BR SCHUMANN’S COMPLETE SONG TEXTS In One Volume Containing All Completed Solo Songs Including Those Not Published During the Composer's Lifetime Duets, Trios, Quartets With International Phonetic Alphabet Transcriptions Word for Word Translations an Commentary By BEAUMONT GLASS4 dey ‘omg ‘iron bliks da‘za:s, mut''flot'endan_—‘nix(o)n unt ‘tort'anblas. Der Kénig stieren Blicks dasass, mit schlotterndenKnien und totenblass. The king fixed of look satthere,with trembling knees and deathly pale. (The king sat there, staring, deathly pale, with trembling knees.) i ‘Wnegt'afare zais Walt durggrqot®, unt’ zass gary Jt‘, gap’ k'genon lot. di Die Knechtescharsass kalt durchgraut, undsass gar still, gab keinen Laut. Die The host of vassals sat coldly filled with horror,and sat very still, gave no sound. The (The host of vassals sat there transfixed with cold horror, sitting very still, making no sound. The) ‘maigie ‘amon,dox ‘gene feyft'ant tsu: dagt'on di flamonfnft' lan dere vant". Magier kamen, doch keiner verstand zu deuten dieFlammenschriftan der Wand. wisemencame, but none understood to interpretthe flame- writingon the wall. (wise men came, but none of them knew how to interpret the fiery letters on the wall.) belzatsar vart' tarbe(s) Im zelbige naxt* fon'zaenon ‘kénegt'on tumgobraxt*. Belsazar wardaber — in selbigerNachtvonseinen Knechten umgebracht. Belshazzarwas however in same night by his vassals killed. (Belshazzar, however, was killed that same night by his own vassals.) [Belshazzar, the son of Nebuchadnezzar, was the last king of Babylon. His father had taken the sacred vessels from the temple in Jerusalem. Heine’s poem is based upon Chapter Five of the Book of Daniel in the Old Testament of the Bible. A striking feature of Heine’s ballad is the use of word repetitions as a structural device, along with a constant alternation between past and present tense. Schumann’s setting begins with an Oriental scale, builds to several effective climaxes, and tells the story with the needed atmosphere of mystery, suspense, and stupefaction.] 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) ‘Yoglagn Im‘oft'ige ho:? —fvaek't’ ft'sl, ven magn herts les ‘hoot, 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] ‘tmefortt, da: ‘ha:bon vig fe:glaen gofanon das‘hypf2 ‘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, you little birds 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'gan, lecks ‘hent'gan_lgofs ‘hertso magn, lax hergst du:, 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 ‘ploxot’ lim ‘Ktemelgen? da: ‘hgozot'lgen tsumeman fim unt‘ lark’, wie’s pochet 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/mix taenon ‘ttost'anzark’. es'hemet’ — lunt’ ‘k*lopfot’ der zimmert mir —_cinen 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 vo: daen'toxdom ver". 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, (somewhere near you, where I could breathe the air you breathe. But you drive me away,) [Schumann repeats “wo dein Odem weht”| 19 ‘vort'a Jp'rict dagn munt';'vamzm vy’ —_—_‘im'maenon’zinan, unt’ maen herts bitt’re Worte spricht dein Mund; Wabnsinn wilt —_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) tist'krank' lont’ vont’. unt di ‘glide mat’ unt Prego 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, bhut'kvel, brig. laos ‘magnom laep', Biutquell, inn’ 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.) * i a 3 : 4 q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’, iim n thvk‘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”!).] i i |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.)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 heart is 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'raefon kcent’ 1p di ‘gan{so velt', lags ‘tbo tsur jermant’ 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._Igof ‘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; o Himmel! dem Jemand; O bliss! tothe somebody;O heaven! tothe somebody, (Oh bliss! To somebody! Oh heaven! To somebody!) [Oh-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?) Uwad 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. Highlander’s Farewell (My Heart’ in the Highlands” by Robert Bums, German translation by Wilhelm Gerhard) magn herts list'hm ‘hoxlant’, magn herts lst’ nigt’ hive; magn herts list’ im Mein Herz ist im Hochland, mein Herz ist nichthier; 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' feyfolgat 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,] magn herts list’ lim ‘ho:xlant', volhm lig Igox ge:!_lexp' vor, meen ‘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} sence le Shy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.] icacbieaPnbiat 1 4 : 4 i a a &\ { L { 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. g im 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 Blimchen 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eR 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: 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)] ily dressed] 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 Burns 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] bait| | 3B 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 Triine, 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;| i a 3 4 4 4 actaenictiesCT | 1 4 i 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.}| 43 # tsanet'o ‘maeno ‘zon, 1g vandromigt' fon hire. © zarte meine Sonne, ich wand’re nichtvon hier. © delicatemy sun, I wander not from here. (oh, my tender sunshine, I shall not wander away from here!) [Schumann repeats the last five words} [Robert and Clara had been thinking about going to England to escape from her father’s hostility, as he was determined to block their marriage; when their plan was dropped, this poem provided a rationale. The poet was a correspondent of Schumann’s “New Musical Journal.” The attractive song has three identical verses. Schumann thought enough of it to have it published twice.) loxolae [or ‘ozolag] Loreley Lorelei (Op. 53, No. 2, April 1840, poem by Wilhelmine Lorenz) es flyst'en unt’ raofon di ‘voigan vol ty:be(r) lrg ‘t'tlas haos. Es flistern und rauschen die Wogen wohl fiber ihr stilles Haus. There whisper and murmur the waves indeed above her quiet house. (The waves are whispering and murmuring as they pass above her quiet house.) es ruft' taeno ‘ft'amo: “godenk‘o magn! bag ‘ile naxt’ im folmomt’ Jaen Es ruft eine Stimme:“Gedenke mein! bei stiller Nacht im Vollmondschein There calls a voice: “Think of me! by quiet night in the full-moon-light (A voice calls out: “Think of me in the quiet night in the light of the full moon!) ge'denk's mgen!” unt’ flvst'ent gin di ‘Vorgan vorl ty:be(r) lrg ‘t'1los hags. gedenke mein!” Und fliisternd zichen dieWogen wohl uber ihr stilles Haus. think of me!” And whispering draw the waves indeed over her quiet house. (Think of me!” And, whispering, the waves pass over her quiet house.) “gadenk's maen! go'denk's maen! gadenk‘omaen!” “Gedenke mein! gedenke mein! gedenke mein!” “Think of me! Think of me! Think of me!” [The one-bar prelude hints at a mysterious danger, the same theme underscored with a tremolo, later, intensifies the ominous mood. The beautiful siren Lorelei is luring her prey to a watery grave. The poet was the wife of Schumann’s assistent editor on the Neue Zeitschrift fiir Musik.) dery tarmo ‘pest’ Der arme Peter Poor Peter (Op. 53, No. 3, probably composed in April 1840) (poem from “Junge Leiden” in Buch der Lieder by Heinrich Heine) 1 deg hans lunt di ‘grect’s ttantson herum, lunt' jgoxtsan fore ‘aot'e ‘fragda. Der Hans unddieGrete tanzen herum,und jauchzen vor lauter Freude. ‘The Hans and theGreta dance around, and exult for sheer joy. (Hans and Greta are dancing around together, and shouting for sheer joy.)a7 Jp'rax'nimant’ mevg, das fif vary migt’ mesg ‘igt'barg, es'dunk'lt's garg. tsu: zerp. sprach niemand mebr,das Schiff war nicht mehr sichtbar,es dunkelte gar zu sebr. spoke noone more, the ship was not more visible, it darkened much too much. (no one spoke anymore; the ship was no longer visible, it had become much too dark.) [The sight of a distant ship in the fog at dusk stirs thoughts of far-off places and peoples; here India is extolled for exotic beauty and Laplanders are grotesquely caricatured. Perhaps the speaker is a sailor, impressing a group of young girls; perhaps it is the poet himself, dreaming of foreign lands. The music has a lovely flow, appropriate to the water and the rising swirls of mist.] di baedon grena'disra The Two Grenadiers (Op. 49, No. 1, May 1840, poem by Heinrich Heine) nax ‘frank'raeg ‘tsoigon (svae grenaldisg, di: ‘vairon Im‘ruslant’ _gofanon. Nach Frankreich zogen zwei Grenadier’, die waren in Russland gefangen. TowardFrance moved two grenadiers, whowere in Russia captured. (Two grenadiers who had been taken prisoner in Russia were on their way back to France.) vat’ lals zi: ‘amon ins ‘dagtfo Kvar't lissan di ‘koepfo ‘hanpn. Undals sie kamen ins deutsche Quartier, sie ‘And when theycame intotheGerman quarter, theylet_ the heads hang. (And when they had reached German territory they hung their heads.) da: ‘hgsgt'on zi: ‘baeda di ‘Mroonge meg : das ‘frank'raee feylowen go'ganon, Da hérten sie beide dietraurige Mar: dass Frankreich verloren gegangen, ‘Thercheard theyboth thesad tidings: that France —_lost (had) gone, (There they both heard the sad tidings that France was lost,) bazick't' lunt’ go'flaigon das'tapforo herg/hes,lunt deve ‘k*geze, dere ‘kYaeze gofanon. besiegt und geschlagen das tapfere Heer, undder Kaiser, der Kaiser gefangen. defeated and beaten the valiant army, and the emperor, the emperor captured. (the valiant army had been defeated and routed, and the Emperor—the Emperor!—captured.) (Heine: besiegt und zerschlagen (shattered, destroyed)] da: ‘vaent‘on tsuzamon di grena‘disg voll lop’ derg kMexk'ligan ‘k*undo. Da weinten zusammen dieGrenadier’ wohl ob der kliglichen Kunde. ‘Then wept together the grenadiers indeedat the lamentable information. (Then the grenadiers wept together at the pitiful news.) derpidex tgena Jp'ra: ve: vir! mig, vit brent’ ‘mgena falt's ‘vunda!” Der cine sprach: “Wie weh’ wird mir, wie brenntmeine alte Wunde!” The one spoke: “How painfulbecomestome,howbums my old wound!” (One of them said: “What pain Iam feeling! How my old wound is burning!" derg/desr Yanda fp'ramx: “das list’ lst‘Igos, gox lig moegt’ mit dizg ‘ft'erbon, Der —_andre sprach: “Das Lied ist aus, auchich mécht’ mit dir sterben, The other spoke: “The song is over, also 1 would like with you to die, (The other one said: “It’s all over. I too would like to die with you,)48 dox hab 1¢ vaep' kunt’ ktint tsu: hgos, di: ‘ome mig _fegderban.” doch hab’ ich Weib und Kind zu Haus, die ohne mich _verderben.” but havel wife and child at home, who without me (will)perish.” (but I have a wife and a child at home, who would perish without me.”) “vas Jergt' mig vaep',vas Jergt’ mig k*mnt’, ¢ ‘tra:go vaet' ‘bese feylaqon; ““Was schert mich Weib, was schert mich Kind, ich trage weit besser Verlangen; “What concernsme wife, whatconcemsme child,I bear far better desire; (What do I care for wife or child, I want something far greater;) las zi: ‘bet‘oln gem, ven zi: ‘hugng zmt'—maen i*geze, maen'kaeze gofanon! Iasssie bettelngeh’n,wenn sie hungrigsind—mein Kaiser, mein Kaiser gefangen! et themtobeg go, when theyhungry are— my emperor,my emperor captured! (et them go begging when they're hungry—my Emperor, my Emperor captured!) gave mig, ‘brudv(s) tgena bi®: ven ig jetst''Jt'erbon ‘vergda, Gewihr’ mir, Bruder, eine Bitt’: Wenn ich jetzt sterben werde, Grant tome,brother, a request: when I now die will, (Grant me this request, brother: when I die now,) Zor nim ‘maeno'laeco naxx ‘frank'raeg mut", bagra:p' mig_linfrank'raecs leredo, so nimm meine Leichenach Frankreich mit, begrab’ mich in Frankreichs Erde. thentake my corpse to. France with, bury me in France’s earth. (take my body with you to France and bury me in French soil.) das lexronk*ragts lam rot‘an bant’ zolst du: laofs herts mix e:gan; DasEhrenkreuz am roten Band sollstdu aufs Herz mir legen; The honor cross onthe red ribbon shall you onto the heart for me lay; (Place over my heart the cross of honor with the red ribbon;) i ‘flnt's gipp' mizg/mizrlm di hant’, unt’ gvrt' mizg/milom den de:gan. dieFlinte gib in dieHand,undgirt’ mir um den Degen. the musketgive tome intothe hand, and gird forme aroundthe sword. (put my musket in my hand and gird my sword about me.) zorvil ig ‘igen tunt'‘horgan ft'l, vir tagno'filt'vax, tim _‘graibo, So will ichliegen und horchenstill, wieeine Shildwach’,im Grabe, So willl lie and listen quietly,likea sentry, inthe grave, (Gol shall lie in the grave and listen quietly, like a sentry,) bis laenst’ lig ‘hésro kainomongopbrvl unt’ virende ros gattraibo, biseinst ich hére Kanonengebrill und wichernder Rosse Getrabe. till once I hear cannon roaring and neighing horses’ trotting. (until someday T hear the roar of cannon and the hoof-beats of neighing horses.) dan raet'st' magn ‘ktgeze vol —_ty:be maen grap’, fil ‘fvergt'e Dannreitet_ mein Kaiser wohl tiber mein Grab, viel Schwerter Then rides my —emperornodoubtover my grave, many swords (Then my Emperor will no doubt ride over my grave; many swords) pesiauaTa i ae49 ‘K*lon lunt'blitsan; dan ft'aeg 1g gavafnat' hegfore/-for laos dem graip'— Klirren und blitzen; dann steig’ ichgewaffnet hervor aus dem Grab— clank and flash; then rise I armed — forth fromthe grave— (will be clanking and flashing; then I shall rise up armed from the grave) [Schumann repeats “viel Schwerter Klirren und blitzen”| den ‘Kagze, den ‘k*aeze tsu: ‘fytson! ” den Kaiser, den Kaiser zu schiitzen!” the emperor,the emperorto defend!” (to defend the Emperor, my Emperor!”) [his stiring song is almost an operatic scene, with vivid descriptive music, a dramatic dialogue for two characters, a rousing finale, and even a death scene—in the postlude. When Heine was nineteen he saw despondent French soldiers trudging across Germany on their way home, after having been prisoners of war in Russia. Wagner set a French translation of the ballad, approved by Heine; like Schumann, working on his version almost concurrently, he made stirring use of the “Marseillaise,” which was forbidden by censors outside of France as an incitement to revolution. France rewarded Wagner with the Legion of Honor; but Schumann's song is far more famous. (The poem, called “Die Grenadiere,” is among the “Romanzen”—as is the one set by Schumann in the following song—in “Junge Leiden,” a part of Heine's Buch der Lieder.)] di faent'ligon ‘bry:de Die feindlichen Briider ‘The Hostile Brothers (Op. 49, No. 2, April 1840, poem by Heinrich Heine) ‘otbon lgof des’bergas —p'ttsa litk't das flosmnaxt’ gohvit'; dox iim ‘alo Oben auf desBerges _Spitze liegt das Schloss in Nacht gehillt; dochim Tale ‘Aboveon the mountain’s peak lies the castle in night wrapped; but in the valley (Up above, on the mountain’s peak, stands the castle, shrouded in night; but down in the valley) [Heine: auf der Bergesspitze] ‘kgct'on ‘bhiso, helo ‘fvergt'e ‘ron vult'. das zint'’bry:de, di: dort’ fegt'on Ieuchten Blitze, helle Schwerter klirren wild. Das sind Bridder, die dort fechten shine flashes, bright swords clash wildly. That are brothers, who there fight (swords flash brightly, clashing wildly. Those are brothers who are fighting there) ‘grmon ‘tsvaek*ampf ‘vut'lent‘brant’. Jp'ri¢, varum di ‘bry:de ‘ect'sn mut dem'fvergt’s grimmen Zweikampf wutentbrannt. Sprich,warumdieBriider rechten mit dem Schwerte grim duel fury-inflamed. Speak, why the brothersdispute with the sword (@ grim duel, inflamed by fury. Speak, why do the brothers settle their dispute with sword) Imde:g hant'?—gre:fm ‘Igoras tgoganfunk‘an tsyndot‘an den ‘bry:de,ft'rast’; ‘baedo ‘glyon inder Hand?—Grifin Lauras Augenfunken ziindeten den Briderstreit; beide gliihen inthe hand?— Countess Laura’s eye- sparks ignited the brother-quarrel; both glow (in hand?—The sparks from Countess Laura’s eyes ignited the brothers” quarrel; both men glow) ‘libost'runk’an fyzg di tadlig‘holda maet'. velgam ‘tatbe fon den ‘baedan liebestrunken fir die adlig holde Maid. Welchem aber von den beiden love- drunk for the nobly lovely maiden. To which however of the both (with the intoxication of love for the nobly lovely maiden. To which of the two, however,)‘hertso tsu:? ktagn leygryrboln ktans lent"Jaedan: Jvergt’ heraos, Herze zu? Kein Ergriibeln kann’s entscheiden: Schwert heraus, ‘tums itselfher heart to? No brooding can itdecide: sword out, (does her heart incline? No amount of brooding can decide that. Out, sword!) lent"Jaedo du:! unt‘ zi: fect'n ktym fepvergon, hitp' laof jek*raxts; entscheide du! Und sie fechten kiihn verwegen, Hieb’ auf Hiebe niederkracht’s; decide you! And they fight boldly audaciously, blow on blow crashes down; (You decide! And they fight boldly, audaciously; blow upon blow crashes down;) ‘hyt'ot' lage, lisp "vildan ‘de:gan,'gragozigblent'verk' —“‘flaegot" naxts. hiitet euch, ihr wildenDegen, grausig Blendwerk schleichet —_‘Nachts. guard yourselves, you wild swords, gruesome optical illusion steals upon you) at night. (watch out, you wild warriors: at night gruesome illusions can delude your eyes!) [Heine: bases (betes, evil) Blendwerk schleicht des Nachts] ‘veo! ‘veo! ‘blut'go bry:de! ‘vero! ‘vera! ‘blust'gos tail! ‘Wehe! wee! blut’ge Briider! Wehe! wehe! blut’ges Tal! Woe! Woe! Bloody brothers! Woe! Woe! Bloody valley! ‘bacdo Kempfe 'ft'yrtson ‘ni:de(s),tgene(r) im destanden ft'ail. fil jamyhundet'o Beide Kimpferstirzen nieder, einer in des andern Stahl. Viel Jahrhunderte Both fighters plunge down, one _intothe other’s steel. Many centuries (Both fighters fall, each into the other's blade. Many centuries) [the repetition is Schumann's} fepvern, fil geflegt'e —_dek't das grap’, t'rqong fon des‘bergos ‘hgon verwehen, viel Geschlechter deckt das Grab, traurig von desBerges Hihen blow away, many generations covers the grave, sadly from the mountain’s heights (fade away, the grave covers many generations; sorrowfully, from the mountain’s heights,) Jat das igdo flos —he'rap';'aibe naxts lim ‘tharlasgrunda ‘vandals ‘haemlig schaut das 6de Schloss herab; aberNachtsim Talesgrunde wandelt’s heimlich looks the emptycastle down; but at nightin the valley-depths wanders it stealthily (the deserted castle looks down; but at night in the valley something stirs about stealthily,) ‘vundvbarg; ven. da: ktomt di ‘tsvoelft's ft'unda,'ktempfot dort das‘bry:deptarg. wunderbar;wennda kommt die zwélfte Stunde, kimpfet dort das Briiderpaar. ‘strangely; when thencomes the twelfth hour, fights there the brother-pair. (Strangely; and then, when midnight strikes, the two brothers can be seen fighting there.) [Heine’s romantic ballad may well have been inspired by two ruined castles on the Rhine known as “die feindlichen Brider,” Schumann's title (the poem is simply called “Die Bridder”). The song tells an engrossing story with vigor for the battle, lyricism for the lovely countess who can’t make a choice, and a hushed sense of mystery for the midnight apparition of the dueling ghosts.] v ‘Tidek*raes fon laegandarf, toxpus ‘nggnluntdraesig Liederkreis von Eichendorff, Op. 39 Song Cycle, Op. 39, poems by Joseph, Freiherr von Eichendorff Composed in May 1840 ‘The songs in this “cycle” do not collectively tell a story, as in Dichterliebe, for example, which ‘Schumann was composing at the same time; rather they are bound together loosely by certain lyrical moods or romantic motifs in Eichendorff's poetry that Schumann could respond to withst particular sensitivity: the wanderer, nostalgia for a lost homeland, the murmur of a forest, twilight, a moonlit night, a sense of mystery, the lure of old legends. 1 m deve fremdo In der Fremde Ina Foreign Land os. derg ‘hgemart' ‘hmnt'e den'blison rot da: ‘kYoman di ‘volk‘on here, Aus der Heimat hinter den Blitzen rot da kommen die Wolken her, Fromthe homeland behind the lightningsred there come the clouds hither, (The clouds come this way from my homeland, behind red flashes of lightning;) ‘abe ‘fat'e(1) lont’ ‘mot'e zint' Tayo ost,les_ tent’ mig. dort’ itaene ery. aber Vater und Mutter sind lange tot, ‘es kent mich dort keiner mehr. but Father and Mother are long sincedead, there knows me there noone(any)more. (but Father and Mother are long since dead; no one there knows me anymore.) vir alt’, lax vit balt' komt di ‘ft'llo tsaet, da: us lig Iaox, unt’ ty:be mi Wie bald, ach wie bald kommt die stille Zeit, da ruheich auch, und ber Howsoon, ah howsoon comes the quiet time, when rest I too, and aboveme (How soon, ah how soon the quiet time will come when I too shall rest; and above me) [Schumann repeats da ruhe ich auch] raoft_ di ‘Joma —valt'Jaenza:mk*aet*, unt’ ‘ktgene kent! mig_mexg hit rauscht die schéne Waldeinsamkeit, und keiner kennt michmehr hier. rustles the beautiful forest-solitude, and noone knows me anymore here. (the forest will rustle in its beautiful solitude; and no one here will know me anymore either.) [Schumann repeats die schone Waldeinsamkeit and und keiner kennt mich mehr hier] [Eichendorff: und keiner mehr kennt mich auch (\g0x, too) hier (Cand here too no one knows me anymore”)] [You have been away from your homeland for a long time. Perhaps you are a political refugee; that ominous red lightning in the clouds suggests trouble, maybe a war. Your mother and father are dead; there is no one left in the old country who might remember you. And here you are still a stranger. No one knows you. Your time will come, perhaps soon. Wistfully, you imagine a peaceful resting place in the solitude of a gently murmuring forest. How hauntingly Schumann translated that idea into music! The poem comes from Eichendorff's story Viel Larmen um ‘Nichts (Much Ado about Nothing), where it is sung to the accompaniment of a guitar. Brahms also made a setting, using Schumann’s changes. (There is a singing translation in the appendix.)] 2. ant*e'metso Intermezzo Intermezzo dagn bit’ mis ‘vundeze: hab ig lim ‘hertsonsgrunt’, Dein Bildnis wunderselig hab’ ich im Herzensgrund, Your image wondrously-blessed have1 inthe heart's depths, (have your woundrously blessed image in the depths of my heart;)2 das zit’ zo: friflunt' froilig mug. lan tsu: je:de ft'unt'! das sieht so frisch und frdblich michan zu jeder Stund’! that looks so freshly and cheerfullyme at at every hour! (it looks at me at every hour with such a fresh and cheerful look!) [ansehen = to look at] tm zig ‘zappth gen talt'as, fomos lit’, in sich singet ein altes, snes Lied, My heart quietly in itselfsings an old, _ beautiful song, (My heart softly sings to itself an old, beautiful song) das im di loft’ zig ‘vt! unt {su: disp/disr das in dieLuftsich schwinget und zu dir thatintothe air itself swings and to you _ hurriedly moves. (that soars up into the air and flies hurriedly to you.) gen bult'ms ‘vundezeric.. jee, jerde ft'unt'! Dein Bildnis wunderselig... zu jeder, jeder Stund’., Your image wondrously-blessed...at every, every hour. (Your wondrously blessed image... at every, every hour.) Un this lovely song of happy love, the singer and pianist must savor the pauses that Schumann inserted between the phrases, and still try to give the illusion of a natural reading of the lines. At the word frahlich, the first time it occurs, the piano offers a merry little cascade of sixteenths, for ‘example. The repetition of the opening lines was Schumann’s contribution to the poem.) 3 ‘valdasga'fp're Waldesgespriich Dialogue in the Forest [The man: —“eshst'fom fp'ert',eshst'fom alt’, vas ragtst du: tagnzam durg den valt"? —Esiist schon spit, esist schon kalt, was reit’st du einsam durch den Wald? —“It is already late, it is _alreadycold, why ride you by yourself through the forest? (Citi already late, itis growing cold, why are you riding all by yourself through the forest?) [Bichendorff: es wird (vt, becomes) schon kalf] erg valt' hst‘Ian, du: bist’ lalgen, du: oma —braot'! lig fy:e dig_haem!” Der Wald ist lang,du bist allein, du schine Braut! ich fiihr’ dich hei The forest is long, youare alone, you beautiful bride! I lead you home!” (The forest is vast, you are alone, fair lady! I shall escort you home!”) [the woman:] “gross istdexg ‘mene thruk lunt' list, fore mets magn herts go’broxon ist —Gross ist der MiinnerTrug und List, vor Schmerz mein Herz. gebrochen ist, “Great is the men’s deceit and cunning,for pain my heart broken is, “Great is the deceit and cunning of men; sorrow has broken my heart;) vo ut das'valt‘hom —hergfhex lunt*hm, fli! du: vaest' migt", verg/ves ig bmn.” wohl irrt dasWaldhorn her undhin, 0 flich’!du weisst nicht,wer ich bin.” indeed straysthe hunting hor hither and thither,O flee! youknow not, who I am.” (unting homs are heard, now here, now there; oh flee! You don’t know who I am.”) [Schumann repeats 0 flieh'Y]3 [the man:] —“zo: Tagg goifmyk't®, ist‘ ros_lunt’ vagp', zor ‘vundefon me june laep's —So reich geschmiickt ist Ross und Weib, so wunderschin der junge Leib; —“So richly adomed is. steed and woman,so wonderfully lovelythe young body; (“Horse and woman are so richly adomed, your young body is so wonderfully beautiful...) {Schumann repeats so wunderschon] [the woman:] jetst' Ken 1g dig, got’ ft'e: mig bag! du: bist di thekso lorelae!” —“du: enst’ mig jetzt kenn’ ich dich, Gott steh’ mir bei! du bist dieHexe Loreley!” —“Du_kennst mich now know I you, God standtome by! youare the witch Loreley!” —“You know me (now I know you, God protect me! You are the witch Loreley!” —“You know me) [the repetition of Du kennst mich wohl is from the original poem] vol, fon ‘hoom ft'aen faot' ft'll magn flos tif Im den ragn. es list'fom _fp'est wobl,von hohem Stein schautstill mein Schloss tief in den Rhein. Es ist schon spiit, well, from high rock looks quietlymy castle deep intothe Rhine. It is already late, (well! From a high rocky cliff my castle looks deep into the Rhine. It is indeed already late!) es ist'fom KYalt', -Ktomst" umemerg/-mesx laps ‘di:zom_valt'.” es ist schon kalt, kommst nimmermehr aus diesem Wald.” it is alreadycold,(you)come evermore outof this forest.” (Itis indeed growing cold! You shall never again leave this forest.”) {the repetitions at the end are not in the original poem] [A huntsman has lost his way in the forest. His companions are searching for him: here and there cone can hear their horns (which accompany his part of the song). He is surprised to find a beautiful woman alone on her horse in the forest as twilight is fading, He eagerly offers to escort her to her home. Her words (at first accompanied as if by the harp) are mysterious, strange: first a lament, to arouse his sympathy and his urge to protect her; then her warning of danger if he fails to flee from her—a warning that she knows will only be a challenge to him to stay. He ‘comes closer, boldly. Suddenly he realizes who she is: the notorious Loreley, who lures men to their death: sailors on the Rhine are shipwrecked beneath the rock where she can often be seen combing her golden hair; huntsmen who stray into the forest near her castle are never seen again. The poem comes from Ahmung und Gegenwart (Premonition and Present), where it is sung as a duet. The singer of Schumann's setting will characterize the two speakers, vocally and through facial expression: the man eager and amorous—until he recognizes her; the woman mysteriously alluring, dangerous, a spirit of the darkening forest—then, finally, savage in her cruel triumph.] 4. di ft'tle Die Stille ‘The Quiet One (or Stillness) es vaes lunt lesdox ‘kgene, vi: mire foil list’, 20: vo: Es weiss und riit es doch keiner, wie mir so woblist, so wohl ‘There knows and guesses it surely noone, how forme so well is, so well! (No one knows and no one can guess how happy I feel, how happy!) ax, vest" les nurg/nusr taene, nurg/nur taene, Kaen menf les zonst’ ‘vison zol! Ach,wiisst? es nur —-Eimer,nur Eimer, kein Mensches sonst wissen soll! ‘Ab, wouldknowit only one, only one, no human it else know shall! (Ah, if only one person, only one, knew it, no one else should!)