Likely inspired by the events of his own courtship of Clara
Wieck, Schumann's song cycle Frauenliebe und -leben (A Women's Love and
Life) was composed in 1840, known as his "Year of Song" and the year of his
marriage to Clara. Based on the poem cycle by the German poet Adelbert von
Chamisso written in 1830, it tells the story of a woman's love for her man from
their first meeting to beyond his death. Schumann selected eight poems from
Chamisso's cycle to set to music.
As with many of Schumann's Lieder, the piano plays a crucial
role in portraying the mood of the poem. As a result, the piano accompaniment
possesses a strong independence from the voice, yet simultaneously creates a
more unified, artistic whole by subtly enhancing the mood of the lyric and, in
some cases, even giving expression to that which is not easily brought about in
words alone.
In the first song, "Seit ich ihn gesehen" ("Since I
saw him"), the narrator tells of her "blindness" to all others after her first
sighting of the one she loves. Cast in a passive triple meter and simple
strophic setting, Schumann's setting has a dreamy quality. The following song,
"Er, der Herrlichste von allen" ("He, the most glorious of all") expresses a
woman's admiration for her man. The piano begins with a repeated-chord
accompaniment against the voice's majestic melody. Twice the voice departs from
its opening melody, yet, never is the regal, confident tone of the song lost.
The melody returns for a final statement, elegantly making its way back to the
tonic key.Joseph DuBose
Classical Music | Mezzo-Soprano
Robert Schumann
Seit ich ihn gesehen habe Play
Recorded on 11/05/2010, uploaded on 11/05/2010
Musician's or Publisher's Notes
Frauenliebe und -leben, op. 42 Robert Schumann
Likely inspired by the events of his own courtship of Clara Wieck, Schumann's song cycle Frauenliebe und -leben (A Women's Love and Life) was composed in 1840, known as his "Year of Song" and the year of his marriage to Clara. Based on the poem cycle by the German poet Adelbert von Chamisso written in 1830, it tells the story of a woman's love for her man from their first meeting to beyond his death. Schumann selected eight poems from Chamisso's cycle to set to music.
As with many of Schumann's Lieder, the piano plays a crucial role in portraying the mood of the poem. As a result, the piano accompaniment possesses a strong independence from the voice, yet simultaneously creates a more unified, artistic whole by subtly enhancing the mood of the lyric and, in some cases, even giving expression to that which is not easily brought about in words alone.
In the first song, "Seit ich ihn gesehen" ("Since I saw him"), the narrator tells of her "blindness" to all others after her first sighting of the one she loves. Cast in a passive triple meter and simple strophic setting, Schumann's setting has a dreamy quality. The following song, "Er, der Herrlichste von allen" ("He, the most glorious of all") expresses a woman's admiration for her man. The piano begins with a repeated-chord accompaniment against the voice's majestic melody. Twice the voice departs from its opening melody, yet, never is the regal, confident tone of the song lost. The melody returns for a final statement, elegantly making its way back to the tonic key. Joseph DuBoseMore music by Robert Schumann
Romance in F-sharp Major, Op. 28, No. 2
Papillons in C-sharp Major, Op. 2
Albumblätter I, From Bunte Blätter Op. 99 (Colored Leaves)
Du bist wie eine Blume, Op. 25, No. 24
In der Nacht (Fantasiestücke Op. 12)
Liebeslied, Op. 51, No. 5
Träumerei (Dreaming), from Kinderszenen Op.15
Kreisleriana Op. 16
Maerchenbilder for viola and piano - I mov, op.113
Awfschwung (Fantasiestücke Op. 12)
Performances by same musician(s)
Piano Quintet in f minor, Op 34
Transcendental Etude No. 8 "Wilde Jagd"
Carmen Variations
Carmen Variations (White House Edition)
Les chemins de l'amour
Hommage à S. Pickwick, Esq., P.P.M.P.C., from Préludes Book II
Brouillards, from Préludes, Book II
Il pleure dans mon cœur, from Ariettes oubliées
Nun hast du mir den ersten Schmerz getan
La Puerta Del Vino, from Préludes, Book II
Classical Music for the Internet Era™