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The collection of Schumann's letters so far under consideration met with such a favorable reception that a second edition was soon called for, and this circumstance no doubt promoted the publication of a second series, extending to 1854, two years before Schumann's sad death in the lunatic asylum near Bonn.
It was a German song, Schumann's "Sehnsucht," that she was singing; it was the first that had come to her mind at Graham's bidding, and, still preoccupied, she began it almost without thought of the words and sentiment; but she had not sung two lines, when some hidden emotion made itself felt in her face with a quite irresistible enthusiasm and pathos. These were the words:
There is no necessity to class this brilliant success as a failure, because Robert Schumann, who knew nothing about the stage, denied its worth. It is surprising that Berlioz's judgment has not been set against Schumann's. Berlioz showed his enthusiasm for Les Huguenots in his famous treatise on instrumentation.
They are rehearsing Spohr's symphony, "Die Weihe der Toene," with Schumann's "Manfred" overture, and Beethoven's sublime "Leonora," for their first concert, and will do much for classical music by their four concerts. In Boston, in spite of our broken and disorganized condition, we have ten or a dozen Symphony concerts in a winter.
The first section reminded me of Schumann's saying that Chopin in his melodies leans sometimes over Germany towards Italy. If properly told, this love-laden romance cannot fail to produce effect. It rests on the harmonic basis of tonic and dominant. The triad of the tonic and the chord of the dominant seventh divide every bar between them in a brotherly manner.
The high verve that marks his work lifts his "Sing, O Heavens," out of the rut of Christmas anthems. Of instrumental work, there is only one small book, "Scènes du Bal," a series of nine pieces with lyric characterization in the spirit, but not the manner of Schumann's "Carnéval." The most striking numbers are "Les Bavardes," "Blonde et Brune," and a fire-eating polonaise.
Heavens, there's the curtain going up. Good night!" He hurried away. Newbury moved forward, his eager look on Marcia. But she turned, smiling, to the young librarian. "You haven't seen this ballet, Mr. Lester? Schumann's 'Carnival'? Oh, you mustn't stand so far back. We can make room, can't we?"
Schumann's "Genoveva" will be performed on April 9th, and will give me another opportunity of studying and conducting an opera, which I have not done for the last four months. This is the musical news of Weymar, which probably will be of less interest to you than to me. Of my life, my hope, my endurance, I have nothing to say that is cheerful....
He himself was personified under the dual form of Florestan and Eusebius, the "two souls in his breast" the former, the fiery iconoclast, impulsive in his judgments and reckless in attacking prejudices; the latter, the mild, genial, receptive dreamer. Master Raro, who stood for Wieck, also typified the calm, speculative side of Schumann's nature.
If Gertrude were only here. She has made that one true friend, whom nothing can shake, who, knowing all, came to love her with a tender regard that was not pity. But there is no one, no one. All is a dreary waste. A step comes up the balcony, and the mellifluous voice is whistling Schumann's Carnival. Whither shall she fly? But even now it is too late, for he meets her in the wide doorway.
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