he was highly honored as a composer, and had also filled a position as professor for pianoforte and composition at the new Conservatory opened in April, 1843, with Mendelssohn as director. Of this latter work of Schumann little has become known, and from his uncommunicative nature one has inferred that he lacked the talent of a true teacher. In 1844 he severed his connection with the Conservatory and with his journal also, and took up his residence in Dresden. Overwork and the exerting musical life in Leipsic had greatly increased his nervousness and he expected a speedy recovery in the royal capital, with its lovely surroundings and quiet life. However it took years to fully restore him. Yet in these very years Schumann wrote his glorious symphony in C, and devoted much time to strict contrapuntal studies, composing several works in this style. He finally took a more active part in Dresden's social life, keeping a friendly intercourse with other musicians, poets and artists, and a sincere interest in the opera, then directed by young Wagner. At that time the reform of the musical drama was in Dresden the centre of all musical interests, and Schumann felt a deep desire to solve the great problem in his own way. We shall speak below more extensively about his only opera "Genoveva." Although it was completed in Dresden, in 1848, it had its first performance in the summer of 1850, in Leipsic, under his own direction. It was repeated there a few times, but was undeniably a great disappointment in spite of all its musical beauties. Schumann was deeply affected, disagreeing entirely with the critics as to the dramatic character of his work. Much more successful were the first performances of his music to "Faust," presented at the centenary of Goethe's birthday in Dresden, Leipsic and Weimar. Several years later Schumann added more numbers, but the entire work was given in its present shape only after his death. In the winter of 1846-47, Robert and Clara Schumann made a trip to Vienna, where the latter played her husband's concerto (completed in 1845), and he conducted his first symphony. The Viennese admired her playing but showed far less appreciation for his music than the North Germans or even the Russians. In 1847, Schumann succeeded Hiller as director of the Dresden "Liedertafel," and in 1848 he started a mixed chorus, which afforded him more genuine pleasure than the male chorus. With them he gave the Faust music, and "Paradise and the Peri," studied Beethoven's great Mass in D, and began to believe in his abilities as a conductor to such a degree, that when, in 1849, it was rumored that Rietz, Mendelssohn's successor in Leipsic, was going to Berlin, Schumann eagerly applied for the high position. Rietz, however, remained. During these last years in Dresden, Schumann had finished a large number of chamber works, songs, duets, male, female and mixed choruses with or without accompaniment, piano pieces, and the music to Byron's "Manfred."