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Wer kommt am Sonntagsmorgen (1851) Op.112

Part of a series or song cycle:

Der Rose Pilgerfahrt II (Op. 112)

Wer kommt am Sonntagsmorgen

Wer kommt am Sonntagsmorgen
Im festlich grünen Kleid?
Es ist der Sohn des Försters,
Der um Schön-Röslein freit.
Und als der Müller fraget,
Was wohl ihr Herzlein spricht,
Birgt sie an seinem Busen
Verschämt ihr Angesicht;
Umschlingt mit beiden Armen
Fest den geliebten Mann;
So schlingt sich an die Eiche
Der Efeu gläubig an.

Who comes on a Sunday morning

Who comes on a Sunday morning
In a festive green coat?
It is the son of the forester,
Who is courting the beautiful little Rose.
And as the miller asks her
What her heart is telling her,
She bashfully hides her face
Upon his breast.
With both her arms she embraces
Tightly the beloved man,
Thus the ivy trustingly
Winds itself about the oak tree.
Translations by Sharon Krebs first published in 2009 at, and reprinted by Carus-Verlag

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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.

Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as KinderszenenAlbum für die JugendBlumenstück, the Sonatas and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.

In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which formed a substantial part of her father's fortune.

Schumann suffered from a lifelong mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to amental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness.

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