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Updated: June 12, 2025
He did become engaged to her, but the following year the engagement was dissolved; and soon after this he discovered that his artistic admiration for Clara Wieck had assumed the form of love. Although her father opposed their union several years, on account of Schumann's poverty, the young couple often met, and not only in the music-room.
He has not been especially prolific in this field, when one thinks of Grieg's one hundred and twenty songs, and of Brahms' one hundred and ninety-six; not to mention Schumann's two hundred and forty-eight, or Schubert's amazing six hundred and over.
Whether the musician had heard the exclamation, or whether such a terrible termination was in the music, I knew not: the latter was quite probable, for, alas! such fearful Icarus-falls are not rare in poor Schumann's music. However, I did not consider long, but, rising quickly, passed into the hall, and knocked gently at the door of the next room. "Enter," replied a voice, eagerly, but softly.
There's another side to that affair. Stay contentedly here. This is the place for you. Besides, the poor devils have next to no artillery left." Lieutenant Reimers took Schumann's familiarity in good part. He recognised that it was the strong love of justice which made him espouse the cause of the weak. "No, Schumann," he went on: "that is no place for you. Wait; wait quietly here. Mark my words!
In one of his letters, Liszt tells how fond he had been of Schumann and Wieck and his daughter Clara. Then came the famous struggle between father and suitor for the possession of the girl. Liszt took Schumann's side, because he thought he was in the right; he even went so far as to break off all intercourse with Wieck who took his revenge by publishing ferocious criticisms on Liszt's playing.
For half a century we have had so much pioneering and scientific exploration after piano color and tenderness and fire, that men have neglected its might and its tragic powers. Where is the piano-piece since Beethoven that has the depth, the breadth, the height of this huge solemnity? Chopin's sensuous wailing does not afford it. Schumann's complex eccentricities have not given it out.
The duration of Schumann's song-time was short, the greater part of his Lieder having been written in 1840. After this he gave himself up to oratorio, symphony, and chamber-music.
All the severer men wrote in this form, most of them displaying marvellous mathematical and some of them, alas! mechanical ingenuity; a few of them, Bach towering high above the rest, attained a full and truthful expression of deep feeling. Bach, for the organ alone, raised sublime architectural structures, unapproachable, to use Schumann's word, in their magnificence.
She had expected to be perhaps ushered into a darkened bedroom; to administer comfort and sympathy to a shattered creature before administering reproof and counsel. But Karen not only was up; she was not alone. The strains were those of chamber-music, and a half-perplexed delight mingled with Mrs. Forrester's displeasure as she recognized the heavenly melodies of Schumann's Pianoforte Quintet.
These are such as never obtruded themselves upon you, staining the pane through which their light shone with their own images, but who became perfectly transparent to the word they uttered, the song they sang, or the work they did. Such a sacred person to me is the gifted woman who first interpreted for me Schumann's Albums.
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