SCHUMANN THE MUSICIAN
In Leipzig, Schumann found lodgings near Wieck's home and again took up his music studies. He was so anxious to excel that he was willing to begin with the simplest music, although he could read a concerto at sight. He practiced even more than his teacher thought was best. The third finger of his right hand seemed weaker than the other fingers. In order to make it strong, he fastened it in a strained position and kept it so for hours at a time.
Instead of the hand growing stronger, it became crippled. This made Schumann very sad. He knew then that he could never become a master of the piano. He did not, however, give up his music, though he could play so little. The hours formerly spent in practice were now used for composition. Had it not been for the change in Schumann's plans, perhaps he would have become famous in Germany only as a pianist, but now the world knows him as a composer.
It happened that Schumann met in Leipzig a young girl, who loved music with all her heart. She was Clara Wieck, the winsome daughter of Robert's teacher. She had a marvelous talent for music and even when a child played the piano with remarkable skill. She appeared often in public concerts and was much petted and praised. Praise, however, did not spoil her. In fact, each day she became more gentle and lovable. She and Robert Schumann became fast friends.
Among Schumann's other friends in Leipzig were some young men. They were all interested in music and met every evening for study. When a new piece of music appeared, they discussed its good points. At that time much poor music was written, and many poor musicians were receiving praise that they had not earned. The young men knew that this was not right. They wished that the good musicians might become better known.
This circle of friends were thoughtful, earnest young men,—friends of the good, enemies of the bad. They could think of no way to make matters better. One evening Schumann said to them: "Let us publish a paper that will help things to grow better. We will boldly speak the truth, and if a man's work is poor, we will pay no heed to him. If any musician does well, he shall have our praise."
As the young men agreed, the paper was started. Robert Schumann was chosen editor. His articles for the little paper were well written and he never spoke ill of any one. He once wrote kindly of Mendelssohn's work. When Mendelssohn saw the article, he said: "I am quite delighted. Such praise comes from a pure heart. Ten thousand thanks to the man who wrote this."
In 1832 Schumann composed his first symphony in G minor. One movement of this symphony was played at a concert, and the pianist was none other than the wonder-child, Clara Wieck. The people at the concert often heard good music, but the girl's playing amazed them. They applauded her again and again; they waved their handkerchiefs and tried in every way to show their admiration.
This symphony of Schumann's was never published. His compositions were not popular. "As surely as every gleam of sunshine found its way into Mendelssohn's music, so every shadow found its way into Schumann's." For this reason many did not care for the music which Robert Schumann wrote. Still he worked on, not caring for the praises of men. He was happy in this—that he could express in music the beautiful thoughts that filled his mind.
While Schumann had been busy with his paper and his compositions, Clara Wieck had become a beautiful young woman. Schumann saw her often at her father's house and grew to love her dearly. In 1840 she became his wife.
We have told you that Clara Schumann had been called a wonder-child. At the time of her marriage, she was known as the finest pianist in all Germany. She played Chopin, Bach, and Beethoven at the concerts which she gave in many large cities. In all of these places she was highly praised.
All of Robert Schumann's best music was written after his marriage. In one year alone he composed over a hundred songs, and what beautiful songs they are! In almost every country the songs of Schumann are well known. Just as Wagner is known as a writer of operas, so Schumann is known as a writer of songs. Some of his most famous songs are: The Stranger, Butterflies, and The Poet Speaks.
Robert and Clara Schumann worked together at their music in their cozy little home. They were very happy, and home was the dearest spot in the world to them. Sometimes they made long concert tours, but they always rejoiced when they could return to Leipzig once more. On one of their concert tours, they visited northern Germany, Sweden, and Russia. In all of those countries they met with the greatest success.
While they were in Russia, they spent some time in St. Petersburg, where they were invited to court. The royal family and all the nobility showed them the highest honors; and when Clara Schumann played, she received the compliments of all. Even the princess came to the Schumanns, begging them to remain in St. Petersburg.
Clara Schumann was fond of playing her husband's music. In Russia, the people liked one of Mendelssohn's compositions better than anything else that she played. It was the Spring Song, one of the beautiful Songs without Words. So delighted were the people when she played it, that they called for it again and again. The emperor demanded it three times.
Outside of his own home Robert Schumann was a very silent man. It is said that he once went to a friend's house, entered the music room with a friendly nod, went straight to the piano, and opened it, softly whistling the while. Seating himself, he played a few chords, followed by a charming melody, closed the piano, and walked out, nodding his head in a friendly way. Then off he went without a word to any one.
Although at different times Schumann lived in various cities, most of his compositions were written in Leipzig. He was a hard worker, in one year writing thirty pieces of music. Some of his well-known compositions are The Pilgrimage of the Rose, the music for Faust, and the music for Byron's Manfred.
In 1845 Schumann was obliged to leave Leipzig on account of failing health. He chose Dresden for his home. He heard no music, for his doctor had forbidden it. He led a very quiet life, seeing few friends. It was at that time that he made the acquaintance of Richard Wagner. At the end of the year his health was much improved. He took up his work once more and wrote his second symphony.
During the next eight years Schumann wrote many beautiful compositions. He lost much time, however, on account of ill-health.
Two years before his death, Schumann and his wife took a trip through Holland. The composer was very much pleased to find that the Dutch people knew his music and loved it well.
On his return to the Fatherland, his health failed utterly. His mind, which had not been strong for some time, grew weaker day by day. During the last months of his life he spent much time at his beloved piano. He died in 1856 and was buried in Bonn.
FRANZ PETER SCHUBERT
(Hark, Hark! the Lark.)
FRANZ PETER SCHUBERT
(1797-1828)
God sent his singers upon earth
With songs of gladness and of mirth,
That they might touch the hearts of men
And bring them back to heaven again.
—Longfellow.
One winter's night in 1797 a little child was born in Vienna. He was called Franz Peter, and his father was Schubert the schoolmaster. The home into which the child came was one of poverty. There was a large family of children to be cared for, and there was but little money with which to feed and clothe them.
On the day that Franz Schubert was born in that humble home, Haydn was sixty-five years of age, and the great Beethoven was a young man of twenty-seven. Mozart had passed away six years before. Little did Schoolmaster Schubert and his good wife dream that their little son would one day make the name Schubert as famous as any of these.
Famous, indeed, did the family name become through Franz Peter. And to-day, if you were to visit Vienna, you would find his first home marked with a gray stone tablet. Carved into the marble are words meaning Birthplace of Franz Schubert.
Franz started to school when he was six years old. A year or two later he began the study of music. His teacher soon found that the boy already knew a great deal. At the close of a lesson one day, he said to the child, "Who has been your music teacher?"
"May it please you, I have had none but yourself."
"How, then, have you learned so much about music?"
Then the boy told his story. He said that a playmate of his was an apprentice in a piano factory. Franz often begged to be allowed to go to the shop. At last his friend said, "You may go with me just this once." When he was ready to go home, Franz could not be found in the workshop. The apprentice hurried from one room to another. At last he found the little lad in the room where the pianos stood. He had been having a delightful time, picking out exercises on the white keys. Many times after that he went to the piano factory. Soon he had taught himself all that most children learn in a great many lessons.
The boy's singing teacher often said to the schoolmaster, "I have never before had such a pupil." One day he came to the father with tears in his eyes, saying, "Whenever I want to teach Franz anything, I find he knows it already."
The boy's father was anxious that Franz should become a member of the choir in the emperor's chapel. Those who sang in the choir first passed an examination in music. Then they were allowed to enter a school where music and other studies were taught.
Franz often saw the choir boys in their uniforms trimmed with bands of gold, and studied harder that he might one day enter the choir. When he was eleven years old, he passed the examination. The chapel master said, "You sing well, indeed, my boy."
When Franz arose to sing for the chapel masters, some of the boys began to point their fingers at his poor clothes. Franz could hear them whispering among themselves, "He must be a miller's son." When he began to sing, the whispering ceased. The sweet, pure tones filled the great room and the silence was unbroken.
One day the chapel master saw some music that Franz had composed. He said to himself "Franz Schubert is no ordinary child. He must study composition in earnest. He shall have the finest harmony teacher."
Franz and his new teacher became fast friends. The lad was eager to learn, but the master found little to teach. He used to say, "He has already learned everything, and God has been his teacher."
During the years that Franz attended the choir school it was his custom to visit his parents on Sunday afternoon. The schoolmaster and three of his sons had formed a quartet. The father played the violoncello, Franz the viola, and the others the first and second violins.
Although Franz was the youngest, he was the first to notice a mistake. If it was one of his brothers who made the mistake, Franz would frown. If it was the father who played a wrong note, no notice of it was taken the first time. If he played incorrectly the second time, Franz would smile and say modestly, "There must be something wrong, father."