Schumann's greatest work in large form for piano solo." After a visit to Vienna, during which he discovered Franz Schubert's previously unknown Symphony No. 9 in C, in 1839 Schumann wrote the Faschingsschwank aus Wien (Carnival Prank from Vienna). Most of the joke is in the central section of the first movement, which makes a thinly veiled reference to La Marseillaise. (Vienna had banned the song due to harsh memories of Napoleon's invasion.) The festive mood does not preclude moments of melancholic introspection in the Intermezzo. 1840–1849 From 1832 to 1839, Schumann wrote almost exclusively for piano, but in 1840 alone he wrote at least 138 songs. Indeed, 1840 (the Liederjahr or year of song) is highly significant in Schumann's musical legacy, despite his earlier deriding of works for piano and voice as inferior. After a long and acrimonious legal battle with her father, Schumann married Clara Wieck in the in Leipzig-Schönefeld, on 12 September 1840, the day before her 21st birthday. Had they waited another day, they would no longer have required her father's consent. Their marriage supported a remarkable business partnership, with Clara acting as an inspiration, critic, and confidante to her husband. Despite her delicate appearance, she was an extremely strong-willed and energetic woman, who kept up a demanding schedule of concert tours in between bearing several children. Two years after their marriage, Friedrich Wieck at last reconciled himself with the couple, eager to see his grandchildren. Prior to the legal case and subsequent marriage, the lovers exchanged love letters and rendezvoused in secret. Robert often waited for hours in a cafe in a nearby city just to see Clara for a few minutes after one of her concerts. The strain of this long courtship and its consummation may have led to this great outpouring of Lieder (vocal songs with piano accompaniment). This is evident in Widmung, for example, where he uses the melody from Schubert's Ave Maria in the postlude in homage to Clara. Schumann's biographers attribute the sweetness, doubt, and despair of these songs to the emotions aroused by his love for Clara and the uncertainties of their future together. Robert and Clara had eight children, Emil (1846–1847), who died at 1 year; Marie (1841–1929); Elise (1843–1928); Julie (1845–1872); Ludwig (1848–1899); Ferdinand (1849–1891); Eugenie (1851–1938); and Felix (1854–1879). His chief song-cycles in this period were settings of the Liederkreis of Joseph von Eichendorff, Op. 39