In 1850, Hiller again recommended Schumann to become his successor as
director of the orchestral and choral concerts in Düsseldorf, and a
call being extended, it was readily accepted by the composer. For such
a work he had neither the natural gifts nor the necessary preparation,
his conducting being hesitating, his way of rehearsing not in the least
instructive. Fluent as was his style in writing, he lacked the gift of
easily imparting his ideas. However, he was received with high honors and
for three seasons performed his new duties, also several times taking
part in the great vocal festivals. All his works were listened to with
delight; nevertheless it constantly became more evident that he was unfit
for the position, and in 1853 his engagement was not renewed, the decision
affecting him deeply. A visit to Leipsic made by the artists in 1852 for
the performance of several novelties, was also rather disappointing, while
the triumphant tour through Holland, at the end of 1853, forms the last
sunny period of Schumann's life.
In these years he had composed feverishly, some of the results being
such great and famous productions as the Rhenish symphony, the cantata,
"the Pilgrimage of the Rose," several overtures, ballads for soli,
chorus and orchestra, a mass, a requiem, several chamber works, songs,
melodramas and pianoforte pieces. He also planned writing another opera
on Schiller's "Bride of Messina" or Gœthe's "Hermann and Dorothea," or a
great popular oratorio on "Luther," but was forced to abandon the scheme.
He was happiest amongst his children and was as talkative with them
as reticent with others. Yet his old interest in new talents remained
unabated and the way in which he encouraged young musicians, such as
Reinecke, Meinardus, Dietrich, Joachim and especially Brahms, shows him in
a most amiable light. But all this time that mysterious influence which
had so early affected his mind, was daily gaining in strength. He was
troubled so much by nervousness, a feeling of permanent anxiety, and even
by hallucinations, that he became desirous of a medical treatment in a
hospital. One night he rushed from his bed to write down a theme just sent
to him by the spirits of Schubert and Mendelssohn. Nor was he free from
superstitions, for instance passionately taking part in the practice of
table moving. On February 22, 1854, soon after dinner, without any warning
he left his house and the society of a few friends, to seek his final rest
in the floods of the Rhine. Saved by sailors, he recovered full possession
of his faculties only for a few days, in which he wrote one variation on
the theme of that strange night. During the two last years of his life he
was confined in a private hospital near Bonn. There a few friends such as
Joachim and young Brahms were admitted to see the beloved master, so sadly
afflicted both physically and mentally. His darkened mind became clear
only at rare intervals, when he would sit at the piano, once more seeking
a musical expression for the strange world of thoughts within him. But
soon all visits from friends were forbidden, and the wife of the great
composer saw him only to close his eyes and bid him a last farewell. He
died July 2, 1856, only forty-six years old. In Bonn, where he is buried,
a beautiful monument by Donndorf is erected in his memory.
In appearance Schumann was rather tall and stately, calm and slow in his
movements, the face, with deep, melancholy eyes and rich dark hair, being
quite expressive, but seldom betraying the emotions of his soul, the
wealth and depth of his imagination or the exquisite wit and humor, so
often encountered in his works. Certain odd peculiarities of his personal
and artistic character, which became more apparent when his health
began to fail, can not impair the general impression of his true nature
as manifested in the achievements of his happier days. If we remember
how late Schumann entered upon a musical career, how late he enjoyed a
thorough theoretical instruction, how much he has also done in the field
of literature, how early his health began to be impaired, and at what an
early age he was called away, we are astonished at the mass of his works,
so many of them of the widest scope and importance, which place his name
among the noblest and greatest masters.
[Illustration: Fac-simile autograph letter from Schumann to a lady,
thanking her for her soulful singing in one of his concerts.]
[Illustration: Fac-simile of portion of letter from Clara Schumann to Karl
Klauser, thanking him for introducing her husband's music in Farmington,
Conn., where it was performed before it became known in New York. The
musicians of that period were pleased to call Farmington "Schumannville."
Hence her greetings to that place, unknown to the Gazetteer of the U. S.]
[Illustration:
Fac-simile musical manuscript of the opening of Schumann's Quintette Op.
44. The original is in the possession of J. Brahms.]
In a certain sense Schumann's works may be regarded as a musical
commentary on his life. This is particularly true of his earlier
pianoforte compositions. Being neither the result of theoretical studies
nor the imitation of favorite masters, they were of a surprising
originality, melodically, rhythmically and harmonically, and revealed a
new spirit in a new form in spite of all relationship to Schubert's small
character pieces, Beethoven's last sonatas or Bach's polyphonic style.
They were not only new, but bold and full of a higher significance.
Schumann was never at a loss for ideas, but, being familiar with every
style of pianoforte playing from Bach's to Moscheles' and Chopin's, and
aiming at the career of a virtuoso, he wrote from the beginning in a very
difficult style, rich in wonderful new effects and combinations. Sometimes
we find a "pearl of great price" hidden beneath a wealth of ornament of
unusual beauty, novelty and poetic significance. So peculiar indeed is the
style of these pianoforte works, that special technical study is required
in order to do them justice.
Like all our great composers, Schumann frequently makes use of variations,
of course not in Henri Herz's manner, but in Beethoven's, creating out of
one original idea a series of characteristic pieces, strongly contrasted
in form and spirit. In Heidelberg, long before his studies with Dorn,
he wrote those on A-b-e-gg, dedicated to a countess of this name, who,
however, was in reality nothing but a modest, untitled young lady, with
whom he had become acquainted at a ball. The Impromptu (Op. 5), on a theme
of Clara Wieck, belongs to this class also. But of much greater importance
are the two works, in which he best showed the peculiar character of his
pianoforte virtuosity, the Symphonic Studies (Op. 13) and the Andante
with variations for two pianofortes (Op. 46). The extremely interesting
treatment in these works is very free, but always ingenious, and the
technical and intellectual difficulties are very great.
Rarely one meets with a long cantilena, in Schumann's earlier works,
the material generally having a short, somewhat fragmentary character,
often consisting of but a few notes, though treated with a wealth of
rhythmical or harmonical combinations. There is also a great variety of
moods, and the contrasts are not only very distinct, but often unexpected
and sudden. As a dreamer full of sweetest or saddest thoughts he is not
less touching than as a musical knight of the most chivalrous spirit or
as a humorist such as Beethoven. Nowhere can one find a finer exhibition
of that peculiar German humor which "laughs through tears," than in
Schumann's charming "Humoreske" (Op. 20). The arrangements of the Paganini
caprices and studies have a more pedagogic purpose, while the great
Toccata (Op. 7) and the Allegro (Op. 8) may be called Schumann's noblest
contributions to the literature of bravoura-pieces. More characteristic
of his individuality, however, are those works with which his name as
a musical poet will always remain especially connected--"Papillons,"
"Carnival," "Davidsbündlertänze," "Phantasiestücke," "Scenes from
Childhood," "Kreisleriana" and "Noveletten." Distinct pictures of his
poetical imagination form their object, yet it is well to remember the
composer's emphatic declaration, that the music originated in his mind and
was written down before he even thought of the title, which he afterward
gave the composition. Yet so wonderfully appropriate are many of these
titles, that it is often impossible not to perceive their meaning in
the music. What an inexhaustible wealth of musical ideas is hidden in
all these productions, how many new rhythmical combinations, how many
"sweetest discords"! Who has ever understood how to show so much depth
of feeling and originality of thought, such a rich imagination within
such narrow limits as has Schumann, particularly in the "Papillons"
and "Carnival"! One feels that much of his own life's experience,
much of the romance of his heart is embodied in this music. Thus the
"Davidsbündlertänze" are by no means "dances," but the Davidites' knightly
fights against the Philistines, nor are the "Kreisleriana" a portrayal
of the eccentric Capellmeister in E. T. A. Hoffmann's tale, but the
expression of Schumann's own enthusiastic, romantic, many-sided nature and
of the ever-varying moods of his soul. In the Novelettes he tells us, in a
most pleasing and spirited language, the story of his struggle for Clara's
heart. The Phantasiestücke contain veritable gems among modern pianoforte
music, such as "Evenings," "Why," "Traumeswirren" and "Aufschwung." The
utmost delicacy of sentiment and fineness of musical expression are found
in the "Scenes from Childhood," which are not meant as compositions for
children, but as musical genre pictures from the children's life. Other
fine pieces such as "Arabeske," "Blumenstück," "Nachtstücke," may be only
mentioned, though each deserves a detailed analysis.
In three Sonatas Schumann has attempted to force the wealth of his
imagination into an old classic form, but as he had not then perfected
himself in the latter, and besides wrote the single movements at wide
intervals, he could hardly be expected to make a complete success. The
material is almost crowded, the development often lacks coherence, the
different portions are not of equal value; and yet, considering these
productions as free music, we recognize again the composer's vast
powers of invention and combination, his passionate energy, delicacy of
sentiment and brilliancy of style. Of these sonatas, the one in G minor
is generally praised as the best. On a higher plane we place the great
fantasia in C, Op. 17, dedicated to Liszt. Here Schumann's imagination was
free from strict formal fetters; the four movements keep one's interest
evenly and keenly alive, and, apparently written in hours of inspiration,
they go directly from heart to heart. The earnest, noble character
and lofty spirit of this work remind us indeed of Beethoven, to whose
monument Schumann had first intended to contribute it as an "obolus." Its
difficulties are such, that only eminent players are able to master them
and make the meaning of the music clear.
Among Schumann's later pianoforte compositions the following are best
known: the lively, fanciful "Faschingsschwank," composed in Vienna during
the carnival; three romances, of which the one in F-sharp is particularly
famous; some fugues and other pieces in strict contrapuntal style; the
"Scenes from the Woods" (among which is the odd "Bird as Prophet"); "Bunte
Blätter"; "Phantasiestücke"; "20 Album Leaves" (including the popular
cradle song); and "Gesänge der Frühe"; "Three little Sonatas," dedicated
to his daughters, and the well known "Album for the Young," with its
forty-three charming pieces, are certainly among the most valuable works
ever written for children.
Of the compositions for four hands none deserves more sympathy than the
charming "Pictures from the Orient," inspired by Rückert's "Makamen des
Hariri," certainly in no way inferior to the famous "Evening Song" from
the twelve pieces Op. 85, while the elaborate "Ball Scenes" and the easier
"Children's Ball" were written at a later period.
The pianoforte concerto in A minor ranks directly after Beethoven's.
It has a truly symphonic character, especially in the first and last
movements, the orchestra accompaniment being not less important than the
brilliant solo part, while the middle movement, Intermezzo, seems even
like a lovely solo for the violoncello with piano accompaniment. Two more
concert pieces for pianoforte with orchestra are an Allegro appassionato
(Op. 92) and a Concert Allegro with Introduction (Op. 134), the latter
dedicated to Joh. Brahms.
When, in 1840, Schumann reached the sunshine of domestic happiness, he was
compelled to express his joy in singing, not only in vocal compositions,
but also in his instrumental pieces, which now began to assume a more
sustained melodic breadth. He played no instrument besides the pianoforte,
and for this reason has often been accused of not fully understanding the
true nature of string or wood instruments. We admit that occasionally a
desired effect is not well produced, but a thousand instances prove that
as a general statement such an accusation is entirely false. There are
portions where the composer shows a lack of transparency, but a great many
more are very brilliant and most finely balanced. His use of the strings
is certainly effective enough in his chamber works, though the finest
results are obtained in their combination with the pianoforte.
The three string quartets dedicated to Mendelssohn show the latter's great
influence on Schumann's progress in larger forms. Later the composer
changed many details, and now we class them among the most valuable
productions of the kind since Beethoven's death, the beauty of the ideas
and their fascinating treatment increasing our admiration with each
hearing. Schumann likes to place the Scherzo before the slow movement and
to substitute for the Trio an Intermezzo in two-four time. Greater than
these quartets, however, are the famous quintet and quartet in E-flat
for pianoforte and strings. The former especially has been called the
greatest chamber work since Beethoven, and it has not yet been thrust
from this position of honor. How one would have liked to witness the
first performance of this splendid work with Clara Schumann, to whom it
is dedicated, at the piano! Two very short themes form the basis of the
first movement, which has a bright, energetic character and received an
extremely rich harmonic treatment with a brilliant ornamental figure
work. Then follows a funeral march of a peculiar character, having a
choral-like episode in the major key, and a passionate agitato in F minor.
The highly spirited Scherzo has again two trios, one sweet and melodious,
and the other a labyrinth of mysterious sounds and thoughts. The same
harmonic wealth and energetic spirit we find again in the Finale, in which
through a combination of the principal theme with the first one in the
opening moment, a grand climax is reached, closing a work which, with all
its romantic spirit and modern rhythm and harmony, retains the character
of a perfectly classic masterpiece. The pianoforte quartet deserves as
much praise, one of its most conspicuous features being the close relation
which Schumann bears to Bach, while retaining his own strikingly modern
poetical spirit.
[Illustration: ROBERT AND CLARA SCHUMANN.