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●★ Robert Schumann :「D i c h i t e r l i e b e - 시인의 사랑」Op.48
★●
●
Bariton - Fischer Dieskau
● Piano - Gerald
Moore
((Performed in
1956))
1.아름다운 5월에(Im wunderschonen
Morat)
2.나의 눈물에서(Aus meinen Tranen
spriessen)
3.장미에게 백합에게 비둘기에게(Die Rose, die
Lilie, die Taube)
4.당신의 눈동자를 바라볼때(Wennich in deine
Augen seh)
5.나의 마음을 백합의 품안으로(Ich will meine
Seele tauchen)
6.신선한 라인의 흐름에(Im Rhein, im beligen
Strome)
7.나는 슬퍼하지 않으리(Ich grolle
nicht)
8.꽃이 안다면(Und wilsstern's die
Bulumen, die kleinen)
9.울리는 것은 플루트와 바이올린(Das ist ein
Floten und Geigen)
10.여인의 노래를 들을 때(Hor' ich das
Liedchen klingen)
11.젊은이는 소녀를 사랑하고(Ein Jingling liebe
ein Madchen)
12.밝은 여름아침(AmleuchtendenSommer
morgen)
13.꿈속에서 나는 울었다(Ich hab in
Traumgeweinet)
14.밤마다 꿈속에(Allnachtlich im
traume)
15.옛이야기 중에서(Aus alten
marchen)
16.지루한 추억의 노래(Die alten bosen
Lieder)
●
Dichterliebe((시인의 사랑))
From Wikipedia, the free encyclopedia
● Dichterliebe, 'The Poet's Love'
(composed 1840), is the best-known song cycle of Robert Schumann (Op.
48). The texts for the 16 songs come from the Lyrisches Intermezzo of Heinrich Heine, composed
1822–1823, published as part of the poet's Das Buch der Lieder. Following
the song-cycles of Franz Schubert (Die schöne
Müllerin and Winterreise), those of
Schumann constitute part of the central core of the genre in musical
literature.
● The source: Heine's Lyrisches
Intermezzo
Author of the sarcastic Die Romantische Schule, Heine was a vocal
critic of German romanticism. In some of his
poetry, and notably in Deutschland.
Ein Wintermärchen of 1844, the romantic lyrical conventions are used as
vessels to deploy content of biting, satirical nature. Schumann's
Dichterliebe was composed before Heine's Deutschland and does not
appear to portray this ironic dimension: scholarship is divided as to
what extent Schumann intended to express it.
Heine's Lyrisches Intermezzo consists of a verse Prologue and 65
poems. The Prologue (Es war 'mal ein Ritter trübselig und stumm -
There once was a Knight, woeful and silent..) tells of the sorrowful
knight that sits gloomily in his house all day, but by night is visited by his
fairy (nixie) bride, and dances with her until daylight returns him to his
little poet's room (Poeten-stübchen). The 65 poems follow, of which the 16 of
the Dichterliebe are a selection. The conclusion of it all is that he is
going to put the old bad songs and dreams, all his sorrowful love and suffering
into a huge coffin, which twelve giants will throw into the sea. This
catastrophe is slightly reminiscent of Schubert's Die schöne Müllerin, in
which the hero ends by drowning himself in the brook which he has followed
through the cycle.
● The
song-cycle
Das Buch der Lieder was given its second edition, with preface from
Paris, in 1837, the songs were composed in 1840, and the first edition of
Dichterliebe was published in two volumes by Peters, in Leipzig, 1844. Though Schumann
originally set 20 songs to Heine's poems, only 16 of the 20 compositions were
included in the first edition. (Dein Angesicht (Heine no 5) is one of the
omitted items. Auf Flügeln des Gesanges, on Wings of Song (Heine no 9),
is best known from a setting of Felix
Mendelssohn's).
The very natural, almost hyper-sensitive poetical affections of the poems are
mirrored in Schumann's settings, with their miniaturist chromaticism and
suspensions. The poet's love is a hothouse of nuanced responses to the delicate
language of flowers, dreams and fairy-tales. Schumann adapts the words of the
poems to his needs for the songs, sometimes repeating phrases and often
rewording a line to supply the desired cadence. Dichterliebe is therefore
an integral artistic work apart from the Lyrisches Intermezzo, though
derived from it and inspired by it. Schubert's selection of lyrics for his own
Heine songs had sought different themes.
Although frequently associated with the male voice, the work was dedicated to
the great soprano Wilhelmine
Schröder-Devrient,[1]
so that the precedent for performance by a female voice is primary. The first
complete public recital of the work in London was given by Harry Plunket
Greene, accompanied from memory by Leonard Borwick, on 11
January 1895 at St James's Hall.[2]
●
The songs or movements
(The synopses here are made from the Heine texts)
- Im wunderschönen Monat Mai (Heine, Lyrical Intermezzo no 1).
(In beautiful May, when the buds sprang, love sprang up in my heart: in
beautiful May, when the birds all sang, I told you my desire and longing.)
- Aus meinen Tränen sprießen (Heine no 2). (Many flowers spring
up from my tears, and a nightingale choir from my sighs: If you love me, I'll
pick them all for you, and the nightingale will sing at your window.)
- Die Rose, die Lilie, die Taube, die Sonne (Heine no 3). (I
used to love the rose, lily, dove and sun, joyfully: now I love only the little,
the fine, the pure, the one: you yourself are the source of them all.)
- Wenn ich in deine Augen seh (Heine no 4). (When I look in your
eyes all my pain and woe fades: when I kiss your mouth I become whole: when I
recline on your breast I am filled with heavenly joy: and when you say, 'I love
you', I weep bitterly.)
- Ich will meine Seele tauchen (Heine no 7). (I want to bathe my
soul in the chalice of the lily, and the lily, ringing, will breathe a song of
my beloved. The song will tremble and quiver, like the kiss of her mouth which
in a wondrous moment she gave me.)
- Im Rhein, im heiligen Strome (Heine no 11). (In the Rhine, in
the sacred stream, great holy Cologne with its great cathedral is reflected. In
it there is a face painted on golden leather, which has shone into the confusion
of my life. Flowers and cherubs float about Our Lady: the eyes, lips and cheeks
are just like those of my beloved.)
- Ich grolle nicht (Heine no 18). (I do not chide you, though my
heart breaks, love ever lost to me! Though you shine in a field of diamonds, no
ray falls into your heart's darkness. I have long known it: I saw the night in
your heart, I saw the serpent that devours it: I saw, my love, how empty you
are.)
- Und wüßten's die Blumen, die kleinen (Heine no 22). (If the
little flowers only knew how deeply my heart is wounded, they would weep with me
to heal my suffering, and the nightingales would sing to cheer me, and even the
starlets would drop from the sky to speak consolation to me: but they can't
know, for only one knows, and it is she that has torn my heart asunder.)
- Das ist ein Flöten und Geigen (Heine no 20). (There is a
playing of flutes and violins and trumpets, for they are dancing the
wedding-dance of my best-beloved. There is a thunder and booming of kettle-drums
and shawms. In between, you can hear the good cupids sobbing and moaning.)
- Hör' ich das Liedchen klingen (Heine no 40). (When I hear that
song which my love once sang, my breast bursts with wild affliction. Dark
longing drives me to the forest hills, where my too-great woe pours out in
tears.)
- Ein Jüngling liebt ein Mädchen (Heine no 39). (A youth loved a
maiden who chose another: the other loved another girl, and married her. The
maiden married, from spite, the first and best man that she met with: the youth
was sickened at it. It's the old story, and it's always new: and the one whom
she turns aside, she breaks his heart in two.)
- Am leuchtenden Sommermorgen (Heine no 45). (On a sunny summer
morning I went out into the garden: the flowers were talking and whispering, but
I was silent. They looked at me with pity, and said, 'Don't be cruel to our
sister, you sad, death-pale man.')
- Ich hab' im Traum geweinet (Heine no 55). (I wept in my dream,
for I dreamt you were in your grave: I woke, and tears ran down my cheeks. I
wept in my dreams, thinking you had abandoned me: I woke, and cried long and
bitterly. I wept in my dream, dreaming you were still good to me: I woke, and
even then my floods of tears poured forth.)
- Allnächtlich im Traume (Heine no 56). (I see you every night
in dreams, and see you greet me friendly, and crying out loudly I throw myself
at your sweet feet. You look at me sorrowfully and shake your fair head: from
your eyes trickle the pearly tear-drops. You say a gentle word to me and give me
a sprig of cypress: I awake, and there is no sprig, and I have forgotten what
the word was.)
- Aus alten Märchen winkt es (Heine no 43). (The old fairy tales
tell of a magic land where great flowers shine in the golden evening light,
where trees speak and sing like a choir, and springs make music to dance to, and
songs of love are sung such as you have never heard, till wondrous sweet longing
infatuates you! Oh, could I only go there, and free my heart, and let go of all
pain, and be blessed! Ah! I often see that land of joys in dreams: then comes
the morning sun, and it vanishes like smoke.)
- Die alten, bösen Lieder (Heine no 65). (The old bad songs, and
the angry, bitter dreams, let us now bury them, bring a large coffin. I shall
put very much therein, I shall not yet say what: the coffin must be bigger than
the 'Tun' at Heidelberg. And bring a bier
of stout, thick planks, they must be longer than the Bridge at Mainz. And bring me too twelve
giants, who must be mightier than the Saint Christopher in
the cathedral at Cologne. They must carry the
coffin and throw it in the sea, because a coffin that large needs a large grave
to put it in. Do you know why the coffin must be so big and heavy? I will also
put my love and my suffering into it.)
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