The five songs of Op 32 were also dedicated to Pauline, and they include three poems by Karl Henckell, whose Ruhe, meine Seele!
opened the Op 27 group. Here Henckell is in more conventionally amorous mode, not unlike that of von Schack in Seitdem dein’ Aug
and Schön sind, doch kalt die Himmelssterne
, or of Felix Dahn in Du meines Herzens Krönelein
. There is an audible kinship between all these songs, not least in Strauss’s choice of flat keys for each, as well as for Liebeshymnus
, the second Henckell setting of this group. Clearly Strauss equated flat keys with this kind of devotion, whereas the vibrantly excited nature imagery of the third Henckell setting, O süßer Mai!
, is couched in the sharp key of A major.
from notes by Roger Vignoles © 2008