舒曼的作品Kinderszenen, Op.15背後係故事係點？

1838年舒曼二十八歲時，愛上了老師威克先生的女兒克拉拉‧威克(Clara Schumann, 1819~1896)，雖然兩人情投意合，但是這段愛情卻遭到克先生的父親威克先生嚴厲反對。威克先生認為舒曼不過是個還不成氣候的窮小子，根本配不上自己的女兒，因為威克是當時德國非常有名望的音樂教授，而克拉拉也被稱讚為天才少女鋼琴家，她才剛結束在維也納非常成功的巡迴表演，威克總認為女兒應該嫁給一個門當戶對的有錢人家，而不是庸庸碌碌的舒曼，所以他嚴格地禁止克拉拉和舒曼來往。

可憐的舒曼每天朝思暮想，卻無法與克拉拉見面，他們只能偷偷地寫信來表達彼此的關心。然而有時候語言無法完全傳達他的心情，信件中經常夾著他心血來潮時寫下的小曲子，似乎只有藉著音樂，才能告訴克拉拉他的心中的愛戀。有一次，舒曼突發奇想，想要和克拉拉分享自已童年的回憶，於是廢寢忘食地一口氣寫了三十首小曲子，這些曲子都是舒曼根據他童年的經歷寫下來的，他從當中選了十二首，每一首都附上了一個有趣的標題，寄給克拉拉彈奏，他在信上告訴克拉拉：「這幾天我一直在等妳的回信，結果在等待中我寫了一大本的作品！包含了有趣的、嚴肅的、瘋狂的各式各樣的音樂，保證可以令妳大開眼界！」他又說：「我記得有一次妳告訴我，說我像個孩子，這句話激發了我泉湧的靈感，即席寫下了三十首小曲，然後從裡面選了十二首送給妳，我保證這些曲子能讓妳發笑，只要妳運用想像力，就可以很容易裡解它們的內容。」而舒曼送給克拉拉的這十二首曲子就是「兒時情景」鋼琴曲集，後來在出版的時候舒曼又加上了一首曲子，成為現在的十三首。

給妳原文的描述
The 13 pieces that constitute Robert Schumann's Kinderszenen for piano (Scenes from Childhood), Op. 15 (1838) showcase their creator's musical imagination at the peak of its poetic clarity. As a result, the Kinderszenen have long been staples of the repertoire as utterly charming yet substantial miniatures, the sort of compact keyboard essays in which Schumann's genius found full expression. Kinderszenen was one of the projects Schumann worked on during the spring of 1838 to get through a difficult period of separation from his fiancée, Clara Wieck, who was on tour as a pianist and whose father objected to the idea of her marriage to the composer. In March of that year, Schumann wrote to Clara, "I have been waiting for your letter and have in the meantime filled several books with pieces.... You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces.... I selected several and titled them Kinderszenen. You will enjoy them, though you will need to forget that you are a virtuoso when you play them." The Kinderszenen are a touching tribute to the eternal, universal memories and feelings of childhood from a nostalgic adult perspective; unlike a number of Schumann's collections of piano character pieces (e.g. Album for the Young, Op. 68), the Kinderszenen are not intended to be played by children. Schumann claimed that the picturesque titles attached to the pieces were added as an afterthought in order to provide subtle suggestions to the player, a model Debussy followed decades later in his Preludes. Almost all of the Kinderszenen are miniature ternary (ABA) forms. Scene No. 1, "Von fremden Ländern und Menschen" (Of Foreign Lands and People), opens with a lovely melody whose basic motivic substance, by appearing in several vague guises throughout many of the other pieces, serves as a general unifying element. The seventh Scene, "Träumerei" (Reverie), is easily the most famous piece in the set; its charming melody and quieting power have recommended it to generations of concert pianists who wish to calm audiences after a long series of rousing encores. The Kinderszenen contain many delicate musical touches; Scene No. 4, "Bittendes Kind" (Pleading Child), for example, is harmonically resolved only when an unseen force (a parent?) gives in and grant the child's wish at the beginning of No. 5, "Glückes genug" (Quite Happy). In the final piece, "Der Dichter spricht" (The Poet Speaks), Schumann removes himself just a bit from the indulgent reverie to formulate a narrator's omniscient view of the child. Quietly, gently, the many moods and feelings that Schumann touched upon over the course of this remarkable 20-minute work are lovingly recalled, and the composition concludes, contentedly, in the same key of G major in which it began.