Schumann - "Liederkreis" Op.39 | Ian Bostridge

Robert Schumann (1810-1856) - Liederkreis, 12 Songs for Voice & Piano, Op. 39, 1840. Ian Bostridge, tenor and Leif Ove Andsnes, piano. Live Recording, 2000.
"Liederkreis" Op.39:
I. In der Fremde
II. Intermezzo
III. Waldesgespräch
IV. Die Stille
V. Mondnacht
VI. Schöne Fremde
VII. Auf einer Burg
VIII. In der Fremde
IX. Wehmut
X. Zwielicht
XI. Im Walde
XII. Frühlingsnacht
Poems by Joseph Eichendorff's collection entitled Intermezzo
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.

[@LyonLevi]

0:00 I. In der Fremde 1:50 II. Intermezzo 3:30 III. Waldesgespräch 5:35 IV. Die Stille 7:10 V. Mondnacht 11:03 VI. Schöne Fremde 12:17 VII. Auf einer Burg 15:20 VIII. In der Fremde 16:36 IX. Wehmuth 19:21 X. Zwielicht 22:21 XI. Im Walde 23:37 XII. Frühlingsnacht

[@danielvs7080]

Schumann Schumann Schumann ALLWAYS Schumann

[@user-ok7jk4jb1y]

ㅃㅃㅂㅃㅃㅂㅃㅂㅃㅃ

[@a.schier1830]

He sings like an angel. His version of Mondnacht is one of the best.

[@OnceUponLater]

I got absolute goosebumps during Auf Einer Berg. Thank you, thank you, thank you

[@milesbuckminster5824]

Involving, entertaining, simply beautiful, as one would expect of these two.

[@danielvs7080]

Schumann Schumann Schumann allways Schumann

[@user-nh4yy7ol9w]

森の情景を勉強するのに大変参考になりました。

[@edwardnah6739]

Schumann was underrated by some critics. Under Sawallish's interpretations, His 4 symphonies are all super-stars now and 1/2/3/4 are equally beautiful and pursued very high romanticisms - Brahms followed his works and wrote 4 equally superior symphonies. Schumann got influences from Schubert and developed his own ways of music. Moreover, his musical works are very addictive to serious listeners. That is the evidence that Schumann was extra ordinary writer and real musical Star for centuries.

[@vonMohl]

Schumann was not esteemed by Chopin unfortunately.

[@karolinaparmas]

Wow, thank you so much! This is an amazing gift to the listeners!

[@naturefruitmineralwater6307]

고맙습니다

[@mariafortunatirozzi7588]

viscerale, passionale, sconvolgente.

[@elenajimenez9397]

Ambos intérpretes en estado de gracia. Emocionante de principio a fin. Elena Jimenez

[@user-ri6wd2ek6c]

🌹❤

[@lucyliu5500]

Where's the rest of the recital? Thanks!

[@saxoungrammaticus9132]

Where did you get the recording for this one, I can't find it anywhere to buy @Adagietto

[@DLJ2890]

1999 - soundcloud.com/daniel-lockwood-54109873/mondnacht

[@DLJ2890]

1999 - soundcloud.com/daniel-lockwood-54109873/schone-fremde

[@babafoin]

No too fast !

[@singhsinga4592]

I reckon the tempo is so he can do the long breath "Und über mir rauscht die schöne Waldeinsamkeid" in one breath. Ego.

[@gerlindemayer9645]

Immer derselbe Fehler beim ersten Lied. Der Pianist beginnt zu schnell. Sobald eine Stimme dabei ist, muss das Klavier in Funktion der „Begleitung“ treten, da ist nichts mehr mit Liszt artiger Eitelkeit. Man muss Lieder einfach anders spielen als Sololiteratur für Klavier, das ist doch so einfach. Bostridge ist top! Bravo

[@ulrichwelsch8148]

Völlig richtig, so ist größtenteils nur ärgerlich

[@xxmusika588]

His voice is not very impressive, dont like it.

[@DLJ2890]

1999 - soundcloud.com/daniel-lockwood-54109873/waldesgespracht

[@DLJ2890]

1999 - soundcloud.com/daniel-lockwood-54109873/fruhlingsnacht