en her father's pupil from her
tenderest childhood, but the development of her musical gifts was not
forced in such a way as to interfere with her health and the exuberance
of her spirits. The exacting teacher was also a tender father and a
man of ripe judgment, and he knew the bitter price which mere mental
precocity so frequently has to pay for its existence.

But the young girl's gifts were so extraordinary, and withal her
character so full of childish simplicity and gayety, that it was
difficult to think of her as of the average child phenomenon. At the age
of nine she could play Mozart's concertos, and Hummel's A minor Concerto
for the orchestra, one of the most difficult of compositions. A year
later she began to compose, and improvised without difficulty, for her
lessons in counterpoint and harmony had kept pace with her studies of
pianoforte technique. Paganini visited Leipzig at this period, and was
so astonished at the little Clara's precocious genius that he insisted
on her presence at all his concerts, and addressed her with the deepest
respect as a fellow-artist. She first appeared in public concert at
the age of eleven, in Leipzig, Weimar, and other places, playing Pixis,
Moscheles, Mendelssohn, Beethoven, and Chopin. The latter of these
composers was then almost unknown in Germany, and Clara Wieck, young
as she was, contributed largely to making him popular. A year later she
visited Paris in company with her father, and heard Chopin, Liszt, and
Kalkbrenner, who on their part were delighted with the little artist,
who, beneath the delicacy and timidity of the child, indicated
extraordinary powers. Society received her with the most flattering
approbation, and when her father allowed her to appear in concert her
playing excited the greatest delight and surprise. Her improvisation
specially displayed a vigor of imagination, a fine artistic taste, and
a well-defined knowledge which justly called out the most enthusiastic
recognition.

When Clara Wieck returned home, she gave herself up to work with fresh
ardor, studying composition under Heinrich Dorn, singing under the
celebrated Mieksch, and even violin-playing, so great was her ambition
for musical accomplishments. From 1836 to 1838 she made an extended
musical tour through Germany, and was welcomed as a musico-poetic ideal
by the enthusiasts who gathered around her. The poet Grillparzer spoke
of her as "the innocent child who first unlocked the casket in