In 1826 Schumann met with a severe loss in the death of his father, who left the responsibility of the lad's future in the hands of his mother and his guardian, the merchant Rudel. They wished him to learn some profession that would promise a safe position early in life, and obediently submitting, he was inscribed as a law student at the university of Leipsic. Before this he had graduated brilliantly from the Zwickau Academy and had made a trip to Southern Germany with a friend, visiting, among other places, Bayreuth, where he stopped at Jean Paul's home, and Munich, where he met Heinrich Heine.
ROBERT SCHUMANN'S BIRTHPLACE IN ZWICKAU.
From an engraving by A. Krausse, in Leipsic.
The young law student had not been long in Leipsic, when he began to thoroughly dislike the chosen profession as well as the noisy student life. To the enthusiastic admirer of Beethoven, Schubert, Jean Paul and Shakespeare the law seemed utterly dry and uninteresting. However he promised his guardian that he would pursue his legal studies, although strong signs of a melancholy disposition had begun to make their appearance. He joined some students' societies, but preferred the company of a few friends who were also much given to musical and poetic dreamings. In the house of Professor Carus, whose wife was a clever singer, his musical penchant found all desired satisfaction; here he met Marschner and Friedrich Wieck, the eminent piano teacher, father of that wonderful little Clara who, then nine years old, had already become famous as a piano-player of rare ability. With his mother's consent Schumann became Wieck's pupil, enjoying at last a rational method of technical education, though still neglecting and even despising all theoretical studies. In February, 1829, Wieck's instruction ended, Schumann gaining more time for ensemble playing. Beethoven's and Prince Louis Ferdinand's chamber compositions were frequently rendered, but especially the works of Franz Schubert, whose early death in the preceding year had impressed Schumann very deeply. Bach's "Well-tempered Clavichord" never left his piano. Happy in extemporizing all kinds of new melodies and harmonies, controlled only by his musical instinct, he wrote a number of songs and piano pieces, and even a pianoforte quartet, none of which have ever been published. The law lectures he neglected, but was much interested in those on the great German philosophers Kant, Fichte and Schelling. The next year he spent in Heidelberg, that romantic old town so beautifully situated in the neighborhood of Switzerland and Italy. Here Schumann met the eminent pandectist Thibaut; but even this great professor was unable to overcome the student's aversion for the legal profession. Again music became the centre of his existence. Life was charming, the time being much occupied by social events and trips which were made to the neighboring towns and valleys. On these occasions Schumann used to practice on a dumb piano even when riding in a carriage. In the fall he enjoyed a delightful trip to Switzerland and upper Italy, and the spirit in which he describes his impressions, changing from wit or rapture into melancholy, from admiration into home-sickness, is very characteristic of his peculiar nature. The stay in Heidleberg was prolonged for another term, which, however, was again mainly devoted to piano study and composition, it being here that he composed his first piano pieces. His skill being widely known, he was often invited to parties, appearing also in a public concert, where he played variations by Moscheles. The struggle between filial obedience and loyalty to his genius had now reached its climax. At a concert given by Paganini in Frankfort, he was deeply impressed, and resolved to live no longer in uncertainty. Accordingly in July, 1830, he sent his mother that famous letter in which he pleads that his future must be devoted to art, and offers to submit unreservedly to the decision of Wieck. To his immense delight the latter's advice was favorable and removed all doubts and objections. Thus Schumann returned to Leipsic as an enthusiastic student of his beloved art.
From a portrait taken in 1831, Schumann being then in his twenty-first year. During this year he wrote his opus 2—"Papillons."
Of the four ways in which a musician may shape his practical career, teaching, conducting, playing and composing, Schumann chose the last two as being most congenial to him, aiming particularly at the greatest possible virtuosity. He devoted himself to mechanical exercises with an almost sacred energy, even inventing devices to promote his abilities in shorter time than a natural development would allow. At the same time he continued composing, and though having no thorough instruction, he found by his wonderful instinct an adequate form for the expression of his feelings and ideas, a form which could not be called unmusical or amateurish. Indeed in looking to-day at these earlier compositions, we forget that they were written by a man who was only half educated in music, and we admire the genius which guided him in finding the truest language for his rich musical nature. But this was not all. His highly cultivated mind, his desire to promote art by every possible means, compelled him to become also a leading literary champion of its interests. Leipsic was at that time a great musical centre, although the famous epoch only began in 1835, when Mendelssohn was appointed conductor of the Gewandhaus Orchestra.
