R. Schumann "Poet's Love"
The vocal lyrics of Robert Schumann belong to the best examples of his work. Vocal cycles composed in the "Year of Songs" (1840) represent the pinnacles of his chamber-vocal creativity. One of them was the cycle "Poet's Love" to the poems of G. Heine.
History of creation
The heyday of Schumann’s chamber-vocal creativity dates back to 1840, when the composer experienced an unprecedented creative rise. Previously, he composed several songs, but mostly focused exclusively on piano music. The flowering of song creativity is usually associated with his events in his personal life. It was the song that was able to sensitively convey the feelings and mood of the composer at that time and turned out to be the closest to reflect the emotional experiences.
The genres to which Schumann addressed in his songwriting are very diverse - these are ballads, children's songs, folk songs, and choirs. The theme of vocal creativity is also widely represented: from patriotic songs to fabulous. However, love lyrics always prevailed over all others. Passion, love with all its nuances and nuances was most reflected in his songwriting.
The vocal lyrics of Schumann are characterized by the following features:
- various shades of lyrics;
- special approach to literary sources;
- attention exclusively to romantic poetry;
- attempts to literally convey the meaning of the text;
- exaggeration of declamation elements;
- the large role of accompaniment, which sometimes serves to uncover psychological overtones.
Among the poets, to the verses of which Schumann created his songs, stand out J. Eichendorf, A. Chamisso, R. Burns, but most of all his attention was attracted by G. Heine.
Schumann emphasized the literary source, and Heine was one of the eminent poets of the time. For the first time a romantic poet wrote his works in 1816, and since 1821 he has been writing poetry regularly. He composes the "Book of Songs", on which work has been going on for 10 years. This collection includes five separate cycles: "Suffering of Youth", "Lyrical Intermezzo", "Return", "From a Tour of the Harz", "North Sea". Through the whole "Book of Songs" is a single theme - love. In these verses, Heine expressed all the anxiety, feelings and bitterness of unrequited love for her cousin Amalia. Schumann’s attention was drawn to the “Lyrical Intermezzo” cycle, which included 65 poems. The composer selected only 16 of them, they were directly connected with the love failure experienced by the poet. It turns out Heine was in love with his uncle's daughter. The 17-year-old boy was caring for his beloved, but she rejected his sincere feelings and preferred a more wealthy gentleman. All the experiences of the hero, the birth of bright feelings, longing and deep despair are reflected in his cycle of poems "Lyrical Intermezzo".
Interesting Facts
- The year 1840 was unusually happy for Schumann, because he was finally able to unite the knot with Klara Wieck. It is noteworthy that during this period of time he wrote more than 100 songs. Researchers of the composer often call this period "the year of songs".
- Schumann always singled out G. Heine in a special way, who was very close to him. He wrote four cycles to the poet’s verses, as well as individual songs (totaling 44).
- The first lines of Heine's poem made up the names of the songs in the cycle.
- The first composer who saw Heine’s “song” verses was R. Schubert, who created his cycle “Again in Homeland” in 1828.
- Schumann's romances are distinguished by an instrumental part, its role increases significantly, literally to the vocal level, and sometimes it even becomes much more important.
- The Heine Heine enters 65 poems in the Lyrical Intermezzo cycle, but Schumann stopped his attention on only 16 of them, but because of this, the original meaning was lost and the withdrawn verses are perceived differently. Heine remembers his love story with a certain irony, but for Schumann, this is a real tragedy and a collapse of hopes.
- The composer dedicated his cycle to the German singer Wilhelmina Schroeder-Devrient. She became famous for her fabulous performance of the main part in the opera "Fidelio" by L. Beethoven. After moving to Dresden in 1844, Schumann became friends with a famous singer.
- In total, Schumann composed seven vocal cycles.
Content
The first three songs of the cycle show the origin of the poet's feelings. "In the radiance of warm May days"- this is just a premonition of feelings. Everything is extraordinarily tremulous and uncertain, and this is even expressed in the musical part - the tonic appears only after a while.
"Flowers fragrant wreath"- shows the inner world of the main character. He is completely immersed in himself, contemplating his feelings. The texture chosen by the composer conveys this" closeness ".
"And roses, and lilies"- the third number, which is opposed to the previous two. This song is light, and most likely resembles an impulse. The fourth number of the cycle opens up the theme of the character's sufferings." I meet your eyes "sounds restrained and even noble. He prepares a more sad fifth number" lilies ". This is the first song in the cycle, written in minor,. The line of severity, shrouded in dark colors, continues to the sixth number" Over the Rhine bright expanse. "
"I'm not mad"- this is the dramatic center of the cycle, which is the turning point of everything that happens. It is here that the main character learns about the terrible event for him - betrayal of the beloved. The phrase" I am not angry "sounds several times, but the general condition and the character's feelings contradict these words. bitterness and despair manifests itself in everything from the vocal part to the choice of the tonal plan.
It is the seventh number that divides the cycle into two large parts. In the first - the hero lived with thoughts of his mutual love and hope, in the second everything changes drastically. Now the main character is accompanied by a seal and longing ("Elegiac complaint"). Number nineChanting violin charms"shows wedding fun. The beloved of the poet accepted the offer of another young man. At the forefront is the atmosphere of the festival, impetuous dances transmitted in the piano part. The vocal line performs in sharp contrast - this is the hero who comments on everything that happens.
"I hear songs sound"- the memories of the hero, about his beloved and lost happiness. He loves her passionately" - the eleventh number, which is imbued with an atmosphere of irony. The vocal and instrumental part looks too primitive and imitate the guitar.
For a while, the hero's mood changes in the eleventh part "I meet in the garden in the morning"but this enlightenment does not last long and the character’s dark mood returns in the twelfth number. He begins to seek solace wherever he can. Dreams and folk poetry come to the rescue:"I dream your image at night", "Forgotten old tale".
In the final issue of “You are evil, evil songs” the cruel reality returns and the hero decides to send all memories, love and songs to the bottom of the sea.
The cycle ends unexpectedly with the postlude sound "I meet in the garden in the morning". The light composition, which carries the image of a dream, indicates how beautiful love is, even if it sometimes brings people only suffering and longing.
Music
The vocal cycle includes all the characteristics for the composer's vocal creativity. The author uses a declamatory melody to convey all the deep immersion in the experience. As a result, such attention to their feelings leads to complete isolation.
The cycle consists of separate numbers, but they are connected by a line of internal development, expressed in the overall composition of the songs, as well as their arrangement. Each number is compressed and conveys only a hint of feeling of the main character. There are several supporting compositions in the cycle, and it is precisely to them that all the dramatic action is tightened.
The tonal plan, which is a vicious circle, reflects the figurative as well as emotional content of the numbers. The first series of compositions is written in sharp keys, and the modal ratio of the songs is about the same. In the center ("I am not angry") comes a turn in the direction of the flat keys. In addition, in this part of the cycle, the minor mode prevails. It is not by chance that Schumann chose the key of es-moll for the most tragic song "In a dream, I wept bitterly." After that, the composer returns to the sharp key.
In general, the miniatures are written in a rather restrained manner, but behind this external compactness lies the drama of the situation. The vocal part is unusually melodic. It is permeated with national everyday intonations. Schumann pays a large role not so much to wide tunes as to the expressiveness of speech, which is so rich in timbres. The composer carefully studies the poetic text to pay attention to each word. This only reinforces the number of declamatory elements in the songs. Nevertheless, Schumann's melody is very melodious and plastic.
The vocal cycle “Poet’s Love” is one of Robert Schumann’s most beautiful and deepest creations. It is not by chance that song lyrics belong to his highest achievements, along with piano works. In his compositions, Schumann praises love, which is immortal and eternal, despite all the burdens and sufferings. It rises above all adversities and overcomes any difficulties.
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