The two women went into the house, and Maxime, tired of sitting down, ran about the garden with his little dog, while through the open windows floated out an air of Schumann's, which Rosine, full of timid emotion, was playing on the piano.

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.

Then shall pour forth the double paean that thrills through the glorious final chorus of Schumann's Faustmen and women answering in antiphons "The indescribable, Here it is done; The ever-womanly Beckons us on!"

Like Schumann's mother, she opposed music as a career, but Von Bülow persisted, and became Liszt's pupil.

By a little violence to chronology, I am putting last of all the story of Schumann's love-life, because it marks the highest point of musical amour.

She decided to leave the decision concerning her son's future to Wieck, who, knowing Schumann's attainments and promise, voted for music.

" 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.

Chopin came to Leipzig in 1834, and in Schumann's diary after his name stands the entry: "Clara's eyes and her love."

As early as 1831 Wieck is quoted as objecting to Schumann's habits, and saying that, if he had no money at all, he might turn out well; for Schumann, while never rich, never knew poverty.

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.

The attempt failed, however, and Schumann's letter is in existence in which he had asked Becker to review the Concerto, because, in view of the publicity given to the estrangement with the Wiecks, praise from him would be in poor taste.

Schumann's name did not appear on the programme, but it was credited to two of his pen-names, Eusebius and Florestan.

Schumann's works were now beginning to attract a little attention, though not much, and even Clara was impelled to beg him to write her something more in the concert style that the public would understand.

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.

It was planned that Clara was to go to Schumann's sister-in-law.

Clara's letter seems to have been only her last tribute to her father, for, at Schumann's first protest, she hastened to write that she could endure anything, except his doubt; that she would be with him on Easter, 1840, come what would.

The answer was simply a letter from Frau Wieck, acknowledging Schumann's "impertinent letter," and saying that Wieck would not hold any communication with him.

On September the 12th, between ten and eleven o'clock of a Saturday, at Schoenefeld, a village near Leipzig, they were married by an old school friend of Schumann's.

He did not forgive his daughter even after the birth of her first child, on September 1, 1841, the year also of Schumann's first symphony.

The musicians knew Schumann's work, and he rejoiced at finding friends of his art in a far-away country.

It was in 1853 that his old enthusiasm for new composers broke forth in his ardent welcome to Brahms (who was then twenty years old), who became a devoted friend and was of much comfort to Frau Schumann after Schumann's death.

It seems actually and beautifully true, as Reissman says, that "Schumann's devotions were as chaste and devout as those of the soul of a pure woman.

BVC band show (containing marching instructions to Grieg's Concerto march, Rachmaninoff's Concerto march, Schumann's Concerto march, and Waves of the Danube, arranged by Dick Jacobs)

Translation of Schumann's Gesammelte Schriften ueber Musik und Musiker.

Whereupon the clergyman would explain with burning words that many a symphony of Beethoven's, a sonata of Schumann's, or a suite of Tschaikovsky's were the Names, peaceful, romantic or melancholy, of great spiritual Potencies, heard partially by these masters in their moments of inspirational ecstasy.