me, and the mere fact that I shall then
frequently hear my own compositions will cheer me up;" and: "Your
Romance showed me once more that we must become man and wife. Every
one of your thoughts comes from my soul, even as I owe all my music
to you." To Dorn he writes that many of his compositions, including
the Noveletten, the Kreisleriana, and the Kinderscenen, were inspired
by Clara; and it is well known that his love became the incentive to
the composition, in one year, of over a hundred wonderful songs--his
previous compositions, up to 1840, having all been for the piano
alone. In the last letter of this collection he says: "Sometimes it
appears to me as if I were treading entirely new paths in music;" and
there are many other passages showing that he realized well that the
very things which his contemporaries criticised and decried as
eccentric and obscure (Hummel, _e.g._, objects to his frequent changes
of harmony and his originality!), were really his most inspired
efforts. Though he never allowed the desire for popularity to
influence his work, yet he occasionally craves appreciation. "I am
willing to confess that I should be greatly pleased if I could succeed
in composing something which would impel the public, after hearing you
play it, to run against the walls in their delight; for vain we
composers are, even though we have no reason to be so." It must have
given him a strange shock when an amateur asked him, at one of his
wife's concerts in Vienna, if he also was musical!

In her efforts to win appreciation for her husband, Clara was nobly
assisted by Liszt. Just like Wagner, Schumann was not at first very
favorably impressed with Liszt, owing to the sensational flavor of his
early performances. But he soon changed his mind, especially when
Liszt played some of his (Schumann's) compositions. "Many things were
different from my conception of them, but always '_genial_,' and
marked by a tenderness and boldness of expression which even he
presumably has not at his command every day. Becker was the only other
person present, and he had tears in his eyes." And two days later:
"But I must tell you that Liszt appears to me grander every day. This
morning he again played at Raimund Haertel's, in a way to make us all
tremble and rejoice, some etudes of Chopin, a number of the Rossini
soirees, and other things." Of other contemporary pianists Hummel,
"ten years behind the time," and Thalberg, whom he liked better as