Schumann
Patterson, Annie W. (Annie Wilson), 1868-1934
■^-^vwai*.v,tfi.»iK®^5 qa^ ccoEceccceaoo of /. '^-^ (/if <t£&^4-^^ a^^. Edited by FREDERICK J. CROWEST a 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. Cuthbert Hadden. Mendelssohn. By Stephen S. Stratton. Mozart. By Eustace J. Breakspeare. Schumann. By Annie W. Patterson. Wagner. By Charles A. Lid gey. [Second Edition. In preparation : Chopin. Schumann By Annie W. Patterson Mus. Doc, B.A. (Royal University of Ireland) Author of The Story of Oratorio, Etc. With Illustrations and Portraits London : J. M. Dent & Co. New York : E. P. Dutton & Co. 1903 All Rights Reserved INSCRIBED WITH MUCH ESTEEM TO THE composer's YOUNGEST DAUGHTER FRAULEIN EUGENIE SCHUMANN < P r e f a c e Schumann, as editor, essayist and composer, occupies a unique and striking position. His early literary culture and poetic tendencies, as his subsequent work in connection with the Neue Zeitschrift filr Musik, 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 Clara 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. vii \ 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 Lfe 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 Grove'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 Brief (with preface by Madame Clara Schumann), Robert Schumann^s Brief (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 Robert 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 Gesam?nelte Schriften iiber Musik und Musiker^ 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 biindler, aus Rohert Schumann'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 ix Preface *' Fantasiestiicke " (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 PAGE 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 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 ...... i CHAPTER II A Fortunate Calamity — From Piano to Composition — Early Impressions of Clara Wieck — Musical and Social Life at Leipzig — The Origin of the Neue Zeitschrift — Its Nature and Raison d^etre — The " Davidsbundler " — The Musician as Editor — 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 Persistent Opposition— A Wedding Day at last— A Piano Presentation— Song, Symphony 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 xi Contents CHAPTER V PAGE The Climax of Exertion— Letter from Russia to " Papa Wieck"— A Trip to England contemplated — Professorship at Leipzig Conservatoire — A Move 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 Dusseldorf— 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 at Last— " The End is not yet " ...... 81 THE MAN CHAPTER VIII Circumstances and the Man — The Short-lived Melodists — 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 Henriette Voigt — Ernestine 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 ...... loi xii Contents CHAPTER X PAGE 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. .118 CHAPTER XI Attitude to Professional Friends — Able and Generous Criticism of Fellow- Musicians — 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 .......... 127 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 the Kaffeebaum — Evening Routine — Schumann's Religion — Opinion of Berlioz — Moscheles and Mendelssohn — Abb6 Lizt — Resume ......... 141 THE MUSICIAN AND WRITER CHAPTER XIII Pianoforte Playing — Manner of Performance — Dorffel's Testimony — Impro- vising at Twilight — Other Authorities ..... ° *^ •' ••■••... 222 XIV List of Illustrations PAGE Portrait of Schumann, from a Reproduction in Lithography by G. Feckert of a Draiving by A. Men'zel. {Photogravure) . . . Frontispiece The Birthplace, Hauptmarkt, Zwickau, from a Draiving by J. A. Symington . . . 3 Medallion of Robert and Clara Schumann. {By  Laidlaw. {By kind permission of Mrs Metcalfe) . . 106-107 Portrait of Schumann, from an engraving by M. Ldmmel ..... facing 1^2 Design of Title-Page of "Album for the Young." {By kind permission of Messrs Breitkopf ^ Hdrtel^ Leipzig) . . . .183 Facsimile of 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 Schu mann 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- Trdini?ig 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 finally launched upon music as a profession, prophesied that his erst pupil would 4 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 reunions^ 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 Kuntzsch the " Studies for Pedal Piano," Op. 56. ' M, Simonin de Sire (of Dinant), ^ Oratorio by F. Schneider (1786- 1853). 3 Spitta in Dictionary of Music 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 Moscheles 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 1851, 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 Leipzig as a law student. This step was taken to gratify 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. 6 Biographical follow the art to which he was so devoted, and 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 maturer work periods might also be relegated to nonades. 7 Schumann The second nine, from his tenth to eighteenth year, marked an undoubted divergence of interest. During this time, partly owing to scholastic discipHne 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 alter Volker U7id Zeiten (" 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 9 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 and "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 Carus, whose accomplished wife gathered round her a rare First Year musical and artistic circle. Among interesting at Leipzig people met at these reunions 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 (1796-1S61). 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 uftder 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 Ueber Rheinheit der Tonkimst {^^ On Purity in Musical Art.") II 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 father, and the friend of my son, act like an ' Quoted in its entirety in Wasielewski's Life of Sch^imann. See also Reissmann's Life (Translated by A, L. Alger), 13 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 Wieck's 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 arpeggio)^ 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 Etithisi- at wrist and finger exercises, and rather shirked asm as a the study of harmony, which Wieck considered Piatiist 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 Davidsbiindlcr. 15 Schumann " Abegg " and the " Papillons" were also written about this time, it seems more Hkely 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. i6 CHAPT ER II A Fortunate Calamity — From Piano to Composition — Early Impres- sions of Clara Wieck — Musical and Social Life at Leipzig — The Origin of the Neue Zeitschrift — Its Nature and Raison detre — The " Davidsbundler " — 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 Capellmeister Dorn,^ then a notable figure in the musical ^ Die Davidsbilndler (Jansen). - Heinrich Dorn (1804- 1892), conductor and composer, was highly respected as Capellmeister at Leipzig, Cologne and Berlin. 18 Biographical world of Leipzig. That Schumann worked for his new master in anything Uke 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 Dorn 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 Dorn'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 pressiofis 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 19 Schumann this was probably the first occasion upon which we can record any definite 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 afifectionate 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 ^ See page 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 reunions held, with other enthusiastic musical young men, at a restaurant. These meetings, which extended from 1833 to 1^34) 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 Al/gemeine Musikalische Zeitung, the principal musical journal of Leipzig, edited by Fink. 