1B ™ ‘myrt‘an, fo:pus fynflunttsvantstg Myrten, Op. 25 Myrtles, Op. 25 Composed in February (Nos. 2-16, 19-23), March (Nos. 1, 17, 18, 24, 26), and April (No. 25) 1840 A bouquet of songs, planned by Schumann as a wedding gift to his bride, Clara Wieck, comprising setsings of five poems by Friedrich Rickert, four by Johann Wolfgang von Goethe, eight by Robert Burns, three by Heinrich Heine, two by Thomas Moore, and one each by Lord Byron, Julius Mosen, Marianne von Willemer, and Catherine Fanshawe 1. ‘vit' mun ‘Widmung Dedication (poem by Friedrich Rickert) du; 'maens ‘zeilo, du: magn herts, du: ‘maeno von, _ lo: du: magn fmerts, Du meine Secle,du mein Herz, du meine Wonn’,o du mein Schmerz, Youmy soul, youmy heart, youmy joy, O youmy sorrow, ‘(You are my soul, you are my heart, you are my joy and my sorrow,) du: ‘magno velt’, ln derg/dex lig ‘le:bo,maen ‘humal du:, daraen lig ‘[verbo, du meine Welt, in der ichlebe, mein Himmel du, darein ich schwebe, youmy — world,in which I live, my heaven you, intowhichI soar, (you are the world in which I live, you are the heaven into which I soar,) lo:du: magn grarp',m das hrnap'ig tere ‘magnon ‘kYume — garp'! o du mein Grab, in das hinabichewig meinen Kummer gab! O youmy grave, intowhichdown I etemnallymy sorrow gavel (you are the grave in which I have buried my sorrow for ever!) du: bist derg ‘fridan, du: bist'fom ‘himal mise be'firdon, Du bist dieRuh’,du bist der Frieden,du bist vom Himmel mir beschieden. Youare the rest, youre the peace, youare bytheheaven tomeallotted. (You are rest, you are peace, you were given tome by heaven.) [Riickert: du bist der Himmel mir beschieden = you are the heaven allotted to me, you are my portion of heaven] das du: mig lispst', maxt' mig mig vergt(’), Dassdu mich liebst, macht mich mir wert, That youme love, makes me tomyselfof value, (Your love alone gives me a sense of worth,) dagn bhk* hat‘ mig fore mig feykMexet, dein Blick hat michvor mir _verklirt, your gaze has me before myself transfigured, (Your gaze has transfigured me,) du: herpst' mug ‘litbont’ ty:be mig, magn ‘gu:t'e gaest’, magn ‘besras lig! du hebst mich liebend fiber mich, mein guter Geist, mein bess’res Ich! youraise me lovinglyabove myself, my good spirit, my better I! [the repetition of the opening and ending lines is not in the original poem)4 [That song was named by Schumann and placed at the beginning of this bouquet of “myrtle,” his ‘wedding gift to his bride. Into it he poured all his love, and the song overflows with adoration and ardor. She has transformed him into a better man, she has become his guiding star, his better self, The song can be sung by a man or a woman, since none of the words is gender-specific. There may be a misprint in the posthude: in the fifth bar from the end, the first half-note in the ‘bass should be an F instead of a G, in the original key. (A singing translation is in the appendix.)] 2, Freisinn Freedom of Mind (poem by Johann Wolfgang von Goethe) last‘ mig nusg/nurlgof ‘maenom ‘zat‘al ‘gelt'an! blaep't' Im fggron ‘hyt‘an, tagron ‘selt‘an! Lasst mich nur auf_meinem Sattel gelten! bleibt in euren Hiitten, euren Zelten! Let me only on my saddlebevalid! remain in your huts, your tents! lust let me validate myself in the saddle! Stay in your huts and tents, if that’s what you want!) unt’ lig ‘ragt'a fro: im tale feme, ‘maene ‘mytso nue di ‘tena. undich reite froh in alleFerne, iber meinerMitze nur die Sterne. andI ride happyintoall distance,abovemy cap _only the stars. (And I shall ride happily to any distance, with only the stars above my cap.) emg hat’ lage di go'ft'imo gazetst’ lals‘Iaet’e tsu: lant’ lont' ze:, Er hat euch dieGestirne gesetzt als Leiter zu Land und See, He has foryouthe stars placed as guides by land and sea, (God has set the stars in their orbits as your guides by land and sea,) daimtt' ligfiriggg ——daran leygeetst’ ‘ets ‘blak'ant' lin. di_he:. damit ihr euch —daran ergitzt, ‘stets _lickend in die Hoh’. sothat you yourselves inthem delight, continually looking into the heights. (0 that you can delight in them, looking always up into the heights.) [The aspiring spirit longs to explore the unknown, with the stars of heaven as guide. The poem comes from Goethe's “Buch des Sangers” (“The Singer’s Book”). Schumann has interpreted it as ‘a young man’s enthusiasm for adventure in his jaunty setting, based on equestrian rhythms. 3. der ‘nusbgom Der Nussbaum The Walnut Tree (poem by Julius Mosen) es ‘grymot Igen ‘nusbaom vory dem haos, Es griet ein Nussbaumvor demHaus, There greens a walnuttree before the house, (A walnut tree is growing in front of the house;) ‘duft‘ig, ‘Toft 1g‘braet‘at'lemp blet'nig di test's laos. duftig, luftig breitet er blittrigdie Aste aus. fragrantly,airily spreads it leafily the branchesout. (fragrantly, arily, it spreads out its leafy branches.) [Schumann miscopied the words as blattrig die Blatter (blet'e(r), leaves) aus.)1s fil ‘sp'higa ‘blys’on ‘ft‘en dran; ‘nda ‘vinda ‘ktoman, Viel liebliche Bliiten stehen d’ran; linde Winde kommen, Many lovely blossoms stand thereon; gentle winds come, (Many lovely blossoms are on the tree; gentle winds come by) zit ‘hertslig ts: lumfam. es flvst’en je: tsvae tsu: tsvae gopParet’, sie herziich zu umfah’n.Es fliisternje zwei zu zwei gepaart, them affectionately to embrace. There whisper each two to two paired, (to embrace them affectionately. They whisper together in pairs,) [umfahen (poetic) = umfangen] ‘naegom, boggant tsighe sum ‘Kuso di ‘hggp't'gan tsaret’, neigend, beugend zierlich zum Kusse die Hiuptchen zart. bending, bowing gracefully for thekiss the littleheads delicate. (bowing, gracefully inclining their delicate little heads to receive the kiss of the breezes.) ‘ivst'en fon tgenom meck't'laen, das ‘degt'a di ‘negt'a unt ‘Paigo lan, Sie flistern von einem Migdlein, das dichte dieNichte und Tage lang, They whisper abouta girl, who would think the nights and days long, (They are whispering about a girl who has been thinking night and day—) [Mosen: das ddchte Nachte, Tage lang] ‘vost's lax! ‘zelbe nigt’ vas. zit ‘flyst'en,— very maik’ fey t'en wusste ach! selber nicht was. Sie fliistern—wer mag versteh’n knew ah! herself not what. They whisper,— who may understand (ah, she herself doesn’t even know of what! They are whispering—but who can understand) [Schumann repeats sie flistern] zo: gary lagzo vaes?— ‘lvst‘en fon ‘bragt’gam lunt’ nergst'am jarg, so gar leise Weis’?—fliistern von Briut’gam und niichstem Jahr, such very soft tune?— whisper about bridegroomand next year, (ouch a very soft melody?—something about a bridegroom and next year,) [Mosen: so gar leise Weise (vae72)] fom ‘nexgst’an jay. das'meck't'laen ‘horgot”, es raoft' lim boom; vom — niichsten Jabr.DasMigdlein horchet,es rauscht im Baum; from thenext year. The girl listens, there rustles inthe tree; (about next year.The girl listens: the tree is rustling;) [Schumann added “vom ndchsten Jahr” ‘zemant’, vemant’ zunk't' les ‘legalnt’ Im flacf unt room. schnend, wihnend sinkt es lichelnd in Schlafund Traum. longing, imagining sinks she* smiling intosleep and dream. (longing, imagining, she sinks, smiling, into sleep and dreams.) [*Magdlein, like Madchen, is a grammatically neuter word) [This, like Widmung, No. 1, above, is one of Schumann's most famous and justly popular songs. ‘A walnut tree is stirred by the breeze outside the window of a girl who is feeling an indefinable longing. The tree has a hidden message for her. The leaves rustle gently and the blossoms sing their secret melody in the exquisite piano part. (There is a singing translation in the appendix.)}16 4 ‘jemant’ Jemand Somebody (“For the Sake o” Somebody” by Robert Burns, German translation by Wilhelm Gerhard) magn herts list’ batry:p't—1¢_ zack’ les migt'— maen herts ist’ bot*ry:p't' lum jermant; Mein Herz ist betribt— ich sag’ es nicht—mein Herz ist betribt um Jemand; My heartis troubled— I tell it not— my heart is troubled about somebody; (My heart is troubled for somebody—I won't say for whom;) [Bums: My heart is sair, Idare na tell, / My heart is sair for Somebody; (sair = sore; na= not] 1g ‘Koent‘a'vaxon di ‘lenst'a naxt’, funt'fime t'ragman fon ‘jemant’. Ich kénnte wachen die Hingste Nacht, und immer triumen von Jemand. I could beawakethe longest night, and always dream of somebody. Ucould wake a winter night / For the sake 0’ Somebody. ‘o:'vona! fon ‘jermant’; lo: humol! fon ‘jesmant’ © Wonne! von Jemand; 0 Himmel! von Jemand; © bliss! of somebody;O heaven! of somebody; [Oh-hon! for Somebody! / Oh-hey! for Somebody!] durgjt'ragfon ktoent’ 1g di ‘gantso velt', lgos ‘itbo tsur jemant’ durchstreifen kinnt” ich dieganze Welt, aus Liebe zu Jemand. through-roam could I thewhole world,for love of somebody. (Ccould roam through the whole world for the sake of somebody.) [could range the world around / For the sake 0’ Somebody. ig ‘megt’a, dit ling deg ‘libo holt’, lor legalt’ ‘fragnt‘lig_ lof ‘jemant’ Thr Miichte,die ihr der Liebe hold, 0 Michelt freundlich auf Jemand! You powers, who you tothe love(are) gracious, smile kindly on somebody! (You powers who are gracious to love, O smile kindly on somebody!) [Ye Powers, that smile on virtuous love, /O, sweetly smile on Somebody] bofrmot’ im, vo: gafarron drom; geip't'‘zice golaet’s dem ‘jexnant’ beschirmet ihn, wo Gefahrendroh’n; gebt sicher Geleite dem Jemand! shield him, when dangers threaten; give safe guidance to the somebody! (Shield him when danger threatens, give safe guidance to somebody!) [Frae ilka danger keep him free, / And send me safe my Somebody.) __{frae ilka = from every] co:vona! dem jemant’; lot humol! dem jemant’ O Wonne! dem Jemand; 0 Himmel! dem Jemand; © bliss! tothe somebody;O heaven! tothe somebody; (Oh bliss! To somebody! Oh heaven! To somebody!) [Ok-hon! for Somebody! / Oh-hey! for Somebody!| 1g volt'— lig ‘volt's— vas volt! 1g migt’ fyzg ‘maenon, maenan ‘jexmant’ Teh wollt’—ich wollte—was wollt? ich nicht fiir meinen, meinen Jemand! 1 would—I would—what would not for my, — my somebody! (I would—I would—what would I not do for my somebody?) [ad do—what wad I no? / For the sake 0° Somebody. [wad = what}Ww [Schmann sought a folk-like tone for his setting, but he wanted it sung with “heartfelt, even passionate” feeling. The mode shifts from minor to major for the loving, prayerful second verse.] t9va¢ ‘lide Igos dem ‘fenk’onbuxx hm ‘vest Joest'ligan ‘disvan Zwei Lieder aus dem Schenkenbuch im westdstlichen Divan ‘Two Songs from the “Tavern Book” in The West-Eastern Divan (poems by Johann Wolfgang von Goethe inspired by the 14th-century Persian poet Hifiz) “Divan” means “a book of many leaves” in Persian.) 5. ats lig la'laen Sitz’ ich allein Sitting Alone (poem by Johann Wolfgang von Goethe) its hig lagen, vo: kan lig ‘bese zaen?'magnon vaen tn’ 1¢ lalagn; ? ich allein, wo Kannich besser sein? meinen Wein trink’ ich alleins Sit I alone, wherecan I better be? my wine drink I alone; (Sitting here alone, where would I be better off? I drink my wine by myself;) ‘nimmant' zest’ mig ‘frank'on, 1g haip' zo: ‘magne laegnon go'dank‘on. niemand setzt_mir Schranken, ich hab’ so meine eig'nen Gedanken. noone sets forme limits, have thusmy own thoughts. (no one imposes any limits upon me, I can think my own thoughts.) [Schumann repeats the first phrase at the end, with further repetitions] [The words are those of a contented man who likes to nurse a drink in solitude, undisturbed. Schumann enjoyed a glass of wine himself, perhaps a bit too much. At the time the song was composed his future father-in-law was unjustly charging him with drunkenness before a court of law, in an unsuccessful effort to block his marriage to Clara. The voice part of the song was originally notated in the bass clef. Could those leaping octave slurs in the piano be hiccups?] 6. “zetga misg nuct® Setze mir nicht ‘Set Me Not (poem by Johann Wolfgang von Goethe) ‘zetso mize nigt*, du: ‘grosbian, mirg den Kru zo: derp‘ fore di ‘na:za! Setze mir nicht,du Grobian,mir den Krug so derb vor dieNase! Set formenot, youboor, formethe jug so rudely before the nose! (Set me not, you boor, the jug so rudely down in front of my nose!) verg mig vagn brint’, ‘zero mig fragnt'lig. lan, Wer mir Wein bringt,sehe mich freundlich an, Whotome wine brings, lookme amiably at, (Whoever brings me wine should look at me amiably, zonst tryp't' zig desp/dex tgelfe(s) lim ‘glarzal sonst tribt sich der — Eilfer im Glase! orelsedisturbs itselfthe eleven inthe glass! (otherwise the wine will turn sour!) [der Eilfer (archaic) = der Elfer = the eleven (here a particular wine measure)}‘lige ‘kna:bo, du:, kYom heraen, vas ft‘esst du: den da: laof deme ‘velo? Du lieblicher Knabe, du, komm’ herein, wasstehst du dennda auf der Schwelle? Youlovely boy, you,come in, — whystand youthen thereon the threshold? (You delightful boy, come on in! Why are you standing there on the threshold?) [Goethe: Du zierlicher (tsiglige, graceful) Knabe] du: zolst' mig ‘kbynft'rg dere ‘fenk's zagn,'je:de vaen ist’ mak'haft’ _lunt' ‘helo. Du sollst mir kiimftig der Schenke sein, jeder Wein ist schmackhaft und belle. ‘Youshall forme in future the cup-bearer be, every wine is tasty and clear. (From now on you shall pour my wine for me, so that every wine will be tasty and clear.) [in the first part we hear the rough clumsiness of the boorish waiter, in the second part the grace of the young cup-bearer, in the postlude the merry mood of the satisfied drinker himself] 1. i on ’osbluma Die Lotosblume ‘The Lotus Flower (poem by Heinrich Heine) di ‘Ton'osbluama tenst'igt’ zig fore dere 'zona_pPraxt’, Die Lotosblume dngstigt sich vor der SonnePracht, The lotus flower frightens itself before the sun’s splendor, (The lotus flower is afraid of the sun’s splendor,) vat" mit’ gazenk't’am ‘hgop't's legvart'at zi: it di naxt*, und mit gesenktem Haupte erwartet sie triiumend dieNacht. and withdrooping head awaits she dreaming the night. (and with a drooping head, dreaming, she waits for the night.) dery momt, derp/dex lst’ lie ‘busta, eg vek't' zi: mut’ ‘zaenom lict’, Der Mond,der ist ihr Buble,er wecktsie mit seinem Licht, The moon, he is her lover, he wakes herwithhis light, (The moon is her lover; he wakes her with his light,) unt‘ lim lent'flaget’ zi: ragnt'lig. ixg fromas ‘blumongazict undihm —entschleiert sie freundlich ihr frommes Blumengesicht. and forhim unveils she obligingly herdevout flower- face. (and for him she obligingly unveils her devoted flower-face.) zit blyst' unt" gly’ lunt' loget'at®, unt’ f'arat’ tum in_ dhs, Sie bliiht und gliht und leuchtet, und starretstumm in die Hoh’, She blossoms and glowsand isradiant,and stares speechlessly into the heights, (She blossoms and glows, she is radiant; she looks silently, steadfastly up at the sky;) Zit ‘duft'at' ont’ ‘vaenat' lunt tsit'et* fore ‘tbo lunt" tcbasver. sie duftet und weinet und zittert vor Liebeund Liebesweh. she is fragrant and weeps and tremblesfor love and love’s pain. (she exhales fragrance, weeps, and trembles for love and the pain of love.) [Schumann repeats the last four words} [This is another of Schumann’s most famous songs. The mood is nocturnal, voluptuously languid, later ecstatic. The imagery is that of a woman giving herself to her lover. In German, in contrast to the Romance languages, the moon is masculine, the sun (like the flower) is feminine.19 ‘The singer's breath must link the words dngstigt and sich, which Schumann has separated with a half-bar rest, but which belong together grammatically. The poem is the tenth in Heine’s Lyrisches Intermezzo (the source of Schumann’s Dichterliebe), where it immediately precedes “Im Rhein, im schonen (sic.] Strome.”(A singing translation can be found in the appendix.)} 8 ‘athismana Talismane ‘Talismans (three short poems by Johann Wolfgang von Goethe) qa) igot'as list derg/desr lorient™! ‘got'as list dexe/dexr ok'tsident™! Gottes ist der Orient! Gottes ist der Occident! God’s is the Orient! God’s is the Occident! (The Orient belongs to God! The Occident belongs to God!) ort’ lunt’zyit'ligas gollendo rut’ lim friddan ‘zaene ‘hendo. Nord- und siidliches Gelinde ruhtim Frieden seiner Hinde. Northern and southern land rests inthe peace of His hands. (Northern and southern lands rest in the peace of His hands.) @ em derg/der taentsiga, garect's, vil fyg jexdeman das ‘regt'a. Er der —_Einzige, Gerechte, will fir jedermann das Rechte. He the OnlyOne, Just One, wants for everyone — the right. ‘He, the Only One, the Just One, wills what is right and just for everyone.) [recht = right, proper; just, lawful] zag fon'zagnan ‘hundet’ ‘nasmon di:ze ‘hoxgelo:bot'! tarmen. Sei von seinen hundert Namen dieser hochgelobet! Ame Be of His hundred names thisonehigh-praised! Amen. (Ofhis hundred names let this one—the Just—be greatly praised! Amen.) {Schumann repeats the opening lines of (1) as a refrain] @B) mig fegviron vil das ‘tron; dox du: vaest’ mig tsu: lent"viron. Mich verwirren will dasIrren; doch du _weisst mich zu entwirren. Me toconfuse wants the goingastray; but Thouknowest(how)me to de-confuse. (may be confused and astray, but Thou knowest how to extricate me from confusion.) ven lig ‘handlo, ven lig ‘digt'a, gitp' du: “‘maenom vex’ di ‘tagt'a! Wenn ich handle, wenn ich dichte, gib du meinem Weg dieRichte! WhenI act, whenI write, give Thoutomy way the straightdirection! (Give the right direction to my actions, to my writing, set me on the path of righteousness!) [die Richte = the straight or direct line, the proper position] [Schumann used the first three of the five short, aphoristic poems that Goethe grouped under the title “Talismane.” The repetitions are the composer’s additions; they give a sense of unity to the structure of the song. The music for the first poem is majestic, a fanfare, with detached forte chords; the second is legato and hymn-like; the third starts with meandering thirds in the bass clef, a web of eighth notes that suggests confusion and straying, graphically illustrating the text.]20 9. lin dese zuaek'a Lied der Suleika Suleika’s Song (poem by Marianne von Willemer) vit mut‘ tmigst’om —bahaigan, lit, lempfind 1g ‘dgenan zin! ‘itbofol_ du: faenst ‘Wie mit innigstem — Bebagen, Lied,empfind’ ich deinen Liebevoll_ du scheinst How with mostheartfeltpleasure, song, perceive I your sense! Full of love you seem (With what heartfelt pleasure, song, I perceive your meaning! Lovingly you seem) {su:"zaigon, das lig lim — tgur ‘zget‘s bm. das lerp/ex levig magn godenk'at?, zu sagen, dassichihm zur Seite bin.Dasser ewig mein gedenket, to say, that I forhimattheside am. That he eternally of me thinks, (to say that Iam at his side, and that he thinks of me eternally,) [Schumann repeats zur Seite bin] ‘zagne ‘libo ‘zeiligkaet® imedary dere feman —‘fenk'at’, dit seiner Liebe Seligkeit immerdarder Fernen schenket, die his love's bliss forever tothe distantone bestows, who (that he bestows the bliss of his love upon me, who am so far away, and who) lem ‘te:bom lism gevast’. jai, magn hers, leshist der ‘fp'igal, fragnt', vorm ein Leben ihm Beweibt. Ja, mein Herz, es ist der Spiegel, Freund, worin a life tohim(has)consecrated. Yes,my heart, it is the mirror, friend, in which (have consecrated my life to him. Yes, my heart is the mirror, my friend, in which) du: dig legblik't;‘dize brust, vor ‘daen"zixgol_k*us Igof kus heragn godrvk't, du dich erblickt; diese Brust, wo deine Siegel Kuss auf Kuss herein gedriickt. you yourself(have)glimpsed; this breast, whereyour seals kiss on kiss intoit pressed. (You have glimpsed yourself; onto my breast kiss after kiss has pressed your seal.) {Schumann repeats Kuss auf Kuss] ‘zysos ‘digt'on, _—‘Igot'ra ‘varghaet* fesolt! mig_im zymp‘ati Siisses Dichten, __lautre Wahrheit fesselt mich in Sympathi Sweet writing poetry, clearest truth enchainsme in sympathy! (Sweet poem, its clearest truth enchains me in sympathy!) raen feykYoerpet'‘li:bosktarghaet’, im govant deg p'oezi:. rein verkérpert Liebesklarheit, im Gewandder Poesie. purely embodies love’sclarity, in the garment of the poetry. (it purely embodies the radiance of love in the garment of poetry.) {Schumann repeats the opening lines at the end] [The words are a response to Goethe’s poem “Abglanz” (“Reflected Splendor”). In his collection of Orient-inspired poetry, the Westéstlicher Divan, Marianne von Willemer is called “Suleika” ‘and Goethe himself is “Hatem.” They made love to each other in poetry, since they could not be united in reality. When Schumann composed this ingratiating song, it was not universally known that some of the poems in the “Divan” were not by Goethe but rather by “Suleika” herself.]21 10. di hoxlende ‘vit'vo Die Hochlinder-Witwe The Highland Widow (“The Highland Widow's Lament” by Robert Buns, German translation by Wilhelm Gerhard) Ich bingekommen ins _Niederland,o weh,o weh,o wel I amcome —_intothe lowland, © woe, woe, O woe! (Lhave come down to the Lowlands, oh woe!) [Bums: Oh, am come to the low Countrie, / Ochon, Ochon, Ochrie!] zor ‘gosgop'lyndet'tha:bon zi: mig, das lg fo huge — fewge:. So ausgepliindert haben sie mich,dass ich vor Hunger vergeh’. So pillaged have theyme, that I for hunger perish. (They have pillaged me so thoroughly that I perish for hunger.) (Without a penny in my purse /To buy a meal to me.) zo: varys Imn'mgenam hozxlant’ nigt'; lo: ves, lor ver, lo: ver! So war’s in meinem Hochland nicht;o web,o web,o web! So was itin my Highlands not; woe,O woe,O woe! (it was not like that back in my Highlands; oh woe!) Ut was na sae in the Highland hills /Ochon, Ochon, Ochrief| {na sae = not so] gem hoxboglyk't'e vaep’, lals lig, varg nigt’ laof tail lunt’ hes! Ein bochbegliickter Weib, als ich,war nicht auf Tal und Héh’! ‘A more fortunate woman,thanI, was not on valleyand heights! (There was no woman more fortunate than I in the valleys or on the heights!) [Nae woman in the Country wide / Sae happy was as me, [nae = no; sae = 50] den ‘damails hat’ 1¢ ‘tyvantsig ky lo: ves, lor ver, lo: vei! Denn damals batt ich zwanzig KGh’; 0, weh,o. weh,o. web! For atthattimehad I twenty cows; O woe,0 woe,0 woe! (For at that time I had twenty cows; oh woe!) [For then I had a score 0’ kye, / Ochon, Ochon, Ochrie!] [hye = cows] di: ‘garbon mil lunt'‘but'e mizg/miz, kmt' vaedat'on im ke: die gaben Milch und Butter mir, "und weideten im Klee. Theygave milk and butter tome, and grazed inthe clover. [Feeding on yon hill so high, / And giving milk to me.) unt’ zegistg Jasfo hat" 1¢ dort’; lo: ve, lo: vex, lor Und sechzig Schafe hatt’ichdort; o weh,o web,o web! And sixty sheep had I there;O woe,0 woe,0 woe! (And I had sixty sheep there; oh woe!) (And there I had three score o' yowes, /Ochon, Ochon, Ochrie!] [yowes = ewes} ‘vermt‘on mig mit’ vaegom fis bag frost’ lont' vint"e fner, je wirmten mich mit weichem Vlies bei Frost und Winterschnee. Theywarmed me with soft fleece by frost and winter snow. (They warmed me with soft fleece when winter brought frost and snow.) [Skipping on yon bonie knowes— / And casting woo' to me.] __[bonie knowes = pretty knolls]2 es ‘Kont’s kYaen lim ‘gantson Kiam ae ‘grossen ‘glyk'as_ fragn; Es konntekein’ im ganzen Clan sich grssern Gliickes freu’n; There could noone inthe whole clan herself in greater happiness rejoice: (No one in the entire clan could rejoice in greater happiness;) [Iwas the happiest of a’ the clan—/Sair, sair may Irepine;| a’ = all; sair = sorely] den ‘domalt’ vary dey ‘fomst's man, unt ‘domalt, deg vary magn! denn Donald war der schénste Mann, undDonald,der war mein! for Donald was the handsomestman, and Donald, he was mine! [For Donald was the brawest man, / And Donald he was mine.| _[brawest = handsomest, finest] So blieb °s, bis Charlie Stuart kam, Alt-Schottland zu_befrei’n; So remained it, till Charlie Stuart came, Old Scotland to set free; (So it remained, until Charlie Stuart came to set free Old Scotland:) [Till Charlie Stuart cam at last, / Sae far to set us free;) [sae = so] [Schumann repeats “so blieb's”] zo: blips, bis tfarglt ‘ft' wart’ ktam, lalt"Jot'lant su: boffraen; da: ‘must'o ‘domalt'‘zaenon arm lim [unt dem ‘lando lagen. da musste Donald seinen Arm ihm und dem Lande leih’n. thenhadto Donald his arm tohimand tothe land lend. (then Donald had to lend his arm to Charlie and to the land.) [My Donald's arm was wanted then / For Scotland and for me.} vas zit bof, vere vaes lesmigt? dem ‘unrect' vig das rect’, Was sie befiel, wer weiss es nicht? dem Unrechtwich dasRecht, What them befell, who knows it not? Tothe wrong yielded the right, ‘(What befell them—who does not know it? Right yielded to wrong,) [heir waefu’ fate what need I tell? Right to the wrang did yield;] (waefu’ = woeful] unt’ Igof k'olodans ‘blust'gom felt’ leylagon her _lunt’ kMne¢t*. und auf Cullodens blut'gem Feld erlagen Herr und Knecht. and on Culloden’s bloody field were defeated lord and vassal. (and lord and vassal were defeated on Culloden’s blood-stained field.) (My Donald and his Country fell / Upon Culloden field ] otdas lig Kam ims ‘nizdelant'! lo: vex, lo: ves, lo: ver! O! dass ich kam ins — Niederland!o weh,o web,o weh! O! that I came into the Lowlands! O woe,O woe, woe! [Ochon! O Donald, oh! / Ochon, Ochon, Ochrie!] nun gip'ts Kaen tunglyk'zerlge vaep' fom ‘hozxlant’ bis tsur et! nun gibt ’s kein ungliicksel’ger Weib vom Hochland bis zur Sec! now gives ino unhappier_ woman from the Highlands till to the sca! (there is now no unhappier woman than I from the Highlands to the sea!) (Nae woman in the warld wide / Sae wretched now as me. [nae = no; sae = so] [The song is a despairing lament in the style of a ballad, and refers to the bloody defeat in 1746, at Culloden Moor, of Bonnie Prince Charlie—Charles Edward Stuart, “the Young Pretender,” and his followers in their attempt to place him on the throne of England. The grim minor mode is ‘temporarily relieved when the ruined widow thinks of her good fortune in better days.]zvag ‘ide deze braot* ‘Zwei Lieder der Braut ‘Two Songs of a Bride-to-Be i. lit demy braot', nume lagns / ‘mut'e, ‘mot‘e! ‘glagbo nigt* Lied der Braut, Nr. 1 / Mutter, Mutter! glaube nicht Song of a Bride-to-Be, No. 1 / Mother, Mother! Do Not Believe (poem by Friedrich Rickert) ‘mut'e, ‘mote! ‘glgobo migt’, vael lig lim lisp‘ lalzozere, —das_ num 'isbo ‘Mutter, Mutter! glaube nicht, weil ich ihn lieb’ allsosehr, dass nun Liebe Mother, Mother! believenot, because I him love so very much, that now love (Mother, Mother, do not believe that now, because I love him so very much, love) mise gobbrigt, dig tsu: lisbon, vi: forgherg. mut'e, ‘mot'e! zaet' lig lim ‘bo, mir gebricht, dich zu lieben, wie vorher. Mutter, Mutter! seit ich ihn liebe, forme is lacking, you to love, as before. Mother, Mother! since him love, (is lacking for me to love you as before. Mother, Mother, since I have loved him,) Ti 1g leryst dig zerg. Jas mug lan maen herts dig tsim, lunt dig. ‘k'yson, lieb’ ich erst dich sebr. Lass mich an mein Herz dich zich’n, und dich kiissen, Jove first you much.Let me to my heart you draw, and you kiss, (love you more than ever. Let me draw you to my heart and kiss you,) vir mug lemg!'mot'e, ‘mut'e! zaet’ ig lim ‘lisboa, lib 1g. lexgst dig gants. wie micher! Mutter, Mutter! seit ich ihn liebe,lieb’ ich erst dich ganz, as me he! Mother, Mother! sinceI him love, love first you completely, (as he does me! Mother, Mother, since I have loved him, I love you more completely, [Schumann repeats wie mich er, wie er!) das du: mig das zaen feylim, das mig vart tsu: 'zolgom glants. dassdu mir dasSein verlieh’n,das mir ward zu solchem Glanz. that youtomethe being(have)|ent, thatformebecame to such _ brightness. (for having given me the life that has now become so radiant with happiness.) [The young bride loves her mother even more, now that her life has been enriched by love. The attractive melody and graceful accompaniment add a lovely flower to Clara’s wedding bouquet.) 12 lit derg bragt', ‘nume tsvag / las mug lm lam ‘burzan ‘hayjon Lied der Braut, Nr. 2/ Lass mich ihm am Busen hangen ‘Song of a Bride-to-Be, No. 2/ Let Me Cling to His Bosom (poem by Friedrich Rickert) las mig im lam ‘bu:zon‘hanen, ‘mut'e, ‘mut'e! las das bapn. Lass mich ihm am Busen hangen,Mutter, Mutter! Iass das Bangen. Let me tohimonthebosom hang, Mother, Mother! leave the anxiety. (Let me cling to his bosom, Mother, Mother! Do not worry!) ‘fraigo migt': vis zol_zigs ‘vendan? fraigo migt': vit _zol_ das lendan? Frage nicht: wie soll sich ’s wenden? Frage nicht: wie soll das enden? ‘Ask not: how shallitselfittum? Ask not: _how shall that end? (Do not ask how it will tum out! Do not ask how it will end!)2 ‘Yendon? ‘endan zal zis ‘vendan? nox nigt’ vags hg, Enden? Enden soll sich’s nie, wenden? noch nicht weiss ich, wie! End? End __ shall itself itnever, turn(out)? still not knowI, how! (End? It will never end! Turn out? still don’t know how!) [Schumann repeats the opening line] [Both of these bridal songs should be sung with simplicity and sincere, heartfelt emotion. 1B. ‘hoxlendes fap* fist’ Hochliinders Abschied Highlander’s Farewell (“My Heart’s in the Highlands” by Robert Burns, German translation by Wilhelm Gerhard) magn herts list‘ ‘hozxlant’, men herts list’ migt" hig; magn herts list’ im ‘Mein Herz ist im Hochland, mein Herz ist nicht hier; mein Herz ist My heart is inthe Highland(s),my heart is not here; my heart is inthe [Bums: My heart’s in the Highlands, my heart is not here; / My heart's in the] ‘homdant’, im ‘valdasrevire; dort’ jaxk't' les den hrf lunt' feyfolgot das re: Hochland, im Waldesrevier; dort jagt es den Hirsch und verfolget das Reh’ Highland(s), in the forest game preserve; there hunts it the stag and pursues the roe; (Highlands, in the forest hunting ground; there it hunts the stag and pursues the roe;) (Highlands, a-chasing the deer; / A-chasing the wild-deer, and following the roe,] maen herts hist’ im ‘ho:xlant', von lig Ig9x ge:! lesp' vor, maen ‘hoxlant’ Mein Herz ist im Hochland, wohin ich auch geh’! Leb’ wohl, mein Hochland, My heart is inthe Highland(s), whitherI also go! Live well, my Highland(s), (my heart's in the Highlands, wherever I go! Farewell, my Highlands,) [Ay heart's in the Highlands wherever I go. / Farewell to the Highlands, [eb’ wohl = farewell; wohin auch = wherever] magn haemife(r) lort'! di ‘vigo deg frachaet’,des ‘mutt'as list dort’. vothm lig. Igox mein heimischer Ort! dieWiege der Freiheit, des Mutes ist dort. Wohin ich auch my native —_place! the cradle of the freedom, of the courage is there. Whither! also (aay native place, the cradle of freedom and of courage is there! Wherever I) Varewell to the north, / The birth-place of Valour, the country of Worth; / Wherever I] ‘vandro, vo: ‘umv(r) hg bin: Igof di berk', Igof di ‘bergo sit’ les mig. hm. wandre,wo immer ichbin: auf dieBerg’, auf dieBerge _zieht es mich hin. wander, where ever I am: on the mountains,on the mountainsdraws it me hence, (wander, wherever I am: something draws me back up to the mountains, up to the mountains] [wander, wherever I rove, /The hills of the Highlands for ever I love.] ep't' vor ling ‘berge, _boidek‘ot' mit‘ Jne:!_lesp't' vor, ling ‘tPesle fol ‘blusman. Lebt wohl ihr Berge, bedecket mit Schee! lebt wohl,ihr Tiler voll Blumen Live well youmountains,covered withsnow! live well, you valleys full of flowers (Farewell, you snow-covered mountains! Farewell, you valleys full of flowers) [Farewell fo the mountains high-cover'd with snow! / Farewell to the straths and green vallies) [straths = a flat, wide river valley ; vallies = valleys}font’ Kéle:! lesp't' voll, lisg Velde, bomorst'ss goft'aen, lebt wohl, ihr Walder, bemoostes Gestein, ive well, you forests, moss-covered rocks, (and clover! Farewell, forests, moss-covered rocks,) [below; / Farewell to the forests and wild-hanging woods, } ling ‘ft'vrtgondan ‘beglaen im —farbigon faen! ihr stirzenden Bichlein im farbigen Schei youplunging little brooks in the colorful (sun)shine! [Farewell to the torrents and loud pouring floods.| [Bums and Schumann repeat the first four lines] {In the German translation by Wilhelm Gerhard the last four lines are a variation of the opening; but Schumann follows Burns and repeats the first four exactly (except that the voice enters one bar earlier, before the interlude is over). The song is charged with a stirring, masculine vigor.] 4 ‘homxlendifas ‘visganli Hochtindisches Wieger Highland Lullaby (The Highland Balou” by Robert Burns, German translation by Wilhelm Gerhard) ‘flafo, ‘zy:se ‘Maen ‘domalt’,tebonbilt des ‘gro:son_—‘romalt'! Schlafe,siisser kleiner Donald, Ebenbild des grossen Sleep, sweet little Donald, (the very) image of the great (Clan)Ronald! [Bums: Hee balou, my sweet wee Donald, / Picture o' the great Clanronald:| verg/ver lim —‘kMagnan dip' gobarg, vaes demp/dex teidlo Klan lgofs harp. Wer ihm —Kleinen Diebgebar, weiss der edie Clan aufs Haar. Who forthemlittle thief bore, knowsthe nobleclan tothe hair. (The noble clan knows exactly who gave birth to the little thief.) _aufs Haar = to aT] [Bravlie kens our wanton Chief/ Wha got my young Highland thief] [brawlie kens = well knows; wha = who] Jelm, hast’ tggk‘Iaen Jvarts vir ‘kotlon! ven du: gross bist’, ft‘ Schelm, hast Auglein schwarz wie Koblen! wenn du gross bist, stiehl Rascal, (you)have littleeyes black as coals! when youbig are, steal (Rascal, your little eyes are black as coal! When you grow up, steal) [Leeze me on thy bonie craigie, /An’ thou live, thou'll steal] [leeze me on = dear to me is... ; craigie = little throat; an’ = if] Igen forlon; ge: di te:bno lap' lunt tsu;, ‘brim haem na ‘kYaglae! k’ ein Foblen; geh’ dieEb'ne ab und zu, bringe heim ne Carlisle-Kuh! a foal; go the plain nowand then,bring home a Carlisle- cow! [a naigie, / Travel the country thro’ and thro’, / And bring hame a Carlisle cow.) Inaigie = little nag; hame = home] darfst’ —tmn‘nizdelant’ _nigt’ ‘fe: dort’, magn ‘by:p'gan, markst du: ‘ft'eslon; Darfst in Niederland nichtfehlen; dort, mein Bibehen, magst du_steblen; (You)may in Lowland not be missing;there,my littleboy, may you steal; (Don't fail to go to the Lowlands; there, my little boy, you may steal;) [Thro’ the Lawlands, o'er the Border, / Weel, my babie, may thou furder!) [wel = well; furder = succeed]26 Seid dig get! tunt’ fri glvk*, unt’ lms ‘hoxxlant’ kYom _tsurvk"! stiehl dir Geld und stichl. Gliick, und ins Hochland komm’ zuriick! steal yourself money and steal yourselffortune,and intothe Highland come back! (teal yourself money and fortune, and come back to the Highlands!) [Harry the louns 0° the laigh Countrie, / Syne to the Highlands hame to me.] [louns = varlets; laigh = low; syne = then] [The original Scottish poem, “The Highland Ballou” (“ballou” is Scots for “Iullaby”), can easily be fitted to Schumann’s melody. He repeats the last line of each stanza. The low A sounds through most of the accompaniment, giving it an appropriately somnolent tone.] 15, ‘q9s den he'brenfon go'zenon ‘Aus den hebriischen Gesiingen From “Hebrew Melodies” (poem by George Gordon, Lord Byron; German translation by Julius Korner) maen herts list’ fverg! of! fon deg vant di ‘got’, Mein Herz ist schwer! Auf! von der WanddieLaute, My heart is heavy! Up! fromthe wall the lute, (My heart is heavy! Up! Take the lute down from the wall;) [Byron: My soul is dark—Oh! quickly string / The harp] nury zit lalagn mack‘ hig nox ‘hosron; ent“lok‘a mit’ gaifik't'e ant" lig toma, nur sie mag ich noch dren; entlocke mit geschickterHand ihr Téne, only it alone like I still tohear;entice withadroit hand from ittones, (only that can I still bear to hear; with an adroit hand entice tones from it) [yet can Brook to hear; / And let thy gentle fingers fling / Its melting murmurs} di: das herts bottgsron! kan nox magn herts lgen ‘hofon ‘ne:ron, die das Herz betdren! Kann noch mein Herz ein Hoffen nihren, thatthe heart delude! Can still my heart a hoping nourish, (that will detude my heart! If my heart can still nourish a hope,) [o'er mine ear. /If in this heart a hope be dear,| es tsqoben ‘divza ‘yma here, unt’ birk't! men trok'nas tgogo ‘tge-ron, es zauberndieseTéne her, undbirgt mein trock’nes Auge Zihren, it charms those tones hither, and conceals my dry eye tears, (those tones will charm it hither; and if my dry eyes are hiding tears,) [That sound shall charm it forth again; /If in these eyes there lurk a tear, Zit ‘flison, unt’ mig brentg nigt' meng! nurg Hisf zae, vilt derg ‘tome flus, sie fliessen, und mich brennt’s nicht mehr! Nur tief sel, wildder Téne Fluss, theyflow, and me burns itnot more! Only deep be, wild the tones’ river, (they will low, and will no longer burn me! But let the flow of tones be deep and wild) [Twill flow, and cease to burn my brain. / But bid the strain be wild and deep.| unt! fon desy fragda vek gakterrat! jas, zene, das lig ‘vagnan mus, undvon der Freude weg gekehret! Ja, Singer, dass ich weinen muss, and fromthe joy away tumed! Yes, singer, that I weep must, (and far removed from joy! Yes, singer, I must weep,) [Nor let thy notes of joy be first: /Itell thee, minstrel, I must weep.]2 zonst' virt das'fvera herts fegtserat!! den zit! fom ‘ktume sonst wirddas schwere Herz verzehret! Denn sieh’! vom Kummer else will the heavy heart be consumed! For look! by the sorrow (or else my heavy heart will be consumed! For, you see, by sorrow) [Or else this heavy heart will burst; / For it hath been by sorrow] varty gonezot’, mt’ ft'umam ‘vaxan thnk’ les Jan, unt'jetst’ unt" ward’s gendret, mit stummem Wachen trug es lang, und jetzt, und was itnourished,with mute waking bore it long,and now, and (it was nourished, it has long endured mute sleeplessness; and now, and) (nursed, / And ach’d in sleepless silence long; / And now] jetst’, fom tagsest'on bolexot', da: breg les fodehael lim zan, jetzt, vom Aussersten belebret, da brech’es oderheil’ im Sang. now, by the uttermost instructed, there break it or be healed in the song. (now, tested to the uttermost, may it either break or be healed by your song.) [tis doom'd to know the worst, / And break at once—or yield to song. [The poem suggests the Biblical story of Saul and David (I Samuel 16.23): “And it came to pass, ‘when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.” Schumann’s deeply ‘moving song marvelously expresses Saul’s suffering and his touching hope that music will have the power to heal him. The melody that he sings to David’s harp floats hauntingly above poignant harmonies. Schumann made a number of alterations to the translation he had found in his father’s bookstore. (A singing version of Byron’s words, adjusted to fit the music, is in the appendix.)] 16. vers) Riitsel ARiddle (poem attributed to Lord Byron but actually by Catherine Fanshawe) (German translation by Karl Kannegiesser) es flvst'ets dey ‘mal, es mort’ les di ‘hoelo, nuzy fax kmts max Es flistert’s der Himmel,es murrt es dieHélle, nur schwach klingt’s nach There whispersitthe heaven, there murmurs it the hell, only weakly soundsitafter (Heaven whispers it, hell murmurs it; it sounds but weakly) Imdes tegos ‘velo, unt’ komt’ les tsur flu’, zo: vit‘ les ft'um, gof den hom, in des Echos Welle,undkommtes zur Fluth,so wird es stumm,aufden Hah’n, in the echo’s wave, and comes it tothe flood, so becomesit mute, on the heights, (Gn the reverberant echo, and if it appears in a word like “Fluth,” it is mute; on the heights) [Fluth (= flood): in modern German the h has been dropped] da: horgst du: zaen tsvisfax gozum. das'flaxt'angavyl___lip'ts, da hirst du sein zwiefach Gesumm. Das Schlachtengewiihl liebt’s, therehear youits twofold hum. The tumultofbattle _lovesit, (it occurs twice. It loves the heat of battle,) ‘fliot den fridon, les ist‘ nigt' menen nox ‘fragon boifixdan, dox flichet den Frieden, es ist nicht Miinnern noch Frauen beschieden, doch flees the peace, it is not tomen nor women granted, but ‘(when peace has fled; it has not been granted to men or women, but)28 jjeik'higom tig, usp must dus zetsiron. nigt’ lists lin derp ptoe’zi: tsu: lew'fp'yrron, jeglichem Thier, nur musst du’s sezieren. Nicht ist’s in der Poesie zu erspiiren, toevery animal,only must youitdissect. Not is itin the poetry to be traced, (instead to every hound or hare, if you dissect them. Its trace is not to be found in poetry,) [Thier (= animal): in modern German the h has been dropped] di ‘visonfaft' hat‘ les, forg/fox falom zit, di ‘got’asgolargt'haet' lunt' filozofi die Wissenschaft hat es, vor allem sie, dieGottesgelahrtheit und Philosophie. the science has it, before all they, the theology and philosophy. (Scholarship has it, as do, above all, theology and philosophy.) bag den heldon fyzet'lesden forwzts time, dox Bei den Helden fihrtes den Vorsitz immer, doch By the heroes leads it the chairmanship always, but (thas the leading position among the heroes, but) ‘manelts den ‘fvaxon —_Igox tmelig ‘ume, es indat' zig. igt'tg mangelt ’s den Schwachen auch innerlich nimmer,es findet sich richtig is missing it for the weak ones also inwardly never, it finds itself rightly (it is never inwardly missing in the faint-hearted; it is rightly found) ‘in dom hggs, den ‘lisa mans ‘felon, —zo:_vergiverr les lags. jedemHaus,denn liesse man’s feblen, so wir’ es aus. in every house,for (if) would letone itbe missing, then were it out. {in every house, for, if you left it out, you'd be outside in the cold.) {in German the joke is clever: take h from Haus and you get aus; es ist aus (colloquial) = it’s all up, it’s over, youve had it] im ‘grigenlant’ kYigen, lan derg ‘i:be ‘bordan ists ‘gr@:se(r),lam ‘grésst’an im InGriechenland klein, an der Tiber Borden ist’s grisser, am grissten in In Greece small, on the Tiber’sshores is itbigger, at thebiggest in In Greek it is meager; more evident on the banks of the Tiber, in Latin; most forceful of all in) ‘dogtflant’ —gevordan. im ‘fat'on bark't' zigs, lm ‘blymgan_laox, Deutschland geworden.Im Schatten birgt sich’s, im Bliimchen auch, Germany become. Inthe shadow hides itselfit, in the little flower too, (German. It is hidden in the shadows, in floral wreaths at death,) [the rhyme will be crucial] du; hgoxst’ les texk'lig, les st‘ nurg/nus lagn—(vas lists?) es lst’ nurpfnusr lags du hauchstes tiglich, es ist nur ein— (was ist’s?) Esist nur ei youexhale it daily, it is only a— (whatis it?)It is only an. (vou exhale it every day, itis only a [breath]. What is it? It is only [che letter H].) [the German word Hauch, which means breath, rhymes with “auch” in the previous line] {Schumann gives away the riddle with the opening octaves and the insistently repeated notes at the end: in German-speaking lands the note we call B natural is known as H. The joke is lost in translation and when the song is transposed. “Was ist’s” and the repetitions in the German text are by Schumann. The original English poem: ‘Twas in heaven pronounced—'twas muttered in hell, / And echo caught faintly the sound as it fell; ! On the confines of earth ‘twas permitted to rest, / And the depths of the ocean its presence confessed. | Twill be found in the sphere, when ‘tis riven asunder, / Be seen in the lightning, and heard in the thunder; / ‘Twas allotted to man with his earliest breath, / Attends at his birth and awaits him in death: / Presides o'er his ‘happiness, honour and health, / Is the prop of his house and the end of his wealth. / In the heaps29 of the miser ‘tis hoarded with care./ But is sure to be lost on his prodigal heir. / It begins every hope, every wish it must bound, / With the husbandman toils and with monarchs is crowned. / Without it the soldier, the seaman may roam, / But woe to the wretch who expels it from home. / In the whispers of conscience its voice will be found, / Nor e'en in the whirlwind of passion is drowned. / "Twill not soften the heart, and though deaf be the ear / It will make it acutely and instantly hear. / Yet in shade let it rest like a delicate flower, / Ah, breathe on it softly—it dies in an hour.) Isvae venetsiamfo ‘ide ‘Zwei Venetianische Lieder ‘Two Venetian Songs 17, venetsjamrfas lin’, nume lgens / lags ‘ruxden hire ‘Venetianisches Lied, Nr. 1 / Leis’ rudern hier ‘Venetian Song, No. 1 / Row Softly Here (poem by Thomas Moore, German translation by Ferdinand Freiligrath) lags ‘rurden hire, magn gondollig, lags, aes! Leis? rudern hier, mein Gondolier,leis’, leis’! Softlyrow here, my gondolier, softly, softly! (Row softly here, my gondolier! Softly, softly!) (Moore: Row gently here, my gondolier:] [the repetitions of Zeis’ and sacht, both here and later, come from Schumann] di flut’ fom ‘rude fp'rym zo: leza las, das zit luns nusg fe'nimt, dieFlut vom Ruder spriih’nso leise lass, dass sie uns nur vernimmt, thestream from the oar spray so softly let, that sheus only perceives, (Let the stream from your oar spray so softly, that only she will hear us,) {so softly wake the tide, / That not an ear on earth may hear but hers) su: dese virg tgim! 0%,koent'a, vir lerp Jagan kan, dezg ‘himal _re:dan— za der wir zieh’n! O, kinnte, wieer schauen kann,der Himmel reden— to whomwe move! O,could, as it see can, the sky — speak— (she to whom we are gliding! Oh, if the sky could speak as well as it can see—) {to whom we glide. / Had Heaven but tongues to speak as well as starry eyes to see, room, lere fp'rexe — fitlos vol fon dem, vas naxts dit ‘ft'eme faon! traun,er spriche vieles wohl von dem, was _nachts die Sterne schau’n! surely, it wouldspeak much probably of that, which at night the stars (it would surely tell what the stars see going on at night!) [Ont think what tales ‘twould have to tell of wandering youths like me.] num rast'on hisg, magn gondolig, zaxt', zaxt'! ms doit di ‘rude! ‘Nun rasten hier, mein Gondolier,sacht, sacht! Ins Boot die Ruder! Nowrest here, my gondolier, quietly, quietly! Into the boat the oars! (Now rest here, my gondolier, quietly, quietly! Put your oar quietly into the boat!) [Now rest thee here, my gondolier; hush, hush, for up I go, Igof tsum balktomo fvm 1g mig, dox_ du: heltst’ tunt'on vaxt auf zum Balkone schwing’ ich mich, doch du hiltst unten Wacht up tothebalcony swing I myself,but youkeep below watch. shall swing myself up to the balcony, but you will keep watch down here.) [To climb yon light balcony’s height, while thou keep'st watch below.]30 o%,"volt'an halp‘ zo: laefig use dem ‘hima vitg/visr ms —_vaen, 0, wollten halb so eifrig nur dem Himmel wir uns —_weib’n, O, wanted half so zealously only tothe heaven we ourselves toconsecrate, (Oh, if we wanted to consecrate ourselves to heaven only half so zealously) [Ah! did we take for Heaven above but half such pains as we] als'fome ‘vaebe ‘dimst'an— ttraon, virg ‘oent'on tenol_zaen! alsschiner Weiber Diensten—traun, wir kinnten Engel sein! 1s to beautiful women’s services— indeed, we could — angelsbe! (as to the service of beautiful women—indeed, then we could be angels!) [Take day and night for woman's love, what angels we should be.] [In the accompaniment, the Jegato parts provide the rocking gondola and the movement of the ‘oar. The staccati provide the humor. This song and the next are usually performed as a pair.] 18, venetsiamrfas lit’, nume tsvae / ven durg di piatseta, ‘Venetianisches Lied, Nr. 2 / Wenn durch die Piazzetta Venetian Song, No. 2 / When through the Piazzetta (poem by Thomas Moore, German translation by Ferdinand Freiligrath) ven dure di piatsettadi taibont‘luft' vest", dan vaest dus, ninetta, Wenn durch die Piazzetta die Abendluft weht, dana weisst du, Ninetta, ‘When through the Piazzetta the eveningair blows,then know you,Ninetta, (When the evening breeze wafts through the Piazzetta, then you will know, Ninetta,) [Moore: When through the Piazzetta / Night breathes her cool air / Then, dearest Ninetta, / [the Piazzetta is the square beside the Doge’s Palace] very ‘vart‘ont' hig ft'e:t®. du: vaest’, verg trots ‘flage(s) lunt' mask's dig Kent, wer wartend hier steht. Du weisst,wer trotz Schleier und Maske dich kent, ‘who waiting here stands. You know, who despiteveil and mask you knows, (who stands here waiting for you. You know who will recognize you despite your veil and mask,) [7 come to thee there. / Beneath thy mask shrouded / I'll know thee afar, /| vi: tamorg di ‘venus lam ‘naxt'frmament®. aen'fifekMaet rag 1g wieAmor die Venus am Nachtfirmament. Ein Schifferkdeid trag’ ich as Cupid the Venus inthe night firmament. A _boatman’s garb wear I (as Love can recognize Venus in the night sky. I shall be wearing the costume of a boatman) [As Love knows, though clouded, / His own Evening Star. /In garb then resembling /) ‘sur ‘zelbrgan tsact’, unt tst'ent ditg zag 1g: das bot’ lik't’ boraet! o: kYom, vor zur selbigen Zeit, und zitternd dir sag’ ich: das Boot liegt bereit! O komm,wo atthe same time, and tremblingtoyousay I: the boat lies ready! O come, when (at the same time, and, trembling, I shall say to you: “The boat is ready! Oh come, while) [Some gay gondolier, /I'll whisper thee, trembling, /“Our bark, love, is near: / Now, now, while] den momt‘ nox ‘volk'sn lumtsim, las dorg di laigunan, maen ‘le:bon, luns flim! den Mond noch Wolken umzieh’n, lass durch dieLagunen, mein Leben, uns flieh’n! the moon still clouds surround, let through the lagoons, my life, us flee! (clouds still surround the moon, let us flee through the lagoons, my life!) [there hover / Those clouds o'er the moon, / "Twill waft thee safe over / Yon silent lagoon. "| [Freiligrath: O komm! jetzt, wo Lune’n (Luna, the moon), which rhymes with Laguen]31 [The piece is all light-hearted charm and grace. Mendelssohn also made a setting of both songs.} 19. ‘hgop't'mans vaep’ Hauptmanns Weib ‘The Captain's Lady (The Captain’s Lady” by Robert Burns, German translation by Wilhelm Gerhard) ox. tgu: pfergt'!ft'ai laof tgargt'am ‘lgebo, helm lunt’ fvergt Hoch zu Pferd! Stahl auf zartem Leibe,Helm und Schwert High to horse! Steel on delicate body, helmet and sword (Mount your horse! Steel on that delicate body, helmet and sword) [0, mount and go, mount and make you ready; / O, mount and go,] ‘tsiman ‘hgop't'mans ‘vaebo. ‘hémat ‘tromalflak' —_tunt'e prulfedampf, ziemen Hauptmanns Weibe. Ténet Trommelschlag unter Pulverdampf, beseem captain’s _woman.Soundsdrum- beat amid powder-steam, (Suit a captain’s lady. When the drums begin to sound amid the smoke of gunpowder,) [and be the Captain's Lady. / When the drums do beat, and the cannons rattle,) Zisst du: ‘blut’gon thaik' lunt daen lip’ im Kampf. sichst du blut'gen Tag unddein Liebim Kampf. see youbloody day and your love inthe battle. (you shall see a bloody day and your love in the thick of battle.) (Thou shalt sit in state, and see thy love in battle:] ‘flaigonvirg den faent', ktysast du: den ‘gat'on, vost’ mut’ lim fey-/fertgent’ Schlagen wir den Feind, kiissest du den Gatten, wohnst mit ihm vereint Beat we the enemy,kiss youthe husband,dwell withhim united (if we defeat the enemy, you will kiss your husband and live united with him) [When the vanguish’'d foe sues for peace and quiet, /To the shades we'll g0,) lim des fridons ‘fat‘on. —ho:x_tsu: perp! ta: Igof tsargt‘om ‘laebo, in des Friedens Schatten. Hoch zu Pferd! Stahlauf zartem Leibe, jn the peace’s shadow. High to horse! Steel on delicate body, (in the shadow of peace. Mount your horse! Steel on that delicate body.) [and in love enjoy it. /O, mount and go, mount and make you ready; helm lunt’ fvergt ‘tgimman ‘hgop't'mans ‘vaebo. Helm und Schwert ziemen Hauptmanns Weibe. helmetand sword beseem captain’s woman. (helmet and sword suit a captain’s lady.) [0, mount and go, and be the Captain's lady.) [The original poem does not imply that the captain’s lady should be armed like her lord. ‘Schumann was pleased with his setting and wrote to Clara that it was “very fresh and romantic.”]32 20. vast’, vaet* ‘Weit, weit Far, Far Away (The Bonie Lad that’s Far Away” by Robert Bums, German translation by Wilhelm Gerhard) vir Kan hig fro: lont' munt'e zaen lunt' flmk' mig rem _bae ‘maenam laet'? Wie kann ich froh und munter sein und flink mich dreh’n bei meinem Leid? Howcan I glad and cheerful be and brisklymyselftum in my grief? (How can I be glad and cheerful, and turn about briskly in my grief?) [Bums: O how can Ibe blythe and glad, / Or how can I gang brisk and braw,] [gang = go; braw. ily dressed] deg 'fmuk'o june, dexg mig lip't',Iisty:be di ‘bergo vast, vaet*! Der schmucke Junge, der mich liebt, ist Uber dieBerge weit, ‘weit! The handsome youth, who me loves, is over the mountainsfar, far away! (The handsome lad who loves me is over the mountains far, far away!) [7 hen the bonie lad that 1o'e best /Is o'er the hills and far awa't] (Gerhard: den ich lieb’ (whom I love)] vas ‘ktymet’ mig des‘vmt'es frost’, unt'lop’ les 'dragson _ft'vrmt' lunt’ fnaet*? Was kiimmert mich des Winters Frost,und ob —_es_draussen stiirmt und schneit? Whattroubles me the winter’s frost, and whether it outside storms and snows? (What does the winter’s frost matter to me, or whether it is storming and snowing outside?) t's no the frosty winter wind, / t's no the driving drift and snaw:] {no = not; snaw = snow] im tgogo blink't di ‘t'remo mirg, denk' 1g lanlim, dere — vaet', vaett! Im Auge blinkt dieTrine mir, denk’ichan ihn, der weit, weit! Intheeye shines the tear forme,think I of him,who(is)far, far away! (A tear shines in my eye when I think of him who is far, far away!) [But aye the tear comes in my e’e / To think on him that’s far awa’) [e’e = eye] ey hatdi ‘hant‘fu: mig gofenk't, das 'bunt's tux, — das'zaedno act’ Er hatdieHandschub’ mir geschenkt, das bunte Tuch, das seid’ne Kleid: He hasthe gloves tome givenas gift, the colorful kerchief,the silk dress; (He gave me the gloves, the colorful kerchief, the silk dress;) [A pair of glooves he bought to me, / And silken snoods he ga’e me twa; (twa= two] dox lew, dem lies sur tex trak’ list‘ tyibe di ‘bergo —_vaet’, vaet™! docher, dem ich’s zur Ehre trag’, ist Uber dieBerge weit, weit! but he, forwhomI ittothehonor wear, is over the mountains far, far away! (but he, in whose honor I wear it, is far away over the mountains!) [And I will wear them for his sake, / The bonie lad that's far awa’.) [The original poem has five stanzas; the translator left out the last one, Schumann omitted the third. He follows Bums in repeating the last two lines in each of the verses. The plaintive melody of this simple strophic song takes several touching turns, and the harmony is often haunting.)33 21. vas vil di taenzaimo remo ‘Was will die einsame Trine Why the Solitary Tear? (poem by Heinrich Heine) vas vil di taenzame trem? zi: den bli. Was will dieeinsame Trine? den Blick. What wants the solitary tear? forme certainly the gaze. (Why the solitary tear? It certainly dims my sight.) los ‘alt’on tsaet‘on m'maenam igoga tsurvk aus alten Zeiten in meinem Auge zuriick. It remainedfromold times in my eye _back. (Ithas remained in my eyes from times gone by.) Zit ‘hat‘a fil ‘Taggt‘ondo ‘vest'en, di: talo tseyfloson zt’, Sie hatte viel leuchtendeSchwestern, die alle zerflossen sind, It had manyshining sisters, whoall dissolved are, (it had many shimmering sisters, who have all vanished,) ‘mut ‘magnon ‘k*vailon lunt’fragdon tsepfloson lm naxt’ font" vint'. mit meinen Qualen und Freuden zerflossen in Nacht und Wind. withmy torments and joys dissolved in night and wind, (vanished with my torments and joys into the night, borne away by the wind.) Vit ‘nesbol zint‘Igox tsepfloson di ‘blgoan ‘ft'ermalaen, Wie Nebel sind auch zerflossen die blauen Sternelein, Likemist are also dissolved the blue _ littlestars, (CThe little blue stars have also vanished like mist,) di: mir jemo ‘ragdon lumt' Kvailon gollegalt’ ims —_herts hfnaen. die mir jene Freuden und Qualen gelichelt ins Herz hinein. they whoformethose joys and torments smiled into the heart inside. (those stars that smiled those joys and torments into my heart.) ax, ‘magna 'libo ‘zelbe tsepflos vir tast'al hgox! ‘Ach, meine Liebe selber zerfloss wieeitel Hauch! Ah, my love itself dissolved like idle breath! (Ab, my love itself has vanished like a mere breath!) du falta, tagnzarma ‘Prema, tsepflisa jetsunde(r) Igox! Du alte, einsame Trine, zerfliesse jetzunder auch! Youold, solitary tear, dissolve_now too! (Old solitary tear, now you should vanish too!) [Why should there still be a tear in my eyes? The joys and torments of love are long past, along With love itself. The poem is from “Die Heimkehr” (“The Homecoming”) in Heine’s Buch der Lieder (Book of Songs). The song has the form ABBA, in harmony with the sense of the verses.]34 2. ‘nimant’ (zget’an{t'vk' tsu “jemant’”) Niemand (Seitenstiick zu “Jemand”) ‘Nobody (Counterpart to “Somebody”) (“I Ha’e a Wife o” My Ain” by Robert Burs, German translation by Wilhelm Gerhard) ag harp’ magn vaep'laligen lunt tgel les, txgon! mit’ ni:mant’ Ich hab’ mein Weib allein undteil? es, traun! mit niemand; I have my wife alone and share her, indeed! with nobody; (Ihave my wife alone, and—for sure!—I'll share her with nobody.) (Bums: Iha’e a wife 0’ my ain, /I'll partake wi’ naebody;) [ain = own] mgt’ ‘hamrag vil lig zaen, sum ‘hamrae max 1 ‘nismant’ nichtHahnrei will ichsein, zum Habnrei mach’ ich niemai not cuckold want! tobe, tothecuckold make I nobody. ((don’t want to be a cuckold, and I shall make nobody else a cuckold.) UN tak’ Cuckold frae nane, / I'll gi’e Cuckold to naebody.| _{frae nane = from no one] ‘agn'zek'gon oll list’ maen, dox— dafy:g dank’ 1¢ ‘nismant’ Sickchen Gold ist mein, doch—daffir dank’ ich niemand; A. little sack (of) gold is mine, but— forthatthank I nobody; (A little sack of gold belongs to me, but I am indebted to nobody for that;) [Iha’e a penny to spend, / There—thanks to naebody!] rmigis hab 1g {gu fevlaen, lunt' borgan zol_mizg ‘nimant* nichts hab’ ichzu verleih'n, und borgensoll mir niemand. nothinghaveI to lend, and borrow shall from me nobody. (Lhave nothing to lend, and nobody shall borrow from me.) [Zha’e naething to lend, / I'll borrow frae naebody.| ig bm mgt’ landre her, iunt'funt'et’e:ng ‘nismant’ Teh bin nicht andrer Herr,und untertinig _niemand; I am not others’ lord, and submissive (to) nobody; (Lam nobody’s lord, and nobody's vassal;) [am naebody’s lord, /'ll be slave to naebody:] dox ‘mgena'i*me ft'rct’, lig fyrgt'a mig fore ‘nismant* doch meine Klinge sticht, ich firchte mich vor niemand. but my blade stings,I fear myself before nobody. [sich flrchten = to be afraid] (but my sword can sting: I am afraid of nobody.) [Uha’e a guid braid sword, /I'l tak’ dunts frae naebody:) [guid braid = good broad; dumts = blows] aen'lust'ge Kaots bm lig, KYopfhenonf mut’ ‘nismant’ Ein lust’ger Kauz bin ich, kopfhiingerisch mit niemand; ‘A. merry eccentricam I, head-hangerish with nobody; (’ma merry oddball, I'll hang my head for nobody;) [I be merry and free, /T'll be sad for naebody;|35 Sisgt’ nizmant’ zig lum mmig, zo: fer ag mg tom ‘nitmant’ schiert niemandsich um mich,so scher’ ich mich um niemand. bothers nobody himself about me, then botherI myself about nobody. (if nobody bothers about me, then I'll bother about nobody.) [Naebody care for me, / I care for naebody.} [it's a charming and merry piece.] 23. am ‘vest’on, Im Westen In the West (Out over the Forth” by Robert Bums, German translation by Wilhelm Gerhard) ie fap ty:be fort’ hrny:be naxx nort Teh schaw’ iber Forth hiniiber nach Nord: I look over(the Firth of) Forth beyond toward north: (look beyond the Forth to the north:) [Bums: Out over the Forth I look to the North:] vas ‘helfon mig nort' lunt hoxlanls nes? was helfen mir Nord und Hochlands Schnee? ‘what help tome north and Highlands’ snow? (hat help would the north and the snow of the Highlands be to me?) (But what is the north and its Highlands to me?) vas ‘ost‘en iunt' zy’, vor di ‘zona lyst, das‘femo lant’ junt di ‘vildo ze:? Was Osten und Stid, wo dieSonne gliiht, das ferne Land und die wilde See? Whateast and south, where the sun glows, the distant land and the wild sea? (What are the east and the south to me, where the sun is bright, the distant land and the wild sea?) [The south nor the east gi'e ease to my breast, / The far foreign land, or the wild rolling sea.] gos ‘vest'on vink't', vo: di ‘zona zmk't', Aus Westen winkt, wo dieSonnesinkt, Fromwest beckons, where thesun sinks, (From the west, where the sun sinks, beckons) [But I look to the west when Igae to rest, (gae = go] vas mig lim ‘flume(r) —_funt ‘traomo boiglyk't': was michim —Schlummer und Traume begliickt: thatwhichme inthe slumber and dream makes happy: (that which makes me happy in my sleep, in my dreams:) [hat happy my dreams and my shumbers may be;] im ‘vest'onvomt, deg mig i:bo lont', im Wesen wohnt,der mir Liebe lohat, inthe west dwells, he whotome love requites, (he who repays me with love lives in the west,) [For far in the west lives he Ilo'e best.)36 ‘mug_lunt’ maen'k*mnt‘Igen fans herts godrvk't! mich und mein Kindlein ans Herz gedriickt! me and my littlechild to the heart pressed! (me and my baby who is pressed to my heart!) [The man that is dear to my babie and me.) [The first half of Schumann’s setting is like a folksong, with a simple chordal accompaniment, the last part has lovely arpeggios and a continuous flow of eighth notes under a pleasing melody.] 24. du: bist’ vir faeno ‘bluzma Du bist wie eine Blume ‘You Are like a Flower (poem from “Die Heimkehr” in Buch der Lieder by Heinrich Heine) du: bist! vir tgeno ‘bluzma, zor holt’ funt’ fom _tunt’ raen; Du bist wieeine Blume,so hold undschén und rein; Youare likea flower, so sweet and lovelyand pure; 1g Jao dig lan,lunt''vermust' flagct"mirg/mirrims —_herts hrnaen. ich schaw’ dich an, und Wehmut schleicht mir Herz hinein. I look you at, and melancholy steals tome _intothe heart inside. (Look at you, and melancholy steals into my heart.) misgfmix ist’, lalslop' ig di ‘hendo Iapfs hgop't dis ‘lesgon zolt*, Mir ist, als ob ichdieHiinde aufs Haupt dir legen sollt’, Tome is, as if I thehands ontothehead toyoulay should, (Lee! as if I should lay my hands on your head,) ‘bes'ont,das got dig leghalt's zo: raen font’ fom unt" holt’ betend, dass Gott dicherhalte so rein und schin und hold. praying, that God you maykeep so pure and lovelyand sweet. (praying that God may keep you so pure and lovely and sweet.) [Un this beautiful and famous song Schumann has created a perfect jewel, a perfect combination of form and feeling. The poet contemplates a beautiful, innocent child, and wistfully senses the fragility, the impermanence of beauty and innocence. (A singing translation is in the appendix.)] 25. ‘q9s den toest'ligan ‘ro:zan ‘Aus den dstlichen Rosen From “Eastern Roses” (poem by Friedrich Rtckert) 1g ‘zendo tagnon grus vit duft deg ‘rozan, i zend lim lan lagn To:zantangezigt', Teh sende einen Gruss wie Duft der Rosen, ich send’ ihn an ein Rosenangesicht, I send a greetinglikescent of theroses, 1 send it to a _rose- countenance, (Lam sending a greeting fragrant with the scent of roses, I am sending it to a face like a rose;) 1g ‘zendo lagnon grus vir ‘fry:lmskto:zan, 1g. zend tim lan lagn laok' fol Teh sendeeinen Gruss wie Friihlingskosen, ich send’ ihnan ein Aug’ voll I send a —_greetinglikespring caresses,I send it to an eye fullof (Lam sending a greeting like the caress of spring, I am sending it to a pair of eyes full of)37 ‘frylmshct. gos ‘fmertsons{t'vrman, di: magnherts—durgtto:zan, Friihlingslicht. Aus Schmerzensstiirmen, die mein Herz _durchtosen, spring light. Frompains- storms, whichmy _heart[ob] rage through, (Springtime light. From the storms of pain that are raging through my heart) [Ritckert: an ein Auge friihlingslicht (to a spring-bright eye)] zend 1g den hgox, dig tunzanft’ ryx_—_les migt"! ven du: godenk'ast" send’ ichden Hauch,dich _unsanft riihr’ es nicht! Wenn du gedenkest send I the breath, you[obj.]ungently maystirit not! If — youthink (Isend you a breath—may it not touch you ungently! If you think) lan den fragdalozan, zo: vit deze ‘himal_ ‘magne ‘negt'> ligt", an den Freudelosen, so wird der Himmel meiner Nichte licht. of the joylessone, thenbecomesthe sky ofmy nights light. (of me, so far from joy, then the dark sky of my nights will become bright with stars.) [Eastern Roses” is a collection of poetry by Friedrich Rickert. This song has many moments of charming originality in the delicate melody and accompaniment. On the margin of the ‘manuscript Schumann wrote “Expecting Clara,” and his longing for her inspired his tender, loving song.] 26. tsum flus Zum Schluss In Conclusion (poem by Friedrich Rickert) highhisr i ‘ditzon ‘exgt'baktomnon ‘Ivft‘an, vor di ‘vemut got’, Hier im diesenerdbelomm’nenLifften,wo dieWehmut taut, Here in these earth-oppressed airs, where the melancholy fallsas dew, (Here, in the oppressive air of earth where melancholy falls about us like the dew,) haib 1g dire den tunfolktomnon —_Kktrants gofloxt'an,'Jvest', _braot"! hab’ichdir den unvollkomm’nen Kranz geflochten, Schwester, Braut! have foryouthe imperfect garland woven, sister, bride! (Thave woven this imperfect garland for you, my sister, my bride!) Yen luns, ‘drosbon taofganoman, got'ss zon _lent"ge:ganfaot?, Wenn uns, droben aufgenommen, Gottes Sonn’ entgegenschaut, When forus,above received, God’s sun shines toward, (When one day we are received into Heaven and God’s sun shines upon us, then) (Rickert: droben aufgenomm nen] vit di Tibo den fotktomnon — k*rants luns ‘flegt’an, ‘fvest'e, braot! wird die Liebe den vollkomm’nen Kranz. uns _flechten, Schwester, Braut! will the love the perfect garland forusweave, sister, bride! (love will weave a perfect garland for us, my sister, my bride!) [Here on earth I could only put together this flawed bouquet for you, my bride, my spiritual sister, but someday in Heaven love will weave for us a garland of perfect beauty. This noble, hymn-like song, with its tender postlude, is the fitting conclusion to Schumann's wedding gift to his bride.}