Love Notes
Intimacy & Madness


 

Introduction 

 

Träumerei
Robert Schumann

 

In 1848, Clara remarked lovingly to Robert that he was "like a child." This inspired him to write Kinderszenen ("Childhood Scenes"), a set of thirty movements, from which he selected thirteen to publish as Op. 15. Träumerei ("Reverie") is the most loved of these, for reasons that, have you not heard it before, will become immediately apparent. 

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Set I: Clara Schumann

 

Drei Gemischte Chöre (partsongs)

Text: Emmanuel Geibl

(Translations Here)

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1. Abendfeyer in Venedig

2. Vorwärts

3. Gondoliera

As far as we know, this performance is a first for Fredericton, and one of only three known choral compositions in Clara's canon. Composed as a surprise for Robert, she secretly rehearsed them with a few members of his choral society, and had them sung to him on the morning of his 38th birthday as a serenade. Unpublished until 1889, these settings of then contemporary poet Emmanuel Geibl's work not only demonstrate Clara's skill in creating rich melodies and emotion in word painting, but are yet another revealing demonstration of her love for Robert. 
 
 

Set II: Robert Schumann

 

Romanzen und Balladen, Op.67

Text: Johann Wolfgang von Goethe, Eduard Mörike, Adelbert von Chamisso, Robert Burns

(Translations Here)

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1. Der König von Thule

2. Schön-Rohtraut

3. Heidenröslein

4. Ungewitter

5. John Anderson

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“Ah my Clara, what bliss it is to write songs. I can’t tell you how easy it has become for me… it is music of an entirely different kind which doesn’t have to pass through the fingers… I should like to sing myself to death, like a nightingale!”   

 

- Robert Schumann, to Clara during his "year of song" 

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Schumann founded  the “Chorgesangverein” (Choral Society) in Dresden in 1848, for which, during what he called his "most prolific" year in 1849, his composed and published Romanzen und Balladen für Chor in four books, containing five songs each. Said Robert in a letter to a friend “I very much enjoy my choral group, for which I can make up all the music I love at my own pleasure”. Schumann's pleasure is now yours to enjoy as well. 

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Intermission

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Set III: Johannes Brahms

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Liebeslieder Waltzes, Op. 52

Text: Georg Friedrich Daumer

(Translations Here)

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1. Rede, Mädchen
2. Am Gesteine rauscht die Flut
3. O die Frauen
4. Wie des Abends schöne Röte
5. Die grüne Hopfenranke
6. Ein kleiner, hübscher Vogel
7. Wohl schön bewandt war es
8. Wenn so lind dein Auge mir
9. Am Donaustrande
10. O wie sanft die Quelle
11. Nein, es ist nicht auszukommen
12. Schlosser auf, und mache Schlösser
13. Vögelein durchrauscht die Luft
14. Sieh, wie ist die Welle klar
15. Nachtigall, sie singt so schön
16. Ein dunkeler Schacht ist Liebe
17. Nicht wandle, mein Licht
18. Es bebet das Gesträuche

"...charming waltzes for 4 hands and 4 voices, sometimes two and two, sometimes all four together, with very pretty words, chiefly of the folk-song type". 

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 - Clara Schumann diary entry, July, 1869

 

It is widely speculated, though empirically unproven (and suspect, given the rather flat reception [above] from her) that the Liebeslieder Waltzes were inspired by Brahms's love for Clara. Regardless of intent  - more likely the popularity of waltzes per the success of friend and contemporary Johann Strauss - this delightful collection of love songs written in mainstream style was then, and still remains a favorite, and despite its populist oeuvre, shows off Brahms's incredible talent for complexity of both harmony and rhythm.