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
extrait des notes rédigées par Graham Johnson © 2010
Français: Marie-Stella Pâris
aus dem Begleittext von Graham Johnson © 2010
Deutsch: Henning Weber
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