While studying a new biography of Robert Schumann, a remarkable passage caught my eye: In February 1838, he was forbidden from contacting Clara Wieck, his lover. During this time, he recounted how rarely he was able to hear or see her perform. Clara used public performances to express her feelings, often interpreting Robert's works. Despite the obstacles in their relationship, they maintained contact through faithful letters. While Robert suffered from loneliness and financial difficulties, their shared passion for music united the couple.
Despite all the adversity, Schumann was particularly productive during this period, creating numerous compositions, including the well-known Kinderszenen (Scenes from Childhood) and Davidsbündlertänze (Dances of David). These pieces testify to an intense emotional and artistic bond. Clara and Robert studied the Piano Sonata No. 2 in G minor together; Clara even contributed suggestions for revising the final movement.
Schumann considered the Davidsbündlertänze an expression of profound happiness, inspired by his love for Clara. The individual pieces of this cycle possess great emotional depth and reflect Schumann's multifaceted compositional style. The love affair between Clara and Robert noticeably influenced their musical collaboration.