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Sieben Lieder von Elisabeth Kulmann, Op 104

First line:
Wir sind ja, Kind, im Maie
composer
29 May to 5 June 1851
author of text
spoken introductions as written by Schumann in the first edition

 
Why and how Schumann decided to embark on this cycle has been explained in the introduction. One may picture the teenage poetess dressed as something between a nun and bride, and old before her time, like so many children of the nineteenth century who were groomed as geniuses. Schumann had long shown his interest in, and sympathy for, childhood and its musical depiction. He had been a lifelong admirer of contemporary poets. Indeed his admiration for such figures as Lenau and Hebbel, not to mention Goethe, was nothing less than reverential. When he came across the poems of a child, these enthusiasms were united, although Elizabeth Kulmann had already been dead for a quarter of a century. And it was also of emotional importance to Schumann that Kulmann was a girl: the composer was a fond father of daughters (though it is noteworthy that of his children only his son Felix wrote poetry) and his study of the character of Goethe’s Mignon (who also died young) predisposed him to see the pathos of her story in terms of femininity and unfailing dutifulness. The same impulse, admiration for what he might have termed, along with Goethe, das Ewig-Weibliche, had drawn the composer, via Clara of course, to Chamisso’s Frauenliebe -und leben. Even if the vicissitudes of marriage had taken their toll on the relationship between husband and wife, it is as if the composer were continually searching for a heroine on whom to lavish his worshipping admiration. This may further explain Schumann’s fixation on Kulmann, as well as his empathy with the tormented life of Mary Stuart.

In comparison to the von der Neun settings, here is all transparent simplicity. The pretensions of orchestral accompaniment are swept aside and the homely piano is reinstated in the parlour. The texture is childlike, and one thinks of some of the enchanting songs from the Op 79 Liederalbum für die Jugend, no less effective for their sparse accompaniments and folksong-like melodies. Schumann had already set the words of a handful of female poets (Lily Bernhard, Catherine Fanshawe, Wilhelmine Lorenz and Marianne von Willemer) but here, for the first time, he sets his cap at a style suitable for feminine poetry. This is a subtly different concept from finding a style for songs about women; indeed, as an equivalent, one thinks of the conscious decision of Francis Poulenc, ninety years later, to find an appropriately feminine musical language to suit the poems of Louise de Vilmorin. Like Schumann, Poulenc conceived his Vilmorin songs (Fiançailles pour rire) as a result of an empathy not only with the poetry itself, but with the biographical circumstances surrounding it.

Dedication These unpretentious songs are dedicated to the memory of a girl who departed from us long ago, and whose name is known to very few. And yet she was one of those wondrously gifted beings who appear only very rarely on earth. The sublimest teachings of wisdom, expressed here with the utmost poetic perfection, come from the lips of a child; and it is in her very poetry that we read how her life, spent in quiet obscurity and the greatest poverty, became richly happy. These few small songs, chosen from several thousands, of which only a few lend themselves to composition, cannot give even an approximate notion of her character. Though her whole life was one of poetry, only a few moments from this rich existence can be selected.

If these songs could help introduce the poetess to many circles where she is still unknown, their purpose will have been fulfilled. Sooner or later she will certainly be greeted in Germany too, as she was thirty years ago by some in the north, as the bright star which will gradually shine forth across every country. (Düsseldorf, 7 June 1851)

from notes by Graham Johnson © 1999

Pour la première et unique fois, Schumann présente son cycle avec une dédicace écrite («Widmung») concernant la jeune poète inconnue, une russe germanophone, et le conclut par un postlude—les lieder sont également introduits individuellement par quelques lignes écrites—tous ces mots de la main du compositeur sont lus ici par Juliane Banse. La musique est essentiellement dans le style du Lieder-Album für die Jugend, à l’exception peut-être du cinquième lied plus complexe, Reich mir die Hand, o Wolke. C’est le début d’une nouvelle veine dans l’écriture mélodique de Schumann: il semble surtout témoigner de la sympathie envers les victimes de tragédies et de malheurs. Ayant lui même des filles jeunes, il ressent de la tendresse pour Kulmann et son talent incroyablement facile—aucun de ses propres enfants n’était particulièrement créatif (à l’exception peut-être de Felix qu’il n’a jamais connu). Il éprouvait en outre beaucoup de compassion parce qu’elle était morte très jeune. À cette époque, il semble que le compositeur se considérait aussi comme un personnage tragique, un artiste comme Kulmann qui ne pouvait donner toute sa mesure à sa pleine créativité à cause de la maladie.

extrait des notes rédigées par Graham Johnson © 2010
Français: Marie-Stella Pâris

Zum ersten und einzigen Mal stellt Schumann seinem Zyklus eine Widmung voran, und zwar an den unbekannten Dichter, einen Deutsch sprechenden Russen, und schließt mit einem Nachspiel (auch die Lieder werden einzeln vorgestellt, und alle diese Zeilen aus der Feder des Komponisten werden hier von Juliane Banse gesprochen). Die Musik ist, mit der möglichen Ausnahme des etwas komplexeren fünften Lieds Reich mir die Hand, o Wolke, überwiegend im Stil des Lieder-Album für die Jugend gehalten. Dies ist der Beginn einer neuen Phase in Schumanns Kompositionsstil für Lieder, wobei er vor allem mit Opfern von Tragödien und Unglück zu sympathisieren scheint. Als Vater kleiner Mädchen entwickelte er sicherlich zarte Gefühle für Kulmann und ihren erstaunlichen Talentfluss (keines seiner Kinder war auffällig kreativ mit Ausnahme vielleicht von Felix, den er nie zu Gesicht bekommen sollte). Außerdem empfand er deutlich großes Mitleid mit ihrem frühen Tod. Um diese Zeit verstand Schumann sich auch selbst als tragische Figur, als einen Künstler wie Kulmann, dem Krankheit verwehrt, seine ganze Kreativität auszuschöpfen.

aus dem Begleittext von Graham Johnson © 2010
Deutsch: Henning Weber

Recordings

Schumann: The Complete Songs
CDS44441/5010CDs Boxed set (at a special price)
Schumann: The Complete Songs, Vol. 3 – Juliane Banse
CDJ33103

Details

No 1: Mond, meiner Seele Liebling
Track 21 on CDJ33103 [2'30]
Track 11 on CDS44441/50 CD10 [2'30] 10CDs Boxed set (at a special price)
No 2: Viel Glück zur Reise, Schwalben!
Track 22 on CDJ33103 [1'22]
Track 12 on CDS44441/50 CD10 [1'22] 10CDs Boxed set (at a special price)
No 3: Du nennst mich armes Mädchen
Track 23 on CDJ33103 [1'34]
Track 13 on CDS44441/50 CD10 [1'34] 10CDs Boxed set (at a special price)
No 4: Der Zeisig  Wir sind ja, Kind, im Maie
Track 24 on CDJ33103 [1'16]
Track 14 on CDS44441/50 CD10 [1'16] 10CDs Boxed set (at a special price)
No 5: Reich mir die Hand, o Wolke
Track 25 on CDJ33103 [1'45]
Track 15 on CDS44441/50 CD10 [1'45] 10CDs Boxed set (at a special price)
No 6: Die letzten Blumen starben
Track 26 on CDJ33103 [2'05]
Track 16 on CDS44441/50 CD10 [2'05] 10CDs Boxed set (at a special price)
No 7: Gekämpft hat meine Barke
Track 27 on CDJ33103 [2'22]
Track 17 on CDS44441/50 CD10 [2'22] 10CDs Boxed set (at a special price)
Postlude: Nachschrift
Track 28 on CDJ33103 [0'46]
Track 18 on CDS44441/50 CD10 [0'46] 10CDs Boxed set (at a special price)

Track-specific metadata for CDS44441/50 disc 10 track 15

No 5: Reich mir die Hand, o Wolke
Artists
ISRC
GB-AJY-98-10325
Duration
1'45
Recording date
15 November 1998
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Antony Howell & Julian Millard
Hyperion usage
  1. Schumann: The Complete Songs (CDS44441/50)
    Disc 10 Track 15
    Release date: September 2010
    10CDs Boxed set (at a special price)
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