Five Merry Songs, Op. 125, No. 2: Husarenabzug
I was not made for looking on in sorrow; My way lies through blossoming woods. My airy songs fly up To the treetops. There is nothing of that import to this lyric, or to this music. The song seems reminiscent of that other perfumed miniature Jasminenstrauch3, just as delicate, and over in a trice. The image of the butterfly is central to the cast of the weaving accompaniment. In the introduction we hear it alight on a dotted quaver before hesitating for the same length of time on a note a fourth higher. And then, all dallying over for the moment, we hear its darting flight in and out of various blossoming harmonies and clusters of tones.
All of this has much of the charm and freshness of the earlier music, but other things are more typical of the late style. The intrusion of this sort of contrapuntal gesture is not unpleasant, one gets used to it and accepts it as a different Schumann style or the style of a different Schumann but it seems more worked-out, and not nearly as inevitable, as equivalent passages in the songs. A glance at the score will confirm that the song ends, perversely, on the same staccato note, D, in both hands. When not boxed in, the pianist floats like a butterfly, but now he is stung by a D this is the original key; in a lower transposition it might have been a B.
Adolf Jensen set the text as a solo song Rosenzeit Op 22 No 1 in Bright sparks burn around her in a gay dance; a fragrance like roses is wafted down from mast to keel. The boy on board sees it all as if in a dream; but then the foaming waves carry the apparition away. It is also the sort of poem that the young Liszt would have relished. In Schumann we find music that is hearty and jolly rather than tinged with any frisson of the supernatural. The scale passages which Schumann intends to represent the throes of birth, or the rushing of the wind, are never reckless or precipitous enough.
There is a measure of braggadocio and defiance about the mood certainly, but nothing that is as demonic as the poet intended. We sing the music here as Schumann printed it, but there is a good argument for restoring the original text. This attitude inevitably weakens the devil-may-care spirit which should flood the music. One can only ponder what the links actually are. Mondnacht is about the marriage of the moonlit heavens and moon-kissed earth.
Jung Volkers Lied is also about such a coupling between ying and yang: a sorceress and the wind conjoin in order to bring to birth the unruly Volker. But in the grand old days of a song like this might have been very differently composed. Es ziehn in die Weite Lustige Knaben.
Brave lads Are marching to distant lands. Friends, see how the stallion Happily paws the ground, How the captain hoists up His fat belly! Suppose a gust of wind Blew by the fountain, Turning its usual smooth flow To a flurry of spray. Take comfort, my dear!
Even if Schumann was not young enough to remember these things himself, there must have been many tales of heroism and hardship imported into the home from these visitors, and told and re-told around the family fire. The dates of the Napoleonic war were such — bridging the worlds of the Enlightenment and Romanticism — that many of the great creative figures of the time had similar childhood memories which romanticised in every sense war, and those who made it.
It is obvious, for example, that the soldiers of Husarenabzug are off to have very exciting time. Not much else, if anything, is known about the poet. Ich wandre nicht seems a strangely inapposite choice to be included in a group of songs which has begun with Sehnsucht, a passionate and impatient male equivalent of Mignon's Kennst du das Land. The singer in the Geibel song would do anything to be able to leave his northern homeland in order to travel south.
The singer of Ich wandre nicht, however, says that he prefers to stay put. This at least explains the song's inclusion in Op it fits in with Schumann's deliberate thematic contrasts in building a sequence for publication. It is curious to find this orient-inspired usage in a poem which insists on staying as far away from the exotic east as possible. Karl Leberecht Immermann , poet of Auf dem Rhein Op 51 No 4, saw action at Waterloo as a young man entering Paris with the conquering armies and went on to study law.
He became a Prussian civil servant and judge in his native Magdeburg. His literary output consists of translations of Walter Scott's Ivanhoe for example as well as historical plays and parodies, one of which was directed against his literary enemy, August von Platen. Immermann's most famous work was the satirical novel where the eponymous anti-hero, an incorrigible liar, lives in the castle of Schnick-Schnack-Schnurr. One can perhaps see a trace of this vein of fantasy in the small poem which was set by Schumann as part of Op When assembling this sequence it is, however, easy to see why the composer thought that this was the right place for Auf dem Rhein: the folksong-like Ich wandre nicht is hardly a work to overshadow the simplicities of what comes after it; indeed, the fluid hymn gives a new, impeccably German focus to the Christern setting's stay-at-home patriotism.
Thus Schumann found a place for one of his weaker songs, one that would be something of a problematic orphan if it appeared in a different context. The most important of Schumann's settings of Johann Wolfgang von Goethe the songs from Wilhelm Meisters Lehrjahre were included in Volumes 1 and 2 of this Edition; in the booklet accompanying Volume 2 there was also an article about Schumann and this poet. This is a book of pages in the original edition. Of these, are devoted to the poems themselves which are divided into various sections: thus Moganni Nameh the Book of the Singer contains Freisinn and Talismane which Schumann set in Myrthen; this is followed by Hafis Nameh the Book of Hafis , Uschk Nameh the Book of Love — Schubert's Geheimes, among other settings, comes from this section — Tefkir Nameh the Book of Contemplation , Rendsch Nameh the Book of Displeasure , Saki Nameh the so-called Schenkenbuch — the Book of the Inn from which come the drinking-songs also included in Myrthen, and so on.
The best-known and most substantial section is Suleika Nameh where the poet published an exchange of lyrics with the much younger Marianne von Willemer , he in the guise of the oriental potentate Hatem, she in the role of his devoted lover Suleika. These didactic ramblings they are given a volume on their own in the Ausgabe letzter Hand of make clear that the ageing poet had spent a great deal of time poring over eastern literature, and not only the poetry of Hafiz. There are sections devoted to such earlier figures as the spellings quoted here are Goethe's Firdusi d , Enweri d Nisami d and Saadi who died in at the age of , a fact printed at the top of the page as if Goethe were hoping for the same longevity.
On page there is a section entitled Chiffer Codes in which Goethe describes a refinement of the game of exchanging poems at a distance: lovers should be able to write in code to each other provided they each had the same book to hand. An intimate knowledge of the Bible, chapter and verse, would facilitate this sort of exchange, Goethe says, and so would some other classic, like the poetry of Hafiz, or Goethe himself.
Apart from the pleasure of lobbing back and forth ever more apposite quotations, anything involving numbers could be communicated in this way: a time for a clandestine meeting, for example, might be arranged by quoting a certain numbered line from a similarly numbered page in the mutually agreed edition.
And then in a way which is rather mystifying in itself, Goethe prints the poem without a title which appears as Liebeslied on page 30 of this booklet. There is no solution to this particular puzzle, although it is surely meant to read like an anthology of quotations bundled together for the secret edification of lovers.
Hafiz] are united by passion and emotion'. The seed of the poem which dates from is actually by Marianne von Willemer herself. One result of his silence was that Schumann never knew the truth any more than Schubert whose two divine Suleika songs had texts which were almost entirely von Willemer's own work. Although several personal friends of Marianne were aware of this extraordinary story, it was slow to emerge into public knowledge.
She died in and her correspondence with Goethe languished in a Darmstadt bank. And only then was the truth well and truly out. Like Schubert before him it seems that Schumann sometimes took pleasure in preparing garlands of works for publication gathered together with a binding thread; at other times it seems as if the songs have been thrown together, willy-nilly. The illustration below shows that the latter was not the case with Op In the bottom left-hand corner of the last page of the autograph of Liebeslied, Schumann carefully lists the song titles in the order in which he wishes them to be published.
They all concern various aspects of daydream and aspiration. All three songs end on a dying fall — the first violently so, the other two in a wistful atmosphere of abandoned or evaporated dreams.
The first two songs of Op 45 serve to introduce the poetry of Joseph von Eichendorff to the Hyperion Schumann Edition. Although he contributed only fifteen solo songs texts twelve of them the immortal Liederkreis Op 39 there are also a handful of significant choral settings. Schumann had the greatest reverence for Eichendorff, always citing him as the perfect lieder poet to aspiring younger composers who came to him for advice. There is no known correspondence between the two, but Schumann visited Eichendorff in Vienna on 2 January On 10 January, the poet was present at a concert also attended by Schubert's erstwhile friend, the great playwright Grillparzer which included Schumann songs to his texts sung by Jenny Lind.
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On the 20th of the same month Eichendorff contributed a charming original poem to the Schumann album by way of saying farewell. Most of the texts set by Schumann, however, appeared in the sub-section Wanderlieder. This is a much earlier poem dating from Another important Schumann poet to make his debut in these pages is Heinrich Heine.
The song Abends am Strand appears like a carte de visite, an augury of the fantasy and imaginative energy of this great but problematic personality. Here was another poet, like Eichendorff, with whom the composer had personal contact; whereas he met Eichendorff as late as , Schumann encountered Heine much earlier, during a Munich visit in May where the eighteen-year-old composer-to-be was astounded by the poet's private collection of pictures, and was taken on a cultural tour of the town. Schumann found Heine on kind and friendly form on that occasion, bemused and world-weary as befits a genius able only to pity the foolish behaviour of mankind.
Schumann took away with him a very romanticised picture of the poet — an image which Heine self-consciously, and possibly cynically, maintained and promoted in literature as in life. This lyric is the seventh of Heine's Heimkehr, a section of the famous Buch der Lieder first published in Hamburg in Schubert chose six poems from this collection which were composed at the end of his life in , and appeared posthumously as songs 7 to 13 of Schwanengesang.
Knowing something about the poet's disinclination to mix with the famous and important this is hardly a surprise. He was too much of a workaholic to spend time socialising with celebrities. Ethel Bartlett piano. BBC Symphony Orchestra. Composers Johann Sebastian Bach. Performers Mary Bonin soprano. Benno Moiseiwitsch piano. Composers Edward Elgar. Ernest Bloch. Sergey Rachmaninov. Ernest John Moeran. Henry Wood 6 Songs, Op 48 arr. Hamilton Harty. Mary Jarred contralto. Lance Dossor piano. Composers Ludwig van Beethoven. Joseph Holbrooke.
John Ireland. Laelia Finneberg soprano.tennis-nabburg.de/templates/whatsapp/661-whatsapp-sniffer-o.php
Five Merry Songs, Op. scored for Voice/Piano
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Five Merry Songs, Op. 125, No. 2: Husarenabzug Sheet Music by Robert Schumann
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