Three Songs, Op. 83, No. 2: Die Blume der Ergebung
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Works on This Recording
Copyright infringement is a criminal offense under international law. To reprint and distribute this author's work for concert programs, CD booklets, etc. Pauline Viardot Der Gartner Performer: Pauline Viardot Tell me, why, beautiful maiden Performer: Pauline Viardot Two Roses Performer: Pauline Viardot Nixe Binsefuss Performer: Nikolai Karlovich Medtner When roses fade, Op. Nikolai Karlovich Medtner Elfenliedchen, Op.
Nikolai Karlovich Medtner Sie liebt mich, Op. Sergei Rachmaninov Lilacs, Op.
Sergei Rachmaninov They answered, Op. Sergei Rachmaninov The Dream, Op. Sergei Rachmaninov In the silence of the night, Op.
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Even though the painful hour of parting Enfolds me with its gloom, A pale smile remains— We shall be reunited in the beyond! One can only think that Schumann was searching for a lyric—a kind of thinking aloud in music—that enabled him to practise a new kind of composition where melody and melodic shape were less important than an ongoing confessional, part recitative and part arioso. Schumann has chosen a text that sounds like an excerpt from a libretto, and the song itself begins in mid-stream as if it were part of a larger work, an opera perhaps.
The motif that opens the song, a sighing chromatic figure with adjacent semitones in the alto register, suggests in its short and constrained musical journey a passion that is stunted by circumstance; its reappearance throughout the song is indicative of the obsessional nature of a blighted love affair. Rather it is passionate, and in the right hands it can be surprisingly persuasive. In the absence of a printed source, the poem, I would suggest, was originally in six quatrains with the composer leaving out either the first or the last line of the third the rhyme scheme is essentially ABAB with a large number of approximate or near rhymes—something that could indicate a translation from another language.
It is possible, even likely, that these extra lines are by Schumann himself and these are surely indicative of the sort of song he was attempting to write in the wake of his own opera Genoveva. Resignation alternates between full-blooded recitative where the accompaniment seems orchestrally conceived and arioso with piano-writing that is familiar in style from such better-known late songs as Liebeslied , Ihre Stimme and so on.
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The song opens in its home key of D flat major with an accented passing note as part of an ongoing inner chromatic motif but almost immediately shifts to the subdominant and from there to the supertonic. The accompaniment suggests lower strings and winds giving the voice a certain amount of unaccompanied freedom.
The vocal line blossoms into something of a melody built on repetition and sequence. But this is piano-writing as opposed to orchestral make-believe and it serves as an intended contrast with the recitative section. These lovesick words adorn a strong cadence on the dominant and we expect to return to the tonic key of D flat major.
Once again the chromatic slidings of string-writing are here replaced by oscillating passagework in semiquavers that could only be intended for the piano. The composer delighted in tricking eye and ear by disturbing four-square symmetries.
This introduces an accompaniment in triplet quavers for no clear reason apart from the fact they appear as a kind of default in many a late Schumann song. Six bars from the end incorporating a five-bar postlude the now-familiar motif, rising hopefully but with nowhere to go, reappears in the alto and tenor registers and brings the song to a muted conclusion. If we find ourselves wishing that the composer had expended all this effort on a better poem, the composer might have replied that such a musical experiment was better performed on a lyric that had little to lose in being tinkered with and pulled apart.
Ich bin dein eigen.
3 Gesänge, Op.83 (Schumann, Robert)
If you come as a ray of sunlight I shall silently open my heart to you and bask in the warmth of your gaze. If you come as dew and rain then I shall preserve your blessing in my chalice for ever. If you pass gently over me in the breeze I shall bow before you, saying: I am yours alone. Die Jahre wie die Wolken gehn Und lassen mich hier einsam stehn, Die Welt hat mich vergessen, Da tratst du wunderbar zu mir, Wenn ich beim Waldesrauschen hier Gedankenvoll gesessen.
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