CLARA SCHUMANN.

From an engraving by Weger after a photograph.

Before this, however, Schumann had to experience a sad disappointment. A gradually increasing lameness of the middle finger of the right hand (a consequence of his mechanical contrivances) spoiled every hope of his becoming a virtuoso. In spite of this new obstacle he devoted himself only the more to composition, and feeling sadly the lack of the necessary theoretical instruction, applied to Dorn, conductor of the opera, for lessons. During the winter 1832-33 he stayed with his family in Zwickau, where, in a concert given by Clara Wieck, he conducted the first movement of an unpublished symphony in G minor.

Schumann was fortunate in being so well situated pecuniarily that he was not obliged to earn his living during the years of the development of his genius. After his return to Leipsic he studied in private, surrounding himself with a few talented friends. Not content with their own mutual instruction in the spirit and beauty of old masterworks, and the enthusiastic appreciation of the productions of younger composers; firmly believing in the possibility of a new and brilliant epoch of musical art, these young men desired to do all in their power to realize their hopes. In pursuance of this idea they started a magazine, "Die neue Zeitschrift für Musik," which for many years was destined to exercise a wide influence in Germany. Its principal mission was to plead for a more poetic conception of music, and this cause was presented in an entirely new poetic language. Poetry and prose, reality and fiction were combined in a very ingenious manner. A society of Davidites was founded, more in fiction than reality, not confined to a circle of enthusiasts, but comprising all the old masters as well as those then living, Mozart and Bach as well as Berlioz, Chopin and Mendelssohn. All writers of meaningless trivialities or dry, unpoetic formalities were attacked as "Philistines." In a similar way Schumann combined fiction and reality in this literary occupation by substituting for his own individuality three different characters, to personify the different sides of his nature, Florestan representing all that was passionate, manly, energetic; Eusebius embracing all that was sweet, tender or imaginative; with the more objective, experienced and reconciling figure of old Raro, acting as moderator of both. Some years before this paper was started, Schumann had made his literary debut by contributions to other magazines, his first work, when he was twenty-one years old, being that glorious article on Chopin's opus 2, giving a most poetic record of the feeling which the music of the rising genius had awakened within him. His own paper made its first appearance in April, 1834, and Schumann, who soon became its sole editor and proprietor, kept this position until 1844, when he took up his residence in Dresden. That small portion of his time which was unoccupied with journalistic work, was devoted to composing, the fruits being a number of piano works of striking originality and of a great variety of moods and forms.

In German A flat is As, B natural is H, and E flat is Es.

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Although Schumann's musical and literary occupations laid strong claim to his time and attention, yet much of his interest was absorbed by affairs of a private nature. For years he had watched closely the development of Clara Wieck; but warm as his feelings were for her, there was another young woman who for a while took possession of his heart, Ernestine von Fricken, daughter of a Bohemian baron from Asch, a name made famous through Schumann's "Carnival scenes," which are mostly based on the four notes corresponding with the letters of that town (also the only musical letters in his own name). This engagement was, however, broken in 1835, and the following years, so rich in musical and literary productions, were also marked by a continuous struggle for that wonderful artist, Clara Wieck, whose name was to become inseparably united with his own. Not only from his letters, but also from many compositions, we learn the extent of Schumann's sufferings from Wieck's obstinate refusal to give his daughter to one who had not yet gained a safe position and who was so far known more as a critic than as a composer. Schumann tried everything to improve his position, publishing his paper for a while in Vienna but without finding the desired success, and, after his return to Leipsic, procuring from the university of Jena the honorary degree of doctor of philosophy, on the ground of his writings and efforts in the interest of art. His stay in Vienna was not without influence on his future development as a composer, and it had, besides this, the great result of bringing to light some of Schubert's finest compositions, especially the symphony in C, which Schumann not only sent at once to Mendelssohn for its first glorious performance, but presented to the world in all its beauty through a wonderful article published in his magazine. His doctor diploma, dated Feb. 24, 1840, speaks in the highest terms of his merits as a composer and critic.

ROBERT AND CLARA SCHUMANN.