The immediate result of the musical associations of Schumann, in Leipsic, was the project for a musical journal, devoted to progress and sincerity. In opera Rossini was then the ruling force. At the piano Herz and Huenten; and musical journalism was represented by _Allgemeine Musikalische Zeitung_, published by Breitkopf & Haertel, which praised almost everything, upon general principles. In 1834, the first number of the _Neue Zeitschrift fuer Musik_ saw the light. The editors were Robert Schumann, Friedrich Wieck, Ludwig Schunke and Julius Knorr. Schumann was the ruling power, and he proceeded to develop his literary faculty in a variety of forms. He writes under many pseudonyms, and has much to say about the "David league against the Philistines," a society existing in his imagination only. One of the famous early articles in this paper was that upon Chopin's variation "_La ci Darem_," greeting the work of the talented young Pole as a production of rare genius. Schumann himself thought so well of this article that he placed it at the beginning of his collected writings. It will be impossible within available limits to define the influence of this journal. During the ten years when Schumann was editor, many of the most important productions of the modern school first saw the light, and all come in for discussion, from a point of view at the same time sympathetic and intelligent. As an example of the musical life at Leipsic in this time, Moscheles mentions an evening in 1835, when Mendelssohn conducted his first concert in the _Gewandhaus_; the day before this there had been a musical gathering at Wieck's, at which both Mendelssohn and Schumann were present, perhaps the first time that these two great geniuses were brought together. The next day Mendelssohn, Schumann, Moscheles and Banck dined together, and the next day there was music at Wieck's house--Moscheles, Clara Wieck and L. Rakemann from Bremen, playing Bach's D minor concerto for three pianos, Mendelssohn putting in the orchestral accompaniments on the fourth piano. With Mendelssohn he contracted quite an intimacy. In 1836 he found himself very much devoted to Clara Wieck, and in order to secure a more favorable opening for his career, resolved to transfer himself and the paper to Vienna, but after a year he returned again to Leipsic, and then the course of true love became more difficult, for Papa Wieck was resolutely opposed to the match; but after some months his consent was given, and they were married in 1840. During this year he had an extraordinary activity as a song writer. The "Woman's Love and Life," the "Poet's Love," and various other cycles of song, were all produced under the stress of his happy prospects with Clara. It is not easy to ascertain the order of his compositions, since, as we have already seen, the sonatas and some of the other works appearing late in the list of opus numbers were composed very early.