, 73;
notice of, 199

Paul (Richter), Jean, influence of,
8; visits widow of, 8; poetry
written under influence of, 178

Pianoforte, Schumann at the, 155;
compositions for the, 180-195

Piece groups, 190

" Pilgrimage of the Rose," first
performance of, 85; notice of,
200

Poet, the writer as, 178

Pohl, Richard, correspondence
with, 81

Quintet (for strinjgs and pf.), first
hearing in Leipzig of, 40 ; notice
of, 199

229

Schumann

" Raeo," Master, 23, 24
Reinecke, the musiciaQi letters to,

126, 134
Reinick, the poet, attempts the

libretto of " Genoveva," 61 ;

sees word book of * * Lohengrin,"

Reissmann upon Schumann's
musicianship, 214

Religion of Schumann, 150

Rellstab, opinion upon plajdng of
Robena Laidlaw expressed oy,
108; '* Kinderscenen " criticised
by, 171

Requiem, writes a, 81

Renter, Dr, at the Hotel de
Bavi^e, 113

Retrospective, 69

" Rhenish " Symphony, first per-
formance of, 79 ; notice of, 198

Richarz, Dr, under care of, 89

Rietz, writes regarding **Geno-
▼eva " to, 62

Ritter, Schumann instructs, 58

Ritter, Fanny Raymond, English
version of Schumann's Musik
und MusikeTy by, 162, 177

" Robert le Diable " (Meyerbeer),
Schumann's opinion r^;arding,

175

Rose, Algernon S., extract from
'*Amina Goodwin," biography
of, 119

Rosen, friendship with, 9

Rosenthal, in the, 110

Rossini, 21 ; contrasted with Beet-
hoven, 164

Rudel, Herr, letter to, 12

Sacred music, 207
Schelling, interested in, 1 1
SchnabeX Herr, 2 ; meeting in
Russia with, 57

Schneeberg, with brothers at,

Schubert, F., influence of, 10 ; de-
votion to, 39; symphony in C
unearthed of, 39 ; Vienna as-
sociated with, 87; Concert-
meister, interview with, 144

Schubring on Mendelssohn and
Schumann, 129

Schulze, influence of, 8

Schumann Brothers, firm of, 2, 8

Carl, letter to, 137

Clara. See Wieck

Festival (Bonn), 89

Friedrich August Gottlob, 2

Johanna Christina, 2 ; letter

to Wieck, 13

Pauline, pin money of, 137

Robert Alexander, bio-
graphy of, 2-91

the man, 92-154

writer and musician,

115-215

Ther^e, letter to, 44

Week (Leipiig), 79

Schunke, associated in the paper
with, 22 ; portrait of, 148

Schwarzbach, Fr^ulein, sings solos
in "Faust" music, 66

Sire, Simonin de, letter to, 41

Songs, composition of, 48 ; notice
o^ 208-214

Sonnenberg, F. van, influence
of, 8

"Sorrowftil music" of C major
Symphony, 197

"Spirit "theme, a, 89

Spitta, Dr, regarding Mendels-
sohn's attitude, 27; on Schu-
mann as conductor, 77

Spohr, approval of "Genoveva"
by, 65 ; upon Schumann's piano-
forte playing, 159

230

Index

'* St Paul " (Mendelssohn), opinion

upon, 176
Steel pen, episode of a, 40
Strackerjan, letter to, 207
Symphony in G (unpuhlished),

19 ; attention to form of, 48
Symphonies, notice of, 197

Table turning, interested in, 7^

Taciturnity of Schumann, con-
cerning, 143-145 ; Jansen upon,
146

Talent and genius, I ; Schumann
upon, 162

Tausch, Julius, conducts Schu-
mann's music at Diisseldorf, 75

Taylor, Franklin, upon Madame
Schumann's techmque, 1 19

* * Theaterbtichlem," Schumann
compiles a, 60

"The Two Grenadiers," 208

Thomson, Mrs [n/e Robena Laid-
law), meets Schumann, 105 ;
reminiscences of, 109-117

Thibaut, A. F. J., under, ii

Three Caprices of Mendelssohn,
on, 174

Tiecke, the "St Genevieve" of,
61

Topken, letter to, 18 ; upon Schu-
mann's playing, 155

Truhn describes Schumann, 142 ;
upon Schumann's pianoforte
playmg, 158 ^

Uhland, sets ballads of, 84

Valentine's Day, St, remark-
able letter to Clara on, 34
Van Brujrck, letter to, 87
"Variation" work, 194
Vehemence of Schumann, 145

Verhulst, letters to, 51, 61

Victoria, Queen, proposed dedi-
cation of " Manfred" to, 58

Vienna, move to, 37; composi-
tions in, 41 ; apathy of, 72 ; last
yearning for, 87

Voigt, Carl, 20

Henriette, meeting with, 20 ;

friendship for, loi

Wagner, opinion upon "Tann-
hHuser" of, 59; Schumann's
letter to Mendelssohn concern-
in|;, 132; later opinion of, 133

Wasielewski on the Quintet, 199 ;
on the songs, 214

Weber, C. M. von, purposed
tuition from, 5 ; appreciation
of, 42 ; meets widow of, 59

Weixelstorfer, soloist in " Faust "
music, 66

" Weltgericht," accompanies
Schneider's, 5

Wenzel on Schumann's conver-
sational powers, 113

Wesley family, music hereditary
in, I

Whistling, F., upon Schumann's
playing, 159

Wieck, Clara J. (Madame Schu-
mann), Schumann and, 15 ;
early impressions of, 19; early
correspondence with, 32 ; as
composer, 35, 120 ; marries
Schumann, 46; plays before
Empress of Russia, 56; bio-
graphical details of, 1 18 ;, re-
p[araing Schumann's character-
istics, 141

Friedrich, meeting with,

10 ; peep into the house of, 14 ;
opposition of, 36; letter from
Russia to, 55

231

Schumann

Wielhorsky, the Coants, meeting

with, 56
Writer, Schumann's style as a,

172

" ZiLiA " (Clara), 23

<<Ziska," suggested oratorio text

of, 82
Zuccalmaglio upon '* St Paul,"

26 ; letters to, 38, 60
Zwickau, birth at, 2

THE END

Colston &» Coy, Limiitd, Printtrs, Edinburgh.

should MiM fott.ito

WWgk^ Schumann.

BDA9246,

3 2044 041 121 427

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