As an accomplished singer, Marianne Tromlitz sang at the well-known Gewandhaus in Leipzig on a weekly basis. A prodigy's father He did everything to be known as father of a child prodigy, a piano virtuoso. Clara Schumann was his second born and her musical education was planned down to the smallest detail. She daily received one-hour lesson (in piano, violin, singing, theory, harmony, composition, and counterpoint), and two hours of practice, using the teaching methods he had developed on his own. He accompanied her on the tours throughout Europe. His wife gave birth to another two children, Alwyn and Gustav. The differences between Wieck and his wife, Marianne, were irreconcilable in large part due to Wieck’s unyielding nature. When his friend Adolph Bargiel, father of Woldemar Bargiel, had an affair with her, she divorced Wieck in 1824. She then married Adolph Bargiel. His second wife, Clementine Fechner – whom he married in 1828 – was twenty years his junior. Clementine was the sister of painter Eduard Clemens Fechner and of experimental psychology pioneer Gustav Fechner. One of the three children she gave birth to, besides Cäcilie and Clemens (1829–1833), who died at the age of four, Marie Wieck was also a concert pianist, although she was not as famous as was his first-born daughter. In 1844, he moved to Dresden, where he lived for the rest of his life, spending the summers at Loschwitz, where he died in 1873. Teaching career His home was a meeting place for his piano students and other musicians. Not only his wife, his children, and his close friends, but also his business associates were affected by his drive to success. Felix Mendelssohn supported his becoming professor of piano at the Leipzig Conservatory, although the post went to Ignaz Moscheles. His methods appear progressive, flexible, nuanced, emphasizing the individuality of the student and leading the student on by means of the enjoyment of music-making rather than harsh discipline and drills. For him, mere finger dexterity was not the focus, and he did not advocate monotonous, mechanical exercises. He emphasized evenness of tone, a beautiful, song-like legato, and expressiveness. While including finger-stretching exercises to increase the student's span, he was careful to avoid fatigue by limiting the number of hours of practice per day and insisting on long walks and fresh air. Overall musical development was essential, achieved by lessons in theory, counterpoint and composition, and