This article examines how Schumann’s music exchanges ideas with the music of his predecessors. Bach remained the composer’s principal “controlling authority,” while Mozart served as his second most significant artistic interlocutor. Several previously unrecognized outcomes of these creative dialogues are explored through four works: “Verrufene Stelle” from “Waldszenen,” the duet “In der Nacht” from “Spa­nisches Liederspiel” Op. 74, the tenor solo “Ewiger Wonnebrand” (No. 2 in Part III of “Szenen aus Goethes ‘Faust’”), and “Nachklänge aus dem Theater” from the “Album für die Jugend.” The article proposes new hypotheses concerning the simple ternary design of “Verrufene Stelle” (A—polyphonic development—A), the interpretation of “In der Nacht” as a canon with an entry interval of thirty-eight measures, the synthesis in the tenor solo of features drawn from Baroque binary and «Romantic» ternary form, and the distinctive “retelling” in “Nachklänge aus dem Theater” of both the exposition of the Symphony in G-minor, K 550, and the “Lacri­mosa” from Mozart’s Requiem. Further development of the concept of retelling, originally advanced by Arka­dy Klimovitsky, makes it possible to refine the distinguishing features of this particular mode of relating a newly created piece to earlier works that serve as points of reference. The concluding section considers the possibility that, during his journey to Russia in 1844 Schu­mann may have encountered Pushkin’s name for the first time, perhaps through Mikhail Vielgorsky, one of the most engaged St. Petersburg interlocutors of Robert and Clara Schumann.