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
|Schumann: The Complete Songs|
Schumann’s songs are among the greatest musical achievements of the nineteeth century, and this is the perfect release with which to mark the composer’s 200th birthday. This marvellous collection comprises Schumann’s complete songs, presented for ...» More
|Schumann: The Complete Songs, Vol. 6 - Geraldine McGreevy, Stella Doufexis, Adrian Thompson & Stephan Loges|
'The four soloists couldn’t be bettered … a delight from start to finish … a treasure indeed, a disc anybody interested in Lieder ought to h ...
'An irresistible palette of voices … Unmitigated pleasure, from start to finish' (BBC Music Magazine)» More
|Women's lives and loves|
'The performances give unalloyed pleasure. Lott's still-radiant soprano combines beautifully with the vibrant, musky mezzo of Kirchschlanger, while Jo ...
'I'll leave you to experience the conjuring for yourself. For conjuring it is: any element of the didactic is totally absent in this seamless garment ...» More
|Schumann: The Complete Songs, Vol. 1 - Christine Schäfer|
'Schäfer evokes comparison with Elisabeth Schumann and with the young Elly Ameling, whom in tone and freshness of response she often resembles. In sum ...
'Her voice combines ethereal radiance and clarity with resolute, unwavering focus. Johnson's account of the piano parts is superlative [and] his bookl ...» More
|Songs to the moon|
The phenomenal Myrthen Ensemble—Mary Bevan, Clara Mouriz, Allan Clayton, Marcus Farnsworth and Joseph Middleton—in what is incredibly its debut recording.» More