Robert Schumann - Liederkreis, op. 39 [With score]

Composer: Robert Schumann (8 June 1810 -- 29 July 1856)
Performers: Dietrich Fischer-Dieskau, Günther Weissenborn (piano)
Year of recording: 1955?
Liederkreis [12 songs for voice and piano], op. 39, written in 1840
00:00 - I. In der Fremde [In a distant land]
01:57 - II. Intermezzo
03:39 - III. Waldesgespräch [Forest conversation]
05:45 - IV. Die Stille [The silence]
07:14 - V. Mondnacht [Moonlit night]
10:47 - VI. Schöne Fremde [Lovely distant land]
12:05 - VII. Auf einer Burg [In a fortress]
15:28 - VIII. In der Fremde
17:00 - IX. Wehmut [Melancholy]
19:11 - X. Zwielicht [Twilight]
22:12 - XI. Im Walde [In the forest]
23:33 - XII. Frühlingsnacht [Spring night]
Schumann was such a quick and prolific composer that it's often difficult to draw distinct points of development in his style, but Schumann himself described these songs as "my most Romantic music ever." The Eichendorff texts are (with the exception of "Intermezzo," in which the location is not specified) all set outdoors, often with direct references to nature, and each refers to travel, whether thoughts traveling to a beloved or a physical journey, both typical Romantic concepts. They are also highly Romantic in their expressive moodiness, whether ecstatic or melancholy, and the occasional aura of mystery, whether the unexplained tears of the bride in "Auf einer Burg" or the supernatural in "Waldesgesprach." Schumann's selection of these varied poems itself creates a Romantic juxtaposition of emotions, and the passionate settings capture and emphasize those aspects.
They also show Schumann's increasing sophistication as a song composer; the piano becomes more important in its own right, and the scene painting from the piano is among Schumann's best, creating the desired effects immediately and with no excess. (The exception is the relentlessly jolly "Der frohe Wandersmann," which originally opened the cycle and which Schumann left out of the 1850 and subsequent editions.) For example, "Waldesgesprach" uses an alluring lyrical figure that quickly paints the seductive, wild figure of the Lorelei, a recitative-like dialog between the protagonists, and a hunting theme that first depicts the man as the hunter and the woman as the object of his hunt, and repeats at the end, ironically, to show the reversal of roles by the end of the song. There are quick characterizations, such as the sudden surge at "du schöne Braut" suggesting an eager lunge towards the lady, and the almost smugly seductive decrescendo on the honeyed "heim."
The cycle is atypical of Schumann in the relative lack of musical linkages between and among the songs. There is no piano postlude reprising a theme from the first song, as there is in "Frauenliebe und -leben" or "Dichterliebe," and while there are tonal connections between songs, most notably between "Auf einer Burg" and the following "In der Fremde" (which also share similar imagery), they are less closely constructed than the connections in other song cycles.
Schumann often integrated references to his and Clara's love in his songs and his instrumental and orchestral writing. In the second song, "Intermezzo," he includes the famous "Clara theme," a descending five-note pattern that in German notation spells out her name. Numerous elements of the cycle reflect events of Schumann's own life -- from blissful love to the wedding procession that fills the listener with sorrow in "Im Walde," paranoia in "Zwielicht," and finally the various images of death.
[Allmusic.com]
Original Audio: • Video

[@theblinkerdigest]

Mondnacht is so beautiful, you can hear all the stars and moonlight and corn field in the piano.

[@lukekirby4622]

I can listen to this forever and it never gets old.

[@lidapeng8783]

1. In der Fremde Aus der Heimat hinter den Blitzen rot Da kommen die Wolken her, Aber Vater und Mutter sind lange tot, Es kennt mich dort keiner mehr. Wie bald, ach wie bald kommt die stille Zeit, Da ruhe ich auch, und über mir Rauscht die schöne Waldeinsamkeit, Und keiner kennt mich mehr hier. 2. Intermezzo Dein Bildnis wunderselig Hab ich im Herzensgrund, Das sieht so frisch und fröhlich Mich an zu jeder Stund. Mein Herz still in sich singet Ein altes schönes Lied, Das in die Luft sich schwinget Und zu dir eilig zieht. 3. Waldesgespräch Es ist schon spät, es ist schon kalt, Was reitest du einsam durch den Wald, Der Wald ist lang, du bist allein, Du schöne Braut! Ich führ dich heim!- “Gross ist der Männer Trug und List, Vor Schmerz mein Herz gebrochen ist, Wohl irrt das Waldhorn her und hin, O flieh! Du weisst nicht wer ich bin.”- So reich geschmückt ist Ross und Weib, So wunderschön das junge Leib, Jetzt kenn ich dich- Gott steh mir bei! Du bist die Hexe Lorelei.- “Du kennst mich wohl- vom hohen Stein Schaut still mein Schloss tief in den Rhein. Es ist schon spät, es ist schon kalt, Kommst nimmermehr aus diesem Wald.” 4. Die Stille Es weiss und rät es doch keiner, Wie mir so wohl ist, so wohl! Ach, wüsst es nur einer, nur einer, Kein Mensch es sonst wissen soll. So still ist’s nicht draussen im Schnee, So stumm und verschwiegen sind Die Sterne nicht in der Höh, Als meine Gedanken sind. Ich wünscht, ich wär ein Vöglein Und zöge über das Meer, Wohl über das Meer und weiter, Bis dass ich im Himmel wär! 5. Mondnacht Es war, als hätt der Himmel Die Erde still geküsst, Dass sie im Blütenschimmer Von ihm nun träumen müsst. Die Luft ging durch die Felder, Die Ähren wogten sacht, Es rauschten leis die Wälder, So sternklar war die Nacht. Und meine Seele spannte Weit ihre Flügel aus, Flog durch die stillen Lande, Als flöge sie nach Haus. 6. Schöne Fremde Es rauschen die Wipfel und schauern, Als machten zu dieser Stund Um die halbversunkenen Mauern Die alten Götter die Rund. Hier hinter den Myrtenbäumen In heimlich dämmernder Pracht, Was sprichst du wirr wie in Träumen Zu mir, phantastische Nacht? Es funkeln auf mich alle Sterne Mit glühendem Liebesblick, Es redet trunken die Ferne Wie von künftigem, grossem Glück.

[@RedCloudBeechWaveAhh]

thank you so much you are a great contribution

[@lilihunter]

Leider spricht heute niemand mehr in solchen Worten

[@davidcatalano1179]

The world needs good art, now more than ever! Love this recording.

[@enusama_9384]

Look at it positively. If today's bad art didn't exist you couldn't quite appreciate yesterday's good art the way we do now.

[@johnkiunke5617]

The opening of the intermezzo is just beautiful.

[@hai-mel6815]

I mean, what isn't?

[@catherinejones9396]

Thank you for Dietrich, his accompanist, and the printed score- a wonderful experience.

[@Ivan_1791]

Thank you so much for the in depth decription!

[@amyssu-huiwu6796]

Beautiful! Thank you for sharing!

[@abc-dp3fo]

¡¡Gracias por subirlo!!

[@Ivan_1791]

This is great from starting to end.

[@giselediniz]

Beautiful!

[@CatkhosruShapurrjiFurabji]

Zwielicht is one of the best lieder I've ever heard.

[@dallinfullmer3073]

Prokofiev quoted Wehmut in his sonata 7

[@mckernan603]

Don’t hear it

[@sgut1947]

@@mckernan603 I think @Dallin Fullmer may be referring to the opening two (whole) bars of the slow movement of Prokofiev 7, which have a similar line and pace to Wehmut, and is in the same key. I hear it that way too, but I think it's probably a coincidence rather than a quotation, as it's very short and not identical.

[@hyo6385]

우아 숙제라서 찾고있었는데 danke!

[@almiro26]

Lendo a vida Philip K. Dick 🇧🇷

[@mckernan603]

Auf Einer Burg is pretty special

[@louisdebasquiat]

yes

[@berndjanke3176]

Unübertroffen und unerreicht! Fischer-Dieskau war der bedeutendste Sänger des vorigen Jahrhunderts.

[@louisdebasquiat]

Is Very beatifull😁

[@giselediniz]

Danke Schonne!

[@phbelo958]

ADOOOORO

[@okizvecan7930]

Danke für dieses link

[@janbonsema5888]

these german Lieder are deadly

[@DasHausderKindheit]

Why deadly?

[@anniespiano]

Who is the pianist? Wonderful, sensitive, impassioned playing! Why no recognition?

[@SCRIABINIST]

Gunther Weissenborn, look in the description

[@olavtryggvason1194]

Kannte Schumann eigentlich die Lieder von Schubert ? Manchmal könnte man es glauben. Über manchem liegt die Stimmung von Winterreise und Schwanengesang. und nur wenige Jahre trennten Schumann von Schubert.

[@Gnade-qx7zw]

Sehr melancholisch

[@okizvecan7930]

Gnade 2000 warum?

[@Quotenwagnerianer]

@@okizvecan7930 Das musst du schon den Dichter fragen, warum das so melancholisch ist. ;)

[@zyoodays]

7:15 달밤

[@Marcusvbdias]

Please, where can I find the score in that key? Thanks!

[@JustinHatt1]

What's up Mus 634 fam

[@Ivan_1791]

VII

[@deadpixels3843]

7, 10.

[@haruhisuzumiya2400]

22:12

[@user-jt1yd2eh2i]

3:40

[@gautierbrunet6564]

13:09

[@Peaceful333s]

17:00〜no.9

[@elodiesucau4112]

salut les francais

[@haruhisuzumiya2400]

17:00

[@user-gv9cd1og4x]

3:39

[@christopherbeeching9510]

Does anyone else get appalling adverts ruining this - shunting in between almost every section?

[@PaulHummerman]

get Ad-Block

[@RedCloudBeechWaveAhh]

or Adblock plus, perhaps same, other apps specifically block youtube ads...spread the word!

[@mariainesmercandiono6650]

11¹

[@daancorneillie1792]

Why the ads - really? Are you Schumann? Are you von Eichendorff? Are you Dietrich Fisher-Dieskau? Are you Günther Weissenborn? Are you the person who wrote the analysis? Thanks for the video but not for the ads. Money, money, money whilst others do the work.

[@f.p.2010]

it's KZbin that does it, not the video creator. Also Ad-Blockers are a thing.

[@emechieh8904]

Actually, as F. P. said, KZbin automatically creates these ads, because the video contains licensed material. The profit goes to the owners of these licenses, not to the owner of this channel. We're lucky they did the work to place the ads between the songs instead of interrupting them.

[@unpeztropical5492]

uwu