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He had, perhaps, a more poetic conception of piano playing than any master I have known, and was able to impart these ideas in clear and simple language. The first composition considered was Schumann's Nachtstück, the fourth of the set.
Her father asked her why she was so unhappy, and when she told him the truth, he showed her Schumann's letter, and said: "I did not want you to read it, but, since you are so unreasonable, read." Clara was too proud, and would not.
With the doctor had come also four members of the Lee posse. To the deputy in charge Jack turned over his four prisoners and the gold recovered. As soon as the doctor had examined and dressed his wound he mounted and took the trail after MacQueen. With him rode Bellamy. The notes of Schumann's "Traümerei" died away.
On February 13, 1836, we have seen Schumann write his love to Clara. The number of the day, the stormy night, and the remembrance of his mother's death were all appropriate omens. Wieck stormed about Clara's head with rebuke and accusations, and threatened like another Capulet, till he scared the seventeen-year-old girl into giving him Schumann's letters.
All four gave concerts together, and Johannes took part in a performance of Schumann's beautiful Andante and Variations, for two pianos, while Stockhausen sang entrancingly Beethoven's Love Songs, accompanied by Brahms. On one occasion Brahms played his Variations on a Handel Theme, "another magnificent work, splendidly long, the stream of ideas flowing inexhaustibly.
Now that he found perfect contentment in his domestic relations, he withdrew from his intercourse with others and devoted himself exclusively to his family and work. The deep joy of his married life, produced the direct result of a mighty advance in his artistic progress. Schumann's most beautiful works in the larger forms date almost entirely from the years 1841-5."
Schumann's generous sympathy with other great musicians was signally shown in his very first Vienna experiences, for he immediately made a pious pilgrimage to the Währing cemetery to offer his pious gift of flowers on the graves of Beethoven and Schubert.
His youthful expansiveness finds a fair field in these variations, rondos and fantasias. Schumann's enthusiasm over the variations on "La ci darem la mano" seems to us a little overdone. Chopin had not much gift for variation in the sense that we now understand variation.
The first real poet to borrow from Brentano was Eichendorff, in whose Ahnung und Gegenwart we have the poem since published separately under the title of "Waldgespräch," and familiar to many through Schumann's composition. That Eichendorff's Lorelei operates the forest is only to be expected of the author of so many Waldlieder.
Clara, who had found small satisfaction in her fame out-of-doors, since she was defeated in her love in her home, had the joy of seeing the gradual growth in Schumann's heart of a tenderness that kept increasing almost to idolatry.
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