ABSTRACT
This chapter survey concerted works Schumann reviewed in 1840 and 1843, and will discuss his addition of a middle movement and finale to his revised one-movement Phantasie in June and July 1845. Schumann's judgment of old-style works, with the exception of Jacques Schmitt's Concerto, is withering. Schumann voices two more specific objections to the Capriccio, both of them in the concert review, before he saw the score. In sum, the brilliant parts of the Caprice differ little from those found in virtuoso concertos as concerns size and construction. As the form of Schumann's sonata-rondo finale unfolds, it incorporates every one of the gestures expected in a concerto last movement while at the same time subverting them. From the standpoint of critical reception, the low point in the squaring off with popular judgment came when Clara played the Concerto in Vienna just a year later on 1 January 1847.
