Schumann's Life Through His Piano Works

1. Schumann's Childhood and Youth

Robert Schumann was born on June 8, 1810, in Zwickau, a small town in Saxony, as the youngest of five children (four sons and one daughter) to his parents, Friedrich August and Johanna. His father, Friedrich August, ran a book publishing and sales business, which led Schumann's elder brothers, Eduard, Carl, and Julius, to also engage in the book trade. In this environment, Schumann was surrounded by numerous literary works from an early age. His father deeply loved literature, not only publishing excellent literary works but also known for pioneering the publication of paperback books. His mother, Johanna, was a music enthusiast, and it is believed that Schumann inherited his passion for music from her, becoming familiar with music from an early age.

Schumann showed an early interest in the arts, especially music, and began studying piano at the age of seven (1817) with Johann Gottfried Kuntz, a church organist. At the age of eight (1818), he stayed with his mother for five weeks in the spa town of Karlsbad, where he heard Moscheles perform. This encounter with the performance of the highly acclaimed Bohemian composer and virtuoso pianist is thought to have influenced the blossoming of Schumann's musical talent. At the age of ten (1820), he entered the Gymnasium (a nine-year school) and again heard Moscheles perform in Karlsbad. It is believed that he had already begun attempting compositions around this time; his "Psalm 150," completed at age 14, was first conceived and composed around 1821, when Schumann was 11, and parts of it were premiered with fellow students in 1822. This work is the earliest existing composition by Schumann, and it is a large-scale piece for soprano, alto, and 2 Flutes, 2 Oboes, Bassoon, 2 Trumpets, Timpani, 2 Violins, Viola, Piano. In his youth, Schumann was particularly fond of piano performance alongside composition, playing works by Hummel and Beethoven, which he used for piano exercises, as well as works by Schubert. This experience with Schubert left a strong impression and Schubert's music would long influence his later compositions.

In 1826, his father passed away, and his sister Emilie committed suicide. His sister's volatile emotional temperament was inherited by Schumann and further passed down to his son, Ludwig. Schumann began frequenting the home of the wealthy merchant Karls family, where he encountered works by Beethoven and Mozart at concerts held there. In July 1827, he met Agnes Karls, the wife of Ernst Karls, a doctor and nephew of the family's head, and through Agnes, he discovered the charm of Schubert's Lieder. It was also around this time that he became engrossed in Jean Paul's novels.

2. Enrollment at Leipzig University and Devotion to Music

After graduating from the Gymnasium in 1828, Schumann, respecting his mother's wish that he pursue a stable profession rather than become a musician, given the family's circumstances after his father's death, enrolled in the Faculty of Law at Leipzig University. However, his passion for music grew ever stronger. In addition to diligently practicing the piano, he composed works such as the unfinished "11 Lieder" (1827-28), "Piano Quartet in C minor" (1828-29), and "8 Polonaises" for piano four hands (1828). These are extremely important works as the starting point for his compositions in the early 1830s. The Lieder from "11 Lieder" are quoted in Piano Sonatas No. 1 and No. 2, where they play a symbolic role, hinting at the content of the works. The "Piano Quartet in C minor" is a grand work, which he later intended to rework into a symphony. Its fourth movement was repurposed for the tenth piece of Papillons (Op. 2). The "8 Polonaises," composed in 1828, are the result of his study and reception of Schubert, and these polonaises are also quoted in Papillons.

It was also in 1828 that he began receiving piano instruction from Friedrich Wieck. He attended university lectures very little, instead immersing himself in music. He put his law studies aside and, in various ways, conveyed his burning passion for music to his mother, striving to gain her permission to pursue a musical career.

In 1829, he also studied at Heidelberg University, where his musical fervor intensified through Professor Thibaut, a legal scholar and admirer of a cappella sacred music. Around this time, Schumann was also active in performance, playing works such as Schubert's Piano Trios and Moscheles's 'Variations on the Alexander March'.

3. The 1830s: Enchanted by Piano Music

Compositions from the 1830s are closely linked to his encounter with Clara, the anticipation of love, the certainty of love, and the difficult struggle towards marriage. First, I would like to list the characteristics of his piano compositions from the 1830s.

(1) The Ideal of Orchestral Composition

One characteristic feature of his compositions in the first half of the 1830s is his inclination towards orchestral writing. He attempted to compose several piano concertos in his early period. The Abegg Variations (Op. 1) were also conceived for piano and orchestra. According to Schumann's draft, the structure was to feature an orchestral prelude followed by the piano solo playing the theme, with the horns playing the ABEGG (A, B-flat, E, G, G) theme at the end of the prelude. This connection to orchestral ideas can be seen in many of his piano works, especially in the first half of the 1830s. The tenth piece of Papillons (Op. 2) uses material from the fourth movement of the "Piano Quartet in C minor," and this quartet was attempted to be reworked into a symphony, with the opening rhythmic motive intended for the sound of horns. Furthermore, a connection has been pointed out between the main motive of Papillons and the main theme of the first movement of the "Symphony in G minor."

(2) The Ideal of the "Etude"

He had a strong interest in etudes, and it is one of the genres to which he devoted the most pages in his collection of criticisms, "Music and Musicians," where it is organized into a "system" of "purpose-oriented etudes." The "Toccata" (Op. 7) was composed under the influence of Hummel's "Piano Sonata No. 5" as well as Onslow's "Toccata", and was intended for "double-note practice." The idea of the etude is also related to his encounter with Paganini; as mentioned above, the "Etudes after Paganini's Caprices" (Op. 3, 10) were an attempt to apply Paganini's virtuosity to the piano, serving as a precursor to similar attempts by Liszt. Liszt clearly had Schumann's two sets of etudes in mind when composing his "Grandes études de Paganini." The "Etudes in Free Variation Form on a Theme by Beethoven" (Anh.F25), which were not given an opus number, are important as a work that was carried over into the "Symphonic Etudes" (Op. 13), aiming to fuse performance technique as an etude with variation methods.

(3) Variations—Kaleidoscopic Images

In the first half of the 19th century, no composer pursued variations as deeply as Schumann. The "Abegg Variations" (Op. 1), already mentioned, is a work that uses a unique variation technique unlike any before, where the theme is presented in its original form, and at the same time, the first two notes of the theme are used as the main motive for each variation. The "Symphonic Etudes" (Op. 13) are also variations, but like the "Abegg Variations", they employ a complex combination of techniques: presenting the theme without transformation, and using Baroque compositional styles such as canon, fugue, and French overture, along with methods of thematic transformation. Although not explicitly named "Variations," the "Impromptus on a Theme by Clara Wieck" (Op. 5) are also variations. This work is a set of variations on two themes: Clara's theme (the theme from Clara Wieck's "Romance variée") and a weighty basso ostinato-like theme (meaning "stubborn bass," widely used in the Baroque era) played by the left hand. Schumann's masterpiece "Carnaval" is one of his most characteristic works. This is also a type of variation on the Sphinx themes.

(4) Musical Allegories

What significantly distinguishes Schumann's piano works from those of Mendelssohn, Chopin, and Liszt is that the music is crafted into a kind of "allegory." The background to this is the connection to literary works and the idea of a "narrative." While it is true that some works were allegorized retrospectively after composition, "Papillons" is based on Jean Paul's "Flegeljahre", and the idea of a "masked ball" is carried over into "Carnaval" (Op. 9). Furthermore, "Carnaval" also incorporates the ideas of the "Davidsbund," an imagined society conceived by Schumann to pursue artistic truth, resulting in a structure that contrasts popular culture and art. This allegory of the "Davidsbund" is also carried over into "Davidsbündlertänze" (Op. 6), which Schumann composed while dreaming of marrying Clara amidst Friedrich Wieck's strong opposition.

The idea of musical allegory is reflected not only in "Kreisleriana" (Op. 16) and "Kinderszenen" (Op. 15), which are based on Hoffmann's novels, but also in later works such as "Album for the Young" (Op. 68), which began as a musical diary of Marie's growth, "Bilder aus Osten" (Op. 66), based on Hariri's Maqamat, and "Waldszenen" (Op. 82).

(5) The "Quotation" of Themes—Words and Music

Schumann's compositions are characterized by frequent thematic quotations. The themes can be self-quotations or quotations from other composers' themes. In Piano Sonatas No. 1 and No. 2, he quotes melodies from his own early song collection, making these themes central to the works' content. Why did Schumann quote themes in this way? It must be that the themes served as a kind of "language." Quotations from Clara Wieck's works are particularly frequent.

Below is a list of thematic quotations:

(6) The Concept of Sonata in the Romantic Era

Three sonatas were completed in the 1830s. However, apart from the "Allegro" (Op. 8), of which only the first movement was completed, at least a dozen sonatas were conceived and attempted during this decade. Among them, the "Piano Sonata No. 4 in F minor" (Anh.F28), begun between 1836 and 1837, is important. He also worked on a Sonata in G major in 1837, but this too remained a fragment.

Schumann sought to explore a new concept of the sonata for the 19th-century Romantic era, and his new ideal of the sonata can perhaps be most beautifully summarized in the "Fantaisie" (Op. 17). Through his exploration of new relationships between theme and form in "Allegro" (Op. 8) and "Piano Sonata No. 1" (Op. 11), he seems to have freed himself from the traditional framework of sonata form. Subsequently, "Piano Sonata No. 2" respects the classical formal framework, but "Piano Sonata No. 3" was initially conceived as a five-movement sonata. Later, at the publisher Haslinger's request, it was given the title "Concert sans orchestre" (Concerto without Orchestra), but in the revised version, it was re-arranged as a four-movement sonata. This work, while having Beethoven's "Appassionata" Sonata as one of its backgrounds, represents a culmination of the sonata in the Romantic era. While there is a theory that interprets "Faschingsschwank aus Wien" as a sonata, one should be cautious when considering the genesis of this work's conception.

4. Schumann's Life and Works in the First Half of the 1830s (1830-1835)

In 1830, Schumann encountered Paganini's performance in Frankfurt and was deeply impressed. This Paganini experience would eventually lead to the composition of the "Etudes after Paganini's Caprices" (Op. 3, 10). Incidentally, in his later years, at the Endenich asylum, he worked on adding piano accompaniments to these Caprices. Returning to Leipzig that year, he again studied piano with Wieck and composition with Weinlig, the Kantor of St. Thomas Church. Furthermore, from 1831, he also studied with Heinrich Dorn, the music director of the Leipzig Court Opera. Dorn's instruction was extremely important for his compositions, and the results of his counterpoint studies are reflected in early works such as "Papillons" (Op. 2), "Impromptus" (Op. 5), and "Etudes in Free Variation Form on a Theme by Beethoven" (Anh.F25). In this year (1830), he completed the "Abegg Variations," assigning it opus number 1. His mother blessed this work, and Schumann was finally permitted to pursue a career as a musician. However, the criticism for this work was not favorable, with the influential critic Rellstab, in particular, giving it a harsh review.

Schumann conceived the idea of the "Davidsbund" around 1831. He created the alter egos Florestan and Eusebius, and also enlisted people close to him as members of this league. This idea of "alter egos" originated from Walt and Vult, characters in Jean Paul's novel "Flegeljahre". Among the people Schumann designated as members, Raro was Friedrich Wieck, Zilia was Wieck's daughter Clara, and Charitas was a woman named Christel with whom Schumann was intimately acquainted at the time. Later, Schumann expanded the number of members; for example, Stephen Heller, whom Schumann praised as a "true Romantic," was added to the Davidsbund, and he contributed to the "Neue Zeitschrift für Musik," edited by Schumann, under the name "Jeanquirit."

Schumann had the goal of composing symphonies. This was partly because the creation of symphonies and piano concertos was a milestone in establishing one's position in the music world, and the numerous attempts at piano concertos in Schumann's early compositions are a manifestation of this. Schumann learned the fundamentals of composition under Dorn and also received guidance on symphony composition from Gottlieb Müller. The result was the composition of the "Symphony in G minor." The piano works composed between 1831 and 1832 include "Papillons" (Op. 2), "Allegro" (Op. 8), which is the first movement of a work that was progressing as a "Sonata in B minor," and "Etudes after Paganini's Caprices" (Op. 3). The composition of "Piano Sonata No. 1" also began in 1832.

While engaged in the composition of the "Symphony in G minor" from 1832, he began to experience symptoms of paralysis in his right middle finger. The common theory for the cause of this paralysis was the influence of a finger training device, but given that the paralysis was spreading, the possibility of dystonia has also been pointed out. Schumann attempted a treatment method of immersing his finger in animal blood, but the symptoms of paralysis did not improve at all, and he fell into deep despair.

In this situation, Schumann, with his innate love for literature, planned to publish a music magazine. Although this plan faced difficulties due to negotiations with publishers, it materialized in 1834 and was published as the "Neue Zeitschrift für Musik." Schumann exhibited extreme mental states, ranging from despair due to finger paralysis to manic states seen in various projects and conceptions. Further events that plunged him into despair include the deaths of his sister-in-law Rosalie in October 1833 and his brother Julius in November.

Schumann admired the talent of many musicians and evaluated them in various criticisms, but one of the musicians he most highly regarded was Ludwig Schunke, who died young. Schumann highly praised Schunke's "Piano Sonata in G minor" and dedicated his "Toccata" (Op. 7) to him. In addition, Norbert Burgmüller, who also died young, was another musician whose talent Schumann highly valued.

Among the works composed in 1833 is "Etudes in Free Variation Form on a Theme by Beethoven" (Anh.F25). This work is significant as it is closely linked to the "Symphonic Etudes" (Op. 13) and further demonstrates his learning process in counterpoint. Furthermore, in this year, he also began composing "Carnaval" (Op. 9) and "Piano Sonata No. 2" (Op. 22).

One of the most significant activities in Schumann's life was the founding of the "Neue Zeitschrift für Musik." Launched in 1834 and continued to this day, this music magazine served not only as a platform for Schumann's compositions but also for the exposition of his musical views and aesthetics. The vast number of criticisms of musical works contained within it also serve as a mirror reflecting the musical situation of the time.

In this year, Schumann began a romantic relationship with Ernestine von Fricken, who became Wieck's student. Ernestine's father was also a music enthusiast, and Schumann sought a connection with the Baron von Fricken family. The "Symphonic Etudes" (Op. 13) are variations composed on a melody by Baron von Fricken. This work is both a set of variations and etudes, and one piece within it is virtually borrowed from "Etudes in Free Variation Form on a Theme by Beethoven" (Anh.F25). The finale quotes the theme of the chorus "Sing, proud England" from Marschner's opera "Der Templer und die Jüdin". The work was ultimately dedicated to the English composer William Sterndale Bennett, but since these variations were composed before Schumann knew Bennett, this quotation does not represent Bennett. Marschner's opera was frequently performed in Germany at that time.

Given the circumstances described above, Schumann privately became engaged to Ernestine in this year (1834). Schumann also noted that his musical cipher (letters from his name corresponding to musical notes) "Asch" was the same as As (pronounced Asch), where Ernestine was born, and he dreamed of a future with her. This sentiment is also reflected in "Carnaval" (Op. 9), composed in this year. This "Carnaval" included "Estrella" which, according to Wasielewski, who wrote Schumann's first biography, represents Ernestine. "Carnaval," which can be called the pinnacle of his compositions in the 1830s, is a highly complex work. The opening "Préambule" is a repurposing of the "Maestoso" section from the unfinished "Variations on Schubert's Sehnsuchtswalzer" (composed 1831/32-34). The entire work is based on Schumann's musical cipher "Asch"; the first half uses the notes A, E-flat, C, B as themes, and the second half uses A-flat (As), C, B as themes, resulting in a strong tendency towards B-flat major in the first half and A-flat major in the second half.

"Carnaval" includes a quotation of Clara's waltz melody, indicating that Clara Wieck's presence began to be consciously felt in Schumann's mind. His affection for Ernestine gradually cooled as his feelings for Clara deepened, and eventually, in November 1835, Schumann broke off the engagement. Schumann's love for Clara grew profound, and the deepening of this love is recorded in his diary.

In 1835, Schumann's acquaintance with Mendelssohn began when Mendelssohn was appointed conductor of the Gewandhaus Orchestra and made Leipzig his base. Furthermore, Chopin visited Leipzig that year, and Schumann would eventually dedicate "Kreisleriana" (Op. 16) to Chopin. In music criticism, starting with Chopin's "Variations on 'Là ci darem la mano' from Don Giovanni" (Op. 2), which he introduced with the famous phrase "Hats off, gentlemen, a genius!", Schumann reviewed numerous works by Chopin. In this year, Piano Sonata No. 1 (Op. 11) was completed, and Piano Sonata No. 2 was also written, but Clara criticized its fourth movement, leading to its completion in 1838 with a new fourth movement. Both of these sonatas borrow Lieder from his early song collection "11 Lieder." In Sonata No. 1, "An Anna" is borrowed for the second movement and also used in the introduction of the first movement, forming the thematic core of the work. Furthermore, in the first movement, Clara's "Four Characteristic Pieces" (Op. 5), No. 4 "Scène fantastique – Le Ballet des revenants," is quoted, as is a melody from his own "Fandango."

5. Schumann's Life and Works in the Second Half of the 1830s (1836-1839)

In 1836, Schumann's mother passed away. His mother's presence was significant for Schumann, especially mentally, and she was also an understanding supporter of his musical activities. However, Schumann did not attend his mother's burial. Something more important awaited Schumann: meeting Clara. Schumann expressed his love for Clara to Friedrich Wieck, but was strongly rejected. Although he sent his recently completed "Piano Sonata No. 1," it was returned by order of her father, Wieck. In the Wieck household, Clara was the child of Friedrich's first wife, and Friedrich had remarried. Furthermore, Clara's biological mother had remarried Bargiel, placing Clara in a very complex family environment. From 1836 to the following year, Schumann fell into an extreme state of depression as his future with Clara seemed utterly hopeless, and his musical activities almost ceased.

Amidst this situation, on August 14, 1837, Schumann became engaged to Clara by letter. He then composed "Davidsbündlertänze" (Op. 6), envisioning a ball on the eve of his and Clara's wedding (Polterabend). On Clara's birthday (September 13), he proposed marriage to her father, Wieck, but was rejected. The opening of "Davidsbündlertänze" quotes Clara's "Mazurka" ("Soirées musicales," Op. 6, No. 5). The "Fantasiestücke" (Op. 12), composed in this year, are dedicated to Anna Robena Laidlaw, a Scottish pianist who visited Leipzig. In contrast to the "Davidsbündlertänze," which are filled with conflicting desperate emotions, the "Fantasiestücke" are works of expansive musical ideas. The melody that appears in the right hand at the beginning of the second piece, "Aufschwung" (Soaring), is used for the recitative melody in the final piece, "Der Dichter spricht" (The Poet Speaks), of "Kinderszenen" (Op. 15), which was completed the following year.

Even amidst the tension surrounding his marriage, 1838 was a fruitful year for composition, with works such as "Kinderszenen" (Op. 15), which takes future family life with children as its theme; "Kreisleriana" (Op. 16), based on the protagonist Kreisler from Hoffmann's novel; "Fantaisie" (Op. 17), intended as a contribution to the fund for the Beethoven monument in Bonn; and "Novelletten" (Op. 21) being completed. "Kinderszenen" unifies the work using a gentle variation technique.

"Kreisleriana" is a work that falls into the category of "musical allegories" mentioned above, systematically structured around sections that hint at Kreisler, expressed in G minor. The "Fantaisie" begins with a poem by Friedrich Schlegel, and the first movement uses the melody from Beethoven's "An die ferne Geliebte." The establishment of this Beethoven monument was a project linked to the rising nationalistic sentiment of the "Rhine Movement" in Germany at the time. August Schlegel, Friedrich's brother, spearheaded the fundraising for this monument, but in reality, donations did not gather as expected, and Franz Liszt contributed the majority to its completion. The "Fantaisie" is dedicated to Liszt, who contributed to the establishment of the Beethoven monument. In return, Liszt dedicated his "Piano Sonata in B minor" to Schumann.

Friedrich Wieck plotted to break up Schumann and Clara's relationship, offering the condition that he would permit their marriage if they lived somewhere other than Leipzig. Thus, in September 1838, Schumann departed for Vienna, also considering the publication of his music magazine. In Vienna, he befriended Schubert's brother Ferdinand and achieved success such as discovering the Symphony in C major, but he was disappointed by the strict censorship in Vienna regarding publishing activities. In March 1839, he returned to Leipzig upon receiving news that his brother Eduard was critically ill. Schumann and Clara reaffirmed their intention to marry, and on June 15, Clara filed legal papers against her father, Friedrich Wieck, seeking a court ruling. "Arabeske" (Op. 18), "Blumenstück" (Op. 19), and "Nachtstücke" (Op. 23), composed in this year (1839), were written during Schumann's stay in Vienna. The French national anthem "La Marseillaise," which appears in the first piece of "Faschingsschwank aus Wien" (Op. 26), was subject to censorship in Vienna at the time, satirizing Vienna's strict control over speech. "Humoreske" (Op. 20) is not only the most important work from this period but also considered one of Schumann's finest piano compositions. The work began composition in 1838 and was completed in Vienna in 1839.

On January 1, 1840, Clara wrote a letter to Schumann. It read: "The year 1840 feels so special. At last, this year has come. The long-awaited year, the year we will be united forever... In four months, I will be yours. It is truly a beautiful season..."

The legal permission for their marriage was granted by the court on August 1, 1840. Schumann and Clara married on September 12, and the day before, Schumann presented Clara with the song cycle "Myrthen" (Op. 25). The day after their wedding, September 13, was Clara's birthday.

6. 1840: The "Year of Song"

In 1840, Schumann's compositions shifted from piano works to Lieder. This year is generally known as the "Year of Song," during which song cycles such as "Myrthen," "Liederkreis" (Op. 24 and Op. 39), "Dichterliebe" (Op. 48), and "Frauenliebe und -leben" (Op. 42) flowed forth like a spring.

7. 1841: The "Year of Orchestra"

In September of the following year, 1842, his eldest daughter Marie was born. This year saw the composition of "Symphony No. 1 'Spring'" (Op. 38, first version), "Symphony No. 4" (Op. 120, first version), "Overture, Scherzo and Finale" (Op. 52), and "Fantasy for Piano and Orchestra" (the first version of what would become the first movement of the Piano Concerto in A minor), truly making it the "Year of Orchestra." Symphony No. 1 is called "Spring," a title derived from the original titles given to its movements: first movement "Beginning of Spring," second movement "Evening," third movement "Merry Play," fourth movement "Full Spring." The first movement begins with a fanfare, hinting at the call of spring. This work was later revised, and the titles were removed during the revision.

Symphony No. 4 was presented to Clara Schumann on her 21st birthday, September 13, 1841. The work was premiered on December 6 of the same year, but it did not receive a strong reaction from the audience. Schumann noted that at a concert in February of the following year, "the audience was sparing with applause," indicating it did not leave a strong impression. Wagner also harshly criticized this work as "boring." This work was originally intended to be his Symphony No. 2, but due to the aforementioned criticism, he refrained from publishing it and, after ten years, revised it and released it as Symphony No. 4 (Op. 120). During the revision process, he considered the title "Symphonic Fantasy" but later withdrew it.

8. 1842: The "Year of Chamber Music"

In 1842, "String Quartets" (Op. 41, 3 works), "Piano Quintet" (Op. 44), and "Piano Quartet" (Op. 47) were composed, marking a concentrated period of chamber music composition. Schumann turned to chamber music in the latter half of 1842, composing three string quartets in the short period from June 2 to July 22. This composition was undoubtedly inspired by Mendelssohn's string quartets, and all three works are dedicated to Mendelssohn. The composition of these string quartets presented Schumann with a new challenge, and he began an intensive study of string quartets around April 1842. According to his diary, he recorded: "April 1, study of Mozart's works; April 28, study of Beethoven's quartets; May 6, study of Haydn." He began composing on June 2, after completing this series of studies.

The "Piano Quintet" (Op. 44) was begun on September 23, 1842, after the completion of the string quartets. By September 28, it was mostly written, and he began fair copying on October 5. After completing the fair copy on October 12, Schumann began composing the Piano Quartet on October 24, completing the work by October 30. Reflecting Schumann's explosive creative impulse, the work exudes a unique fervor that seems to well up from within.

In 1843, the Leipzig Conservatory was founded with Mendelssohn as its director, and Schumann was responsible for composition and piano, among other subjects. The most important composition of this year was the oratorio "Das Paradies und die Peri" (Op. 50). This work, which takes human conscience as its theme, shows a new side of Schumann as an oratorio composer.

In January 1844, Schumann traveled to Russia with Clara. This was a long journey, lasting five months. During their Russian trip, Clara's concerts were held in various cities such as St. Petersburg and Moscow, and Schumann's works were also performed on these occasions. Schumann's sketches of the Kremlin also remain. Clara, in particular, achieved great success before Emperor Nicholas I. After returning home, Schumann began to complain of deteriorating mental health. The family decided to move from their familiar Leipzig to Dresden, the capital of the Kingdom of Saxony. The family moved to Dresden on December 13.

9. The Dresden Period (1844-1850)

The family moved to Dresden on December 13, 1844. In his new environment, Schumann again turned his attention to Bach's works, composing pieces for pedal piano (piano with pedal keyboard), such as "Studies for Pedal Piano" (Op. 56), "Sketches for Pedal Piano" (Op. 58), and "Six Fugues on the Name of Bach" (Op. 60). Schumann showed a dramatic recovery with the "Piano Concerto in A minor" (Op. 54), which he completed by adding the second and third movements to a work he had composed in 1841 under the title "Fantaisie."

10. Schumann's Life and Works in the Dresden Period

The compositions from the Dresden period are truly diverse. Symphony No. 2 was composed, along with concertos such as the aforementioned "Piano Concerto in A minor" (Op. 54), "Concertstück for Piano and Orchestra" (Op. 92), and "Konzertstück for Four Horns and Orchestra" (Op. 86). Chamber music works include Piano Trios No. 1 and No. 2 (Op. 63, 80), and collections of pieces for wind instruments such as horn, clarinet, and oboe with piano. Songs and piano works were also written.

A characteristic feature of the works from this period is the compositions for his children with Clara. In addition to piano works such as the 43-piece "Album for the Young" (Op. 68) and "12 Piano Duets for Children" (Op. 85), song collections like "Album of Songs for the Young" (Op. 79) were also composed. These works, composed as a musical diary of his children's growth, opened up a new world for Schumann.

Looking at the compositions from this Dresden period, the year 1849 stands out. Particularly in the field of chamber music, an explosive creative power was unleashed, with works being completed in just a few days. In addition to numerous songs and vocal ensembles, vocal works such as "Lieder from Wilhelm Meister" (Op. 98a) and "Requiem for Mignon (from Goethe's Wilhelm Meister)" (Op. 98b), and the aforementioned "Konzertstück for Four Horns and Orchestra" were composed.

This surge in creative power in 1849 is believed to have been influenced by the March Revolution of 1848. The revolutionary storm that overthrew the Metternich system began in Paris, then spread to Vienna in March, developing into a major movement. By the following year, 1849, a movement demanding the convocation of parliament erupted in Germany. In Saxony, it eventually escalated into the so-called "Dresden Uprising" (May 1849). It is clear that this revolution uplifted Schumann's spirit.

This period's Schumann piano works can be broadly divided into works composed for his own children and cyclic works. These works are as follows:

"Album for the Young" (Op. 68) was initially conceived as a piano album for his eldest daughter Marie, and then the number of pieces was increased to its current form. During this process, Schumann also conceived it as a "Seasonal Album," and this idea is reflected in the collection, with "Winter Season" placed at the end of the collection as a remnant of that concept. The collection was ultimately compiled as 43 short pieces. Schumann intended to accompany each piece with an illustration, but due to the high cost, he opted to create a splendid cover illustration to introduce the content of the work. Indeed, this cover illustration depicts the scenes of the work and aids in understanding it.

"Waldszenen" (Op. 82) is a collection of piano pieces that, despite being for piano, has a song-like quality. German Romantics favored the "forest" as a subject, and the "forest" became a source of Romantic imagination, with artists longing for the world of the forest. Schumann had the idea of adding poetic texts to each piece, but ultimately removed all but the text for the fourth piece. This collection, which begins with "Eintritt" (Entry) and ends with "Abschied" (Farewell), is a typical example of "musical allegory."

What is noteworthy in the compositions of this period is chamber music. In addition to two piano trios, a series of duos for various instrumentations were composed.

Schumann, who composed the Piano Quintet and Piano Quartet in 1842, embarked on the composition of piano trios five years later. The result was Piano Trio No. 1 (Op. 63). Schumann composed it as a birthday present for his wife Clara on September 13, 1847. Clara wrote in her diary about this work: "This work is remarkably intense, full of youthful vigor, and at the same time masterfully crafted. The first movement shows the most loving sentiment I know."

Piano Trio No. 2 (Op. 80) was begun immediately after the completion of No. 1 and finished on October 25, 1847. It was later revised on April 9, 1849, and premiered in this revised form on February 22, 1850, at the Gewandhaus in Leipzig. The most moving movement in this work is the second, which allows one to fully appreciate Schumann's lyricism.

In 1849, an explosive outpouring of Schumann's creativity can be seen. In addition to the "Konzertstück for Four Horns and Orchestra" and the "Concertstück for Piano and Orchestra," a series of duos were composed.

From February 11 to 13, 1849, the three-piece "Fantasiestücke" (Op. 73) for clarinet and piano was composed. The first piece, utilizing a subdued timbre, the vibrant second piece, and the soaring third piece exhibit a magnificent unity. Following the completion of this work, "Adagio and Allegro in A-flat major" (Op. 70) for horn and piano was composed from February 14 to 17, 1849. It is a masterpiece that showcases the horn's unique qualities, and the horn's deep, forest-like sound evokes Schumann's ideal world.

From April 13 to 17, 1849, "5 Stücke im Volkston" (Op. 102) for cello and piano was composed, and between December 7 and 12, 1849, "3 Romances" (Op. 94) for oboe and piano was composed. All three pieces are of gentle musical ideas, and each is a memorable melody that touches the heart.

11. Schumann's Life and Works in the Düsseldorf Period (1850-1856)

In September 1850, in response to an invitation from Ferdinand Hiller, a musician with high renown as a composer and pianist, Schumann moved to Düsseldorf, a city along the Rhine, to serve as its municipal music director. Düsseldorf had a municipal theater where Mendelssohn had previously served as conductor. His primary role here was conducting. This city along the Rhine must have reawakened the ideals of Romanticism in Schumann's heart. In the year he took up his post, he consecutively composed "Symphony No. 3 'Rhenish'" (Op. 97) and the "Cello Concerto" (Op. 129). The year 1850, when he moved to Düsseldorf, was a very busy one. Not only did he compose Symphony No. 3 and the Cello Concerto, but the conception of "Violin Sonata No. 1" (Op. 105) also began in this year.

"Symphony No. 3 'Rhenish'" (Op. 97) is Schumann's most famous symphony, inspired not only by the flow of the river but also holding historical significance related to the ongoing construction of the Cologne Cathedral's spires. It is a five-movement symphony, with the fourth movement expressing the impression of this cathedral. The "Cello Concerto in A minor" (Op. 129) is not only Schumann's only cello concerto but also virtually the only cello concerto in the German Romantic repertoire.

On January 18, 1850, Ferdinand David, concertmaster of the Gewandhaus Orchestra and a violinist, wrote a letter to Schumann: "I very much liked your Fantasiestücke for piano and clarinet (Op. 73). By the way, why don't you compose anything for violin and piano?" This letter prompted Schumann to embark on the composition of violin sonatas. The composition of "Violin Sonata No. 1 in A minor" (Op. 105) took place in September 1851, in a very short period from September 12 to 16. The explosive outpouring of creative power is well demonstrated by the impetuous musical ideas of this work. When composing the first sonata, Schumann self-deprecatingly stated that he would compose an even more wonderful work next, and the work concludes in three movements. The subsequent "Violin Sonata No. 2 in D minor" (Op. 121) was composed between October 26 and November 2, 1851. In contrast to the fluctuating nature of the first sonata, this second one aims for a more harmonic construction, and its third movement is a set of variations using the chorale "Gelobet seist du, Jesu Christ" as its theme.

In this year, 1851, works such as the oratorio "Der Rose Pilgerfahrt" (Op. 111), the Overture to Shakespeare's "Julius Caesar" (Op. 128), and the Overture to Goethe's "Hermann und Dorothea" (Op. 136) were also composed.

By 1852, Schumann was plagued by friction with the orchestra, and his mental instability increased. The number of compositions this year was not large, but particularly noteworthy are choral works such as the "Mass" (Op. 147) and "Requiem" (Op. 148), which show influences from Schubert's masses in addition to Baroque style.

It is no exaggeration to say that 1853 was the longest year in Schumann's life. The mental exhaustion from his conducting duties reached its peak, and he resigned as music director in November of that year. Amidst this, Brahms's visit on September 30 was a major event for Schumann. Encountering works such as Brahms's "Piano Sonata No. 1 in C major," Schumann instinctively perceived a new path for German music. And Schumann not only took up his critical pen again after a long time to introduce Brahms to the world but also mediated with publishers to have Brahms's works published.

The sheer volume of compositions in this single year of 1853 is astonishing. He composed three concertos, piano works, chamber music works, and added piano accompaniments to Bach's "Sonatas and Partitas for Solo Violin" and "Cello Suites for Solo Cello," as well as piano works such as "Sonatas for the Young" and "Gesänge der Frühe."

Among the orchestral works, the "Fantasy for Violin and Orchestra" (Op. 131) is one of two violin concertos Schumann composed in 1853. It is a single-movement concerto, composed between September 2 and 7, 1853.

The "Violin Concerto in D minor" (WoO1) was composed at the request of the violinist Joseph Joachim from late September to late October 1853. During this period, Schumann was frequently tormented by auditory hallucinations, hearing angelic singing and cries from hell. He wrote down the melodies sung by the angels, and the second movement of this work is said to be based on this angelic melody. After its composition, Joachim never performed this work, and his wife Clara also did not wish for it to be performed. Due to these circumstances, the work was not performed thereafter and was discovered in 1937 among Joachim's belongings stored in the Berlin State Library.

"Introduction and Allegro appassionato for Piano and Orchestra" (Op. 134) is a work Schumann dedicated to Brahms, structured with a dramatic and wild introduction followed by a peaceful allegro.

The piano works from this year are important. Such a large number of works had not been composed in a single year since the 1840s.

"7 Pieces in Fughetta Form" (Op. 126) is a collection of seven pieces, each composed in a typical fugal style. Interestingly, the odd-numbered pieces (Nos. 1, 3, 5, 7) begin on C regardless of key, while the even-numbered pieces are in D minor (Nos. 2, 4) or F major (No. 6).

"Sonatas for the Young" (Op. 118) contains three sonatas, dedicated to Schumann's three daughters: Julie, Elise, and Marie. At the time of composition, Julie (1845-1872), to whom the first sonata was dedicated, was 8 years old; Elise (1843-1928), to whom the second was dedicated, was 10; and Marie (1841-1929), to whom the third was dedicated, was 12. In composing, Schumann considered not so much their playing technique as their individual personalities and temperaments—Julie as "gentle and charming," Elise as "bright and astute," and Marie as "precocious and strong-willed."

"Gesänge der Frühe" (Op. 133) was composed between October 15 and 18, 1853. This work is sometimes referred to as "To Diotima." "Diotima" is a figure in Hölderlin's poetry. While the interpretation linking it to this poem is a hypothesis, it may serve as a clue to understanding the work.

By 1854, the hallucinations intensified, and the Schumann household remained in a tense situation. His eldest daughter Marie often took care of Schumann in place of the busy Clara. The "Variations on an Original Theme" (Anh.F.39) were composed between February 21 and 28, 1854, during such circumstances. The theme is the angelic song he heard in his hallucinations, and Clara recorded the circumstances of this work's composition in her diary.

On February 26, while spending time with his family and his pupil Dietrich, Schumann suddenly declared, "I must go to a mental asylum." The next day (the 27th), he impulsively rushed out of the house and threw himself from the pontoon bridge over the Rhine. At this point, he was in the process of fair copying the fourth variation of the "Variations on an Original Theme." Fortunately, he was rescued by a passing boat, and on the 28th, he completed the fifth variation.

Schumann was transferred to a hospital in Endenich, near Bonn, on March 4, 1854, where he would spend the rest of his life. The last work he undertook at this hospital was adding piano accompaniments to Paganini's "Caprices."

Subsequently, Clara Schumann, Brahms, and Joachim visited him at the Endenich facility, but Clara was not permitted to see him by the doctors' orders. In July 1856, upon receiving news that Schumann was critically ill, Clara visited the Endenich facility on July 23 but could not see him. On July 27, she finally met him after two and a half years. Schumann died on July 29 and was buried in the Bonn cemetery on July 31.