FOOTNOTES:[3]"Early Letters of Robert Schumann," trans. by M. Herbert, London, 1888, pp. 113, 118.[4]In German the terminology of letters standing for tones is richer than in English. B is our B-flat, while H stands for our B-natural; Es is E-flat; As, A-flat, etc.[5]See page 128 for Schumann's comment on this motto.[6]The remarkable story of this courtship is told at length in "Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, Zweiter Band, Leipsic, 1906. It has also been vividly sketched in English by Mr. Richard Aldrich, in an article inMusic, vol. 18.[7]Eve of a wedding day.[8]H, it will be remembered, stands in German for the note B-natural, which makes the musical interval of a fifth with E.[9]"Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, 1903-1906.[10]"The Symphony since Beethoven," Eng. trans., p. 31.[11]See the Adagio of the Quartet, opus 41, no. 1. The accompaniment is essentially a piano accompaniment, transcribed for 'cello and viola; but without the pedal it lacks fluidity.[12]"Studies in Modern Music," First Series, Essay on Schumann, p. 213.[13]Essay on Schubert, p. 98.
FOOTNOTES:[3]"Early Letters of Robert Schumann," trans. by M. Herbert, London, 1888, pp. 113, 118.[4]In German the terminology of letters standing for tones is richer than in English. B is our B-flat, while H stands for our B-natural; Es is E-flat; As, A-flat, etc.[5]See page 128 for Schumann's comment on this motto.[6]The remarkable story of this courtship is told at length in "Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, Zweiter Band, Leipsic, 1906. It has also been vividly sketched in English by Mr. Richard Aldrich, in an article inMusic, vol. 18.[7]Eve of a wedding day.[8]H, it will be remembered, stands in German for the note B-natural, which makes the musical interval of a fifth with E.[9]"Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, 1903-1906.[10]"The Symphony since Beethoven," Eng. trans., p. 31.[11]See the Adagio of the Quartet, opus 41, no. 1. The accompaniment is essentially a piano accompaniment, transcribed for 'cello and viola; but without the pedal it lacks fluidity.[12]"Studies in Modern Music," First Series, Essay on Schumann, p. 213.[13]Essay on Schubert, p. 98.
FOOTNOTES:
[3]"Early Letters of Robert Schumann," trans. by M. Herbert, London, 1888, pp. 113, 118.
[3]"Early Letters of Robert Schumann," trans. by M. Herbert, London, 1888, pp. 113, 118.
[4]In German the terminology of letters standing for tones is richer than in English. B is our B-flat, while H stands for our B-natural; Es is E-flat; As, A-flat, etc.
[4]In German the terminology of letters standing for tones is richer than in English. B is our B-flat, while H stands for our B-natural; Es is E-flat; As, A-flat, etc.
[5]See page 128 for Schumann's comment on this motto.
[5]See page 128 for Schumann's comment on this motto.
[6]The remarkable story of this courtship is told at length in "Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, Zweiter Band, Leipsic, 1906. It has also been vividly sketched in English by Mr. Richard Aldrich, in an article inMusic, vol. 18.
[6]The remarkable story of this courtship is told at length in "Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, Zweiter Band, Leipsic, 1906. It has also been vividly sketched in English by Mr. Richard Aldrich, in an article inMusic, vol. 18.
[7]Eve of a wedding day.
[7]Eve of a wedding day.
[8]H, it will be remembered, stands in German for the note B-natural, which makes the musical interval of a fifth with E.
[8]H, it will be remembered, stands in German for the note B-natural, which makes the musical interval of a fifth with E.
[9]"Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, 1903-1906.
[9]"Clara Schumann, Ein Künstlerleben," by Berthold Litzmann, 1903-1906.
[10]"The Symphony since Beethoven," Eng. trans., p. 31.
[10]"The Symphony since Beethoven," Eng. trans., p. 31.
[11]See the Adagio of the Quartet, opus 41, no. 1. The accompaniment is essentially a piano accompaniment, transcribed for 'cello and viola; but without the pedal it lacks fluidity.
[11]See the Adagio of the Quartet, opus 41, no. 1. The accompaniment is essentially a piano accompaniment, transcribed for 'cello and viola; but without the pedal it lacks fluidity.
[12]"Studies in Modern Music," First Series, Essay on Schumann, p. 213.
[12]"Studies in Modern Music," First Series, Essay on Schumann, p. 213.
[13]Essay on Schubert, p. 98.
[13]Essay on Schubert, p. 98.