lunatic asylum near Bonn. This second volume includes a
considerable number of business letters to his several publishers. In
one of these he confides to Dr. Haertel his plan of collecting and
revising his musical criticisms, and publishing them in two volumes.
But as this letter was, a few months later, followed by a similar one
addressed to the publisher Wigand, who subsequently printed the
essays, it is to be inferred that Breitkopf & Haertel, though assured
of the future of Schumann's compositions, doubted the financial value
of his musical essays--an attitude pardonable at a time when there was
still a ludicrous popular prejudice against literary utterances by a
musician. In 1883, however, after Wigand had issued a third edition of
the "Collected Writings on Music and Musicians" (which have also been
translated into English by Mrs. Ritter), Breitkopf & Haertel atoned for
their error by purchasing the copyright.

Schumann's letters to his publishers show that he used to suggest his
own terms, which were commonly acceded to without protest. For his
famous quintet he asked twenty louis d'or, or about $100; for
"Paradise and the Peri," $500; the piano concerto, $125; Liederalbum,
op. 79, $200; "Manfred," $250. He frequently emphasizes his desire to
have his compositions printed in an attractive style, and in 1839
writes to Haertel that he cannot describe his pleasure on receiving the
"Scenes of Childhood." "It is the most charming specimen of musical
typography I have ever seen." The few misprints he discovers in it he
frankly attributes to his MS. In a letter to his friend Rosen he
writes that "it must be a deucedly comic pleasure to read my
Sanskrit." But his musical handwriting appears to have been nearer to
Sanskrit than his epistolary, if we may judge by the specimen
fac-similes printed in Naumann's "History of Music."

The promptness with which all the leading music publishers of Germany
issued complete editions of Schumann's vocal and pianoforte
compositions, as soon as the copyright had expired, shows how
profitable they must be. But during his lifetime it was quite
otherwise, and in a letter to Kossmaly he adduces the following four
reasons for this state of affairs: "(1) inherent difficulties of form
and contents; (2) because, not being a virtuoso, I cannot perform them
in public; (3) because I am the editor of my musical paper, in which I
could not allude to them; (4) because Fink is editor of the other
p