The year 1833, was one of the most remarkable in his life so far.  Not the least important event was the establishment of the “Neue Zeitschrift fuer Musik.”  Schumann himself says of this:—­

“At the close of the year ’33, a number of musicians, mostly young, met in Leipsic every evening, apparently by accident at first, but really for the interchange of ideas on all musical subjects.  One day the young hot heads exclaimed:  ’Why do we look idly on?  Let’s take hold and make things better.’  Thus the new Journal for music began.

“The youthful, fresh and fiery tone of the Journal is to be in sharp contrast to the characterless, worn-out Leipsic criticism.  The elevation of German taste, the encouragement of young talent must be our goal.  We write not to enrich tradespeople, but to honor artists.”

Schumann took up arms in favor of the younger generation of musicians and helped make the fame of many now held in the world’s highest esteem.  Sometimes, he admits, his ardor carried him too far in recognition of youthful talent, but in the main he was very just in his estimates.  We do not forget how his quick commendation aided Brahms.

The young musicians who founded the paper had formed themselves also into an alliance, which they called the Davidsbuendlerschaft.  The idea of this alliance, which was derived from David’s war with the Philistines, seemed to exist only in the mind of Schumann himself.  It gave him a chance to write under the name of different characters, chief of whom were Florestan and Eusebius, between whom stood Master Raro.  In Florestan Schumann expressed the powerful, passionate side of his nature, and in Eusebius the mild and dreamy side.

He wrote to a friend:  “Florestan and Eusebius are my double nature, which I would gladly—­like Raro—­melt down into one man.”  As time passed however, he made less and less use of these fanciful images until they finally seemed to fade out of his mind.

An important event of 1834, was Schumann’s acquaintance with Ernestine von Fricken, who came to Leipsic from the little town of Asch, on the Bohemian border.  She lived at the Wiecks’, expecting to become a pianist under Papa Wieck’s tuition.  Schumann became greatly interested in Ernestine and for some time he had in mind an engagement with her.  The noble “Etudes Symphoniques” were written this year.  The theme was suggested by Ernestine’s father.  The “Carnival” was partly written in this year, but not completed till the following year.  In this collection of charming short pieces he brings in the characters of his dreams,—­Florestan, Eusebius, Chiarina (Clara), Estrella (Ernestine).  There is the March against the Philistines, and the titles of many other of the little pieces are characteristic.  It is a true Schumann composition, full of his traits.  Here we have the sweet, graceful, elegant and the very humorous and comical finale.

The tone creations of 1835 consist of the two Sonatas, F sharp minor, Op. 11 and G minor, Op. 22, which are held by pianists to be among his most interesting and poetical works.