With the autumn 1833, Schumann undergoes a serious depression. Its infirmity, all its disappointed hopes are not foreign with its disease. It is the prey of unreasoned phobias.
When the cholera falls down on Germany, he wants to flee in France, in Italy. He is so much out of him, that
his mother tries to reason it.
The death of his Julius brother and his Rosalie sister-in-law, whom he adored, increases her maniaco-depressive neurosis.
In the night of October 17 it feels to become insane and tries to be thrown by the window. These years of crises, are not sterile for as much. Schumann assumes its career of musician and composes unceasingly.
Its first works variations ABEGG conceived at Wieck are published in September 1831. Their smoothness carries already the mark of Schumann, even if they still remain in the style of Weber. With Butterflies
Op 2, studies according to the Whims of Paganini Op 3, and Toccata Op 7, Schumann explores the resources of the instrument.
Schumann dominates little by little its distress, and overcomes its crisis.
In 1833 it founds a musical review “Neue Zeitschrift für Music” whose first number will appear in 1834.
At that time Clara does not have which 14 years and even if Robert is filled with wonder by the extraordinary gifts at the young girl, even if it is moved in his presence it has considers it of his own consent:
“neither like a sister, nor like a friend, but like a pilgrim with the Madonna”.
Still not knowing what occurs in him, it becomes engaged to another young pianist Ernestine von Fricken in September 1834, for which it composes Carnival
Op 9, in which one recognizes without sorrow the hardly masked characters. Ernestine is Estrella and Clara hides under the mask of
Since 1835, for lack of real affinities, both been engaged separate.
From this moment, Clara will be for always in the center of the life of Robert.
At that time, Clara is already an accomplished artist. She gives many recitals abroad and with each separation, the feelings of Schumann in its connection become increasingly impassioned.
When in April 1835, Clara returns from Paris, Schumann discovers its love suddenly. He realizes then, which Ernestine did nothing but prepare the arrival of Clara.
During the summer, the letters exchanged between Clara and Robert pass the tone of the intimacy to that of passion. In February 1836, the death of the mother of Schumann leaving it only, will hasten the course of the feelings of the two in love
But Wieck intervenes with roughness. It moves away Clara and sends it to Dresden. Schumann which is not prepared with this opposition, remains disabled. It does not
It was to know little about the Wieck father who had placed all his ambitions on his daughter. It prohibits any correspondence and any interview. It calumny and Schumann insult.
Without news of sound liked, Robert thinks of forgetting it, of giving up. He feels
During these four years of waiting and suffering, Schumann composes of major works like imagination op.17, true monument of the romantic pianistic literature, as well as the scenes of children
Op 15 and Kreisleirianas, feverishly tormented.
These works will make burst the traditional form where Schumann feels with narrow to express its passion for Clara.
At the head of imagination Op 17, he writes:
“To interpret in a fantastic and impassioned way! ”.
and in Clara he writes in 1839 about imagination
“It is a long cry of love towards
After one year and half of separation, Clara returns to Leipzig. Now it is sure of its feelings. With the concert which it gives on August 13 to Gewwandaus, it does not hesitate to register with the program four of the symphonic studies, public proof of its love for Robert.
And sudden, always also sure of it even, it pronounces “yes” passionately wished by Schumann.
“If short note which wants to say so
In 1839, Robert and Clara assign Wieck in front of the Court, by a request of June 15. It compared only on December 18 and it is only on August 1, 1840 that the court authorizes the
On September 12, Clara Wieck becomes Clara Schumann in the church of the small village of Schoënfeld.
It will go to Vienna in 1838, where it will compose its second carnival, the Carnival of Vienna
Op 26, in which it will denounce all kinds of censure, by introducing like a provocation the topic of the Marseillaise.