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ROBERT SCHUMANN
(1810-1856)
Lieder und Gesänge aus Wilhelm Meister, Op. 98a (1849)
24:44
Johann Wolfgang von Goethe (1749-1832)
1.
Mignon
3:15
2.
Ballade des Harfners
5:08
3.
Nur wer die Sehnsucht kennt
1:43
4.
Wer nie sein Brot mit Tränen aß
2:05
5.
Heiß mich nicht reden, heiß mich schweigen
2:48
6.
Wer sich der Einsamkeit ergibt
2:54
7.
Singet nicht in Trauertönen
2:09
8.
An die Türen will ich schleichen
2:05
9.
So lasst mich scheinen, bis ich werde
2:36
Liederkreis, Op. 39 (1840)
23:05
Joseph Freiherr von Eichendorff (1788-1857)
10.
In der Fremde
1:47
11.
Intermezzo
1:40
12.
Waldesgespräch
1:54
13.
Die Stille
1:34
14.
Mondnacht
3:39
15.
Schöne Fremde
1:11
16.
Auf einer Burg
2:19
17.
In der Fremde
1:18
18.
Wehmut
2:22
19.
Zweilicht
2:43
20.
Im Walde
1:20
21.
Frühlingsnacht
1:19
Gedichte der Kvnigin Maria Stuart, Op. 135 (1852)
8:51
Gisbert, Freiherr von Vincke (1813-1892), based on poems by Mary, Queen of Scots
22.
Abschied von Frankreich
1:32
23.
Nach der Geburt ihres Sohnes
1:18
24.
An die Königin Elisabeth
1:22
25.
Abschied von der Welt
2:36
26.
Gebet
2:03
3 Duette
6:36
27.
Herbstlied, Op. 43/2 (1840)
1:52
Siegfried August Mahlmann (1771-1826)
28.
So wahr die Sonne scheinet, Op. 37/12 (1840)
1:46
29.
Ich bin dein Baum, o Gärtner, Op. 101/3 (1849)
2:58
Friedrich Rückert (1788-1866)
63:16
Solo:Christian Hilz baritone
Solo: Marianne Beate Kielland mezzo-soprano
Solo: Katia Bouscarrut piano/klavier
6-8 February 2007
Notes
The three song cycles in this recital reveal Schumann’s deep sensitivity both to poetry, heightened as sung melody, and to the piano, supplying its non-verbal accompaniment. The Op. 39 Liederkreis rejoices in the lyrical simplicity of Joseph von Eichendorff’s poetic miniatures, and was written in the wake of one of the most blissful times of the composer’s life, during his courtship of his future wife, Clara Wieck. Schumann’s collection of nine songs from Goethe’s novel Wilhelm Meister are rarely heard as a complete set, as they are here. By the time Schumann wrote the Gedichte der Königin Maria Stuart, only three years after the Wilhelm Meister songs, he had started to slide into insanity brought on by the syphilis to which he finally succumbed. The Three Duets that close the program act as a post-script, neatly encapsulating the Schumann who defined the Lied as an art form.
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