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Schumann’s beloved wife, artistic inspiration and the names he gave his conflicted persona are just some of the things that contributed to Schumann's amazing music.
Florestan – Dashing extrovert
Name created by Schumann designed to signify the more outward-going and ebullient side of his personality in his music, letters, musical criticism and day-to-day life.
Carl Ferdinand von Kügelgen - Visionary artist
The visual worlds that Schumann suggested in his music were in part inspired by the great German landscape artists of the period, including ex-Beethoven classmate, Carl Ferdinand von Kügelgen.
Heinrich Heine - Poetic genius
One of the greatest of all German Romantic poets, Heine’s lyric poetry had a profound effect on Schumann, especially in his two great Heine song cycles, Liederkreis Op.24 and Dichterliebe.
Eusebius - Dreamy introspective
Florestan’s alter-ego, the quieter, more inward-looking aspect of Schumann’s nature, at times warmly reflective and soothing, at others inconsolable and despairing.
Clara Wieck - Beloved wife
As both a person and musician, the vital inspiration behind much of Schumann’s music – he once confessed to her in a letter that "all my music goes to you."
Neue Zeitschrift für Musik - Hallowed journal
Influential music journal founded (in 1834), edited and contributed to by Schumann, who often used its pages to enthuse about his composer contemporaries, including Chopin and Berlioz.
Johannes Brahms - Chosen one
When Brahms first met and played for Robert and Clara Schumann in September 1853, they were bowled over by his youthful genius, considering him "the natural successor to Beethoven."