The title was inspired by the collection of letters and writings about music published in 1814–1815, Fantasiestücke in Callots Manier by E. T. A. Hoffmann, one of Schumann’s favourite authors. The composer greatly appreciated the 17th-century engraver’s sense of fantasy.

Schumann composed the Op. 111 in 1851, a few months after his appointment as Generalmusikdirektor of the Düsseldorf Orchestra. In September, Clara Schumann wrote in her diary: “Robert has composed three piano pieces of a grave and passionate character which I like very much.”

Robert Schumann completed work on his Drei Romanzen Op.28 in December 1839, and presented them to his beloved Clara for Christmas that year, although sketches date back possibly as far as 1838.

In correspondence (dated 1843) Schumann listed the Romanzen among the four solo piano works which he personally considered his greatest (interestingly, the other three are Kreisleriana Op.16, the Phantasiestücke Op.12 and Noveletten Op.21).

Clara was a fan of the pieces too (and although she appears never to have performed them as a complete set, she included the second and third regularly in her recitals), writing to Robert in 1840,

“I lay claim to the Romances; as your bride you still have to dedicate something to me, and I know of nothing more tender than these three Romances, especially the middle one, which is the most beautiful love duet.”