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Updated: June 13, 2025
Serenely the child looks up; older eyes, perhaps, would have been blinded by that radiant light.... To Clara we dare no longer apply the measuring scale of age, but only that of fulfillment.... Clara Wieck is the first German artist.... Pearls do not float on the surface; they must be sought for in the deep, often with danger. But Clara is an intrepid diver."
Becomes Wieck's Pupil. Injury to his Hand which prevents all Possibilities of his becoming a Great Performer. Devotes himself to Composition. The Child, Clara Wieck Remarkable Genius as a Player. Her Early Training. Paganini's Delight in her Genius. Clara Wieck's Concert Tours. Schumann falls deeply in Love with her, and Wieck's Opposition. His Allusions to Clara in the "Neue Zeitschrift."
The lives of both composers afford an example of the most unselfish devotion and depth of affection, combined with the highest idealism in an art that poets themselves have admitted to be even nobler than their own. The birth of Clara Wieck, on September 13, 1819, took place at Leipsic. That city had not yet entered upon the period of musical greatness that it was soon to enjoy.
And first he told me the story of Schumann's love. The "old schoolmaster," Wieck, trained his daughter more ambitiously than judiciously; and, indeed, none but one of the elect would ever have survived the tasks imposed on her childhood.
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.
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. It would have been very strange indeed if two such natures as Clara Wieck and Robert Schumann had not gravitated toward each other during the almost constant intercourse between them which took place between 1835 and 1838.
The papers praised, but his irritability increased with every public performance. About this time he became acquainted with Bellini, for whose sensuous melodies he had a peculiar predilection. In July, 1835, Chopin met his father at Carlsbad. Then he went to Dresden and later to Leipzig, playing privately for Schumann, Clara Wieck, Wenzel and Mendelssohn.
Don Francis d'Ayala, Montesdocca's lieutenant, made a stand, with a few companies, in Wieck, a village on the opposite side of the Meuse, and connected with the city by a massive bridge of stone. From this point he sent information to other commanders in the neighbourhood. Don Ferdinand de Toledo soon arrived with several hundred troops from Dalem.
Herein both she and her future husband showed themselves actuated by the very highest motives. Unfortunately for the romantic side of the story, theirs was not a case of love at first sight. No less than five years after their first meeting, we find Schumann deeply interested in a certain Ernestine von Fricken, another pupil of Wieck.
Now old Wieck returned to his congenial state of wrath. He declared that Clara was far too extravagant ever to live on Schumann's earnings, though she insisted that Schumann was assured of one thousand thalers a year, and she could earn an equal sum with one concert a winter in Dresden, where prices were so high. But just then the prosperity of Schumann's paper began to slough off.
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