Hyperion Records

Spanisches Liederspiel, Op 74
composer
24-29 March 1849
author of text
after various Spanish poets

Recordings
'Schumann: The Complete Songs' (CDS44441/50)
Schumann: The Complete Songs
MP3 £35.00FLAC £35.00ALAC £35.00Buy by post £38.50 CDS44441/50  10CDs Boxed set (at a special price)  
'Schumann: The Complete Songs, Vol. 6 – Geraldine McGreevy, Stella Doufexis, Adrian Thompson & Stephan Loges' (CDJ33106)
Schumann: The Complete Songs, Vol. 6 – Geraldine McGreevy, Stella Doufexis, Adrian Thompson & Stephan Loges
MP3 £6.00FLAC £6.00ALAC £6.00Buy by post £10.50 CDJ33106  Download currently discounted
'Women's lives and loves' (CDA67563)
Women's lives and loves
'Schumann: The Complete Songs, Vol. 1 – Christine Schäfer' (CDJ33101)
Schumann: The Complete Songs, Vol. 1 – Christine Schäfer
MP3 £4.00FLAC £4.00ALAC £4.00Buy by post £13.99 (ARCHIVE SERVICE) CDJ33101  Archive Service   Download currently discounted
Details
No 01: Erste Begegnung  Von dem Rosenbusch, o Mutter
No 02: Intermezzo  Und schläfst du, mein Mädchen
No 03: Liebesgram  Dereinst, dereinst
No 04: In der Nacht  Alle gingen, Herz, zur Ruh
No 05: Es ist verraten  Dass ihr steht in Liebesglut
No 06: Melancholie  Wann, erscheint der Morgen
No 07: Geständnis  Also lieb' ich Euch, Geliebte
Track 7 on CDJ33106 [2'15]
Track 29 on CDS44441/50 CD6 [2'15] 10CDs Boxed set (at a special price)
No 08: Botschaft  Nelken wind' ich und Jasmin
No 09: Ich bin geliebt  Mögen alle bösen Zungen
No 10: Der Contrabandiste  Ich bin der Contrabandiste
Track 10 on CDJ33106 [1'44]
Track 32 on CDS44441/50 CD6 [1'44] 10CDs Boxed set (at a special price)

Spanisches Liederspiel, Op 74  

Spanisches Liederspiel, Op 74
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It seems likely that Schumann intended Op 74 to have something of a narrative unity: two individual lovers have a say in Melancholie and Geständnis and otherwise the ensembles personify the female lover (Erste Begegnung, Liebesgram, Botschaft and Ich bin geliebt) and the male (Intermezzo). But this cyclic concision was arrived at only after the first performance. The composer had at first planned the work differently: in the first version the alto also had a solo song, and the bass had two. After the first performance of the work the composer wrote to his friend Friedrich Kistner (30 April 1849) that the cycle needed tightening up. At this stage Schumann decided to cut the two slowish songs (the original numbers 4 and 6) – one for alto, and one for baritone; he felt that despite their charming effect they impeded the work’s dramatic flow. Schumann also admitted that Der Contrabandiste ‘isn’t, strictly speaking, part of the action’. It seems obvious that the discarded songs were Hoch, hoch sind die Berge (for alto) and Flutenreicher Ebro (for baritone), both composed in April 1849, and both recycled in the Spanische Liebeslieder, the rest of which were composed in November of that year. As for Der Contrabandiste, it seems that Schumann could not bear to lose it entirely so he published it as an appendix to the work. At a guess I think it likely that this was originally placed as the tenth song in the sequence in order to provide a contrast of mood and tempo between Geständnis and Botschaft.

In cutting song IV, songs III and V are adjacent and both in the key of G minor, which seems a pity in an otherwise tonally resourceful plan; separating two G minor songs with a number in the relative major had been a good idea. The loss of the gentle and mellifluous Flutenreicher Ebro (VI) removed a bridge between the very different moods of the deeply serious duet In der Nacht and the flippant Es ist verrathen. The excision of Der Contrabandiste deprives the cycle of a change of tempo resulting in the rather similar moods of IX and XI. Schumann’s second thoughts had both their pros and cons and it is easy to imagine a performance of the twelve-song version of this work on the concert platform today. Even in the published version the tonal scheme is somewhat reminiscent of the type which unites the Eichendorff Liederkreis Op 39 where the cycle begins in F sharp minor and ends in F sharp major having been through various related keys. The tonal relationships between the songs in the Spanisches Liederspiel are based on tonic to dominant or subdominant, minor to relative major, or relationships of the shared third (as between A minor and F major).

from notes by Graham Johnson © 2002

Track-specific metadata
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Details for CDJ33106 track 2
Intermezzo
Artists
ISRC
GB-AJY-02-10602
Duration
1'29
Recording date
5 June 2000
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Julian Millard
Hyperion usage
  1. Schumann: The Complete Songs (CDS44441/50)
    Disc 6 Track 24
    Release date: September 2010
    10CDs Boxed set (at a special price)
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