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Songs

Songs

Am Strande

Am Strande

Traurig schau ich von der Klippe
Auf die Flut, die uns getrennt,
Und mit Inbrunst fleht die Lippe,
Schone seiner, Element!
Furcht ist meiner Seele Meister,
Ach, und Hoffnung schwindet schier;
Nur im Traume bringen Geister
Vom Geliebten Kunde mir.
Die ihr, fröhliche Genossen
Gold’ner Tag’ in Lust und Schmerz,
Kummertränen nie vergossen,
Ach, ihr kennt nicht meinen Schmerz!
Sei mir mild, o nächt’ge Stunde,
Auf das Auge senke Ruh,
Holde Geister, flüstert Kunde
Vom Geliebten dann mir zu.

On the shore

Musing on the roaring ocean
Which divides my love and me;
Wearying heaven in warm devotion,
For his weal where’er he be;
Hope and fear’s alternate billow
Yielding late to nature’s law;
Whispering spirits round my pillow
Talk of him that’s far awa.
Ye whom sorrow never wounded,
Ye who never shed a tear,
Care-untroubled, joy-surrounded,
Gaudy day to you is dear.
Gentle night, do thou befriend me;
Downy sleep, the curtain draw;
Spirits kind, again attend me,
Talk of him that’s far awa!

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Composer

Clara Schumann (1819-96) née Wieck is one of the most significant women in musical history. Apart from being a tremendously successful pianist and pedagogue, she wrote numerous songs alongside other works in various genres. She also transformed the reputation of her initially unsuccessful husband Robert Schumann through her determined championing.

As a girl, Clara Wieck was taught by her father Friedrich. Her mother Mariane Tromlitz was a professional-standard pianist. The marriage collapsed when Clara was a child, and only as an adult could she re-establish a relationship with her mother. Friedrich Wieck gave his daughter an exceptional musical education, including taking her to every important concert, opera, and drama in her native Leipzig, and training her in the complex business arrangements of a musical career. She gave her first performance at the Gewandhaus when she was nine years old.

Clara Schumann typically incorporated her own compositions into her concerts throughout the 1830s. In the use of bold harmonies, adventurous modulations, and rhythmic freedom, her compositions share qualities with her contemporaries from the new Romantic school such as Robert Schumann, Felix and Fanny Mendelssohn, and Frederic Chopin.

Her relationship with Robert Schumann signalled a turning point. After strong opposition from her father, they married in 1840 and embarked on a period of musical and literary study which transformed her style. However, she struggled with the pressure to be a perfect housewife and mother. During sixteen years of marriage, she bore eight children while also being pressed into Robert’s service, preparing keyboard arrangements of orchestral works, playing for rehearsals and much else. After Robert’s death in 1856, she threw herself back into her performing career for several reasons: firstly, her own playing was largely stifled during her marriage; secondly, she could reliably generate much-needed income; and finally, she could most effectively establish her husband’s legacy. She eventually settled in Frankfurt. 

Clara Schumann gave three songs (‘Am Strande’, ‘Volkslied’, and ‘Ich stand in dunkeln Träumen’) to her husband on their first Christmas together. These were followed by four songs, three of which were incorporated in a joint collection (published as Robert Schumann’s op.37 and her op.12) and several independent opuses. Although not numerous, her Lieder are expressive and powerful contributions to the genre, ranging from lyric to dramatic in style. Her accompaniment textures are varied and can be virtuosic, such as in ‘Walzer’ and the magnificent ‘Loreley’. Her melodies often display great elegance alongside an innate understanding of the voice. Formally, she was innovative, experimenting with phrase lengths and layers of texture. Her ‘Geheimes Flüstern’ from op.23 is one of the finest 19th-century Lieder ever composed.

Clara Schumann’s taste in song poetry heavily overlapped with that of her husband and many other contemporaries. For instance, her favoured song poets, Heinrich Heine, Emanuel Geibel, and Friedrich Rückert, were all important contemporaries whose verses were frequently set. Perhaps more than any other woman composer, Clara Schumann is established in the song repertoire. A complete edition of her songs appeared in 1990 and there are numerous recordings.

© Natasha Loges, 2022


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Poet


Translation:

Robert Burns , also known as Rabbie Burns, the Bard of Ayrshire and various other names and epithets, was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a light Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest.

He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the greatest Scot by the Scottish public in a vote run by Scottish television channel STV.

As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world today include "A Red, Red Rose", "A Man's a Man for A' That", "To a Louse", "To a Mouse", "The Battle of Sherramuir", "Tam o' Shanter" and "Ae Fond Kiss".

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