), from Heinrich Marschner's opera Der Templer und die Jüdin, which was based on Sir Walter Scott's Ivanhoe (as a tribute to Schumann's English friend, William Sterndale Bennett).
The sequence was as follows: Other titles had been considered in September 1834: Variations pathétiques and Etuden im Orchestercharakter von Florestan und Eusebius.
In this latter case the Études would have been signed by two imaginary figures in whom Schumann personified two essential, opposite and complementary aspects of his own personality and his own poetic world.
6; but only in the 1835 version of the Études symphoniques were the pieces divided so as to emphasize the alternation of more lyrical, melancholy and introvert pages (Eusebius) with those of a more excitable and dynamic nature (Florestan).
Leaving aside the allusions to Florestan and Eusebius, all of Schumann's proposed titles show some of the essential character of Op.
The Études symphoniques learn the lesson of Beethoven's Diabelli Variations: the theme that acts as a unifying element is amplified and transformed, and becomes the basis from which blossom inventions of divergent expressive character.
The highly virtuosic demands of the piano writing are frequently aimed not merely at effect but at clarification of the polyphonic complexity and at delving more deeply into keyboard experimentation.
[3] In 1861, five years after Schumann's death, his father-in-law Friedrich Wieck published a third edition under the editorial pseudonym "DAS" (an acronym for Der alte Schulmeister).