, Op. 39, is a song cycle composed by Robert Schumann. Its poetry is taken from Joseph von Eichendorff's collection entitled Intermezzo. Schumann wrote two cycles of this name – the other being his Opus 24, to texts by Heinrich Heine – so this work is also known as the Eichendorff Liederkreis. Schumann wrote, "The voice alone cannot reproduce everything or produce every effect; together with the expression of the whole the finer details of the poem should also be emphasized; and all is well so long as the vocal line is not sacrificed.""Belsatzar, Op. 57" program notes by John Henken, Los Angeles Philharmonic Liederkreis, Op. 39, is regarded as one of the great song cycles of the 19th century, capturing, in essence, the Romantic experience of landscape.Andreas Dorschel, "Listening to Landscape: A Romantic Evocation of Sound and Mood." In: Roger Scruton (ed.), Chora: Landscape and Mindscape. The Alpine Foundation, Venice 2018, pp. 62–75, p. 68. Schumann wrote it starting in May 1840, the year in which he wrote such a large number of lieder that it is known as his "year of song" or .
Songs
The cycle consists of twelve songs: "In der Fremde" I "Intermezzo" "Waldesgespräch" "Die Stille" "Mondnacht" "Schöne Fremde" "Auf einer Burg" "In der Fremde" II "Wehmut" "Zwielicht" "Im Walde" "Frühlingsnacht"
"In der Fremde" I
Form The form of "In der Fremde" is ambiguous: there are arguments that it is through-composed and arguments that it is in the A–B–A form.
The evidence that "In der Fremde" is through-composed is found in both the melody and the harmony. The harmonic pattern is inconsistent enough to be through composed: The piece modulates from F minor, to A major, to B minor, then back to F minor. Within each of these keys, the general structure is comparable, but the last significant section (mm 22–28) is strikingly different. With each modulation, the melody changes. The modulations are not directly congruent with the stanza changes, which points to a through-composed piece.
It can be argued that "In der Fremde" takes an A–B–A–C form. Though they are in different keys, the first and third sections (A) have nearly the same melody and comparable harmonic structures. The second section (B) has all new melodic material and is in a major mode which contrasts with the A section. The final section is new material; it "echoes the last line of the first quatrain [and] stands in for a return of the entire quatrain", but does not constitute a restatement of the A section.
The form could also be interpreted as A–B– if the focus is predominantly on the vocal line. There is a recurring motif between the A and sections, and the difference between the two sections can be found in sparse accidentals and different intervals that make the variations on the original motif. The big difference is the change in key, as the section is in B minor before the song modulates back to the home key, F minor.
Text German originalLiteral translationAus 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.From the homeland beyond the red lightning, There come the clouds, But father and mother are long dead, Nobody knows me there any more.
How soon, oh how soon comes the silent time When I also rest, and above me Murmurs the sweet loneliness of the woods, And nobody knows me here any more.
Setting to music
Schumann opens this song cycle with the lied In der Fremde in F minor with arpeggiated chords in the piano. These broken chords impart a feeling of perpetual motion, reflecting the stormy scene set up by the narrator. The dynamics (mostly piano) suggest that the storm is far away, yet the sense of urgency is still present in the single line of continuous, moving 16th notes. In the conjunct vocal line we feel the loneliness the narrator feels as he remembers his parents and reflects on his struggle.
The first stanza is accompanied completely in F minor and ends with a perfect authentic cadence. Once the tone of the poem changes, the harmonic structure follows suit. At the beginning of the second stanza, Schumann modulates to A major to reflect the narrators hopeful longing for the "quiet time to come". The style of accompaniment in the A major section also changes, with a light and hopeful counter-melody in the right hand that stands in contrast to the metronomic urgency of the 16th notes. As the angst bleeds through from the pain of the realization that the narrator is alone, with no parents, the music lingers around the dominant in the uneasy A major. The applied chords in the beginning of this section help by tonicizing the dominant.
The A major section modulates to B minor, giving a dark and unexpected ending that transitions back into the home key. When we return to the home key of F minor there is a tonic pedal that helps drive the movement to a close, giving a harmonic grounding as the moving 16th notes continue. With the addition of Neapolitan chords in measures 22 and 24, we as listeners feel the tension and unease that the narrator feels as he returns to his dark, lonely thoughts and continues towards death.
The only dynamic markings in the piece are in measures 1 and 5, indicating a piano or pianissimo dynamic. Schumann's choice of such minimal dynamics reflect the narrator's quiet resignation and longing for death. Later, specifically in the A major section, there are some crescendos and diminuendos marked in the piano part. The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody.
This movement of Liederkreis has several applied chords, such as V/V. Almost exclusively, these applied chords do not resolve to the expected chord. Instead, they resolve to different chords with the same harmonic functions. Throughout, there are applied chords of both the dominant (V) and subdominant (iv), which resolve to vii° and a Neapolitan chord (N), respectively. This has the effect of creating unexpected harmonic tension, heightening the emotions of the narrator.
"Intermezzo" Text German originalLiteral translationDein 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.Your wondrous portrait Have I in the bottom of my heart, Which looks so freshly and cheerfully Upon me at every hour.
My heart sings silently in itself An old, beautiful song, Which soars up into the air And hurries to you.
"Waldesgespräch" Text German originalLiteral translationEs ist schon spät, es ist schon kalt, Was reit'st 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 der junge Leib, Jetzt kenn' ich dich—Gott steh' mir bei! Du bist die Hexe Loreley.
„Du kennst mich wohl—von hohem Stein Schaut still mein Schloß tief in den Rhein. Es ist schon spät, es ist schon kalt, Kommst nimmermehr aus diesem Wald!“It is already late, it is already cold, Why are you riding alone through the woods? The woods are long, you are alone, You lovely bride! I'll lead you home!
"Great is the deceit and cunning of men, For pain is my heart broken, The hunting horn wanders to and fro, Oh, flee! You do not know who I am."
So richly decorated are horse and woman, So wondrously beautiful the youthful body, Now I recognise you–God help me! You are the witch Loreley.
"You know me well–from a high stone My palace looks silently deep into the Rhine. It is already late, it is already cold, Nevermore leave these woods!"
"Die Stille" Text German originalLiteral translationEs 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'!Nobody knows or guesses, How I am so happy, so happy! Oh, only one knew, only one, No other man might know!
It is not so quiet outside in the snow, Not so silent and secretive are The stars in the heavens, As my thoughts are.
I wish I were a little bird And flew over the sea, Over the sea and beyond, Until I were in heaven!
"Mondnacht"
Form It can be argued that the form of "Mondnacht" is strophic, with some slight deviations from the norm. The first two stanzas of the poetry are set to identical melodies in the vocal line, and there is also very strong similarity in the piano accompaniment, with only a few chords that differ. The digressions from the norm occur in the last stanza, where the vocal line varies in pitch, but retains the same rhythmic structure. Additionally, the repeated, blocked chords in the piano accompaniment become much thicker with the doubling of notes.
Text
German originalLiteral translationEs war, als hätt' der Himmel die Erde still geküsst, dass sie im Blütenschimmer von ihm nur 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.It was as if the heavens had Silently kissed the earth, So that in a shower of blossoms she Must only dream of him.
The breeze wafted through the fields, The ears of corn waved gently, The woods rustled faintly, So starry-clear was the night.
And my soul stretched its wings out far, Flew through the quiet lands, as if it were flying home.
"Schöne Fremde" Text German originalLiteral translationEs rauschen die Wipfel und schauern, Als machten zu dieser Stund' Um die halb versunkenen 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 großen Glück!The treetops murmur and shudder, As though at this hour Around the half-sunken walls The old gods were doing their rounds.
Here beyond the myrtle trees In secret half-light magnificence, What do you say wildly, as in dreams, To me, fantastical night?
All the stars glimmer above me With the glowing gaze of love, They speak drunkenly of the far-away As of great future happiness!
"Auf einer Burg" Text German originalLiteral translationEingeschlafen auf der Lauer Oben ist der alte Ritter; Drüben gehen Regenschauer, Und der Wald rauscht durch das Gitter.
Eingewachsen Bart und Haare, Und versteinert Brust und Krause, Sitzt er viele hundert Jahre Oben in der stillen Klause.
Draußen ist es still und friedlich, Alle sind in's Tal gezogen, Waldesvögel einsam singen In den leeren Fensterbogen.
Eine Hochzeit fährt da unten Auf dem Rhein im Sonnenscheine, Musikanten spielen munter, Und die schöne Braut, die weinet.Asleep on the look-out, Up there is the old knight. Above pass showers of rain, And the wood rushes through the portcullis.
Beard and hair grown into one, And breast and ruff fossilised, He sits for many hundreds of years Up there in the silent cell.
Outside it is quiet and peaceful, Everyone has gone into the valley, Birds of the woods sing solitarily In the empty window arches.
A wedding processes beneath On the Rhine in sunshine, Musicians play merrily, And the beautiful bride, she weeps.
"In der Fremde" II Text