At Schumann, the vocation first is poetry. Not to remember it, the listener would condemn to an incomprehension partial of his work.

        It came to the composition only when it realized that the sounds represented for him, the means of exteriorizing its creativity, more strongly than the verb.

        Whereas at Chopin, the music represents the substance even sound existence and at Liszt, a means of expressing its incomparable virtuosity, with Schumann the situation is quite different. Its musical work replaces the literary work which he did not write.

        All its life oscillates between music and literature. Schumann was not born composer. He is first of all poet. Its musical passion, pushes it nevertheless towards the study of the piano as an interpreter. Without would this accident, which for the piano, will deprive it of the use of the right hand, Schumann have become this genious composer ?

       Lastly, to conclude this short introduction on the compositions for piano of Schumann, I will add that contrary to Chopin or Liszt, it do not find the inspiration in the new technical possibilities of the modern piano. 

        It uses only seldom the extreme registers of the instrument. Its originality is in polyphonic and rhythmic complexity.

        Less early than its groins, Schumann will find from the start its language and its vocabulary.

        Its variations ABEGG COp 1, were made up at age the twenty years. They are already revealing in the manner of the composer.

In less than ten years, that is to say of 1830 to 1840, the opus 1 to 26, Schumann, except exceptions near, will have delivered to us the essence of its message, entrusted to the piano in short sequences almost all led by a content symbolic system discussion thread or poetic.


        The discovery of its love for Clara and its opposed waiting, will quite naturally carry it towards the piano to which it will have to give up as an actor, but who symbolizes in the person of Clara, the amante and the queen of this instrument to which it will give the most marvellous proof of love and admiration.

        We will be satisfied, initially, to enumerate the main part of the parts for piano which, as for Frederic Chopin, but in a less exclusive way, represent the most beautiful florets of this anthology of the romanticism.

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Variations Abegg op 1 , Papillons op2, Toccata op 7 1830 .
Études symphoniques op.13, 1834
Carnaval op 9 1835
Fantaisie op. 17 (which is characterized by its dimensions and a more abstract presentation)  1836
Davidsbündlertänze op. 6, Fantaisiestücke op. 12 1837
Scènes d'enfants op.15 Kreisleirianas op.16 1838
Novelettes op. 21, 1838
Carnaval de Vienne op. 26