With all his efforts and his growing popularity, Schumann could not
gain favor in the eyes of father Wieck; only after a long term of legal
proceedings were the happy pair united in marriage, their wedding being
celebrated in a church near Leipsic in Sept., 1840. It was a union of
greatest importance not only to themselves but to music. Both were true
companions in an ideal struggle, true Davidites and priests of art, Clara
Schumann not only continuing her career as a splendid interpreter of
the classics of Beethoven, Mendelssohn, Chopin and Schumann, but at the
same time tenderly watching over her husband's health and temper, which
was marked by a growing irritability. Honor though it was to be Robert
Schumann's wife, it required a great character and supreme devotion.
Looking at his happy family life, reading his expressions of gratitude,
esteem and love for his wife; hearing those who have seen him play with
his children, once more we say that it is not only the artist, but the man
Schumann for whom we feel a deep sympathy and esteem. Yet his disposition
was not wholly free from features of a less agreeable nature. His
sensitiveness and taciturnity often made him appear in an unsympathetic
light, or offend those who meant well with him. But this was only a sign
of the deep-rooted disease, which developed so steadily and which so early
wrecked his mind and body.
The culmination of Schumann's happiness being attained, his creative
powers increased wonderfully. Now he felt compelled to confide the music
of his soul to the human voice and suddenly appeared as a great master
in a new field, by producing a wealth of songs, perfectly original in
style, form and spirit. Love, of course, plays a prominent but not
exclusive part in them. Yet his genius was seeking for still higher fields
and larger forms. The following year was devoted to the composition of
great orchestral works, three symphonies (two of which were published
much later in different shape) and the first movement of the pianoforte
concerto. In this higher sphere Schumann again proved himself a master,
the first symphony in B-flat, given most successfully under Mendelssohn's
direction, showing his genius at once in the most brilliant light. This
fever for composing did not in the least abate in 1842, the year devoted
to chamber music, when he wrote the three string quartets, the quintet
and quartet for pianoforte and strings, which were unsurpassed by any
later efforts. Far from being exhausted, in 1843 he completed besides
the famous variations for two pianofortes, the great cantata "Paradise
and the Peri." It was received most enthusiastically, and its success
stimulated him to write a similar work of still higher order, the musical
setting of the most difficult and mysterious scenes from the second part
of Goethe's "Faust." Meanwhile he had continued the work for his musical
journal, accompanied his wife to concerts in Hamburg and Russia, where
he was highly honored as a composer, and had also filled a position as
professor for pianoforte and composition at the new Conservatory opened
in April, 1843, with Mendelssohn as director. Of this latter work of
Schumann little has become known, and from his uncommunicative nature one
has inferred that he lacked the talent of a true teacher. In 1844 he
severed his connection with the Conservatory and with his journal also,
and took up his residence in Dresden. Overwork and the exerting musical
life in Leipsic had greatly increased his nervousness and he expected a
speedy recovery in the royal capital, with its lovely surroundings and
quiet life. However it took years to fully restore him. Yet in these very
years Schumann wrote his glorious symphony in C, and devoted much time
to strict contrapuntal studies, composing several works in this style.
He finally took a more active part in Dresden's social life, keeping
a friendly intercourse with other musicians, poets and artists, and a
sincere interest in the opera, then directed by young Wagner. At that time
the reform of the musical drama was in Dresden the centre of all musical
interests, and Schumann felt a deep desire to solve the great problem in
his own way.
We shall speak below more extensively about his only opera "Genoveva."
Although it was completed in Dresden, in 1848, it had its first
performance in the summer of 1850, in Leipsic, under his own direction. It
was repeated there a few times, but was undeniably a great disappointment
in spite of all its musical beauties. Schumann was deeply affected,
disagreeing entirely with the critics as to the dramatic character of
his work. Much more successful were the first performances of his music
to "Faust," presented at the centenary of Goethe's birthday in Dresden,
Leipsic and Weimar. Several years later Schumann added more numbers, but
the entire work was given in its present shape only after his death.
In the winter of 1846-47, Robert and Clara Schumann made a trip to Vienna,
where the latter played her husband's concerto (completed in 1845), and he
conducted his first symphony. The Viennese admired her playing but showed
far less appreciation for his music than the North Germans or even the
Russians. In 1847, Schumann succeeded Hiller as director of the Dresden
"Liedertafel," and in 1848 he started a mixed chorus, which afforded him
more genuine pleasure than the male chorus. With them he gave the Faust
music, and "Paradise and the Peri," studied Beethoven's great Mass in D,
and began to believe in his abilities as a conductor to such a degree,
that when, in 1849, it was rumored that Rietz, Mendelssohn's successor
in Leipsic, was going to Berlin, Schumann eagerly applied for the high
position. Rietz, however, remained. During these last years in Dresden,
Schumann had finished a large number of chamber works, songs, duets, male,
female and mixed choruses with or without accompaniment, piano pieces, and
the music to Byron's "Manfred."
[Illustration: MONUMENT TO ROBERT SCHUMANN IN THE BONN CEMETERY.