Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Zwölf Gedichte aus 'Liebesfrühling', Op 37

4-11 & 16 January 1841; for Nos 2, 4 and 11 see Clara Schumann's Op 12 of the same title
author of text

Robert Schumann had long taken the music of his beloved Clara as a starting-point for some of his own works – for example the Impromptus sur une Romance de Clara Wieck Op 5, as well as passages in the Davidsbündlertänze Op 6, and the variations on Clara’s Andantino in the Concerto sans orchestre Op 14. An officially shared work between husband and wife, however, was a new departure. This may well have taken as its justification a collaboration between two talented members of another supremely musical family. Three of Felix Mendelssohn’s Op 8 songs (published in 1828 but composed rather earlier), and three of the Op 9 (published in 1830) are, in fact, by his sister Fanny. This was still something of a secret in 1841, but the Mendelssohns and Schumanns were on intimate terms in Leipzig, and the latter may well have been told in confidence of this shared project where the works of Fanny had come into the public ken thanks to the reputation of her famous brother. Of course Clara was a celebrity in her own right as a pianist. It is to Schumann’s credit that he never envisaged making a secret of a shared project between him and his wife; on the contrary he seems to have been proud of her work and anxious to celebrate their relationship with some sign of mutual musical endeavour.

He had long encouraged Clara to turn to the composition of lieder. On 13 March 1840 he had written to his fiancée: ‘Why not write a song! Once you’ve begun you just can’t stop. It is simply too tempting.’. In reply Clara was less optimistic: ‘I can’t compose. It makes me very sad at times, but it is really impossible. I have no talent for it. But don’t think that that is because of laziness. A song, you say. No, I simply cannot. In order to write a song, to comprehend a text completely, this requires intelligence.’ Robert knew his bride-to-be was very intelligent, and he did not give up. A month after their marriage (in October 1840) he encouraged her to set a text by Robert Burns, but to no avail. It was only in December 1840 that she decided to surprise him with a Christmas present of three songs, one setting of Burns (perhaps the same one suggested earlier in the year) and two by Heine (these songs will be heard in a later volume of this series). Clara’s own estimation of these works (‘naturally of no value … only very feeble attempts …’) was not shared by her enthusiastic husband: ‘I was delighted by the three songs, in which she gushes like a girl and is much more compositionally precise than before. We now have the clever idea of interspersing them with some of mine and having them printed.’

As it turned out, these Christmas songs were not included in the shared venture. Instead Schumann decided to return to a favourite source, Ruckert’s Liebesfrühling, to find texts for a completely new cycle. He was so enthused with this idea that he had completed nine songs within a week (Monday 4th to Monday 11th January 1841). In the marriage diaries (where it was usual for the pair to post messages, sometimes concerning issues where it was judged more tactful not to confront each other face-to-face) he urged Clara to so the same – ‘Now Clara should also compose a few from the Liebesfrühling. Oh, do it, Klärchen!’ In the same entry however, he writes of Clara being in pain as a result of her first pregnancy (‘Clara has had to suffer a great deal – from pain, which she gladly tolerates on my account’). She was clearly unable to write the songs at this time, but Schumann went ahead with his plans. In April he wrote to the publisher Kistner informing him that ‘my wife has written some very interesting songs, which have inspired me to compose others.’ He thus broached the idea of issuing these works in a single book Clara had begun to work on any Rückert settings.

It was only in June 1841 that Clara settled down to work, probably with the intention of making a birthday present for her husband. Her initial reaction was typically negative: ‘Composing just won’t work – I sometimes just want to hit myself on my stupid head! … I sat around composing quite a bit this week, and produced four Rückert poems for my beloved Robert. I just hope that they please him a little.’

Please him they did. Clara’s entry in the marriage diary tells us that the ‘very delighted’ Robert treated the songs ‘with great respect’ and that he wanted to ‘publish them with some of his own which makes me very happy.’ Only one of the four songs composed in that June – Die gute Nacht, die ich dir sage – was not included in the cycle; it concludes this disc, however, following Robert Schumann’s choral setting of the same poem. The finished cycle was not published by Kistner as Schumann had first envisaged, but by Breitkopf und Härtel in two books. He took care however that the work was engraved in time to surprise his wife on her 22nd birthday, 13 September 1841. The work was given two separate opus numbers: it was Robert’s Op 37, and Clara’s Op 12.

from notes by Graham Johnson © 2000

Ce cycle est un excédent de la fin de l’année 1840, la splendide année du lied. Rückert est le poète idéal car personne d’autre dans la littérature allemande n’a chanté un hymne à la gloire de sa femme et du bonheur conjugal avec une dévotion aussi inépuisable. De l’immense assemblage que constitue le Liebesfrühling du poète, Schumann choisit neuf poèmes, dont il conçoit trois (nos 6, 7 et 12) comme de simples duos. Trois autres poèmes sont mis en musique par Clara sous forme de lieder à une voix (nos 2, 4 et 11) un peu dans le style de Mendelssohn. Elle choisit sans doute les poèmes pour elle-même (l’un d’entre eux, Liebst du um Schönheit, sera ensuite immortalisé par Mahler), mais Schumann révise probablement la contribution musicale de sa femme avant la publication. La collaboration musicale devient ainsi une métaphore pour le bonheur fructueux du mariage. En avril, Clara, déjà enceinte, écrit: «Cet amour est le plus beau, et chaque jour nous sommes davantage unis dans le cœur et dans l’âme». Le cycle nourrira pour des temps futurs la légende déjà célèbre des jeunes amants Robert et Clara, une inspiration pour d’innombrables jeunes Allemands qui ont été eux aussi séparés par un diktat paternel. Schumann mettra en musique pour des ensembles à quatre voix les poèmes nos 7 et 12 dans Minnespiel op. 101 en 1849.

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

Dieser Zyklus enthält den Überfluss vom Ende des glorreichen Liederjahres 1840. Rückert ist der ausgewählte Dichter, denn niemand sonst in der deutschen Literatur hatte Hymnen auf die Gemahlin und eheliches Glück mit so unerschöpflicher Hingabe verfasst. Aus dem gewaltigen Vorrat von Rückerts Liebesfrühling wählt Schumann neun Gedichte, von denen er drei (Nr. 6, 7 und 12) als einfache Duette vertont. Drei weitere Gedichte (Nr. 2, 4 und 11) werden von Clara als Sologesänge in einem an Mendelssohn orientierten Stil vertont. Sie wählt die Gedichte wahrscheinlich selbst, deren eines, Liebst du um Schönheit, später durch Mahlers Vertonung unsterblich werden soll, doch wahrscheinlich bear­beitet Schumann ihren musikalischen Beitrag vor der Veröffentlichung. Die musikalische Zusammenarbeit wird zu einer Metapher fruchtbar glücklichen Ehelebens. Im April schreibt die bereits schwangere Clara: „Dies ist die schönste Liebe, und mit jedem Tag sind wir stärker vereint in Herz und Seele.“ Der Zyklus wird die bereits gefeierte Legende von Robert und Clara als den jungen Liebenden für fort­schrittliche Zeiten bereichern und zahllose junge Deutsche inspirieren, die auf ähnliche Weise durch elterliches Diktat voneinander getrennt sind. Schumann vertont Nr. 7 und 12 als vierstimmige Ensembles im Minnespiel op. 101 von 1849.

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


Schumann: The Complete Songs
CDS44441/5010CDs Boxed set (at a special price)
Schumann: The Complete Songs, Vol. 4 - Oliver Widmer & Stella Doufexis
CDJ33104Archive Service
Women's lives and loves


No 01: Der Himmel hat eine Träne geweint
Track 12 on CDJ33104 [2'15] Archive Service
Track 1 on CDS44441/50 CD6 [2'15] 10CDs Boxed set (at a special price)
No 03: O ihr Herren
Track 14 on CDJ33104 [0'58] Archive Service
Track 3 on CDS44441/50 CD6 [0'58] 10CDs Boxed set (at a special price)
No 05: Ich hab in mich gesogen
Track 16 on CDJ33104 [2'05] Archive Service
Track 5 on CDS44441/50 CD6 [2'05] 10CDs Boxed set (at a special price)
No 06: Liebste, was kann denn uns scheiden?
Track 17 on CDJ33104 [2'32] Archive Service
Track 6 on CDS44441/50 CD6 [2'32] 10CDs Boxed set (at a special price)
No 07: Schön ist das Fest des Lenzes
Track 18 on CDJ33104 [0'52] Archive Service
Track 7 on CDS44441/50 CD6 [0'52] 10CDs Boxed set (at a special price)
No 08: Flügel! Flügel! um zu fliegen
Track 19 on CDJ33104 [3'17] Archive Service
Track 8 on CDS44441/50 CD6 [3'17] 10CDs Boxed set (at a special price)
No 09: Rose, Meer und Sonne
Track 20 on CDJ33104 [4'51] Archive Service
Track 9 on CDS44441/50 CD6 [4'51] 10CDs Boxed set (at a special price)
No 10: O Sonn', o Meer, o Rose
Track 21 on CDJ33104 [3'36] Archive Service
Track 10 on CDS44441/50 CD6 [3'36] 10CDs Boxed set (at a special price)
No 12: So wahr die Sonne scheinet
Track 23 on CDJ33104 [1'49] Archive Service
Track 12 on CDS44441/50 CD6 [1'49] 10CDs Boxed set (at a special price)
Track 45 on CDA67563 [2'01]

Track-specific metadata

Click track numbers above to select
Waiting for content to load...
Waiting for content to load...