Hyperion Records

Der deutsche Rhein 'Patriotisches Lied', WoO1
First line:
Sie sollen ihn nicht haben
composer
2 & 27 November 1840
author of text

Recordings
'Schumann: The Complete Songs' (CDS44441/50)
Schumann: The Complete Songs
Buy by post £38.50 CDS44441/50  10CDs Boxed set (at a special price)  
'Schumann: The Complete Songs, Vol. 8 – Christopher Maltman, Jonathan Lemalu & Mark Padmore' (CDJ33108)
Schumann: The Complete Songs, Vol. 8 – Christopher Maltman, Jonathan Lemalu & Mark Padmore
Buy by post £10.50 CDJ33108 
Details
Track 31 on CDJ33108 [3'34]
Track 5 on CDS44441/50 CD5 [3'34] 10CDs Boxed set (at a special price)

Der deutsche Rhein 'Patriotisches Lied', WoO1
This is by far the most famous poem on this disc, at least in historical terms. The setting is only one of over a hundred (by largely forgotten composers such as Kreutzer and Dürner). The king of Prussia himself commanded that composers should set these words to music, and the popularity of the lyric was boosted to unprecedented heights. Schumann’s music stems from his ballad style which is a musical translation of a neo-medieval response to German folklore and history, a nationalism of sorts. The key is a hymn-like C major, like that of Der Reiter und der Bodensee, which shows that Schumann thought of large, watery expanses as being untrammelled by sharps and flats. Like most of Schumann’s ballad-type compositions the music attempts to stir us, while remaining ‘popular’ and simple. The historical background, however, is much more complex.

The long-standing dispute between France and Germany concerning the Rhineland reached one of it many crisis points in 1840. To understand this, one has to go back to the territorial losses of Napoleon after his defeat in 1815; the Congress of Vienna limited France’s frontier to the Alsatian zone, and a confederation of Prussian city states was formed on the west bank. France continued to regard the river as its old, natural frontier; Germany treasured its post-Napoleonic restorations and acquisitions as symbolic of its new power. The river itself became a magical symbol of statehood (on both sides) which was not lost on that up-and-coming young composer, Richard Wagner.

A literary debate was launched which mirrored the political. Lamartine’s Marseillaise de la paix was meant to soothe German anger. The unknown Nikolaus Becker answered with this pugnacious lyric which won him wild approbation on all sides in Germany, and pensions from the kings of both Prussia and Bavaria. Alfred de Musset then countered with his cutting ‘Nous l’avons eu, votre Rhin allemand’ (Poésies nouvelles, 1841) a poem which Albéric Magnard was to set to music in 1891. (Magnard was to perish at the hands of German soldiers in 1914 as he defended his home from the enemy.)

Becker’s words touched and torched the new German nationalism. It was a cause which seemed to have united both Left and Right in Germany, to the horror of French liberals who had supposed that their German confrères would be above such petty hate-mongering. Schumann was a liberal who liked to think of himself as a radical. But even he was caught up in the wave of patriotism, and here the composer defends ‘Vater Rhein’ with the rest of them. This quarrel with France had little to do with the issues of liberty and justice within Germanspeaking lands which were to lead to the revolutions of 1848 – indeed, such jingoism was a distraction from such issues. War was temporarily side-stepped by Louis Philippe who dismissed his militant Prime Minister. But the flare-up of feeling was ominous for the future. Within thirty years the German Reich would shatter the gates of Paris. In 1871 the map of the region was re-drawn, and again in 1918, 1940 and 1945. The Rhine remains symbolic of Germany – perhaps thanks to Wagner – but one notices little attempt these days on the part of the French to claim this river as theirs. In any case Strasbourg remains a French city, even if full of German street-names, and the ‘Opéra du Rhin’ seldom has Wagner on its affiches.

The composer was far away from the Rhine when he wrote this song; he moved to Düsseldorf in 1851. His song in praise of the river had a tragic follow-up: determined to commit suicide Schumann threw himself into the Rhine on 27 February 1854. He was rescued by friendly fishermen who returned him home. All the details of this sad story are recounted in the diary of a man with whom the composer was friendly at the time, the leader of the Düsseldorf Orchestra whose name was also Becker – first name Ruppert, not Nikolaus.

from notes by Graham Johnson 2003

Track-specific metadata
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Details for CDJ33108 track 31
Artists
ISRC
GB-AJY-03-10831
Duration
3'34
Recording date
15 December 2002
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 5 Track 5
    Release date: September 2010
    10CDs Boxed set (at a special price)
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