Every professional musician or music-loving amateur, who examines the individual influence exerted by our great masters upon himself, should always hold in especial veneration the name of Robert Schumann. What an important factor in our dearest recollections is formed by his music, whether enjoyed in great orchestral, choral or chamber concerts, or in the familiarity and reserve of our homes! In how many directions have his compositions and writings influenced our musical feeling, knowledge and taste! That which has so early endeared itself to us must necessarily remain a lifelong companion, must, indeed, become a part of our soul; and this particular corner in our musical heart occupied by Schumann constantly requires fresh recognition of that spirit, which has found expression in such an enchanting language. Schumann being, however, a true German, both personally and artistically, the essence of this spirit is not readily recognized by foreigners. What the latter admire in him, the Germans love, and if they wish to express that which in Schumann's music is worthy of their highest esteem, they use words for which it would be difficult to find an exact equivalent in the French, English or Italian languages; as for instance, Gemüth, Innigkeit, Sinnigkeit and Schwärmerei. This is particularly true in the case of his vocal compositions, which suffer in translation both poetically and musically more than similar works of any other composer and are for this reason far from being fully appreciated outside of German speaking countries. Schumann's instrumental works, on the contrary, have made his name famous wherever music has become the object of a widespread interest. Robert Schumann's career was not rich in striking events of a general interest, but it was of a more solitary character, revealing the inward life of a poetic dreamer whose language was to be music; of an artist who paved the way for a new and brilliant epoch of his art, who enlarged its domain, fought for its dignity, and by the splendid example of his own productions proved the possibility of his artistic creed. His works were his life; in him there was the closest union of man and artist. Just as a knowledge of his life and personal character helps us to understand his music, so the study of the latter reveals to us the man, for his works are not merely results of a natural or an acquired ability, but they form the musical history of the life of his soul.