0 ‘idektrags fon ‘hagna, torp'us firglunttsvantste Liederkreis von Heine, Op. 24 Song Cycle, Op. 24, composed in February 1840 Poems from “Junge Leiden” (“Youthful Sorrows”) in Buch der Lieder by Heinrich Heine L ‘morgons ‘et ig Igof lunt’fraxga: kKYomt’ fgens ‘zp'gon_hagi*? Morgens __steh’ ich auf und frage: kommt feins Liebchen heut?? Inthemomingstand up and ask: comes fine darling today? (in the morning I rise and ask myself: “Will my darling come today?”) [morgens = in the morning, of a morning] tabonts zk’ 1g. hm lunt' ‘élaxga: lggs blip’ zit lax hogt', Igox apt Abends sink’ ichhin und Klage: aus blieb sie auch heut’, auch heut’. Intheeveningsink I hence and lament: out stayed shealso today, also today. (in the evening I lie down and lament: she stayed away today too.) _[abends = in the evening] [the repetition of “auch heut” was added by Schumann} m deg naxt’ mit’ genom ktume lig 1g ‘flaflos, lig ie vax; Inder Nacht mit meinem Kummer lieg’ ich schlaflos, lieg’ ich wacl Inthe night withmy grief lie I sleepless,lie 1 awake; (At night I lie sleepless with my grief, wide awake;) {the repetition of “lieg’ ich” was added by Schumann]‘erggmont’ vi: im ‘halban ‘flume, ‘'ragmont’ ‘vandla lig bae tha:k'. triumend wie im halben Schlummer, trilumend wandle ich bei Tag. dreaming as in the half slumber, dreaming wander I by day. (all day I wander about in a dream, as if half aslee [the repetition of “trdumend” was added by Schumann] [The accompaniment suggests that the poet is wandering about, half asleep, as he remembers his hopes and disappintments. Robert Franz and Franz Liszt have both made settings of the poem. ‘The triple grace-note at the end of the postlude should be played on the beat, not before it.] 2. es tracp't' mug hm, les traep't' mig herg! nax ‘vemgan ft'undan dan zol_ ig Estreibt michhin es treibt mich her! Nach wenigen Stunden dann soll ich It drives me hence,it drives me hither! Afterfew hours then shall T (Something drives me this way and that! After just a few hours I shall) Zit zelbe, di ‘Jomst'a dese ‘fomon jugfrqgon. du: tarmas herts, vas sie selber, die schénsteder schdnen Jungfrauen. Du armes Herz, was her see, her herself,the loveliest ofthe lovely virgins. Youpoor heart, why (see her, her herself, the loveliest of all lovely young women. My poor heart, why) [Heine: “Du treues (1?r9ges, faithful) Herz”) pPoxst du: fverg? di ‘ft'undon zt’ tabe(r)_ laen fools folk"! ag Pochst du schwer? Die Stundensind aber ein _faules Volk! Schleppen sich pound youheavily? The hours are howevera lazy folk! Drag _themselves (do you pound so hard? The hours are certainly a lazy lot! They drag themselves along) [Heine: “pochst du so (zo%, 80) schwer”] bohak'lie ‘rege, “flaggan ‘gemont' tise ‘verga; tumlo dig, du: ‘faolas folk"! behaglich triige, schleichen gihnend ihre Wege; tummle dich, du faules Volk! comfortably sluggishly, creep yawning theirways; hurry yourself, you lazy folk! (in sluggish comfort, creep along their path, yawning. Hurry up, you lazy things!) ‘orbonds taelo mig ‘thraebont' lepfast’. fa:be ‘nimazls ‘isp't'on di ‘hoon; ‘haemhig Tobende Eile mich treibend erfasst. Aber wohl _niemals liebten die Horen; heimlich Raging hasteme driving seizes. But probablynever loved the Horae*; secretly (Lam in a frenzy of impatience! But then the Horae were probably never in love: secretly) [*Horae = goddesses of time and of the seasons; Latin: the hours} lim ‘graoza:mon ‘bunds fegfvoron, ‘fp'ot‘an zi: ‘thyk'sf — derg ‘isbondan hast. spotten sie tickisch der Liebenden Hast. jock they maliciously the loving ones’ haste. jously mock a lover’s haste.) inthe cruel alliance conspired, (conspiring in a cruel alliance, they m: [The lover is feverishly impatient for the moment to come when he can be with his beloved. The ‘opening motif is “very quick,” forte, and staccato. But in spite of his haste he dallies for a ‘moment with the memory of her loveliness. The perverse laziness of the Hours, lamented with ‘humor and exasperation, is reflected in legato bare octaves, two sluggish bars behind the singer.}3. 1g ‘vandolt's tunt'e den ‘bagman mut’ maenom gra:m lalaen; da: ka:m das talt's tPragman Ich wandelte unter den Biumen mit meinem Gram allein; da kam das alte Triumen 1 wandered beneath the trees withmy ——_sorrowalone; thencame the old dreaming (Lwandered about beneath the trees, alone with my sorrow; then all the old dreaming came back) lunt' fig mixg/misr ims herts hrnaen. verg hat’ loge diss ‘voert'Iaen golleot’, ling undschlich mir ins Herz hinein. Wer hat euch dies Wértlein gelehret, ihr and crept tome —_intothe heart inside. Who has to you this little word taught, you (and crept into my heart. Who taught you that little word, you) Yoglgen Im'toft'ige he? — fvaek't' fr‘, ven magn herts les ‘hesrot, dan Voglein in luftiger Hoh’? Schweigt still, wenn mein Herz es héret, dann littlebirds in airy heights?Be silent quiet,if my heart it hears, then (lttle birds high in the air? Be stil! If my heart should hear it, then) Bust lesnox tgenmail zo: ve:. es kta: lgen juyfraglaen go'gayen, di: zay les tut es nocheinmal so web.Es kam ein Jungfriulein gegangen,die sang es doesit yet once so hurt. Therecame a young woman walking, who sang it (Gt will hurt twice as much. —A young woman came walking by; she sang it) [wehtun = to hurt] ‘umefor’, da: ‘ha:bon vig fosglaen gofayon das‘hypfo _‘goldne vort’. immerfort,da haben wir Véglein gefangen das hiibsche goldne Wort. constantly, thenhave we littlebirds caught the pretty golden word. (repeatedly; that’s how we birds caught the pretty golden word.) das zolt’ lig mir nigt’ legtsecton, ig ‘oiglaen ‘vunde sl Das solit ihr mir nichterziblen, ihr Véglein wunderschla Thatshould youtomenot tell, —_youlittlebirds wonder-sly; (You shouldn’t tell me that, you surprisingly sly little birds;) (Heine: nicht mehr (merg, more) erzahlen (You shouldn't tell me that anymore)] ig volt!'maenon ‘ume mig ‘f'edon, ig tabe nimandam thrao. ihr wolltmeinen Kummer mir steblen, ich aber _niemandem trau’, youwant my sorrow frommetosteal,I however nobody trust. (you want to steal my sorrow from me; but I don’t trust anyone.) [What is the word she used to sing so often? The original title of Heine’s poem was “Das Wertlein Liebe,” “The Little Word “Love.” In Schumann’s richly beautiful, warmly emotional setting, with its exquisitely poignant prelude and postiude, the third of the four stanzas belongs to the birds, who sing, pianissimo, a different melody in a different key and at a slower tempo.) 4 lip’ Tip'gon, leks ‘hent'gan_Igofs ‘hertso maen, lax horest dus, Lieb Liebchen, leg’s Handchen aufs Herze mein, ach hérst du, Dear sweetheart, lay the littlehand on the heart mine, ah hear you, (Dear sweetheart, lay your little hand on my heart. Ah, do you hear) vis ‘proxot' im Kemelgen? da: ‘hggzat' gen tsimeman frm —_lunt' lark’, wie’s pocket im Kiimmerlein? Da hauset ein Zimmermann schlimm und arg, how it pounds in the little chamber? There houses a carpenter evil and bad, (a pounding sound in that little chamber? An evil, malicious carpenter lives there;)dew tsimet' ——mizg/miz taenan ttott'anzark'. es hhemet’ —_tunt' k*lopfot’ der zimmert mir einen Totensarg. Es hiimmert und klopfet who putstogetherforme a coffin. ‘It hammers and knocks (he is making a coffin for me. There is hammering and pounding there) bag tack’ unt’ bac naxt’, leshat‘ mg fom lenst' —jumaden flaf_go'braxt”. bei Tag und bei Nacht, es hat michschon lingst um den Schlaf gebracht. by day and by night, it has me already longsince of the sleep deprived. (by day and by night: it has already long since deprived me of my sleep.) ax ‘Jp'ut'at’ ge, ‘magst'e ‘tsimeman, —_datmut' lg ‘baldo ‘flarfon_ktan. Achsputet euch, Meister Zimmermann, damit ich balde schlafen kann. Ah hury — yourselfmaster carpenter, sothatI soon sleep can. (Oh, hurry up, mister carpenter, so that I soon can sleep.) {Something perverse in his own heart is depriving the poet of love’s fulfillment as well as his sleep. He senses that he is building his own coffin. In his desolation, he would welcome the dreamless sleep of death. Schumann inserts a full measure’s pregnant pause before the last words of each stanza. The singer finishes the very last phrase alone, without the support of the piano.] 5. ‘Jomo virgo ‘mgene ‘laedon, ‘Jonas ‘graip'mail ‘maene ru, Joma ft'at’, vig ‘Schéne Wiege meiner Leiden, schénesGrabmal meiner Rub’, schdne Stadt, wir Lovely cradle of my sorrows,lovely tomb of my peace of mind, lovely town, we ‘mysan ‘Jagdan, ‘lexbovor, ruf ig diy {gu voil, du: ‘haglga'‘fvels, vor da: miissen scheiden, lebe wohl,ruf ich dir zu. Lebe wohl,du heil’ge Schwelle, wo da must part, live well, callI toyouto. Live well, you sacred threshold, where there (must part, I cry out “farewell” to you. Farewell, sacred threshold, where) [lebewoh! = farewell; the repetitions are by Schumann] ‘vandolt’ lip'gon traot’, ‘e:bo vorl, du: ‘haelga'ft'elo, vo: lig. zi: tsulergst' gafaot". wandelt Liebchen traut, lebe wohl,du heil’ge Stelle,wo ich sie zuerst _geschaut. wanders darling dear, live well, youholy place, where herfirst saw. (ay dear darling lives! Farewell, holy place where I first saw her.) het’ ig dig dox nit ge'zem, ‘fomo ‘hertsonsk'gmgm! ‘nme vex lesdan_go/fe:on, Hitt’ ich dich doch nie geseh’n, schdneHerzenskénigin! nimmer war’es dann geschehen, Had I you but neverseen, lovely heart's queen! never wereit then happened, (only I had never seen you, lovely queen of my heart! It would never have happened) [Heine: gesehen; Schumann repeats “nimmer”] das lig jetst' zo: tedlont’ bm. nis volt’ 1g daemhertso ‘ry:ron, dassich jetzt so elend —_bin.Nie wollt” ichdein Herze rihren, that I now so wretched am.Never wantedI your heart tomove, (that I should be so wretched now. I never tried to move your heart,) ‘ib haib ig nit legfles*; nusyfnusr igen It's lezbon fyzron volt’ 16, Liebehab’ich nie erfleht; nur cin stilles Leben fihren wollt” ich, Tove havel neverentreated; only a quiet life tolead wantedI, (Lnever begged for your love; I only wanted to lead a quiet life)8 vor dagn'toxdam vei’. dox du: drenst' mig zelpst fon ‘hinon, wo dein Odem weht. Doch du driingst mich selbst von hinnen, where your breath wafts.But youpress me even from hence, (Gomewhere near you, where I could breathe the air you breathe. But you drive me away,) [Schumann repeats “wo dein Odem weht”| 12 ‘vort's Jp'rigt daen mont’; 'vamzm —vytlt’ Im‘magnon'zmon, unt’ maen herts bitt’re Worte spricht dein Mund; Wabnsinn wiihit in meinen Sinnen, und mein Herz bitter words speaks your mouth; madness roots about in my senses, and my heart (you speak bitter words; madness is stirring in my senses, and my heart) hist' rank’ lont’ vont’. unt di ‘glide mat’ — unt Yre;ga_flep' 1g fort’ ist krank und wund. UnddieGlieder matt __und triige _schlepp’ ich fort is sick and wounded. And the limbs exhaustedand sluggishdrag I forth (is sick and wounded. And I drag my exhausted, sluggish limbs away) lam ‘vandeft'a:p', bis magn my:dos hgop't' ig ‘lexga emo Im taen ky:los grap’. am Wanderstab, bis mein miidesHaupt ich lege ferne in ein kiihles Grab. at thepilgrim’sstaff, till my weary head I lay farawayintoa cool grave. (with my pilgrim’s staff, tll I can lay down my weary head in a cool grave, far away.) [Schumann repeats the opening lines at the end] [As he walks away, half-mad, the broken-hearted lover addresses—in his imagination—first the town, then the house, and then the girl who rejected his love and drove him away in despair. This beautiful and moving song is the first of Schumann’s many masterpieces as a composer of lieder. ‘The main melody is memorable and inspired. The three contrasting sections are an outpouring of overwhelming emotion. The sublime postlude builds to an intensity of feeling beyond words.) 6. ‘vart's, ‘vart's,‘vilde ‘fifman, glaeg folg 1¢ tsum ‘ha:fon di: Warte, warte, wilder Schiffman, gleich folg’ ich zum Hafen dii Wait, wait, wild ship- man, atonce follow! tothe harbor you! (Wait, wait, wild seaman! I shall follow you to the harbor in a mom [Schumann adds repetitions of the word “gleich”] fon ‘tsvae junfrapn nem 1g tap'fit', fon lagrosp'a kunt" fon von zwei Jungfrau’n nehm’ ich Abschied, von Europa und von ihr. of two virgins take I leave, of Europe and of her. (must say goodbye to two virgins, to Europa* and to her—my love.) [*Europe is here personified as a virgin (Europa was a king’s daughter carried off by Zeus in the form of a bull] ‘biut'Kvel, rm lags ‘magnon tgogon, ‘blut'kvel, brig. laos ‘maenom laep', Blutquell, rinn’ aus meinen Augen, Blutquell, _brichaus ‘meinem Leib, Blood-spring, run frommy eyes, blood-spring, break from my body, (Stream of blood, flow from my eyes! Stream of blood, gush from my body,) das lg mit dem ‘haeson ‘blut‘s'maena ‘fmertson ‘nde fraep'. dass ich mit dem heissen Blute meine Schmerzen niederschreib. that I" withthe hot blood my pains —_write down. (Go that I can write my agony in hot blood.)magn lip’, varum just'‘hagt's‘faodet_ dig maen blutt tsu: zem? Ei, mein Lieb, warum just heute schaudert dich mein Blut 2u seh’n? ‘Oh, my love, why just today shudders(it) you my bloodto see? (Oh, my love, why—just today—should you shudder at the sight of my blood?) [Heine: schauderst (faodest, shudder) du] zast' mig blaeg lunt'‘hertsoblu:t'ont' ago jaro for diy ftem! ot! sahst mich bleich und herzeblutend lange Jahrevor dir steh’n! Oh! (you)saw me pale and heart-bleeding long years before youstand! Oh! (For many long years you have seen me standing before you pale and bleeding from my heart!) {Schumann added the “Oh!”—a cry from the heart] Kenst du: nox das lalt'o'lit‘gon fon devg flan iim _para‘diss, Kennst du noch das alte Liedchen von der Schlang’im Paradies, Know youstill the old ditty _aboutthe snake inthe Paradise, (Do you still remember the old tale about the snake in the Garden of Eden) di: dure ‘filma —tapfolgatbotunzen lan ims _—_teilont' ft'iss? die durch schlimme Apfelgabe unsern Ahn ins _—_Elend stiess? whothrough evil apple-gift our ancestor into the misery shoved? (that plunged our ancestor into misery through the evil gift of an apple?) ‘alos tunhael ‘braxt'on tepfol: terfa braxt damit den tot’, Allles Unheil_brachten Apfel: Eva bracht damit den Tod, All. mischief brought apples:Eve brought with it the death, (Apples have caused every kind of mischief: with an apple Eve brought us death;) Yesns'braxt's ‘Provjas flaman; du: braxst' bagdos, flam — lunt Pot Eris brachte Trojas Flammen;Du_brachst beides, Flamm’ und Tod. Eris brought Troy’s flames; youbrought both, flame and death. (Eris, with a golden apple, brought the fiery fall of Troy; you brought me both: fire and death!) {Schumann repeats “Du"] [That wild seadog—is it death? Heine never literally left Europe; though he fled Germany to take up residence in Paris, There is burning agony in this poem, but also bitter humor, even in his rage. All the world’s problems started with apples: Eve’s brought death into the world; and Eris threw the golden apple that eventually brought about the Trojan war and the destruction of Troy in a night of conflagration and horror. The poet’s beloved was Eve, the temptress, and Eris, the goddess of discord; she ignited the flame of love that will destroy him. Schumann captured the sarcasm, irony, and desperation of the poem, and set it afire with a blazing high A at the end.) 7, berk’ —lunt‘‘burgan faon herunt'e m den'Jp'isgolhelon raen, Berg’ —_ und Burgen schau’n herunter inden spiegelhellen Rheit Mountains and castles look down —_intothe _mirror-bright Rhine, (Mountains and castles look down into the bright mirror of the Rhine,) unt’ maen‘fifcon ‘zeigalt' munt’e, rms _—_lumglentst’ fon ‘zononfaen. und mein Schiffchensegelt munter, rings umglintzt von Sonnenschein. and my littleship sails serenely, all around round-glittered by sunshine. (and my boat sails on serenely, surrounded by glittering sunshine.) [Schumann repeats the last line of each verse]10 ‘rung ze:_ lig {gu: dem fp'ilo ‘goldne ‘velan, k’rqos boverk't’, Ruhig seh’ ich zu dem Spiele gold’ner Wellen, kraus bewegt, CalmlylookI at the play of golden waves, curlingly stirred, (Lcalmly watch the play of golden waves, ruffled into curling shape fil legvaxon di gofyil, di: lig tif lim “buzan hesk't, still erwachen dieGefiihle, die ich tief im Busen hegt’. quietly awaken the feelings, which deep in the bosom sheltered. (feelings I had kept deeply buried in my bosom quietly awaken.) ‘fragnt'lig ‘gryssont’_ lunt’ feyhgesant’ lok't' hnap' —_des'ft'ro:mas plraxt’; Freundlich griissend und verheissend lockt hinab _des Stromes Pracht; Amiably greeting and promising lures downwards the stream’s splendor, (CThe river’s splendor lures us into its depths, promising a friendly welcome;) dox lig ken lim: torbon ‘glaesant’, bk’! zaen tres tort" lunt' naxt’. doch ich kenn’ ihn: oben gleissend, birgt* sein Inn’res Tod und Nacht. but I know it: upabove littering, conceals its interior death and night. (but I know the river: on the surface all is glittering, yet its depths conceal darkness and death.) [*birgt, not bringt (a misprint from the first edition of the poem)] ‘osbon lust’, tim ‘burzan ‘thyk‘an, ft'rom, du: bist devg ‘ispst’an_bilt‘! Oben Lust, im Busen Tiicken, Strom, du bist der Liebsten Bild! ‘Above pleasure, in the bosom malicious tricks, stream, you are the dearest’s image! (Pleasure on the surface, malice underneath—river, you are the image of my beloved!) di: Kean lgox zo: frggnt'lig ‘mik'an, legalt' lgox zo: from unt‘ mult’. Die kann auchso freundlich nicken, lichelt auch so fromm und mi Shecan also so amiably nod, smiles also. so innocently and gently. (She too can nod an amiable welcome, she too can smile so innocently and so gently.) [The prelude suggests the calmly sparkling surface of the river; but the interludes hint at the danger down below, and the postlude ends with a quiet plunge into the depths. The vocal line floats above, but there is heartfelt expression within the lyrical cantilena of this lovely song.] ‘anfans volt’ 1g fast’ feptsaigan, lunt' lg glaop't’, ig tryk’ les nis, Anfangs wollt? ich fast verzagen, und ich glaubt’, ich triig’ _¢ nie, Atfirst wantedI almosttodespair, and I believed,I would bearit never, (At first I almost gave up in despair, and I thought I would never be able to bear it;) unt’ lig harp* les dox gotra:gon,—taibe frack't' mig musg mgt’ vis? undich hab’ es doch —_—_getragen,— aber fragt michnur nicht wie? andI have it neverthelessbome,— but ask me onlynot how? (and yet I have borne it, after all,—just don’t ask me how!) [Schumann repeats “nicht wi [Things were so bad that I thought I couldn’t go on any further; but somehow I survived. Don’t ask me how, or what it cost me inwardly. Schumann found music of heart-breaking inner intensity in this marvelous song, so moving in its restraint. The accompaniment is based upon an old German chorale, “Wer nur den lieben Gott lasst walten” (“Whoever just lets the dear Lord hold sway”); perhaps that is Schumann’s answer to the question “what gave me the strength to bear it and survive?” Franz Liszt is among the other composers who also set the poem (Which ‘was actually inspired by a pair of tight shoes—“getragen” means both “worn” and “borne”!).]u mut’ ‘mvrt‘an lunt‘ roxzan, ‘cp'lig. unt’ holt’, mut ‘duft'gon tsyppreson Mit Myrten und Rosen, lieblich und hold, duft'gen Cypressen With myrtles and roses, lovely and gracious, with fragrant cypresses, lunt' ft'egolt' moect’ 1g tyisran its bux vi: non ‘tott'anfraen, und Flittergold mécht? ich zieren dies Buch wie ‘nen Totenschrein, and tinsel- gold would likeI to adorn this book like a dead- casket, (and sparkling gold I would like to decorate this book like a funeral casket) lunt'‘zargon ‘maene ‘lide hnaen. o: Koent 1g di ‘libo "zargon hmtsu! und sargen meine Lieder hinein. O kénnt’ ich die Liebe sargen hinzu! and bury my — songs inside. O could 1 thelove bury withthem! (and bury my songs inside it. Oh, if only I could bury this love of mine along with the songs!) Gof dem'graibo de:g ‘isbo vekst’ ‘bly:migen dere ru, da bly:t' les heyfor, AufdemGrabeder Liebewichst Bldmlein der Ruh’,da bliibt es hervor, On the grave ofthe love grows littleflower ofthe rest, there blooms it forth, (The little flower of rest grows on the grave of love; there it blooms,) da: pflvk't! man les lap'—dox mig bly:ts ven lig zelbe(s) lim grasp’ da pfliickt manes ab,— doch mir blidht ’s nur, wenn ichselber im Grab. there plucks one it off,— but for me blooms it only, when I__ myself (am) in the grave. (there it can be picked; but for me it will bloom only when I myself am in the grave.) [Schumann repeats “wenn ich selber im Grab”) hirg zint' num di ‘ide, dit lgenst" zo: vlt', vir_laen larvaft'rom, dem Hier sind nun dieLieder,die einst so wild,wieein Lavastrom, der Here are now the songs, whichonce so wild, likea —lava-stream, which (Here, now, are the songs that were once so wild, like a stream of lava that) dem le:t'na lent'kvilt!, hepforggaft'vrist' Ig9s dem ‘tirfst'an gomyrt', unt dem Atna entquillt, hervorgestiirzt aus dem tiefsten Gemiit, und from the Ema flows forth, hurled forth fromthe deepest feeling, and (flows forth from Mount Etna, surging up from my deepest feelings, and) mms fil ‘blitsonda_funk‘on fey'fp' nun ‘l:gan zi: ft'um unt ‘o:t'anglaeg, rings viel _blitzende Funken verspriiht. Nun liegen sie stumm und totengleich, allaroundmany flashing sparks sprayed out.Now lie theymute and dead-like, (paying bright sparks in all directions. Now these songs lie mute and as if dead,) num‘ft‘aron zi: Kalt' lunt‘ ne:bolblaeg. dox Igofs nag di talt's glut’ zi: bole’ nun starren sie kalt und nebelbleich.Doch aufs neu’ die alte Glut sie belebt, nowstare theycoldlyand mist- pale. But onthenew the old fire them revives, (now they are numb, cold, and pale as mist. But the old fire will restore them to new life) ven dex gagst'laenst’tyibe zit fverp't’. unt‘ les vir’ miy/misrhm ‘hertson wennder Liebe Geist einst tibersie schwebt.Undes wird mir im Herzen when the love’sspirit once over them hovers. And there becomes forme in the heart ‘(when one day the ghost of love hovers over them. And in my heart I sense) [Schumann repeats “Doch aufs neu die alte Glut sie belebt, wenn der Liebe Geist einst tiber sie schwebt"]2 fil tamun goth: derg sho gaest'lagnst' ty:be zi: aot; viel Abnung laut: der Liebe Geist einst iibersie taut; ‘much premonition loud: the love's spirit once over them dews; (a clear premonition that the spirit of love will one day revive them as dew revives the flowers,) agnst’ Ktomt diss bux Im “dgeno hant’, du: ‘zy:sos lisp’ tim ‘fernon lant’. dan einst kommt diesBuch in deine Hand, du siisses Liet fernen Land. Dann ‘once comes this book into your hand, yousweet love inthe distant land. Then (hat this book will one day come into your hands, sweet love in your far-away land. Then) [Schumann repeats “du siisses Lieb] Jest! zig des lixdos tgqgbeban, di ‘blason ‘buxxft'aibon Joon dig lan, zit ‘Jagan Vest sich des Liedes Zauberbann,die blassen Buchstaben schau’n dich an, sie schauen dissolves itself the song’s magic spell, the pale letters look —_you at, they look (the magic spell that binds the songs will be broken, the pale letters will look at you, will look) diy ‘flesnt' ims ‘Jéma_Igok', unt’ flvst'en mut ‘veut’ unt’ litboshaox. dir fichend ins schne Aug’, und flistern mit Wehmut und Liebeshauch. toyoupleadingly into the lovely eye, and whisper with melancholy and love- breath. (pleadingly into your lovely eyes, and whisper with melancholy and the breath of love.) [offer you this book in which I have buried my poems as if in a coffin. I wish my love could be buried as well, but that will not happen until I die. These poems were bom in a wild rush of passion. Now they lie lifeless on the pages. But someday you may read these poems, and if any trace of the spirit of love still lives on in you, these poems will come back to life. Heine's imagery is funereal, but the ending is hopeful. Schumann used an early edition of the poet’s Buch der Lieder. Later some poems were extensively revised; in the case of this one, the first stanza lost its myrtles, the cypresses lost their fragrance, and other words were partially redistributed. In the well-known Peters edition of Schumann’s songs, this one is separated from the rest of the cycle; it is included in Volume I, whereas the other eight songs of Opus 24 are in Volume Il.)