Famous composers and their works, Vol. 2

by Unknown

From an engraving after a daguerreotype.

With all his efforts and his growing popularity, Schumann could not gain favor in the eyes of father Wieck; only after a long term of legal proceedings were the happy pair united in marriage, their wedding being celebrated in a church near Leipsic in Sept., 1840. It was a union of greatest importance not only to themselves but to music. Both were true companions in an ideal struggle, true Davidites and priests of art, Clara Schumann not only continuing her career as a splendid interpreter of the classics of Beethoven, Mendelssohn, Chopin and Schumann, but at the same time tenderly watching over her husband's health and temper, which was marked by a growing irritability. Honor though it was to be Robert Schumann's wife, it required a great character and supreme devotion. Looking at his happy family life, reading his expressions of gratitude, esteem and love for his wife; hearing those who have seen him play with his children, once more we say that it is not only the artist, but the man Schumann for whom we feel a deep sympathy and esteem. Yet his disposition was not wholly free from features of a less agreeable nature. His sensitiveness and taciturnity often made him appear in an unsympathetic light, or offend those who meant well with him. But this was only a sign of the deep-rooted disease, which developed so steadily and which so early wrecked his mind and body.

The culmination of Schumann's happiness being attained, his creative powers increased wonderfully. Now he felt compelled to confide the music of his soul to the human voice and suddenly appeared as a great master in a new field, by producing a wealth of songs, perfectly original in style, form and spirit. Love, of course, plays a prominent but not exclusive part in them. Yet his genius was seeking for still higher fields and larger forms. The following year was devoted to the composition of great orchestral works, three symphonies (two of which were published much later in different shape) and the first movement of the pianoforte concerto. In this higher sphere Schumann again proved himself a master, the first symphony in B-flat, given most successfully under Mendelssohn's direction, showing his genius at once in the most brilliant light. This fever for composing did not in the least abate in 1842, the year devoted to chamber music, when he wrote the three string quartets, the quintet and quartet for pianoforte and strings, which were unsurpassed by any later efforts. Far from being exhausted, in 1843 he completed besides the famous variations for two pianofortes, the great cantata "Paradise and the Peri." It was received most enthusiastically, and its success stimulated him to write a similar work of still higher order, the musical setting of the most difficult and mysterious scenes from the second part of Goethe's "Faust." Meanwhile he had continued the work for his musical journal, accompanied his wife to concerts in Hamburg and Russia, where he was highly honored as a composer, and had also filled a position as professor for pianoforte and composition at the new Conservatory opened in April, 1843, with Mendelssohn as director. Of this latter work of Schumann little has become known, and from his uncommunicative nature one has inferred that he lacked the talent of a true teacher. In 1844 he severed his connection with the Conservatory and with his journal also, and took up his residence in Dresden. Overwork and the exerting musical life in Leipsic had greatly increased his nervousness and he expected a speedy recovery in the royal capital, with its lovely surroundings and quiet life. However it took years to fully restore him. Yet in these very years Schumann wrote his glorious symphony in C, and devoted much time to strict contrapuntal studies, composing several works in this style. He finally took a more active part in Dresden's social life, keeping a friendly intercourse with other musicians, poets and artists, and a sincere interest in the opera, then directed by young Wagner. At that time the reform of the musical drama was in Dresden the centre of all musical interests, and Schumann felt a deep desire to solve the great problem in his own way.

We shall speak below more extensively about his only opera "Genoveva." Although it was completed in Dresden, in 1848, it had its first performance in the summer of 1850, in Leipsic, under his own direction. It was repeated there a few times, but was undeniably a great disappointment in spite of all its musical beauties. Schumann was deeply affected, disagreeing entirely with the critics as to the dramatic character of his work. Much more successful were the first performances of his music to "Faust," presented at the centenary of Goethe's birthday in Dresden, Leipsic and Weimar. Several years later Schumann added more numbers, but the entire work was given in its present shape only after his death.

In the winter of 1846-47, Robert and Clara Schumann made a trip to Vienna, where the latter played her husband's concerto (completed in 1845), and he conducted his first symphony. The Viennese admired her playing but showed far less appreciation for his music than the North Germans or even the Russians. In 1847, Schumann succeeded Hiller as director of the Dresden "Liedertafel," and in 1848 he started a mixed chorus, which afforded him more genuine pleasure than the male chorus. With them he gave the Faust music, and "Paradise and the Peri," studied Beethoven's great Mass in D, and began to believe in his abilities as a conductor to such a degree, that when, in 1849, it was rumored that Rietz, Mendelssohn's successor in Leipsic, was going to Berlin, Schumann eagerly applied for the high position. Rietz, however, remained. During these last years in Dresden, Schumann had finished a large number of chamber works, songs, duets, male, female and mixed choruses with or without accompaniment, piano pieces, and the music to Byron's "Manfred."

MONUMENT TO ROBERT SCHUMANN IN THE BONN CEMETERY.

Modelled by the sculptor Dondorf.

In 1850, Hiller again recommended Schumann to become his successor as director of the orchestral and choral concerts in Düsseldorf, and a call being extended, it was readily accepted by the composer. For such a work he had neither the natural gifts nor the necessary preparation, his conducting being hesitating, his way of rehearsing not in the least instructive. Fluent as was his style in writing, he lacked the gift of easily imparting his ideas. However, he was received with high honors and for three seasons performed his new duties, also several times taking part in the great vocal festivals. All his works were listened to with delight; nevertheless it constantly became more evident that he was unfit for the position, and in 1853 his engagement was not renewed, the decision affecting him deeply. A visit to Leipsic made by the artists in 1852 for the performance of several novelties, was also rather disappointing, while the triumphant tour through Holland, at the end of 1853, forms the last sunny period of Schumann's life.