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She has also written a grand overture, "Esquisses Symphoniques," a piano trio, a violin sonata, a suite for flute and piano, and many other violin and piano pieces. She deserves to rank among the foremost women composers of our time. Jeanne Louise Farrenc was another Parisian woman who won fame by composing. Born in 1804, her career falls in the earlier part of the nineteenth century.
Such works as the "Etudes Symphoniques" and the "Kreisleriana" express much of the spirit of unrest and longing aspiration, the struggle to get away from prison-bars and limits, which seem to have sounded the key-note of Schumann's deepest nature. But these feelings could only find their fullest outlet in the musical form expressly suited to subjective emotion.
During this period of Schumann's life the most important works he composed were the "Études Symphoniques," the famous "Carnival" dedicated to Liszt, the "Scenes of Childhood," the "Fantasia" dedicated to Liszt, the "Novellettes," and "Kreisleriana." As he writes to Heinrich Dorn: "Much music is the result of the contest I am passing through for Clara's sake."
Schumann became greatly interested in Ernestine and for some time he had in mind an engagement with her. The noble "Études Symphoniques" were written this year. The theme was suggested by Ernestine's father. The "Carnival" was partly written in this year, but not completed till the following year.
In this symphonic poem, "Les Djinns," the attitude more tenderly revealed in the "Variations Symphoniques," and, above all, the sonata in A Major, is dramatically represented. The solitary dreamer in his tower is surrounded and assailed by evil spirits, we hear the beating of their great wings as they troop past, but the dreamer is strong and undismayed, and in the end he is left in peace, alone.
No one who does not love them can play the Sonata Appassionata or the Etudes symphoniques or the waltzes of Chopin long without becoming dulled and spoiled.
He sought in his piano compositions to recapture the lofty, spiritual tone, the religious communion that informed the works of Bach. Only once, in the "Variations Symphoniques," is he brilliant and virtuosic, and then, with what disarming naïveté and joyousness! Oftentimes it is the gray and lonely air of the organ-loft at St.
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