both from a
technical and poetic standpoint, is shown in such works as the
"_Etudes Symphoniques_," the "_Kreisleriana_," and the concerto in A
minor. The first of these works is regarded by many as the most
satisfactory of any of this author's works. It consists of an air,
nine variations and a finale which is in rondo form. The variations,
however, are fantasies rather than variations, the theme itself
appearing very little in any of them, and in some of them not at all.
It would be impossible to find within the same compass a similar
number of pages covering so wide a range of beautiful pianoforte
effects, and highly suggestive and poetic music. In the fantasia in C,
Schumann's fancy takes on a more serious mood. He treats the piano
with great freedom, requiring of the player a powerful touch and much
refinement of tone-color, as well as a style of technique which he
himself has largely created. The second movement of this, the march
tempo, represents Schumann's imagination in a forcible light in two
directions--its bold, strong moods, and its deeply subjective,
meditative activity. The "_Kreisleriana_" consists of eight fantasies
named after an old schoolmaster near Leipsic, noted for his
eccentricities. This work was coldly received when first produced, but
later has become very popular. The best movements are the first and
second, but the entire work is strong. The concerto in A minor is by
no means a show piece for the piano, but an extremely vigorous and
poetic improvisation, in which the solo and orchestral instruments
answer each other, and work together in a furor of inspiration.

The entire art of modern piano playing is indebted to Schumann for
some of its most impressive elements. He was fond of playing with the
dampers raised, and might well contest the honor with Liszt of having
originated the modern style of pedal legato as distinguished from the
finger legato of Chopin and all the early writers. He seems to have
discovered the touch which Mason called elastic; that made by shutting
the hand and at the same allowing the wrist to remain flexible. In
quite a number of his pieces this effect is very marked, as the first
number of "_Kreisleriana_," the first of the "Night Pieces," and
especially the fourth of these, where the chords are purposely spread
beyond the octave, in order to necessitate their being struck with the
finger and arm touch combined, in the same manner as that illustrated
on a larger s