Question: How did both Rosemary Brown and Robert Schumann contribute to musical pieces?

Context paragraphs:
Robert Schumann Hochschule: The Robert Schumann Hochschule (Robert Schumann University of Music and Media) is a college for music studies at the university level located in Düsseldorf, Germany.

Robert Schumann in Three Pieces: 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.

Variations on the name &quot;Abegg&quot;: The Variations on the name "Abegg" in F major is a piece (theme with variations) for piano by Robert Schumann, composed between 1829 and 1830 and published as his Opus 1.  The name is believed to refer to Schumann's fictitious friend, Meta Abegg, whose surname Schumann used through a musical cryptogram as the motivic basis for the piece.  The name Meta is considered to be an anagram of the word "tema" ("Latin").  Another suggestion is Pauline von Abegg.  Apparently, when he was twenty years old, Schumann met her and dedicated this work to her, as witnessed in Clara Schumann's edition of her husband's piano works.

Robert Schumann: Robert Schumann (8 June 181029 July 1856) was a German composer and influential music critic.  He is widely regarded as one of the greatest composers of the Romantic era.  Schumann left the study of law, intending to pursue a career as a virtuoso pianist.  He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream.  Schumann then focused his musical energies on composing.

Love Fugue: Robert Schumann: Love Fugue: Robert Schumann is an album by pianist Uri Caine featuring selections from Robert Schumann's song cycle "Dichterliebe" (Op. 48) and "Piano Quintet in E-flat major" (Op. 44) recorded in 2000 and released on the Winter & Winter label.

Rosemary Brown (spiritualist): Rosemary Isabel Brown (27 July 191616 November 2001) was an English composer, pianist and spirit medium who claimed that dead composers dictated new musical works to her.  She created a small media sensation in the 1970s by presenting works purportedly dictated to her by Claude Debussy, Edvard Grieg, Franz Liszt, Franz Schubert, Frédéric Chopin, Igor Stravinsky, Johann Sebastian Bach, Johannes Brahms, Ludwig van Beethoven, Robert Schumann and Sergei Rachmaninoff.

Kinderszenen: Kinderszenen (] ; original spelling "Kinderscenen ", "Scenes from Childhood"), Opus 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838.  Schumann wrote 30 movements for this work, but chose 13 for the final version.  The unused movements were later published in "Bunte Blätter", Opus 99, and "Albumblätter", Opus 124.  Discussing the set, Schumann told his wife Clara that the "thirty small, droll things" were inspired by her comment that he sometimes seemed "like a child".  In 1840, he described them as "more cheerful, gentler, more melodic" than his earlier works.

Robert Schumann's Davidsbündlertänze: 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.

Fantasiestücke, Op. 12: 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.

Master Raro: 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.

Supporting paragraphs: Rosemary Brown (spiritualist) Robert Schumann
Answer: composer