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 UC-NRLF 
 
 B 3 fiE^ 32D 
 
THE MAYFAIR BIOGRAPHIES 
 
 SCHUMANN 
 
 BY 
 
 SIR LAND ON RONALD 
 
 MURDOCH. MURDOCH & CO., 
 
 23, PRINCES STREET, OXFORD CIRCUS, 
 
 LONDON, V. 1. 
 

 SCHUMANN 
 
 BY 
 
 SIR LANDON RONALD 
 
 MURDOCH, 
 
 LONDON. 
 
 PRICE 1/6 NBT. 
 
The 
 
 
 MAYFAIR BIOGRAPHIES 
 
 uniform with this volume, by eminent musicians of the day, 
 including — 
 
 Sir GHAS. V. STANFORD, Sir FREDERIC GOWEN, 
 
 Sir ALEXANDER G. MACKENZIE, 
 
 Sir LANDON RONALD, Etc. 
 
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 No. 1. BEETHOVEN 
 
 , 2. BRAHMS 
 
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 , 11. RUBINSTEIN 
 
 , 12. TSCHAIKOWSKY 
 
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 Sir Charles V. Stanford. 
 
 Sir Alexander C. Mackenzie. 
 
 ... Sir Frederic Cowen. 
 
 Sir Landon Ronald. 
 
 ... George H. Clutsam. 
 
 Sir Frederic Cowen. 
 
 Frederick Corder, F.R.A.M. 
 
 Henry Davey 
 
 ... Sir Frederic Cowen 
 
 Arthur Hervey 
 
 Sir Landon Ronald 
 
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SCHUMANN 
 
 After the picture by C. Jager. Photo Bruckmann, Munich. 
 
OBERT ALEXANDER SCHUMANN was born at 
 Zwickau in Saxony, on the 8th June 1810. His 
 father was a bookseller, who earned some little 
 reputation as a writer ; indeed, it was from him 
 that Robert inherited the artistic side of his nature. 
 His mother was the daughter of the official surgeon 
 to the town council of Zietz (bearing the appellation 
 of 'Rathschirurgus'), and whatever may have been the surroundings in 
 which she received her education, her leanings were certainly not in the 
 direction of the arts for her son's career ; in fact, had her wishes been 
 carried out he would have become a lawyer. Some attempt was made, 
 as we shall see, in that direction, but the world has reason to con- 
 gratulate itself upon its failure ; and not only upon its failure, but also 
 upon its having been cast aside without leaving any scar. 
 
 Schumann showed unusual talent for music from a very early age ; 
 and while in the small provincial town of Zwickau there was no possibility 
 of his receiving the best tuition, an arrangement was made with the local 
 organist to give him lessons in pianoforte playing. His teacher, Herr J. G. 
 Kuntzsch, formed a high opinion of his pupil, and was probably the first 
 to foretell his ultimate success. That the pupil was not ungrateful we 
 may assume from his having dedicated to him, some twenty-five years 
 later, when he had become famous, his Op. 56, a set of ' studies for the 
 pedal-piano.' 
 
 Before Schumann was nine years old, his master was of opinion 
 that he could continue his studies without further assistance. His father, 
 
 Mi.44785 
 
6 
 
 SCHUMANN 
 
 however, thought otherwise, and an arrangement was made for a course 
 of lessons from Carl Maria von Weber, who had then settled at Dresden, 
 and was at the height of his popularity. Weber thought well of the child ; 
 but some difficulty must have arisen, as the lessons were never given. 
 
 Schumann spent eight years at the Gymnasium of Zwickau, and 
 the daily routine of his school life left him little time to devote to the 
 study of music. Indeed, it is probable that at that period it was chiefly 
 poetry which occupied his leisure. In his father's bookshop he had easy 
 
 SCHUMANN S BIRTHPLACE IN ZWICKAU. 
 
 access to all the best poetry, and his father appears to have fostered this 
 taste in every possible way, going so far as to print a literary effort of 
 his fourteen-year-old son in a biographical work that he published at 
 the time. 
 
 His favourite authors were Jean Paul, Hoffmann, Schulze, and our 
 English Byron. The first of these had the greatest influence over him, 
 entering into and colouring his thoughts, and having an effect easily 
 traceable in his writings. The romantic poems and plays of Lord Byron 
 made also a strong appeal to him. Throughout his life poetry played 
 for him an important part, and was interwoven with his music perhaps 
 
SCHUMANN 7 
 
 more than was the case with any other composer. Music is naturally 
 an art of innumerable aspects, and there has been no lack of composers to 
 approach it from every standpoint. Schumann's was the poetic stand- 
 point. In the songs that flowed so bountifully from his brain, we have 
 many exquisite examples of inspiration impossible to any but a poet 
 elevated and overflowing with the joy and the beauty of life. 
 
 George Meredith has put into the mouth of one of his most fascinating 
 women these words : ■ Prose can paint evening and moonlight, but poets 
 
 SCHUMANN nOL'SE IN LEIPZIG. 
 
 are needed to sing the dawn. That is because prose is equal to melancholy 
 stuff. Gladness requires a finer language. Otherwise we have it coarse.' 
 
 We have probably all heard of the modern composer who said that 
 his inspiration lay so near the surface that he would undertake to write 
 a symphonic poem or set of songs with no more poetic basis than a couple 
 of pages of Bradshaw's railway time-table. 
 
 That I would term the prose standpoint. 
 
 At the age of eighteen we find Schumann entered at the Leipzig 
 University. His father had died two years before, and it was at his 
 mother's earnest wish that he was entered there as a law student. Robert 
 
8 SCHUMANN 
 
 Schumann a law student ! A potential lawyer ! Can one imagine a more 
 preposterous proposition ? To how great an extent he was unwilling to 
 embark upon this new university life, one cannot know ; but distasteful 
 as the prospect of law studies appeared to him, youth cannot without 
 something of pleasurable excitement enter upon a new mode of life 
 bringing with it increased liberty, and involving also the exchange of the 
 dulness of Zwickau for the bustle of a university town. Before entering 
 into residence at Leipzig, moreover, Schumann made a short tour, visiting, 
 amongst other towns in South Germany, Bayreuth, Heidelberg, and 
 Munich. In the first of these he met the widow of his favourite Jean 
 Paul, and in Munich he met Heinrich Heine. 
 
 His first term at Leipzig seems to have been an idle one. He attended 
 no lectures, and probably did nothing beyond a little composition and 
 a great deal of reading in his favourite authors. He has been depicted 
 as desperately unhappy during this first period at Leipzig ; be that as it 
 may, however distasteful the things that he was sent there to study, his 
 actual occupation would seem to have been entirely according to his 
 own taste and dictation. And who shall say that because he was a silent 
 lad, caring little for the boisterous beer-drinking exploits of his fellow- 
 students, he did not, in his quiet introspective way, dream lovely dreams ? 
 He has told us that reading Jean Paul at that time, he found ' the soul 
 wonderfully lifted up and tenderly glorified.' In a translation this sounds 
 perhaps rather high-flown sentiment ; but we must not forget that such 
 was the style of Jean Paul. 
 
 Although Leipzig had not at that time attained the musical dis- 
 tinction that came to it when Mendelssohn arrived (some seven years later) 
 to take up the conductorship of the Gewandhaus Concerts, it possessed, 
 nevertheless, considerable musical attractions, including an established 
 opera house. 
 
 It was during his stay there that Schumann met Professor Wieck, 
 a flourishing teacher of the pianoforte, from whom he took some lessons. 
 At that time his daughter Clara, who eventually became Schumann's 
 wife, was a child of nine years, with a phenomenal aptitude for the piano. 
 
 The death of Schubert occurred whilst Schumann was at Leipzig, 
 and he felt it keenly ; for although he was not known to him personally, 
 his music exerted a powerful influence over the younger man, and he had, 
 moreover, with other young enthusiasts, spent delightful hours with 
 
SCHUMANN 
 
 9 
 
 the wonderful Schubert chamber music. In fact, whatever steady- 
 work Schumann accomplished at Leipzig was devoted not to the law, 
 but to music. Among his juvenilia traceable to this period are a quartet 
 for strings and pianoforte, and a set of pianoforte duets in the form of 
 the Polonaise. He also wrote several songs, using for the purpose some 
 of Byron's short poems. 
 
 After a year at Leipzig Schumann was transferred to the University 
 of Heidelberg, ostensibly to 
 take advantage of the lectures 
 of a famous doctor of law, 
 but it was not long before 
 the lecturer himself advised 
 Schumann to give up the legal 
 studies into which he could 
 not seriously enter, and adopt 
 music as his profession. It 
 was, however, not as a com- 
 poser, but as a pianist, that 
 he and his Heidelberg friends 
 thought he was destined to 
 become famous. He worked 
 at least seven hours a day 
 at his piano ; and as he was 
 working largely along his own 
 lines he developed a new 
 technique, and, at the same 
 time, a corresponding new type 
 of pianoforte music absolutely 
 individual to himself. It was 
 
 based as purely upon the special character and requirements of the instru- 
 ment as the music of Chopin, but the balance and placing of the chords 
 was new, and founded upon the style of no other composer. He possessed 
 a natural aptitude for extemporisation, which was extremely characteristic 
 and poetic, with, apparently, no limit to the flow of his ideas. All his 
 earlier compositions were carried out seated at the piano, and a great deal 
 of his music was extemporised and written down later. Until he was 
 twenty-nine, this appears to have been his habitual method of composition. 
 
 SCHUMANN AS A YOUNG MAN. 
 
10 SCHUMANN 
 
 His routine at Heidelberg, if routine there were, was broken by 
 expeditions and visits, the greatest of them taking him to Italy, and the 
 others including Strassburg and Frankfurt. It is beyond doubt that he 
 entered freely into the student life of Heidelberg, and romantic episodes 
 were not wanting to savour his life at this period. Whilst there he also 
 made a very successful appearance as a pianist. He was now twenty 
 years of age, and owing largely to the good offices of his erstwhile piano- 
 forte professor in Leipzig, Herr Wieck, his mother's opposition to his 
 adoption of a musical career was finally overcome. He quitted Heidel- 
 berg in 1830, and prepared to resume his pianoforte studies with Herr 
 Wieck at Leipzig, for it was still as a virtuoso of the pianoforte that 
 he expected to earn distinction. He set about work with the utmost 
 enthusiasm, and indeed attacked the study of manual dexterity with such 
 determination, that, owing to an ingenious but mistaken method that he 
 invented for strengthening the fingers, his right hand became crippled, 
 and although he recovered the use of it, his third finger remained per- 
 manently disabled, and the career that he had promised himself was thus 
 made impossible. This appeared nothing less than a disaster ; and had 
 it not been that during his pianoforte studies composition had taken an 
 ever-increasing hold upon his imagination, he would probably have been 
 compelled to abandon his musical career. 
 
 Philosophically accepting composition, then, as his art, though un- 
 doubtedly regarding it at first as a pis alter, he continued to reside at 
 the Wiecks' house, and to study with the utmost diligence. 
 
 At the age of twenty-one we find him composing a set of pianoforte 
 variations, the subject being of the i motto ' description, and founded upon 
 
 the notes fqfczifc E^E ^Iu^I' f^~~ = i-e. a-b-e-g-g, the name of a Mannheim 
 
 beauty (Meta Abegg), with whom either he, or a young companion of his, 
 had fallen in love. His studies were under the direction of the conductor 
 of the Leipzig opera house ; but it appears from a letter written by 
 Schumann to the Professor that they were somewhat irregular. They 
 had, however, now reached a sufficiently advanced stage for it to be of 
 little consequence whether he followed any regular curriculum or not, 
 and genius such as his could safely be allowed to develop along its own 
 lines. 
 
 His first essays in the larger musical forms were a symphony in 
 
SCHUMANN 
 
 11 
 
 C minor and a pianoforte concerto which, however, was never completed. 
 The symphony was performed at a concert in his native town in 1835, 
 but was not particularly successful, and was not published. In 1833, 
 when Schumann was twenty-three, his brother's wife died. Robert was 
 staying with his brother at the time, and being deeply attached to her, 
 was so affected that it caused him something in the nature of a nervous 
 breakdown. It is even said that he tried to throw himself from the 
 window of his room, which was 
 on the fourth floor. His attempt 
 was happily frustrated, but it 
 goes to show, even at this early 
 age, to what an extent he was 
 swayed by poignant emotions. 
 
 At this period Schumann is 
 described as being much given to 
 musing ; and his habit of silent 
 rumination, even when in the 
 company of congenial friends and 
 acquaintances, began to grow 
 more pronounced. He was of 
 about middle height, and nothing 
 upon the surface betokened the 
 genius that lurked within. He 
 is described as ' round-faced and 
 ruddy,' as a young man of his 
 age might well be, square cut at 
 the jaw, and with a forehead 
 excellently well formed, the 
 whole somewhat marred by a 
 
 rather heavy expression. He had a shy way of lowering his eyes, 
 giving an expression of complete abstraction, that must have proved 
 somewhat disconcerting to people finding themselves in his society for 
 the first time. Of his habit of silence several people have left reminis- 
 cences. For example, he is said to have sat beside a lady in a boat for 
 an hour without uttering a single word, until they landed, when he said : 
 1 To-day we ha\ e perfectly understood one another.' 
 
 Heinrich Dorn (with whom Schumann studied counterpoint) recalled 
 
 OLD LEIPZIG CONSKKVATORIUM. 
 
12 SCHUMANN 
 
 that, after spending an evening at a music party given by Schumann, his 
 host apologised at parting for having been unable to talk with him. An 
 engagement was, however, made for a succeeding day, and Dorn added, 
 6 And then we '11 be silent to our hearts' content.' Moscheles described 
 him as an ' interesting but retiring ' boy. 
 
 ' The best discourse upon music is Silence,' Schumann once wrote. 
 At that rate he appears to have been unusually lavish of his discourse. 
 
 His evenings were generally spent at a small restaurant where he 
 forgathered with a number of more or less intimate friends. It was at 
 this restaurant, the Kaffeebaum, that some of these enthusiasts first 
 discussed the establishment of a new musical journal, the idea being to 
 make it more independent, more ' alive,' more appreciative of the new 
 movement than were the two or three periodicals then being issued by 
 the German music publishers, naturally more with a view to the advance- 
 ment of their own interests, and belauding of their own publications, 
 than to the general dissemination of new ideas or the education of the 
 public mind by authoritative criticism. ' Critical honey-daubers ' was 
 the term applied by Schumann to the critics of these organs of commerce ; 
 and no doubt musical criticism was then at a rather low ebb. 
 
 Schumann had great literary facility, and from the outset took 
 a leading part in the enterprise. Unlike most ventures of this kind, the 
 Neue Zeitschrift fur Musik met with success almost from the outset. 
 The preliminary advertisement proclaims with all the assurance of youth, 
 and with all the enthusiasm of the militant reformer : ' The day of 
 reciprocal compliments is gradually dying out, and we must confess that 
 we shall do nothing towards reviving it. The critic who dares not attack 
 what is bad, is but a half-hearted supporter of what is good.' 
 
 There were, during the first two years, four co-editors, Schumann 
 the creative musician, Ludwig Schenke the executant, and Wieck the 
 teacher ; while the fourth, Julius Knorr, was a literary man. After two 
 years Schumann became the sole proprietor, and for the succeeding nine 
 years was the sole editor. During that period Schumann continued to 
 carry out the principles so clearly enunciated at the birth of the paper. 
 He had no scruple to moderate his attacks upon what appeared to him 
 to be bad, even in the classics, and what was far more valuable than 
 any merely destructive criticism, he was never a half-hearted supporter 
 of that which he found good. 
 
SCHUMANN 
 
 13 
 
 When one remembers all that he did in spreading the fame of 
 Schubert, Mendelssohn, and Chopin, who at that time were scarcely 
 recognised, and when one thinks of the penetrating appreciation that 
 he brought to bear in expounding their works, and those of Gadc, Taubert, 
 Hiller, Sterndale Bennett, and later, of Johannes Brahms, one cannot 
 but admire the great-hearted generosity that guided his critical work. 
 1 Truly,' he once remarked, discussing an ill-natured critique, ' music 
 that moves the nightingale to sing only excites the dog to bark.' 
 
 For the purpose of his paper Schumann threw overboard the cut and 
 dried forms of musical criticism, for 
 which he always had a profound con- 
 tempt, and proceeded to develop a far 
 more fanciful and distinguished idea, 
 borrowed in part from his favourite 
 Jean Paul, of writing criticism in 
 the form of discussions, conversations, 
 and letters of an imaginary set of 
 people, each endowed with well-defined 
 and contrasted character and outlook. 
 To each was given a name, and a 
 more or less distinctive personality ; 
 the whole of them being treated 
 as members of the ' Davidsbiindler,' 
 an imaginary society of artists and 
 folk interested in art. We find 
 the names of several of their fanciful personages appearing in his 
 ' Carnaval Scenes ' for Pianoforte (written in 1834). This year also saw 
 the composition of his * Etudes Symphoniques ' (Op. 13). In 1835 Clara 
 Wieck was sixteen years of age, and already a celebrated pianist. She 
 was Schumann's great romance, and his position with regard to her was 
 somewhat difficult, he having earned up to that time little or no recognition 
 beyond that of his naturally limited circle in Leipzig. Moreover, Herr 
 Wieck was perhaps ambitious that his brilliant daughter should make an 
 equally brilliant match. It is probable that he discouraged Schumann's 
 attentions to his daughter from the first ; but when in that year (1835) 
 he took her on a concert tour throughout Europe, the separation only 
 served to fan the flame, and ' truly,' wrote Schumann, at a very much 
 
 RELIEF BY RIETSCHEL OF CLARA AND 
 ROBERT SCHUMANN. 
 
14 SCHUMANN 
 
 later date, ' the contests that Clara cost me have been the cause of a great 
 deal of music-making. The concerto and sonatas, the Davidsbiindler 
 dances, Kreisleriana and Novelettes owed their origin almost wholly to 
 them.' One movement of the above concerto referred to (which he oddly 
 enough termed ' sans orchestre ') is a theme with variations, the theme 
 being composed by Clara Wieck. 
 
 In the hope of improving his position, Schumann decided in 1838 
 to visit Vienna, and while issuing his Neue Zeitschrift from that capital, 
 endeavour to gain recognition there as a composer. The Viennese, 
 however, gave him a very tepid reception, and it is said that the music 
 publishers threw every impediment in his way. Despite this check, 
 Schumann never regretted his visit to Vienna, as it was there that, 
 turning over with Schubert's brother the MSS. left by the great composer, 
 he had the good fortune to discover the score of the now famous C major 
 Symphony. This was promptly transmitted to Mendelssohn, and pro- 
 duced by him at the Leipzig Gewandhaus Concerts in December 1839. 
 
 Early in that year Schumann abandoned his Vienna schemes, and 
 returned to Leipzig, where he found that Herr Wieck's opposition to his 
 marriage with Clara was unabated. Every argument was brought to bear, 
 and in January 1840 we find him explaining that his property brought 
 him 500 thalers a year, and that the Neue Zeitschrift brought him about 
 as much, so that from his point of view there was no cause to consider 
 his financial position unsatisfactory, especially, as he adds, ' we are young, 
 and have hands, strength and reputation.' 
 
 Wieck remained adamant, and it was therefore necessary for Schu- 
 mann to obtain a legal decree of the court in order to dispense with 
 his consent to the marriage. All this must have been exceedingly galling 
 to Schumann's pride ; but determined as they were to be married, there 
 was no other course. The decree was therefore applied for and granted, 
 and the marriage duly celebrated on the 12th of September 1840 — 
 Schumann being then thirty years of age and his bride on the eve of 
 twenty-one. 
 
 The year 1840 is perhaps also the most memorable in regard to his 
 composition, for it saw the creation of the first of those inimitable Lieder 
 upon which the fame of Robert Schumann will probably ultimately rest. 
 In that year, inspired by his happiness, he composed nearly one hundred 
 and forty songs, a large number of them being settings of the poems of 
 
SCHUMANN 13 
 
 Heinrich Heine. There was, moreover, one set of a dozen songs with 
 words by Ruckert, for which the two lovers composed the music together. 
 This phenomenal activity in song- writing is the more remarkable when 
 we remember that until then Schumann had written practically none. 
 It was a new medium for him, and he took it in hand with characteristic 
 enthusiasm. He wrote at this time : ' I can hardly tell you how delight- 
 ful I find it to write for the voice after all my instrumental composition. 
 It stirs me deeply when I sit down to it.' Personally I find this gratifying 
 to read, for I freely admit that his songs always 4 stir me deeply.' Was 
 
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 AUTOGRAPH BY SCHUMANN FROM THE ORIGINAL IN THE POSSESSION OF DR. MAX FRIEDLANOER, BERLIN. 
 
 it not Jean Francois Millet who wrote : ' Le fond de tout est tou jours 
 ceci : qu'il faut qu'un homme soit touche d'abord pour pouvoir toucher 
 les autres ? ' 
 
 And it had always been thus with Schumann. He has told how, 
 when quite a child, he once awoke in the dead of night, and stealing down 
 to the deserted drawing-room, seated himself at the piano, and played 
 for himself a series of chords, weeping bitterly. 
 
 The following year (1841) was devoted to orchestral music, and saw 
 the composition of no less than three symphonies, besides a masterly 
 movement for pianoforte and orchestra, which eventually became the 
 first movement of the famous Pianoforte Concerto in A minor. The 
 
16 SCHUMANN 
 
 movement was written in free form, as was certainly not unnatural, seeing 
 that it was intended merely as a ' Fantasia.' Two years elapsed before 
 he added the other two movements to complete the work. It is one of 
 the favourite works of its kind, and besides having the merit of showing 
 the solo instrument at its best, also shows the composer at his best. The 
 music pulsates with vitality and imagination ; it seems to have poured 
 straight from his heart, and despite the immaturity of much of the 
 orchestral scoring, I have not the slightest hesitation in including it 
 among the greatest pianoforte concertos ever written. Indeed, I know 
 of none that appeals to me more, and but one or two that say as much. 
 
 It is interesting to follow the varying fortunes of the three sym- 
 phonies. The first, in B flat, was successfully produced under the sym- 
 pathetic and careful direction of Mendelssohn. It was originally intended 
 that this work should bear the title ' The Spring Symphony,' and as the 
 reading of the composer's 4 programme ' makes the intention of several 
 obscure effects plain, it seems a pity that he suppressed it on the grounds 
 that the attention of the audience was likely to be distracted from the 
 main purpose of the music. 
 
 The first movement was entitled ' Spring's Awakening,' and after 
 the initial trumpet summons, ' all the dormant forces of nature, fanned 
 by gentle zephyrs, awaken and push their way to the light.' With the 
 Allegro, Spring arrives in all the beauty of youth, and the end of the 
 movement is memorable for a coda consisting of the enchanting Spring 
 Song — the newly married composer intending it to be played * straight 
 out of the heart,' just, in fact, as he wrote it in the spring of the year 
 1841. The last movement was to be called ' Spring's Farewell.' 
 
 The second symphony was withdrawn, revised and rescored (scoring 
 for the orchestra was always in my opinion a weak point with Schumann), 
 and eventually reappeared as the Fourth Symphony (Op. 12a) in D minor. 
 The basic feeling in this symphony is not unlike that of the B flat Sym- 
 phony, but it contains more of passion than its predecessor. The form 
 is unusual, the whole of the four sections being played without a pause, 
 making thus an unbroken musical structure. 
 
 The third symphony was also withdrawn, and after being remodelled, 
 reappeared a few years later as ' Overture, Scherzo, and Finale ' (Op. 52). 
 Of the three movements the Scherzo is the most praised. 
 
 In the year 1842 we find Schumann deserting the orchestra, and 
 
SCHUMANN 
 
 17 
 
 devoting himself entirely to chamber music, producing work after work 
 with extraordinary rapidity. Three quartets for strings were com- 
 posed within a month, some movements being finished almost at a sitting. 
 For a man who played no stringed instrument this performance is 
 little short of miraculous. There were, however, drawbacks ; for innumer- 
 able were the alterations that had to be made in the parts before they 
 reached their final form. Then followed a quartet and a trio for strings 
 and piano, and then the divinely inspired Pianoforte Quintet (Op. 44), 
 recognised as one of the most exquisite examples of chamber music. 
 This last-named work was dedicated to his wife, and she very naturally 
 
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 took part in its performance at a Gewandhaus concert at the beginning 
 of the following year. As time went on she played it through the length 
 and breadth of Europe. So great is my admiration for this wonderful 
 work that it is difficult for me to write about it without falling into the 
 language of exaggeration. When I say that any time I hear the opening 
 movement I tell myself that this is really the finest ; and when, as the other 
 movements unfold themselves in turn, I find that each one, while 
 assisting the others, towers above its predecessor in a mighty crescendo 
 of inspiration, you will understand that I cannot write about this work — 
 I can only love it. And yet I can perceive how each movement, perfect 
 in itself, gains infinitely by what precedes and what follows, so that at 
 the last chord I seem to feel the thousand beauties of the work summed 
 
18 SCHUMANN 
 
 up in some mysterious, cumulative way, and become welded into one 
 ineffable whole — beyond words. What are the lines that Browning 
 puts into the mouth of Abt Vogler ? — 
 
 ' But here is the finger of God, a flash of the will that can, 
 Existent behind all laws, that made them, and, lo, they are ! 
 And I know not if, save in this, such gift be allowed to man, 
 That out of three sounds he frame, not a fourth sound, but a star.' 
 
 The principal works composed in 1843 were the cantata ' Paradise 
 and the Peri,' with a libretto adapted from Thomas Moore's Lata Rookh, 
 and the Variations for two Pianos (Op. 46), which were produced with 
 great eclat by Madame Schumann and Mendelssohn. The cantata was 
 produced at once under the composer's direction, and proved an im- 
 mediate success. It is curious that it should have been this cantata that 
 helped to carry Schumann's fame throughout the length and breadth 
 of Germany, when, according to the critical judgment of the present day, 
 it is so lightly passed over. 
 
 With his wife, as the ideal interpreter of his music that she un- 
 doubtedly was, Schumann made several concert tours, these carrying 
 them through Bohemia, North Germany, and Russia. Soon after their 
 return from Russia the Schumanns removed their home from Leipzig to 
 Dresden, and it was thought advisable that he should relinquish his 
 participation in the direction of the Neue Zeitschrift. He could not but 
 know that for the past few years he had been continuously overtaxing his 
 strength. At Dresden he completed his scenes from the second part of 
 Faust, but no sooner were they finished than symptoms of ah impending 
 serious breakdown began to exhibit themselves, and he suffered acutely 
 from insomnia. 
 
 It may be said that from about this period, beginning with the Faust 
 scenes, the romantic spirit and the rapturous love that pervaded his earlier 
 music frequently disappear and give place to a more mystic, vague, and 
 sometimes morbid feeling; but despite his illness, which he manfully strove 
 to combat, his musical output continued with unabated energy. He 
 finished the C major Symphony (Op. 61), and subjecting himself to a 
 severe course of counterpoint, produced, besides ten fugues (of which six 
 had 'B-A-C-H' for the subject, Op. 60 and 72), the series of ' Pianoforte 
 Studies and Sketches ' (Op. 56 and 58). 
 
 Richard Wagner was Kapellmeister at Dresden at that time ; but 
 although Schumann has left memoranda of the impressions made upon 
 
SCHUMANN 
 
 19 
 
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 FACSIMILE SCORB BY SCHUMANN FROM THE ORIGINAL IN THE POSSESSION 
 OF DR. MAX FRIEDlJiNDER, BERLIN. 
 
20 SCHUMANN 
 
 him by several of the operas produced, there was no real sympathy 
 between the two men. Schumann's interest in opera was, however, 
 aroused, and with characteristic enthusiasm he set about to find a subject 
 such as he felt he could handle. The Corsair of Byron was one to 
 which he first turned. But though the fascination of much of the music 
 is undeniable, and such lines as — 
 
 ' Meanwhile — long anxious — weary — still the same 
 Roll'd clay and night — his soul could never tame — 
 This fearful interval of doubt and dread, 
 When every hour might deem him worse than dead ' 
 
 may have had at this period a special significance for him, and galvanised 
 the whole into some sort of reality, the difficulties of transforming the 
 related story into the play of action for the stage were never, apparently, 
 surmounted, and with the composition of a chorus and an aria (both 
 unpublished) the subject was dropped. 
 
 His opera on the subject of Sainte Genevieve achieved only a succes 
 d'estime, and his next essay in this direction was Manfred, but this again 
 was not successful on the stage. 
 
 During the latter period of Schumann's residence at Dresden he 
 acted as conductor, first of a male voice choir, and later of a choir of mixed 
 voices, for both of which he composed part songs, etc., and for the former 
 a motet for double chorus (Op. 93). In 1850 he was invited to remove 
 his household to Diisseldorf, and assume the duties of Municipal Director 
 of Music, in which were included the conductorship of the orchestra and 
 of the mixed choir. He proceeded there in the autumn of that year, 
 and his arrival was celebrated with a concert of his compositions — includ- 
 ing the first part of c Paradise and the Peri.' 
 
 In a letter to Ferdinand Hiller, making some preliminary inquiries 
 about Diisseldorf, we find the following rather ominous sentences : ' In 
 looking over the map of the neighbourhood I find mentioned three nun- 
 neries and a lunatic asylum. The former are well enough, but the latter 
 most disagreeable. I must tell you my mind regarding it. Some years 
 ago, when we lived at Maxen, the chief thing to be seen from my window 
 was Sonnenstein (the lunatic asylum). The prospect quite spoiled my 
 pleasure, and indeed became horrible to me.' 
 
 For three years Schumann held this post at Diisseldorf, but he was 
 in truth little fitted for the work of a conductor. He appears occasionally 
 to have secured remarkably good performances ; but after his first year 
 
SCHUMANN 
 
 21 
 
 complaints became frequent and urgent, and the testimony of the even 
 sympathetic listeners, and of orchestral players, whose judgment on this 
 point is unerring, all unite in agreeing that the talent for conducting 
 was not his. As time went on, his health again gave frequent cause for 
 alarm, and the orchestral playing under his direction became steadily 
 worse. He was therefore relieved, temporarily it was said, of his con- 
 ducting duties, and so cheered was he 
 by the arrangement, that a perfect 
 fever of composition beset him, and 
 to this period we owe his D minor 
 and Rhenish Symphonies ; the Over- 
 ture to the Bride of Messina (another 
 fugitive essay in the direction of 
 opera) ; many Lieder, pianoforte 
 pieces, and no less than five cantatas : 
 ' The Pilgrimage of the Rose ' (Op. 
 112); Uhland's ballad, 'The King's 
 Son' (Op. 116); Uhland's 'The 
 Singer's Curse ' (Op. 139) ; GeibePs 
 ballad of the * Page and the King's 
 Daughter ' (Op. 140) ; and Uhland's 
 ' The Luck of Edenhall ' (Op. 143). 
 These were followed by the 'Mass' 
 (Op. 147) and the 'Requiem' (Op. 148). 
 His labours were broken by occa- 
 sional tours, one in Switzerland and 
 another in Holland, where in parti- 
 cular his music appeared to have 
 found enthusiastic recognition, but he 
 seemed to feel the necessity of doing 
 
 the utmost amount of work ' while the daylight lasted.' He even made 
 time to contribute to the Neue Zeitschrift an enthusiastic article upon 
 the genius of young Johannes Brahms, from whom he wrote that ' the 
 highest individual expression of our time ' was to be expected. This 
 was the last of the series of his generous-hearted contributions to musical 
 criticism, for, not long after its appearance, signs of mental trouble began 
 to be more insistent, and he frequently complained of being tormented 
 
 SCHUMANN S MONUMENT IN ZWICKAU. 
 
22 
 
 SCHUMANN 
 
 by the hum of a single note incessantly in his ears. He became subject 
 to hallucinations, and seemed to hear imaginary voices calling to him, 
 sometimes chiding him. One night he started from sleep crying that 
 Schubert and Mendelssohn had in a dream brought him a theme. This 
 theme he transcribed, and his last composition was a set of pianoforte 
 variations based upon it. Symptoms were, indeed, only too manifold 
 
 of the impending doom of this master- 
 musician. He was more than ever 
 subject to the ' mortal anguish of mind ' 
 that had occasionally fallen upon 
 him in the course of his illness, often 
 checked, but never to be denied. 
 
 In the intervals of the malady 
 Schumann was in full command of 
 his faculties, and knew and said that 
 he ought to enter an asylum. In 
 February 1854 came the collapse. 
 He was conversing with a couple of 
 friends, apparently in good spirits, 
 when he suddenly rose, and without 
 a word quitted the room. As he did 
 not reappear the alarm was given, 
 and it was then found that the un- 
 happy man had flung himself from the 
 bridge into the Rhine. He was rescued 
 by some boatmen and conveyed to 
 his home, where, after a temporary 
 recovery, he again essayed com- 
 position. It was then, in fact, that 
 he finished the fifth and last of the 
 pianoforte variations above referred to. 
 It is tragic to think of the last two years of this generous-hearted 
 man being spent in an asylum. It was at Endenich near Bonn ; and 
 there he died at the age of forty-six, on the 29th July 1856. 
 
 GRAVESTONE OF ROBERT AND CLARA SCHUMANN 
 AT BONN. 
 
 A monument of stone, erected to his memory, stands in the church- 
 yard at Bonn — a fitting tribute ; but his real monument must always 
 
SCHUMANN 23 
 
 be his works, those ' things of beauty ' that he gave so freely and so 
 finely. 
 
 ' A thing of beauty is a joy for ever : 
 Its loveliness increases ; it will never 
 Pass into nothingness.' 
 
 We have seen how, when Schumann discovered the Schubert C major 
 Symphony in 1838, he immediately dispatched it to Mendelssohn, for 
 production under his sympathetic direction. Mendelssohn also produced 
 Schumann's orchestral and chamber music with enthusiasm ; and 
 although, at the outset of their friendship, he was inclined to value 
 Schumann's literary criticism more highly than his music, there is no 
 doubt but that, as time went on and Schumann produced his Lieder and 
 worked in the larger forms, Mendelssohn thoroughly appreciated his 
 friend's genius. In the last few years of Schumann's activities there 
 was some danger of their friendship being spoiled by the over-zeal of the 
 supporters of their two distinct musical genres. It had become the 
 fashion, especially in Leipzig, to take sides, and champion the claims of 
 the one or the other to supremacy. How galling this must have been to 
 the two friends can well be imagined, for each camp unfortunately thought 
 it necessary to decry and abuse the other. In the diary of Moscheles we 
 find in the year 1849 : ' O clique ! As if in the town where the genius 
 of a Schumann is honoured it were necessary to cry down a Mendelssohn 
 as pedantic and inferior to him.' 
 
 We have of course seen much the same kind of thing to-day, but in 
 the case of the two friends the dispute seems to have terminated in the 
 music of both being almost totally neglected in the Germany of to-day. 
 
 Robert Schumann's great love of poetry has been dwelt upon in this 
 monograph for this reason : for Schumann to read poetry that moved him 
 was for him to turn forthwith to composition. Was it a song, the words 
 were fitted with a perfect phrase ; was it to be an instrumental piece, 
 the essence of the poem was seized and embodied in the music. 
 How largely extemporisation entered into his methods has already been 
 suggested. Poetry was the root and spirit of his music. The poetic 
 value of the aspect of music was the gospel that he set himself to preach 
 
24 SCHUMANN 
 
 in the Neue Zeitschrift, and he never failed to dwell upon it throughout 
 the ten years during which he wrote for the paper. 
 
 It was chiefly in his inimitable Lieder that he carried out his theories. 
 None but a poet could have done it, for it was done without intention ; 
 it was simply his natural mode of expression. As in his pianoforte music, 
 his songs stand aloof and apart from other songs. His personal touch 
 is so absolutely individual to himself ; the piano accompaniments, while 
 infinitely varied in structure and figure, have all the Schumann breadth 
 and richness ; the voice is treated frequently in an unusual and instru- 
 mental manner, and it is undoubtedly largely to this cause that one must 
 attribute the neglect from which many of his extraordinarily beautiful 
 songs suffer. 
 
 We have seen that Schumann was a rapid worker, much at the 
 mercy of his always vivid imagination. Beginning with the pianoforte as 
 his first instrument he made it his instrument : he never lost his affection 
 for it, nor his mastery in writing for it, and while he said at one time that 
 it was no longer big enough for his ideas, his invention, in my opinion, 
 never showed itself more inspired than in the compositions in which the 
 pianoforte plays chief part. Upon its importance in his Lieder I need 
 not dwell ; but apart from the G minor Pianoforte Sonata and the other 
 music written for the instrument alone, let us call to witness the inspired 
 Quintet, the Quartet in E flat only standing one whit below it, and the 
 superb Pianoforte Concerto. 
 
 Clara Schumann 
 
 No account of the life of Robert Schumann can be complete without 
 something more than a passing note upon the brilliant girl that brought 
 him his life's happiness, the sweet woman who with unsurpassable 
 sympathy and understanding did so much both to further his art and to 
 sweeten his home life. 
 
 Clara Josephine Wieck was born at Leipzig on the 13th of September 
 1819, and was thus nine years junior to her husband. 
 
 From her earliest childhood she was apparently destined to become 
 a professional pianist. Her father, Friedrich Wieck, was well known as 
 a teacher of the instrument, and under his guidance his little daughter 
 
SCHUMANN 
 
 25 
 
 made such rapid progress that in 1828, at the age of nine, she was allowed 
 to make a public appearance. Her reputation as a precociously advanced 
 child pianist had already aroused interest in the musical circles of her 
 native town, and it was more than confirmed by her performance. 
 
 In November 1830 she gave a concert at the Gewandhaus, and 
 even produced on that occasion a composition from her own pen, a set 
 of variations upon an original 
 theme. Her father exercised a 
 wise discretion in arranging the 
 programme, confining the child 
 to the execution of bravura 
 numbers. Her performance was 
 much praised by the critics and 
 by the public, and her fame as 
 a prodigy began to extend over 
 a wider range. 
 
 The following couple of 
 years saw her first appearances 
 in Weimar, Cassel, Frankfurt, 
 and Paris. On her return to 
 Leipzig with the prestige of her 
 successful tour, she gave two 
 more concerts, at one of which 
 she introduced Chopin's Varia- 
 tions upon ' La ci darem.' 
 
 It is interesting to notice 
 that Robert Schumann had 
 shortly before published in the 
 Neue Zeitschrift an enthusiastic appreciation of this composition. 
 
 From the autumn of 1832 her name appears regularly in the cele- 
 brated Gewandhaus Subscription Concerts, when we find her taking 
 part with Mendelssohn and Rakemann in Bach's triple Pianoforte 
 Concerto. 
 
 In 1836 she paid a visit to Vienna, where she made a most successful 
 appearance, and where she was rewarded with the distinction of ' Konig- 
 liche Kammer-Virtuosin.' 
 
 At the age of seventeen Clara was, quite apart from her musical 
 
 CLARA SCHUMANN - . 
 
26 SCHUMANN 
 
 accomplishments, an exceedingly attractive girl. Schumann was then 
 twenty-six, and their affectionate regard for one another could not long 
 escape her father's notice. ' The course of true love never did run smooth,' 
 but fortunately few couples have to combat such opposition as the 
 laws of Germany enabled Friedrich Wieck to throw in their way. He 
 was compelled, however, to give way in the end. 
 
 ' So far as anything human can be,' wrote Dr. Philipp Spitta in his 
 admirable monograph, ' the marriage was perfectly happy. Besides 
 their genius, both husband and wife had simple domestic tastes, and were 
 strong enough to bear the admiration of the world without becoming 
 egotistical. They lived for one another and for their children. He 
 created and wrote for his wife in accordance with her temperament ; 
 while she looked upon it as her highest privilege to give the world the most 
 perfect interpretation of his works, or at least to stand mediatrix between 
 him and his audience, and to ward off all disturbing or injurious im- 
 pressions from his sensitive soul. The deep joy of his married life pro- 
 duced the direct result of a mighty advance in his artistic progress.' In 
 short, it may fairly be said that she was the ideal wife for him, and one 
 may borrow a simile from Tennyson, and say that she ' set herself ' to him 
 
 ' Like perfect music unto noble words.' 
 
 The various concert tours that Madame Schumann made with her 
 husband have been already referred to, and those of us who heard her 
 interpret his music know how absolutely unique was her presentation of 
 it. She was indeed a great pianist and a great artist. Her first visit 
 to England was made in 1856, when she appeared at a London Philhar- 
 monic and several other concerts, including in her recital programme her 
 husband's 4 Carneval Scenes,' and her own variations upon a theme of 
 his. At this time her husband had been for two years at the asylum at 
 Endenich, and hurriedly returning there from London she found herself 
 beside his deathbed. 
 
 One can scarcely imagine what this sensitive, highly strung woman 
 must have had to suffer throughout the last years of her husband's life, 
 as with failing health, and with the constant recurrence of the premonition 
 of his tragic end, he became more and more at the mercy of his unstrung 
 nerves. 
 
 After her husband's death, Madame Schumann removed with her 
 
SCHUMANN 27 
 
 family to her mother's house in Berlin, and until 1863, when she made 
 her home in Baden Baden, the Prussian capital was her headquarters. 
 
 Her fame as a pianist had already spread over the European con- 
 tinent ; but her style was at once so personal, so distinctive, and 
 restrained that in England the success of her first visit had been but 
 moderate. It was therefore not until nine years later that she again 
 came to this country. 
 
 In the interim Schumann's music had become more widely known 
 and appreciated here, and at her reappearance at a series of concerts in 
 London, she was acclaimed at her true worth, and recognised as one of 
 the greatest of all pianists. As a popular favourite she henceforward 
 came here year by year, scarcely interrupting the series of her annual 
 visits until the end of her career. 
 
 Her repertoire was an extensive one, covering practically the whole 
 range of the best music written for her instrument. When playing with 
 an orchestra or string quartet, her instinct for balance, for helping the 
 whole effect, for blending and differentiating the tone-colour of her 
 instrument with or from the whole body of sound according to the special 
 requirements of the music, was as distinguished as it was unerring. Her 
 touch was the most delicate imaginable, and there was something about 
 it that gave one the impression that she was caressing the keys ; yet she 
 had power too, but with never a harsh tone. She had the rare gift of 
 subordinating herself and her technique to the poetic content of the 
 music. She did not play it, she interpreted it. One could not hear her 
 without amazement at the magic she extracted from the simplest groups 
 of notes. She possessed what Elizabeth Barrett Browning expressed 
 as the 
 
 delight 
 And triumph of the poet, — who would say 
 A man's mere "yes," a woman's common "no," 
 A little human hope of that or this, 
 And says the word so that it burns you through 
 With a special revelation, . . . 
 As if one came back from the dead and spoke, 
 With eyes too happy, a familiar thing 
 Become divine f the utterance ! ' 
 
 It is not too much to say that at her hands Robert Schumann's music 
 became ' divine i' the utterance.' 
 
28 SCHUMANN 
 
 As a teacher of the instrument Madame Schumann was very success- 
 ful ; she passed on to her pupils her own technique and such of the 
 tradition of her husband's music as is able to be imparted. It was also 
 her pleasure to coach singers in the rendering of her husband's songs, 
 many of which contain subtle vocal difficulties not easy to master. As 
 a composer Madame Schumann's attention was not unnaturally turned 
 chiefly to music for her own instrument. Her compositions include a 
 set of ■ Soirees Musicales ' (ten pieces) ; three sets of Variations ; six 
 Romances ; three Preludes and Fugues ; a number of songs, all of serious 
 purpose, and some of them very beautiful ; and a Trio for strings and 
 piano. 
 
 When not upon concert tours Madame Schumann continued to reside 
 in Baden Baden until 1874. Soon after this she became principal teacher 
 of the piano at the Conservatoire at Frankfurt. 
 
 Amongst the pupils of Madame Schumann who have attained much 
 success as pianists in this country may be mentioned Miss Janotha, 
 Miss Fanny Davies, Miss Ilona Eibenschiitz (Mrs. Derenburg), Miss Adelina 
 de Lara, and Mr. Leonard Borwick. 
 
 Madame Schumann died 20th May 1896. 
 
 Landon Ronald. 
 
 LtWI * tiXTDOMI fUXXHt Lf». WlUUDW JUNCTION. N.W. 1Mb 
 
THE CONCERT EDITION of 
 
 STANDARD AND TRADITIONAL 
 
 BRITISH SONGS 
 
 REVISED WITH 
 
 New Accompaniments by G. H. Clutsam. 
 
 THESE wonderful old Songs, with their magic appeal and priceless fount of melody, are the choicest gems in the national 
 heritage of art. Their fragrant beauty has been enhanced by the scholarly accompaniments written by 
 Mr. G. H. Clutsam. These accompaniments are modern in spirit, and varied according to the character or the 
 words, and yet are written with due reverence for the traditions surrounding each song. 
 
 Beautiful engraving, beautiful printing on superfine paper, make this edition one to be prized and cherished. Invaluable 
 for teaching, an aid to interpretation, and a treasury unmatched in the annals of music publishing. 
 
 In Two Keys— HIGH and LOW Voices— 2/- each net. 
 
 FIRST SERIES 
 
 SECOND SERIES 
 
 The Banks of Allan Water 
 
 26. 
 
 Kelvin Grove 
 
 Sally in our AHey 
 
 27. 
 
 The Harp that once 
 
 The Bonnie Banks of Loch Lomond 
 
 28. 
 
 Home, Sweet Home 
 
 The Bailiffs Daughter of Islington 
 
 29. 
 
 Green grow the Rashes, O ! 
 
 Ye Banks and Braes 
 
 30. 
 
 The pretty girl milking her cow 
 
 Drink to me only with thine eyes 
 
 31. 
 
 Brien the brave 
 
 Caller Herrin' 
 
 32. 
 
 The three ravens 
 
 Robin Adair 
 
 33. 
 
 Oft in the stilly night 
 
 Jock o' Hazeldean 
 
 34. 
 
 Mary Morison 
 
 Comin' thro' the Rye 
 
 35. 
 
 The Bonny Brier Bush 
 
 Come, lasses and lads 
 
 36. 
 
 Land o' the Leal 
 
 The Lass of Richmond Hill 
 
 37. 
 
 Shule Agra 
 
 Barbara Allen 
 
 38. 
 
 John Anderson, my Joe 
 
 The Minstrel Boy 
 
 39. 
 
 Mary of Argyle 
 
 Oh, the Oak and the Ash 
 
 40. 
 
 Afton Water 
 
 Silent, Oh Moyle 
 
 41. 
 
 Kathleen O'More 
 
 Within a Mile of Edinboro' Town 
 
 42. 
 
 Turn ye to me 
 
 Tom Bowling 
 
 43. 
 
 Bay of Biscay 
 
 Down among the Dead Men 
 
 44. 
 
 Believe me, if all those endearing young charms 
 
 Here's to the Maiden of Bashful Fifteen 
 
 45. 
 
 The Young May Moon 
 
 The Meeting of the Waters 
 
 46. 
 
 The Auld House 
 
 Charlie is my Darling 
 
 47. 
 
 The Cruiskeen Lawn 
 
 The Leather Bottel 
 
 48. 
 
 Blue Bonnets 
 
 Annie Laurie 
 
 49. 
 
 The Vicar of Bray 
 
 Here's a Health unto His Majesty 
 
 50. 
 
 Fine old English Gentleman 
 
 A FEW OPINIONS. 
 
 SIR HENRY J. WOOD.-" They are really ex- 
 cedent, and were sadly needed. I shall certainly 
 teach them to my pupils " 
 
 THE SPECTATOR.—" In concert rooms we frequently 
 suffer from the clumsy chordal accompaniments which some 
 pianists fit to old songs, and Mr. Clutsam's settings will be 
 welcomed as satisfying a long-felt want. 
 
 " His accompaniments are simple and musicianly, and 
 although written specially for the concert room, they will 
 present no difficulties to an ordinary pianist." 
 
 THE MUSICAL TIMES.— "The charm of these old 
 songs is maintained intact by Mr. Clutsam's discriminative 
 welding of tune and accompaniment. He has done this 
 with great economy of means, and has avoided monotony 
 by skilfully varying his setting of different verses, and yet 
 preserving their simplicity." 
 
 MUSICAL OPINION.—" Taken as a whole, the collec- 
 tion forms a golden treasury of song such as the competent 
 vocalist cannot afford to ignore. 1 1 is seldom that we find 
 instruction and pleasure so agreeably blended." 
 
 MURDOCH, MURDOCH 81 Co., London, W.l. 
 
THE MAYFAIR 
 
 CLASSICS 
 
 PIANOFORTE 
 
 PIECES. 
 
 Annotated and fingered by 
 
 
 Annotated and fingered by 
 
 F. CORDER, F.R.A.M. 
 
 
 FELIX SWINSTEAD, F.RJUH. 
 
 1. ARENSKY Basso Ostinato, Op. 5, No. 5. 
 
 28. 
 
 PARAD1ES. Toccata 
 
 2. .. Etude, Op. 41. No. 2. 
 
 29. 
 
 RACH MAN 1 NOFF. S. Prelude in C$ minor, 
 
 Op. 3, No. 2. 
 RAFF, J La Fileuse. Op. 157, No. 2. 
 
 3. BACH, P. E. Solfegietto 
 
 30. 
 
 4. BEETHOVEN. Andante in F 
 
 31. 
 
 Polka de la Reine, Op. 95. 
 
 6. „ Two Sonatinas (F & C) 
 
 32. 
 
 Fabliau. Op. 75. No 2. 
 
 6. BENDEL.F. Spinning Wheel 
 
 33. 
 
 RUBINSTEIN, A. Romance in E Hat. 
 
 7. CHOPIN, F. Valse in D flat, Op. 64, No. 1 
 
 
 Op. 44, No. 1. 
 
 8. .. Nocturne in E flat, Op. 9, No 2. 
 
 34. 
 
 Melody in F, Op. 3, No. 1. 
 
 9. „ Berceuse in D flat, Op. 57. 
 
 35. 
 
 Romance in F, Op. 26, No. 1. 
 
 JO. „ Etude in G flat, Op. 10, No. 5. 
 
 36. 
 
 „ Valse Caprice 
 
 11. DAQU1N. LeCoucou 
 
 37. 
 
 SCARLATTI (Tausig). Pastorale 
 
 12. CADE. N. W. Ring-Dance 
 
 38. 
 
 „ Capriccio 
 
 13. HENSELT. A. Si Oiseau j'etais 
 
 39. 
 
 SCHUBERT, F. Impromptu in G, 
 
 14. „ Song of Love 
 
 
 Op. 90, No. 3. 
 
 15. JENSEN. A. The Mill 
 
 40: 
 
 „ Impromptu in A flat, 
 
 16. m Berceuse 
 
 
 Op. 90. No. 4. 
 
 17. „ Elfin Dance & Barcarolle 
 
 41. 
 
 „ Impromptu in A flat, 
 
 Op. 142, No. 2. 
 
 „ Impromptu in B flat. 
 
 Op. 142, No. 3. 
 
 18. KJERULF, H. Lullaby. Op. 4, No. 3. 
 t9. LISZT, F. Love-dream in A flat 
 
 42. 
 
 20. „ La Campanella 
 
 43. 
 
 SCHUMANN. R. Whims, Op. 12, No. 4. 
 
 21. n Consolation in D flat 
 
 44. 
 
 „ M Dreaming," and " Why ?" 
 
 22.. „ Etude de Concert in D flat. No. 3 
 
 
 Op. 15, No. 7. Op. 12, No. 3. 
 
 23. „ Devotion (Schumann) 
 
 45. 
 
 TSCHAIKOWSKY. P. Barcarolle. Op. 37, No. 6. 
 
 24. .. Evening Star (Wagner) 
 
 46. 
 
 M Chant Sans Paroles, 
 
 25. MAYER. C. La Grace 
 
 
 Op. 2, No. 3. 
 
 26. MENDELSSOHN. Spring Song 
 
 47 
 
 Chanson Triste, 
 
 27. „ Andante & Rondo | 
 Capriccioso, Op. 14. J 
 
 
 Op. 40. No. 2. 
 
 48. 
 
 WEBER. CM. Invitation a la Valse. Op. 65. 
 
 51. LISZT. Rose Softly Blooming (Spohr) 
 
 49. 
 
 Moto Perpetuo, Op. 34. 
 
 52. BEETHOVEN. Adagio (Sonate Pathetique) 
 
 50. 
 
 Polacca Brillante, Op. 72. 
 
 63. MENDELSSOHN. Duetto (Songs without 
 words No. 18) 
 
 54. „ Scherzo in E minor, 
 
 Op. 16. No. 2. 
 
 65. „ Prelude in E minor. 
 
 Op. 35. No. 1. 
 
 56. 
 
 RUBINSTEIN. 3rd Barcarolle in C minor 
 
 57. 
 
 „ Staccato Study in C, 
 
 Op. 23, No. 2. 
 
 sa 
 
 SCHUBERT. Minuet (in B minor) from 
 
 Sonata Op. 78. 
 
 60. SCHUMANN. Nocturne in F. Op. 23, No. 4. 
 
 59. 
 
 „ Moment Musical, Op. 94. No. 3. 
 
 61. „ Soaring (Aufschwung) 
 
 63. 
 
 TSCHAIKOWSKY. En Traineau. Op.37. No. 11. 
 
 62. M Novelette in E. Op. 21. No. 7 
 
 64. 
 
 ,. Romance in F minor, Op. 5. 
 
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 Symphony • •• ... ... ... 
 
 CHORAL WORKS. 
 Mater, Ora Filium— Carol for Unaccompanied Double Choir 
 
 The Garden of Fand 
 
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 November Woods 
 
 fintagel 
 
 Of a Rose I Sing— Carol for Choir, Harp, 'Cello, and Contra 
 
 Now is the time of Christymas — With Pianoforte and Flute 
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 The Boar's Head — Carol for Male Voices 
 
 This World's Joie — Unaccompanied Choir 
 
 To the Name above every Name Jesus 
 
 CHAMBER MUSIC. 
 
 First Sonata for Violin and Piano in E 
 
 Second Sonata in D for Violin and Piano 
 
 Quintet for Piano and Strings in G min 
 
 String Quartet in G 
 
 Quintet for Strings and Harp ... 
 
 Phantasy for Viola and Piano 
 
 Interlude for String Quintet 
 
 PIANOFORTE SOLOS. 
 
 Toccata 
 
 Lullaby ... ... 
 
 A Hill-Tune 
 
 Mediterranean 
 
 Burlesque 
 
 Country-Tune 
 
 First Sonata in Ff minor 
 
 Second Sonata in G 
 
 SONGS WITH PIANO. 
 
 Aspiration (R. Dehmel) 
 
 Parting (JE) ... 
 
 Green Grow the Rashes O! (Bums) (Two Keys) 
 
 Youth (Clifford Bax) 
 
 The Market Girl (Thos. Hardy) 
 
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 The Pigeons-.. 
 
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 I heard a Piper Piping (Two Keys) 
 
 Across the Door 
 
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 Three Irish Songs 
 
 Cradle Song... 
 Rann of Exile 
 Rann of Wandering 
 
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