Quatre Polonaises pour le pianoforte by Clara Schumann was published in 1831, and is labeled as opus 1.
 A work labeled as a "Polonaise" exhibits musical characteristics evoking the Polish dance form by the same (French-labeled) name.
 A 3/4 time signature setting is primary among these musical characteristics, and these four pieces by Clara Schumann are all in 3/4.
 No tempo indications are given on the score for the first three pieces.
 All of the pieces are in ternary form, with the middle section of each labeled as a "Trio."
Robert Browning (7 May 1812 – 12 December 1889) was an English poet and playwright whose mastery of the dramatic monologue made him one of the foremost Victorian poets.
 His poems are known for their irony, characterization, dark humour, social commentary, historical settings, and challenging vocabulary and syntax.
Robert Schumann’s “Davidsbündlertänze” is one of the last major works made by New York City Ballet's founding choreographer and balletmaster-in-chief George Balanchine.
 It is set to Robert Schumann's "Davidsbündlertänze" ("Dances of the League of David"), Op. 6 (1837).
 The idea for setting this piano work very likely came from a work created by Robert Joffrey for his own Joffrey Ballet Company, the premier of which took place at the City Center Theater in the late 1970s.
 Joffrey, in turn, received his inspiration from Jonathan Watts, a protege of Joffrey's and director of the Joffrey apprentice company, who, at the suggestion of pianist Neil Stannard (yours truly), created a ballet titled "Evening Dialogues" to this same score.
 This initial version of the Schumann cycle was featured on tour with the Joffrey second company in the mid 1970a.
Scenes from Goethe's Faust ("Szenen aus Goethes Faust") has been described as the height of composer Robert Schumann's accomplishments in the realm of dramatic music.
 The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one baritone, and one bass) is the usual number for a performance.
 Schumann never saw all three parts of the work performed in the same concert, or published together.
 Eric Sams comments 'There is no coherence in the orchestration, which audibly dates from two different periods (hand-horns in Part III, valve-horns elsewhere)', leading him to conclude that Schumann did not conceive the work as a whole, although late nineteenth-century ideas of performance mean that in the modern era the piece is predominantly heard with all three parts.
Master Raro was a notable character that appeared in many of Robert Schumann's character pieces for solo piano.
 Raro may represent the union of (Clara + Robert).
 He was the personality that balanced the two contrasting natures of Eusebius (passive, dreamy) and Florestan (aggressive, enthusiastic).
 Master Raro was also the primary arbiter of the many pseudonyms under which Robert Schumann took guise in his critical writings within "Neue Zeitschrift für Musik", the journal through which he evaluated the music world.
 Raro appears to bring logic and reason into a complex mixture of views of the Davidsbündler.
 He reflects Schumann's writing mastery and musical genius.
Mountain Interval is a 1916 poetry collection written by American writer Robert Frost.
 It is Frost's third poetic volume and was published by Henry Holt.
 It was republished in 1920.
 Frost made several alterations in the sequencing of the collection and released a new edition in 1921.
 Five lyrics of the earlier collection were compiled next under the title "His Wife".
 In this volume only three poems are written in dramatic monologue.
Dramatic monologue, also known as a persona poem, is a type of poetry written in the form of a speech of an individual character.
 M.H. Abrams notes the following three features of the "dramatic monologue" as it applies to poetry
Ai Ogawa (October 21, 1947 – March 20, 2010), born as Florence Anthony, was an American poet and educator.
 She won the 1999 National Book Award for Poetry for "Vice: New and Selected Poems".
 Ai is known for her mastery of the dramatic monologue as a poetic form, as well as for taking on dark, controversial topics in her work.
  About writing in the dramatic monologue form, she’s said: “I want to take the narrative ‘persona’ poem as far as I can, and I've never been one to do things in halves.
 All the way or nothing.
 I won't abandon that desire.”
Robert Schumann's Fantasiestücke, Op.
 12, is a set of eight pieces for piano, written in 1837.
 The title was inspired by the 1814 collection of novellas "Fantasiestücke in Callots Manier" by one of his favourite authors, E. T. A. Hoffmann.
 Schumann dedicated the pieces to Fräulein Anna Robena Laidlaw, an accomplished and attractive 18-year-old Scottish pianist with whom Schumann had become good friends.
Robert Schumann in Three Pieces is the collective title given to three works, composed for the "Avenue A" ensemble by the British composer, Matthew King.
 Together, they constitute a musical portrait of the German Romantic composer, Robert Schumann.
 The first piece, entitled "Ash on the Ground" is a passacaglia in which various compositions by Schumann are quoted; the second piece, entitled "Love in a Life" has a soprano soloist, and is a miniature song cycle to texts by Robert Schumann himself, along with poems by Robert Browning and Elizabeth Barrett Browning.
 It has been described, by one critic, as "rich and sumptuous, with some spine-tingling moments" the third piece, entitled "Night Phantoms and Rocking Horses" is a rapid musical survey of Schumann's piano music at a furious galloping tempo.
 The work ends with fragments of celeste and percussion sounding like a wound-down music box.

Question: Robert Schumann in Three Pieces contains poems by which English master of dramatic monologue?
Answer: Robert Browning