The inborn natural qualities of these masters were, of course, supplemented by that careful training which is essential to success, even for the most richly endowed of human beings; but with Schumann one may almost say that the culture stands first. Not that he failed to exhibit strong musical tendencies even from his childhood, for do we not read of his caricaturing his schoolmates by playing, in a grotesque manner, on the piano, while still at school. Yet anything he did in this way, and as regards composition, is very different from what we find in the early years of the two who have been mentioned. It is evident also that, as he grew to manhood, his aim in life was to become a solo pianist, for which purpose he worked diligently under the father of that great artist Clara Wieck, who eventually became his wife. But, unfortunately, he injured his hand in an attempt to make it stronger by some mechanical means, and thus he had to relinquish the idea of playing in public. Then he more earnestly applied himself to composition, with no doubt most remarkable results. Yet in this sphere too we find the influence of a resolute determination, as distinguished from a natural yearning, as, for instance, in the year 1842, when he resolved to write chamber music, it is said that he shut himself up with the scores of Beethoven’s string quartetts, and having, as it were, assimilated their very essence, he proceeded to compose the three quartetts known as op. 41. There are evidences[25] of a like mental habit in connection with his larger works, which may be investigated by those who care to do so. [Footnote 25: _Studies in Modern Music_ (W.H. Hadow).] It is, however, in the piano compositions of his early period that one finds the truest expression of his genius. He was indeed the poet of the piano, and he has left us, in this style, a wealth of rich romantic beauty. [Sidenote: =The E♭ Piano Quintett=]