CLARA SCHUMANN AN ARTIST'S LIFE BASED ON MATERIAL FOUND IN DIARIES AND LETTERS by BY BERTHOLD LITZMANN. Originally published in 1913. TRANSLATOR'S PREFACE: The task of translation can never be a light one, since every language has not only its own peculiar shades of meaning, but also its own peculiar charm a fragrance which evaporates as soon as the national frontier is crossed. This is especially true of the German of Robert Schumann. His delicate, poetic imagination found perfect expression in the language of his hero, Jean Paul, and the endeavour to render his love letters, and still more his poems, in another tongue is foredoomed to failure; the original words alone fitly express the poet's thought In the following pages an attempt has been made to give as far as possible the spirit of the German, but only a poet could hope for success in such an enterprise, and I am conscious of many shortcomings. It is with great pleasure and the warmest gratitude that I acknowledge my indebtedness to Miss BL C. Deneke and to Miss Eugenie Schumann, , both of whom read through the manuscript and gave me much valuable advice and criticism. Miss Schumann went through the translation word by word, and to her never wearying patience and consideration is due whatever in it there may be of good. It was unfortunately found necessary to turn the original three volumes into two in the English edition, and by so doing the balance of the whole had necessarily to be re adjusted. Prof. Litzmann in his prefaces explains the principle which underlies the whole work. I have endeavoured to interfere as little as possible with his method, though some Translator's Preface. slight changes were necessary in order toavoid any abrupt break between the volumes, vol. ii of the German edition being divided between the two volumes of the English edition. It is with sincere apologies and deep regret that I have ventured to make what omissions were called for by reason of space, and I have to tender my thanks to Prof. Litzmann for his courtesy in permitting such changes. Cirencester 1912. Grace E. Hadow, PREFACE: The reproach is commonly brought against musical bio graphies that they are monotonous: and indeed the life of the musician has not often afforded much scope for incident or variety. If he be a composer he treads the accustomed course of early struggles, hard-earned victories and posthumous fame: if he be a virtuoso his career is one triumphal progress which leaves little to record except the successive trophies that he has planted and the successive laurels that he has won. The concentration required by his art removes him in some degree from the stir and stress of public events: for the most part he dwells in an ideal city of his own and breathes the more freely when he has shut its gates upon the world. To this it may be added that the biographers of our great musicians have too often tended to merge the historian in the advocate. They are full of a generous enthusiasm for their subject; they are anxious above all things to present it in an attractive light; but they sometimes neglect Cromwell's advice to Sir Peter Lely and spoil their portrait by giving it a classic regularity of feature. No doubt every biographer is something of a partisan; it is no use writing a man's life unless you think well of him: but the worst of all ways to arouse interest in your hero is to represent him on afaultless pala din and to treat as a paynim and a miscreant everyone who ever offered him the least opposition. No man can build the monument of departed greatness if he is using up all the stones to pelt his adversaries. ...

CLARA SCHUMANN AN ARTIST'S LIFE BASED ON MATERIAL FOUND UN DIARIES AND LETTERS by BERTHOLD LITZMANN. Originally published in 1913. AUTHORS PREFACE TO VOL. II. That the second volume has been so long delayed is ac counted for, and I hope excused by, the fact that it was im possible to find any time for the work except during the leisure of my spring and autumn holidays. These have been devoted to it, almost without a pause, and by this means alone has it been possible for the continuation to appear even now: the continuation, not the conclusion for the latter a third volume will be necessary. The over-abundance of material, the full mass of which revealed itself only as I worked through the preceding volume which grew into a dual biography of Robert and Clara Schumann has necessitated this deviation from the original plan. Those to whom the former volume appealed will find the continuation a surprise and possibly a disappointment, since in the second volume the actual letters of Robert and Clara, which gave the first a peculiar character, have far less pro minence, and in their place the biographer speaks, if not ex clusively, yet to far greater extent The critical reader will, however, realise that this was necessitated not only by the difference in the material available for this period of their lives, but also by the peculiar artistic problems of these years. In conclusion it is scarcely necessary to state that in the third volume which is to come which includes a period of 40 years the present system of following the heroine step by step through her life will have to give way to a method of grouping events in larger masses. The portrait of Robert Schumann is from a drawing by EduardBendemann made in 1859 from the Hamburg Daguerreo type of March 1850; tho frontispiece is from Sohn's painting, with which Clara surprised her husband at Christmas 1868. Dated the 65* wedding-day of Robert and Clara Schumann, Sept 12* 1905. Rlnggenberg on the Lake of Brien*. Berthold LiUmann, AUTHOR'S PREFACE TO VOL. III. The third volume has also been delayed longer than all those concerned in it author, publisher, and readers could have wished, and for the same reason as that which made the production of the two former volumes so difficult This time, in addition, my holidays in Interlaken where alone the material was at my disposal were thrice interrupted by ill-health. The subject itself, and the material for this third volume, wsre not without their influence on the pace of the work. In one place in her diary, Clara writes: In an artist's life, as in every other, things repeat themselves more or lass, so that there if much on which I barely touch. If she herself ia her diary feels a certain monotony in the externals of a life which goes on in the same groove year after year, naturally the biographer, who has to represent forty such years, is still more conscious of it. But though it was plain from the first that on no account was each one of Clara's tours to be followed in her diary from place to place; yet, on the other hand, the positive side of the work was by no means so clearly defined. For in these isolated, constantly recurring episodes lay the chief meaning of her life.

Clara Schumann (1819-1896), child prodigy, celebrated concert pianist, composer, and friend of Brahms, was also the wife of composer Robert Schumann. Her father Friedrich Wieck's implacable opposition to their marriage, the sublime music she inspired in Schumann and his tragic death at a cruelly young age underlie one of music's great romances. The German literary historian Berthold Litzmann (1857-1926) first published his biography in three volumes between 1902 and 1908, based on the diaries and letters of Robert and Clara Schumann. Appearing in 1913, this two-volume English translation by Grace Hadow (1875-1940) is an abridged version of the German fourth edition, offering a lucid portrait of a central figure in nineteenth-century European musical life. A preface is provided by the translator's elder brother, William Henry Hadow (1859-1937), the music historian. Volume 1 covers the years 1819 to 1850.

Clara Schumann (1819-1896), child prodigy, celebrated concert pianist, composer, and friend of Brahms, was also the wife of composer Robert Schumann. Her father Friedrich Wieck's implacable opposition to their marriage, the sublime music she inspired in Schumann and his tragic death at a cruelly young age underlie one of music's great romances. The German literary historian Berthold Litzmann (1857-1926) first published his biography in three volumes between 1902 and 1908, based on the diaries and letters of Robert and Clara Schumann. Appearing in 1913, this two-volume English translation by Grace Hadow (1875-1940) is an abridged version of the German fourth edition, offering a lucid portrait of a central figure in nineteenth-century European musical life. A preface is provided by the translator's elder brother, William Henry Hadow (1859-1937), the music historian. Volume 2 covers the years 1850 to 1896.

Text extracted from opening pages of book: CLARA SCHUMANN AN ARTIST'S LIFE BASED ON MATERIAL FOUND IN DIAEIES AND LETTERS BY TRANSLATED AND ABRIDGED FROM THE FOURTH EDITION BY GEACE E. HADOW WITH A PBBFACE BY W. H. HADOW YOL. I ILLUSTRATED MACMILLAN & CO., LIMITED ST. MARTIN'S STREET, LONDON AND BREITKOPF & HARTEL, LEIPZIG 1013 TRANSLATOR'S PREFACE. The task of translation can never be a light one, since every language has not only its own peculiar shades of meaning, but also its own peculiar charm a fragrance which evaporates as soon as the national frontier is crossed. This is especially true of the German of Robert Schumann. His delicate, poetic imagination found perfect expression in the language of his hero, Jean Paul, and the endeavour to render his love letters, and still more his poems, in another tongue is foredoomed to failure; the original words alone fitly express the poet's thought In the following pages an attempt has been made to give as far as possible the spirit of the German, but only a poet could hope for success in such an enterprise, and I am conscious of many shortcomings. It is with great pleasure and the warmest gratitude that I acknowledge my indebtedness to Miss BL C. Deneke and to Miss Eugenie Schumann, , both of whom read through the manuscript and gave me much valuable advice and criticism. Miss Schumann went through the translation word by word, and to her never wearying patience and consideration is due whatever in it there may be of good. It was unfortunately found necessary to turn the original three volumes into two in the English edition, and by so doing the balance of the whole had necessarily to be re adjusted. Prof. Litzmann in his prefaces explainsthe principle which underlies the whole work. I have endeavoured to interfere as little as possible with his method, though some Translator's Preface. slight changes were necessary in order to avoid any abrupt break between the volumes, vol. ii of the German edition being divided between the two volumes of the English edition. It is with sincere apologies and deep regret that I have ventured to make what omissions were called for by reason of space, and I have to tender my thanks to Prof. Litzmann for his courtesy in permitting such changes. Cirencester 1912. Grace E. Hadow, PREFACE. The reproach is commonly brought against musical bio graphies that they are monotonous: and indeed the life of the musician has not often afforded much scope for incident or variety. If he be a composer he treads the accustomed course of early struggles, hard-earned victories and posthumous fame: if he be a virtuoso his career is one triumphal progress which leaves little to record except the successive trophies that he has planted and the successive laurels that he has won. The concentration required by his art removes him in some degree from the stir and stress of public events: for the most part he dwells in an ideal city of his own and breathes the more freely when he has shut its gates upon the world. To this it may be added that the biographers of our great musicians have too often tended to merge the historian in the advocate. They are full of a generous enthusiasm for their subject; they are anxious above all things to present it in an attractive light; but they sometimes neglect Cromwell's advice to Sir Peter Lely and spoil their portrait by giving it a classic regularity of feature. No doubt everybiographer is something of a partisan; it is no use writing a man's life unless you think well of him: but the worst of all ways to arouse interest in your hero is to represent him on a faultless pala din and to treat as a paynim and a miscreant everyone who ever offered him the least opposition. No man can build the monument of departed greatness if he is using up all the stones to pelt his adversaries. VI Preface. It may be said that the interpretation of character is less important in music than in any other arts or pursuits because music is more detached th

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