THE SCHUMANNS AND CHOPIN.

Robert Schumann’s Place as a National Composer.—­Peculiar Greatness as a Piano-forte Composer.—­Born at Zwickau in 1810.—­His Father’s Aversion to his Musical Studies.—­Becomes a Student of Jurisprudence in Leipzig.—­Makes the Acquaintance of Clara Wieck.—­Tedium of his Law Studies.—­Vacation Tour to Italy.—­Death of his Father, and Consent of his Mother to Schumann adopting the Profession of Music.—­Becomes Wieck’s Pupil.—­Injury to his Hand which prevents all Possibilities of his becoming a Great Performer.—­Devotes himself to Composition.—­The Child, Clara Wieck—­Remarkable Genius as a Player.—­Her Early Training.—­Paganini’s Delight in her Genius.—­Clara Wieck’s Concert Tours.—­Schumann falls deeply in Love with her, and Wieck’s Opposition.—­His Allusions to Clara in the “Neue Zeit-schrift.”—­Schumann at Vienna.—­His Compositions at first Unpopular, though played by Clara Wieck and Liszt.—­Schumann’s Labors as a Critic.—­He marries Clara in 1840.—­His Song Period inspired by his Wife.—­Tour to Russia, and Brilliant Reception given to the Artist Pair.—­The “Neue Zeitschrift” and its Mission.—­The Davidsbund.—­Peculiar Style of Schumann’s Writing.—­He moves to Dresden.—­Active Production in Orchestral Composition.—­Artistic Tour in Holland.—­He is seized with Brain Disease.—­Characteristics as a Man, as an Artist, and as a Philosopher.—­Mme. Schumann as her Husband’s Interpreter.—­Chopin a Colaborer with Schumann.—­Schumann on Chopin again.—­Chopin’s Nativity.—­Exclusively a Piano-forte Composer.—­His Genre as Pianist and Composer.—­Aversion to Concert-giving.—­Parisian Associations.—­New Style of Technique demanded by his Works.—­Unique Treatment of the Instrument.—­Characteristics of Chopin’s Compositions.

THALBERG AND GOTTSCHALK.

Thalberg one of the Greatest of Executants.—­Rather a Man of Remarkable Talents than of Genius.—­Moseheles’s Description of him.—­The Illegitimate Son of an Austrian Prince.—­Early Introduction to Musical Society in London and Vienna.—­Beginning of his Career as a Virtuoso.—­The Brilliancy of his Career.—­Is appointed Court Pianist to the Emperor of Austria.—­His Marriage.—­Visits to America.—­Thalberg’s Artistic Idiosyncrasy.—­Robert Schumann on his Playing.—­His Appearance and Manner.—­Characterization by George William Curtis.—­Thalberg’s Style and Worth as an Artist.—­His Piano-forte Method, and Place as a Composer for the Piano.—­Gottschalk’s Birth and Early Years.—­He is sent to Paris for Instruction.—­Successful Debut and Publie Concerts in Paris and Tour through the French Cities.—­Friendship with Berlioz.—­Concert Tour to Spain.—­Romantic Experiences.—­Berlioz on Gottschalk.—­Reception of Gottschalk in America.—­Criticism of his Style.—­Remarkable Success of his Concerts.—­His Visit to the West Indies, Mexico, and Central America.—­Protracted Absence.—­Gottschalk on Life in the Tropics.—­Return to the United States.—­Three Brilliant Musical Years.—­Departure for South America.—­Triumphant Procession through the Spanish-American Cities.—­Death at Rio Janeiro.—­Notes on Gottschalk as Man and Artist.