I.

Robert Schumann shares with Weber the honor of giving the earliest impulse to what may be called the romantic school of music, which has culminated in the operatic creations of Richard Wagner. Greatly to the gain of the world, his early aspirations as a mere player were crushed by the too intense zeal through which he attempted to perfect his manipulation, the mechanical contrivance he used having had the effect of paralyzing the muscular power of one of his hands. But this department of art work was nobly borne by his gifted wife, _nee_ Clara Wieck, and Schumann concentrated his musical ambition in the higher field of composition, leaving behind him works not only remarkable for beauty of form, but for poetic richness of thought and imagination. Schumann composed songs, cantatas, operas, and symphonies, but it is in his works for the piano-forte that his idiosyncrasy was most strikingly embodied, and in which he has bequeathed the most precious inheritance to the world of art. All his powers were swept impetuously into one current, the poetic side of art, and alike as critic and composer he stands in a relation to the music of the pianoforte which places him on a pinnacle only less lofty than that of Beethoven.

Robert Schumann was born in the small Saxon town of Zwickau in the year 1810, and was designed by his father, a publisher and author of considerable reputation, for the profession of the law. The elder Schumann, though a man of talent and culture, had a deep distaste for his son's clearly displayed tendencies to music, and though he permitted him to study something of the science in the usual school-boy way (for music has always been a part of the educational course in Germany), he discouraged in every way Robert's passion. The boy had quickly become a clever player, and even at the age of eight had begun to put his ideas on paper. We are told by his biographers that he was accustomed to extemporize at school, and had such a knack in portraying the characteristics of his school-fellows in music as to make his purpose instantly recognizable. His father died when Schumann was only seventeen, and his mother, who was also bent on her son becoming a jurist, became his guardian. It was a severe battle between taste and duty, but love for his widowed mother conquered, and young Robert Schumann entered the University of Leipzig as a law student. It was with a feeling almost of despair that he wrote at this time, "I have decided upon law as my profession, and will work at it industriously, however cold and dry the beginning may be." Previously, however, he had spent a year in the household of Frederick Wieck, the distinguished teacher of music. So much he had exacted before succumbing to maternal pleading. At this time he first made the acquaintance of a charming and precocious child, Clara Wieck, who played such an important part in his future life.

Robert Schumann's law studies were inexpressibly tedious to him, and so he told his sympathetic professor, the learned Thibaut, author of the treatise "On the Purity of Music," in a characteristic manner. He went to the piano and played Weber's "Invitation to the Waltz," commenting on the different passages: "Now she speaks--that's the love prattle; now he speaks--that's the man's earnest voice; now both the lovers speak together "; concluding with the remark, "Isn't all that better far than anything that jurisprudence can utter?" The young student became quite popular in society as a pianist, heard Ernst and Paganini for the first time, and composed several works, among them the Toccata in D major. The genius for music would come to the fore in spite of jurisprudence. A vacation trip to Italy which the young man made gave fresh fuel to the flame, and he began to write the most passionate pleas to his mother that she should con sent to his adoption of a musical career. The distressed woman wrote to Wieck to know what he thought, and the answer was favorable to Robert's aspirations. Robert was intoxicated with his mother's concession, and he poured out his enthusiasm to Wieck: "Take me as I am, and, above all, bear with me. No blame shall depress me, no praise make me idle. Pails upon pails of very cold theory can not hurt me, and I will work at it without the least murmur."

Taking lodgings at the house of Wieck, Schumann devoted himself to piano-forte playing with intense ardor; but his zeal outran prudence. To hasten his proficiency and acquire an independent action for each finger, he contrived a mechanical apparatus which held the third finger of the right hand immovable, while the others went through their evolutions. The result was such a lameness of the hand that it was incurable, and young Schumann's career as a virtuoso was for ever checked. His deep sorrow, however, did not unman him long, for he turned his attention to the study of composition and counterpoint under Kupsch, and, afterward, Heinrich Dorn. He remained for three years under Wieck's roof, and the companionship of the child Clara, whose marvelous musical powers were the talk of Leipzig, was a sweet consolation to him in his troubles and his toil, though ten years his junior. The love, which became a part of his life, had already begun to flutter into unconscious being in his feeling for a shy and reserved little girl.

Schumann tells us that the year 1834 was the most important one of his life, for it witnessed the birth of the "N'eue Zeitschrift fur Musik," a journal which was to embody his notions of ideal music, and to be the organ of a clique of enthusiasts in lifting the art out of Philistinism and commonplace. The war-cry was "Reform in art," and never-ending battle against the little and conventional ideas which were believed then to be the curse of German music. Among the earlier contributors were Wieck, Schumke, Knorr, Banck, and Schumann himself, who wrote under the pseudonyms Florestan and Eusebius. Between his new journal and composing, Schumann was kept busy, but he found time to persuade himself that he was in love with Frâulein Ernestine von Fricken, a beautiful but somewhat frivolous damsel, who became engaged to the young composer and editor. Two years cooled off this passion, and a separation was mutually agreed on. Perhaps Schumann recognized something, in the lovely child who was swiftly blooming into maidenhood, which made his own inner soul protest against any other attachment.