master Friedrich Wieck, who assured him that he would be a successful concert pianist after a few years' study with him. During his studies with Wieck, some stories claim that Schumann permanently injured a finger on his right hand. Wieck claimed that Schumann damaged his finger by using a mechanical device that held back one finger while he exercised the others—which was supposed to strengthen the weakest fingers. Clara Schumann discredited the story, saying the disability was not due to a mechanical device, and Robert Schumann himself referred to it as "an affliction of the whole hand." Some argue that, as the disability appeared to have been chronic and have affected the hand, and not just a finger, it was not likely caused by a finger strengthening device. In 2012, neurologists discussed Schumann's symptoms at a conference called "Musicians With Dystonia." Schumann abandoned the idea of a concert career and devoted himself instead to composition. To this end he began a study of music theory under Heinrich Dorn, a German composer six years his senior and, at that time, conductor of the Leipzig Opera. Papillons Schumann's fusion of literary ideas with musical ones—known as program music—may have first taken shape in Papillons, Op. 2 (Butterflies), a musical portrayal of events in Jean Paul's novel Flegeljahre. In a letter from Leipzig dated April 1832, Schumann bids his brothers, "Read the last scene in Jean Paul's Flegeljahre as soon as possible, because the Papillons are intended as a musical representation of that masquerade." This inspiration is foreshadowed to some extent in his first written criticism—an 1831 essay on Frédéric Chopin's variations on a theme from Mozart's Don Giovanni, published in the Allgemeine musikalische Zeitung. In it, Schumann creates imaginary characters who discuss Chopin's work: Florestan (the embodiment of Schumann's passionate, voluble side) and Eusebius (his dreamy, introspective side)—the counterparts of Vult and Walt in Flegeljahre. They call on a third, Meister Raro, for his opinion. Raro may represent either the composer himself, Wieck's daughter Clara, or the combination of the two (Clara + Robert). In the winter of 1832, at age 22, Schumann visited relatives in Zwickau and Schneeberg, where he performed the first movement of his Symphony in G minor (without opus number, known as the "Zwickauer"). In Zwickau, the music was performed at a concert given by Clara Wieck, who was then just 13 years old. On this occasion Clara