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Composer: Robert Schumann (8 June 1810 — 29 July 1856)
Performers: Ian Bostridge (Tenor), Julius Drake (Piano)
Year of recording: 1998
Liederkreis, 9 songs for voice \u0026 piano, Op. 24, written in 1840
00:00 – I. Morgens steh’ ich auf und frage
01:04 – II. Es treibt mich hin
02:12 – III. Ich wandelte unter den Bäumen
05:45 – IV. Lieb’ Liebchen, leg’s Händchen
06:38 – V. Schöne Wiege meiner Leiden
10:26 – VI. Warte, warte, wilder Schiffsmann
12:23 – VII. Berg’ und Burgn schaun herunter
16:00 – VIII. Anfangs wollt’ ich fast verzagen
16:56 – IX. Mit Myrthen und Rosen
Robert Schumann, the son of a book dealer, exhibited an early love for things literary. The resulting bifurcation of his artistic leanings was articulated in a letter from December 1830, in which he lamented that \”If only my talent for music and poetry would so converge into a single point, the light would not be so scattered, and I could attempt a great deal.\” The immediate realization of this wish was the beginning of a career in music criticism (he founded a music journal in 1834); however, it would eventually see its fullest expression in the composer’s outpouring of German lieder. Despite the composer’s secret disclaimer from 1839 — \”All my life I have considered vocal music inferior to instrumental music…But don’t tell anyone this!\” — the following year saw Schumann compose over 125 songs, many of which now constitute some of his most famous and familiar music. Among the first of his 1840 compositions were several settings of poems from Heinrich Heine’s Buch der Lieder, gathered under the title Liederkreis, and published as Opus 24.
The bouncy boom-chuck of the bass line and chords that accompany the first song, \”Morgens steh’ ich auf und frage,\” might seem to gloss over the grief of the lovelorn speaker, who finds himself unable to sleep at night, yet wanders throughout the day half-conscious. Likewise, Schumann’s setting of the fourth song, \”Lieb’ Liebchen, leg’s Händchen,\” might seem a little cute for the macabre scene: a contemptuous carpenter hammering away in the lover’s heart, building him a casket. Both cases, however, illuminate Schumann’s particular talent for understatement: his seemingly simple lyrical outpourings are the perfect compliment to Heine’s often ironic touch. In the first case, as in many of his settings, slight changes in texture reveal the musical surface to be a psychological façade, beneath which stirs a tortured soul; the singer’s final note lands on an unresolved chord, his love unrequited, while the piano reaches the final cadential resolution alone. In the second example, there is a recurring moment of haunting disjunction: at the end of both verses, on the phrases \”Der zimmert mir einen Totensarg\” (\”There he builds me a coffin\”) and \”Damit ich balde schlafen kann\” (\”That I may sleep\”), the final three syllables are postponed by an unexpected and jarring pause; the piano proceeds with the descending minor-mode line, while the voice follows, hesitatingly out of sync, two beats later. That such subtle irony was deeply felt by the composer could be suggested by biography: at the time of his composing the Liederkreis, his attempts to gain the hand of his sweetheart, Clara Wieck, had theretofore been thwarted by her disapproving father. It would be several more months before Schumann’s own love life would cease to so resemble the bleak romantic outlook offered by Heine.
A similarly effective song from Op. 24 is \”Schöne Wiege meiner Leiden.\” The graceful melody and pulsing accompaniment suggest an earnest outpouring of sorrow, even resignation; however, lingering under the surface is a bitterness made even more sour by its restrained tone. Together with other charming examples, including \”Ich wandelte unter den Bäumen\” and \”Mit Myrten und Rosen,\” this song exemplifies the variety of expression and succinct lyricism that are most characteristic of Schumann’s songs.
[allmusic.com]
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Liederkreis | Song Texts, Lyrics & Translations – Oxford Lieder
Liederkreis (1840) Op. 24. Songs in this series. 1. Morgens steh’ ich auf und frage; 2. Es treibt mich hin …
Source: www.oxfordlieder.co.uk
Date Published: 12/16/2021
View: 7895
Liederkreis, Op. 24Texts and Translations
Morgens steh’ ich auf und frage: Kommt feins Liebchen heut? Abends sink’ ich hin und klage: Aus blieb sie auch heut. In der Nacht mit meinem Kummer
Source: hampsongfoundation.org
Date Published: 2/20/2022
View: 9188
Liederkreis, Op. 24 (Schumann) – Wikipedia
Liederkreis, Op. 24, is a song cycle for voice and piano composed by Robert Schumann on nine poems by Heinrich Heine. The cycle was composed and published …
Source: en.wikipedia.org
Date Published: 1/26/2021
View: 8078
Robert Schumann’s LIEDERKREIS, Op. 24 (texts by Heinrich …
Robert Schumann’s LIEDERKREIS, Op. 24 (texts by Heinrich Heine): Complete Cycle · 1. Heinrich Heine – Anfangs wollt’ ich fast verzagen · 2.
Source: lyricstranslate.com
Date Published: 4/10/2021
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Heine – Uritext – Translations of Lieder & Classical Song Texts
Lieb Liebchen, leg’s Händchen aufs Herze mein. Place your hand on my heart, my dear. Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) …
Source: www.uritext.co.uk
Date Published: 10/18/2021
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Dichterliebe – Liederkreis (Op, 24) (Vinyl) – Discogs
Liner Notes [Song Translation] – William Mann ; Photography By [Cover] – Peter Malz ; Piano – Norman Shetler ; Recording Supervisor – Eberhard …
Source: www.discogs.com
Date Published: 6/8/2022
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Liederkreis | Song Texts, Lyrics & Translations
Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann’s published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück, the Sonatas and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, Schumann married Friedrich Wieck’s daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which formed a substantial part of her father’s fortune.
Schumann suffered from a lifelong mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to amental asylum, at his own request, in Endenich near Bonn. Diagnosed with “psychotic melancholia”, Schumann died two years later in 1856 without having recovered from his mental illness.
Taken from wikipedia. To read the rest of the article, please click here.
Liederkreis, Op. 24Texts and Translations
Mit Myrten und Rosen, lieblich und hold,
Mit duft’gen Zypressen und Flittergold,
Möcht’ ich zieren dieß Buch wie ‘nen Totenschrein,
Und sargen meine Lieder hinein.
O könnt’ ich die Liebe sargen hinzu!
Auf dem Grabe der Liebe wächst Blümlein der Ruh’,
Da blüht es hervor, da pflückt man es ab, –
Doch mir blüht’s nur, wenn ich selber im Grab.
Hier sind nun die Lieder, die einst so wild,
Wie ein Lavastrom, der dem Ätna entquillt,
Hervorgestürtzt aus dem tiefsten Gemüt,
Und rings viel blitzende Funken versprüht!
Nun liegen sie stumm und totengleich,
Nun starren sie kalt und nebelbleich,
Doch aufs neu die alte Glut sie belebt,
Wenn der Liebe Geist einst über sie schwebt.
Und es wird mir im Herzen viel Ahnung laut:
Der Liebe Geist einst über sie taut;
Einst kommt dies Buch in deine Hand,
Du süßes Lieb im fernen Land.
Dann löst sich des Liedes Zauberbann,
Die blaßen Buchstaben schaun dich an,
Sie schauen dir flehend ins schöne Aug’,
Und flüstern mit Wehmut und Liebeshauch.
With myrtles and roses, charming and dear,
with fragrant cypresses and gold tinsel
I would decorate this book like a coffin.
And bury my songs within it.
Oh, could I but bury my love there too!
On love’s grave grows the flower of peace;
there it blossoms, there it is picked.
For me it will bloom only when I am in my grave.
Here, then, are songs which once, wild
as a stream of lava gushing from Etna,
burst from the depths of my soul,
showering many flashing sparks around.
Now they lie mute, as if dead,
rigid, cold, pale as mist;
but the old fire will revive them afresh
if ever love’s spirit should hover over them.
Many an intimation stirs within my heart:
the spirit of love will one day dawn above them,
and one day this book will come into your hands,
my sweet love, in a far-off land.
The magic spell on my songs shall be broken;
the pale letters shall gaze at you,
gaze beseechingly into your lovely eyes,
and whisper with the melancholy breath of love.
Liederkreis, Op. 24 (Schumann)
Song cycle
Liederkreis Song cycle by Robert Schumann English Round of Songs Opus 24 Text poems by Heinrich Heine Language German Composed 1840 ( ) Published 1840 ( ) Movements nine Scoring voice
piano
Liederkreis, Op. 24, is a song cycle for voice and piano composed by Robert Schumann on nine poems by Heinrich Heine. The cycle was composed and published in 1840.
This song cycle was one of the earlier products of Schumann’s Liederjahr (Year of Song), referring to his nearly exclusive devotion to song composition from 1840-1841, immediately after his marriage to Clara Wieck. A letter from Schumann to his wife likely places the date of composition in February.[1] This places the cycle shortly before other well-known song cycles and collections such as Myrthen, Liederkreis, Op. 39, Frauenliebe und -leben and Dichterliebe.
Songs [ edit ]
I. “Morgens steh’ ich auf und frage” — The narrator speaks of his daily hope for his beloved to come to him, and his nightly disappointment when she does not. In D major.
II. “Es treibt mich hin” — The narrator is driven hither and thither in excitement about seeing his beloved, but the hours go too slowly for him. In B minor.
III. “Ich wandelte unter den Bäumen” — The grieving narrator wanders in the woods and finds that the birds already know the word that brings back his sorrow: they heard it from a pretty young woman. In B major.
IV. “Lieb’ Liebchen” — The narrator compares his own heartbeat to a carpenter making a coffin; he wishes the pounding would stop so that he can sleep. In E minor.
V. “Schöne Wiege meiner Leiden” — The narrator bids farewell to the town in which he first saw his beloved and laments that he ever met her, as he would then never have become so miserable as he is now. In E major.
VI. “Warte, warte, wilder Schiffmann” — The narrator tells a boatman that he will come to the harbor to leave both Europe and his beloved. He compares the latter to Eve, who brought evil upon mankind. In E major.
VII. “Berg und Burgen schaun herunter” — The narrator is in a boat on the Rhine, which he describes as beautiful but also harboring death within it, like his beloved. In A major.
VIII. “Anfangs wollt’ ich fast verzagen” — The narrator remembers how he used to think he could never bear his sorrow. Although he has done so, he does not want to be asked how. In D minor.
IX. “Mit Myrten und Rosen” — The narrator speaks of his wish to bury his book of songs, now that the songs lie cold and dead. But he also hopes that one day the spirit of love will rejuvenate them and that his beloved will see the book and the songs will speak to her. In D major.
References [ edit ]
Translations of Lieder & Classical Song Texts
Morgens steh’ ich auf und frage
I wonder every Morning Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine I wonder every morning:
Will I see my love today?
And every evening I complain:
Again she stayed away. Every night, with heartache,
I lie sleepless, wide awake,
And through the daylight hours I wait
In a dreamy, trancelike state.
Es treibt mich hin, es treibt mich her
I am being torn apart Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine I am being torn apart �
I shall see her in just a few hours,
Her, lovelier than all other flowers �
Then, why do you pound so, my faithful heart! These hours are a lazy lot,
Creeping along to no avail
Lazily, yawning, at the speed of a snail.
Move yourselves, you lazy lot! A rage to hasten has me in its hold.
The Horae were never in love, that is clear;
Bound by some oath both secret and drear,
They mock love�s hurry which won�t be controlled.
Ich wandelte unter den B�umen
Wandering among the trees Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine Wandering among the trees
Alone with my deep sorrow,
I was visited by those old dreams
Which in my heart would burrow. Who was it taught you to sing that word,
You birds up there on high?
Hush, for should it reach my heart
The pain will multiply. “A girl who used to walk here,
She sang it all the time.
It was from her we learnt it,
That golden word sublime.� You should not have let me know that,
You wily, sly old bird.
You�re trying to steal my anguish,
But I take no one�s word.
Lieb Liebchen, leg�s H�ndchen aufs Herze mein
Place your hand on my heart, my dear Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine Place your hand on my heart, my dear.
It�s beating all the time, d�you hear?
A nasty carpenter lives in there
Crafting my coffin fair and square. He bangs and hammers day and night;
And on my sleep he�s cast a blight.
Now, master-carpenter, end your task.
I want to sleep � it�s all I ask.
Sch�ne Wiege meiner Leiden
Fair city, fair cradle of my woe Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine Fair city,
Fair cradle of my woe,
Shrine where my peace of mind lies buried,
Fare you well, I have to go. Farewell, you hallowed ground
Where my dearest likes to wander.
Farewell, you holy place
Where first it was I saw her. If only I�d never seen you,
Queen of my heart, so fair,
It never would have come to pass
That I�d know such despair. I never meant to rule your heart,
Nor was it love I sought.
To quietly share the air your breathe �
The perfect life, I thought. But, it�s you that drives me from here;
Cruel words strike to my core,
Madness scrambles all my senses
And my heart is sick and sore. So, I shall drag these weary limbs
Supported on a wanderer�s stave
Till I can rest my weary head
In some cool and distant grave.
Warte, warte, wilder Schiffsmann
Now, just wait, barbarous boatman Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine Now, just wait, barbarous boatman,
I�ll meet you shortly on the quay.
I�ve to take my leave of two fair maidens;
One is Europe, the other, t�is She. Let the blood stream from my eyes.
Let the blood flow from my flesh.
Then I can write my anguish
In blood that is red hot and fresh. Why, dear, is it just today
You shudder at the sight of gore?
My bloodless face, my bleeding heart,
You�ve seen them many times before! D�you know the story of the serpent
In Paradise, as I believe,
Whose evil gift of one red apple
Brought low Adam and also Eve? All calamity is caused by apples.
With hers, Eve has brought us death,
With hers, Eris brought Troy�s fire,
You have brought both fire and death.
Berg� und Burgen Schauen herunter
Mountains and castles are looking down Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine Mountains and castles are looking down
On the mirror-bright Rhine
As, bathed in gleaming sunlight
I sail by in this boat of mine. Peacefully I watch their play as
Golden wavelets purl and dart;
Quietly feelings awaken that
I�d kept deep within my heart.
Greeting me with friendly promise,
The river�s splendour draws me in,
But that superficial gleam, I know,
Is hiding death and night below. Outward joy, a mischievous heart,
River, you play my lover�s part �
She can beckon as a friend,
Smile sweetly, innocence pretend.
Anfangs wollt’ ich fast verzagen
At first I was close to despair Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine At first I was close to despair,
I thought this was too much to bear,
But I have borne it, I’ll allow.
Now, please don’t ask me how.
Mit Myrten und Rosen, lieblich und hold
With myrtle and roses in their prime Liederkreis op 24 (Heine) Liederkreis op 24 (Heine) Heine With myrtle and roses in their prime,
Cypress sweet and gold leaf fine
I�ll make this book a memorial shrine
And bury there these songs of mine. If I could but bury my love also!
The flower of peace on love�s grave will grow;
But my peace flower will not bloom
Till I lie buried in my tomb. Here, then, are the songs that once,
Wild as lava streams from Etna,
Burst from deep within my heart,
Showering sparks on every part. Now, they lie silent, like to death,
Bound by cold, and misty pale,
But their former glow could be revived
Should the spirit of love once prevail. And in my heart I feel with awe
That love�s spirit will one day thaw,
One day this book will reach your hand,
My dearest love, in a foreign land. Then the spell that mutes this song
Will break, the pallid script will reappear,
See into your lovely eyes, implore,
Whispering longingly, adore.
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The Facts on File Dictionary of Music
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