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“... Mellers simply states, quite rightly, that the work is Schumannesque, romantic in the E.T.A. Hoffman sense, and ‘the closest he ever came to writing “neurotic” music’. This is all fine, but hardly a revelation. The bulk of the writing on this sonata takes the form of blow-by-blow programme-note style description, rather than analysis, and this I ...”

“... to do so too – plants, clouds, postage stamps, architectural columns, roadways, pieces of cloth. Extra hours, days or months appear in the calendar whenever they are needed; other periods are dismissed out of hand because they are ‘too spacious for their content’. In one episode a new galaxy (‘The Cyclist’) is discovered in the skies; in another we ...”

“... Die Gebüsche over the first movement of the Fantasie, but the more cryptic references to extra-musical sources which inform the substance, and sometimes the structure, of Schumann’s music. It is Daverio’s central thesis that Schumann, who once defined music as ‘poetry raised to a higher power’, constantly sought to evoke a literary analogue ...”