composer the very
beauties of whose songs had hitherto been fatal to his general success.
During this period of Schumann's life the most important works he
composed were the "Etudes Symphoniques," the famous "Carnival" dedicated
to Liszt, the "Scenes of Childhood," the "Fantasia" dedicated to Liszt,
the "Novellettes," and "Kreisleriana." As he writes to Heinrich Dorn:
"Much music is the result of the contest I am passing through for
Clara's sake." Schumann's compositions had been introduced to the public
by the gifted interpretation of Clara Wieck, with whom it was a labor of
love, and also by Franz Liszt, then rising almost on the top wave of his
dazzling fame as a virtuoso. Liszt was a profound admirer of the less
fortunate Schumann, and did everything possible to make him a favorite
with the public, but for a long time in vain. Liszt writes of this as
follows: "Since my first knowledge of his compositions I had played many
of them in private circles at Milan and Vienna, without having succeeded
in winning the approbation of my hearers. These works were, fortunately
for them, too far above the then trivial level of taste to find a home
in the superficial atmosphere of popular applause. The public did not
fancy them, and few players understood them. Even in Leipzig, where I
played the 'Carnival' at my second Gewandhaus concert, I did not
obtain my customary applause. Musicians, even those who claimed to be
connoisseurs also, carried too thick a mask over their ears to be able
to comprehend that charming 'Carnival,' harmoniously framed as it is,
and ornamented with such rich variety of artistic fancy. I did not
doubt, however, but that this work would eventually win its place in
general appreciation beside Beethoven's thirty-three variations on a
theme by Diabelli (which work it surpasses, according to my opinion, in
melody, richness, and inventiveness)." Both as a composer and writer on
music, Schumann embodied his deep detestation of the Philistinism and
commonplace which stupefied the current opinions of the time, and he
represented in Germany the same battle of the romantic in art against
what was known as the classical which had been carried on so fiercely in
France by Berlioz, Liszt, and Chopin.

III.

The year 1840 was one of the most important in Schumann's life. In
February he was created Doctor of Philosophy in the University of Jena,
and, still more precious boon to the man's heart, Wieck's objections to