Myrtles

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Robert Schumann's Myrtles, Op. 25, composed in 1840 and published in the subtitle as Liederkreis by Göthe, Rückert, Byron, Th. Moore, Heine, Burns & J. Mosen , are a song cycle in four volumes that Schumann dedicated to his bride Clara Wieck and gave her for her wedding on September 12, 1840.

Emergence

The creation of the Myrtles falls in Schumann's “Year of Songs ” in 1840. On January 23, he wrote down the first version of the Heine setting Du bist wie ein Blume , the later No. 24, as the first song in his “Berliner Liedbuch” (Berlin songbook) , followed by others in a disorderly manner Songs that later form the basis of several song cycles. Rebecca Grotjahn suspects that “the idea of ​​a cyclical summary of the songs only seems to have matured gradually”. It also shows that the songs should initially be arranged in several booklets by poet. "The songs later published as Myrthen were [...] intended as a Goethe and a Burns booklet and two mixed booklets." only the Myrtles , but also the Liederkreis op. 39 . The division of the myrtles into four booklets seems to have crystallized early on, but not only followed pragmatic considerations relating to printing, but also cyclical ideas. But even after this formal structuring, Schumann changed the order of the songs several times.

As early as March 7, 1840, Schumann proposed to his publisher Kistner the idea of publishing the myrtles as a “bride present” in the form of a “song cycle in four volumes”. After the court finally gave Clara and Robert permission to marry on August 1, 1840 after a long legal dispute with the bride's father Friedrich Wieck , Schumann was able to present Clara with an opulently furnished copy of the first edition of the Myrtles on the eve of their wedding . The printed dedication “His Beloved Bride”, however, not only refers to the private occasion but also to a public that is informed of the end of the legal dispute in this way. With the publication, according to Rebecca Grotjahn, Schumann positions himself not only “as a man who was inspired by a happy love of work”, the symbolic title “Myrthen” is also “proof of the success of the advertising man and that of the creative artist”.

Cyclical arrangement

In the musicological discussion, the majority of the myrtles have been denied a planned cyclicity. Karl H. Wörner compares it to "a wreath with the colorful abundance of individual flowers", but there is no unifying idea. Peter Gülke considers it to be more of a "song collection [...] than a coherent cycle" and he suspects "private motives" for the cycle: namely that "the songs were also needed to be closer to the bride than already “ Arnfried Edler also states that the title Myrthen […] is only to be related to the functional purpose as a bridal gift for Clara, it rather underlines the relaxed album character with“ dedication ”and“ at the end ”referring to the“ occasion Motto ". The majority of these views are based on an understanding of the cycle that, based on the text, links coherence to the unity of the author, as Schumann realizes in the Eichendorff , Heine or other song cycles. In several essays, Rebecca Grotjahn proves that Schumann, after his piano cycles of the 1830s, experimented with different forms of cyclical arrangement of songs from 1840 at the latest and that the myrtles form one of several results of a systematic cycle formation. She finds that “composing the cycle [begin] with composing poems” and that Schumann is to be regarded in the Myrtles “to an even greater extent than in other […] song cycles […] as the author of the text”.

“The Myrtles are not a series of 26 songs, but four song books that are related to each other in their structure.” Booklets I - III each contain six songs, booklet IV includes eight songs, but is shorter than that other booklets. Each booklet contains songs by three or four poets and is always concluded by a pair of poems by one poet. In doing so, Schumann hardly leaves the original sequences, but creates individual, even novellist, song blocks and a new formal unit through rearrangement, pairing or contrasting.

In terms of content, almost all of the songs can be assigned to the current topics for Robert and Clara: longing and pain for love, bride and motherhood and the like. At its core, the cycle is held together by the overarching themes of art, freedom and love, which are stimulated by biographical references, but which go beyond these. “The songs not only relate to Schumann's current life situation - the expectation of the wedding and its difficult history - but also give an overall picture of his artistic self.” This image is conveyed in private codes and ciphers, which presumably were only familiar to the lovers, sometimes even to Robert himself. In the myrtles , he varies the central themes, also graded according to gender, in corresponding songs and song pairs. Tonally creates Schumann relationships and symmetries, such as the frame key of A flat major and quint - and terzverwandten key progressions .; In terms of sound and motif, he often combines piano replay with the beginning of the following song or several songs with each other.

Song title, poet, tone and time signature

No. title poet key Time signature
Book I
1 dedication Friedrich Rückert A flat major 3/2
2 Freeness Johann Wolfgang von Goethe E flat major 4/4 time
3 The nut Tree Julius Mosen G major 6/8
4th Someone Robert Burns, German Gerhard G major / E major 2/4
Songs from the gift book in the divan Goethe
5 No. 1 I sit alone E major 2/4
6th No. 2 Don't sit down with me, you rascal A minor / A major 6/8
Book II
7th The lotus flower Heinrich Heine F major 6/4
8th Talismans Goethe C major 4/4 time
9 Song of the Suleika Marianne von Willemer (originally awarded to Goethe) A major 4/4 time
10 The highland widow Burns, German Wilhelm Gerhard E minor 6/16
Songs of the bride Rückert
11 number 1 G major 2/4
12 No. 2 G major 2/4
Book III
13 Hochländer's farewell Burns, German Gerhard B minor 3/8
14th Highland lullaby Burns, German Gerhard D major 4/4 time
15th From the Hebrew chants Lord Byron , German Julius Körner E minor 4/4 time
16 Riddle Catherine Fanshawe (originally awarded to Lord Byron), German Karl Kannegießer B major 4/4 time
Two Venetian songs Thomas Moore , German Ferdinand Freiligrath
17th number 1 G major 2/4
18th No. 2 G major 2/4
Book IV
19th Captain's wife Burns, German Gerhard E minor 2/4
20th Far, far Burns, German Gerhard A minor 6/8
21st What does the lonely tear want? Heine A major 6/8
22nd Nobody. Side piece to "Someone" Burns, German Gerhard F major 4/4 time
23 In the West Burns, German Gerhard F major 6/4
24 You are like a flower Heine A flat major 2/4
25th From the eastern roses Rückert E flat major 2/4
26th Finally Rückert A flat major 4/4 time

Book I

Dedication (No. 1), the opening song of the Myrtles deals with one of their central themes, love in the relationship between “you” and “I”. The text comes from Friedrich Rückert, but Schumann intervenes in the text by changing the title and thus addressing the dedicatee Clara directly. He also repeats the first four verses and the last, so that an ABA 'form is created. With the dedication , Schumann established the A flat major as the frame key of the cycle . The piano accompaniment moves in triad breaks in eighth notes, which are criss-crossed by characteristic dots. The second stanza is connected with a key change from A flat major to E major, the accompaniment changes to triplet chord repetitions.

Schumann takes up a melodic twist in the piano aftermath in the following song Freisinn (No. 2) on a text by Goethe. Closely linked in terms of motif and key, together with the dedication , it forms a kind of double exposition in which, in addition to the theme of love, Schumann's conception of the artist as a man “inspired by love and free” is exposed.

With a mediant twist to G major, Schumann deepens the love theme in Nussbaum (No. 3) on a text by Julius Mosen, a well-composed song whose piano accompaniment consists consistently of wave-like sixteenth-note movements, with the dominant sixteenth-note movements above all striking as a characteristic harmony . “The idyll of a blossoming walnut tree is portrayed, the paired fruit clusters of which in a mild summer wind prompt a girl to think of intimate togetherness that she does not dare to admit to herself; in one with it a perspective of marriage and marital status is opened. "

Schumann created the first Burns setting Jemand (No. 4), a song with an "intimate" but also "passionate" character, which is characterized by breaks, changing tempos and almost recitative passages. Almost every one of the ten textual variations of “Jemand” is treated by Schumann with a different lead, before he goes back to the characteristic phrase of the nut tree with the sext lead of the last “Jemand” .

At the end of the first volume, Schumann once again puts two Goethe songs, the title of which refers to the source, the “Schenkenbuch” from the west-eastern Divan . Song No. 1 (No. 5) is the shortest of the entire cycle, a concise, well-composed form that focuses on the motif of drinking alone, but which here represents a variation on the idea of ​​freedom. The freedom of the formal design is evident in the surprising change in time and key in bar 10, which, however, after only four bars is returned to the basic key of E major like a reverberant echo, which Schumann then uses as the dominant for the next song.

The second of the songs from the Schenkenbuch im Divan (No. 6) combines the motif of drinking with approaching the tavern, a "lovely boy". It is possible that Schumann would like to ironically distance himself from his own homoerotic experiences in anticipation of the wedding with Clara. The energetic syncopation of the A section and the accentuated e-organ point appear just as exaggerated in their emphatic rejection of the "brute", as does the A major turn in the B section as an invitation to the "future [...] gift-giving." “Seems too idyllic. The final words “every wine is tasty and light” can also be understood as a delicate allusion, so that the piano aftermath, with its mischievous character, conveys more than just a state of drunkenness.

Book II

Schumann sets the focus in the second volume with pairs of poems by Goethe and von Rückert. The booklet also forms the prelude to the Hochländer story, which is continued as an internal plot in the third booklet, although contrary to the chronicle of life, it begins after death. Schumann connects the beginning of the second booklet with the first booklet (No. 3–6) in a key sequence G - e - E - a / A - F, which he takes up again almost identically in songs No. 17-23.

The second booklet begins with Die Lotosblume (No. 7) based on a text by Heinrich Heine, which is introduced into the cycle with this song. The subject of the poem is shy longing for love, but subliminally also erotic love. Despite the well-composed form, Schumann designed strictly regular two-bar phrases that each contain a verse. The first stanza begins with a Clara motif (bar 2/3), while in the second stanza, through the harmonic twist from the dominant C major to A flat major (bar 9/10), “the passage of the courting moon [ to the] mediant island, demarcated not only by its tonality, but also by the lack of bass register ”.

Eric Sams suspects a Robert cipher behind the broken C major triad of the repeatedly repeated “God is the Orient!” At the beginning of the talismans (No. 8). The “solemn, not too slow” song based on several sayings from Goethe's West-Eastern Divan takes a male perspective, with the text going back to a Koranic sura. The key to inclusion in the myrtles could be the G major section from bar 21. The verses “To confuse me, to be confused; but you know how to unravel me If I act, if I write poetry, you will direct my path! ”Combine the motif of artistic creation with the theme of caring love.

Schumann also resorts to the west-east divan in the song of Suleika (No. 9); However, it does not come from Goethe, but from Marianne von Willemer. The intimate verses, in which both poetry and music are addressed as a “song”, are set to music as a varied verse song with a shortened repetition of the first verse at the end. Characteristic are the longingly chromatically ascending motifs, the first of which on “Song, I feel your sense” by Eric Sams is identified again as the Clara motif. This chromaticism is also taken up in the piano aftermath.

The Highlander Widow (No. 10), based on a Burns poem, is in the unusual 6/16 time in E minor. The fate of a displaced widow who has lost everything forms a striking contrast to the surrounding songs and can only be resolved cyclically with the sequels in the third volume.

With the two songs of the bride , Schumann returns to Friedrich Rückert at the end of the second volume. With the feminine perspective of the poems, he approaches an idealized Clara perspective. The first song (No. 11), intimate , an Andantino in G major, is a varied verse song . A bride reassures her mother that love for her husband has only deepened the love for her. Over a calm sequence of chords in the bass, the right hand plays almost continuously around the melody of the singing voice in flowing sixteenth-note figures.

The second song of the bride (No. 12) follows the first in time signature and key. Schumann creates a varied stanza form from Rückert's verses, whereby the beginning of the second stanza (bar 21) is veiled by a fermata and the diminished seventh chord. The opening phrase “Let me hang on his bosom” (mm. 5–8), which was anticipated in the piano prelude (mm. 1–4), is repeated at the end of the song (mm. 29–32) with a four-measure epilogue (T. 33-36) completed. The incomplete request “let me” is also sung into the final semester.

Book III

The third booklet of the Myrtles consists of six songs. Only English-speaking poets are summarized here. It begins with Burns' setting Hochländers Abschied (No. 13), which describes the love for the Hochland and the sadness of parting. Schumann's setting is a varied stanza song in B minor, the third stanza of which is in the variant in B major. The prelude, interlude and aftermath are structured identically.

The springy character of the epilogue leads to the contrasting Hochländischen Lullaby (No. 14), which is also based on a Burns translation and with which Schumann changes to the parallel in D major. For the simple lullaby, Schumann chooses the form of the verse song.

Byron's From the Hebrew Chants (No. 15) is the longest song of the entire cycle. Due to the very slow tempo and the downward chromatic lines, the prelude already creates an oppressive mood. The first interlude of this well-composed form leads from the basic key of E minor for a stanza to E major and then back to E minor. The injured soul of the lyrical self can only be saved through music: "Break it [the heart] or sing it safe." Thematically, love and art are connected here. Together with the riddle that follows , From the Hebrew Chants can be seen as the “programmatic center of the myrtles”.

Schumann could not yet know that the riddle (no. 16) did not come from Byron, but from Catherine Fanshawe. It is the cheerful counterpart to the previous song, a thoroughly composed song in B major. The solution to the riddle is the note b, which is not named, but only sounds in the piano at the end. “The music […] expresses what the text does not say. Thus both songs - as contradicting as they appear - relate to the same subject: the romantic topos of the superiority of musical language skills over that of verbal language. "

The final pair of poems in the third volume are the two Venetian songs by Thomas Moore, a contemporary of Byron. Both songs are in G major in 2/4 time and are composed as simple stanzas, where the tempo and character of the first song are specified as secretly, strictly in time , but the second song is overwritten cheerfully and gently . The theme of No. 17, which already shows a contrast to the riddle through the foreplay , is seductive love. In the second of the two songs the seducer speaks of the idea of joint flight, which Schumann also on the idea of freedom from the no. 2 Freisinn recourse. The prelude to the second Venetian song (No. 18) follows the end of the first harmoniously and only reaches the basic key in bar 6, so it is more of a transition than a prelude. Eric Sams points out the Clara motif in the concluding "Request to a veiled but recognizable beauty to be allowed to abduct her" (T. 23/24).

Book IV

In the fourth volume, Schumann sets poems by Heine and Rückert to music and puts another focus on Burns. At the end, Schumann puts two Rückert songs and thus closes an arc to the dedication of the beginning as well as to the two bridal songs in the middle of the cycle.

The song Hauptmann's Weib (No. 19) forms the prelude to a pair of poems by Burns, which begins with a striking punctuation of the introductory exclamation “Up on horseback!”. As in several other songs of myrtle Schumann engages here by the repetition of the first verse of the third in the text. In formal terms, he creates an ABB'A 'structure with a concluding piano replay that uses the B section as a motif.

In contrast to the martial tone of this song is Burns' Weit, weit (No. 20), which shows a melancholy type of woman marked by a longing for love, whose lover is “far, far across the mountains”. The simple stanza song only reaches its expressive climax in the piano replay after the third stanza.

The tear in the Heine song What does the lonely tear (No. 21) want is symbolic of the theme of "love pain" . The lyrical self is still preoccupied with a love affair that goes back a long way. Formally, Heine takes up the ABBA 'form in the four stanzas with a free-motif after-play from Hauptmann's Weib , but creates a completely different character through the rather slow tempo, which follows on from the far, far that immediately preceded it. The questioning gesture of the text finds a harmonic equivalent in the vagueness of the diminished seventh chord at the beginning.

The stanza song Nobody (No. 22) is designed as a corresponding “side piece” to song No. 4 Somebody , as a contrast with a fresh tempo and a consistently male perspective, but also in the context of the fourth volume. The topic of “freedom” is shown here in an exaggerated, ironic, I-related variety, which is shown in the accumulation of the pronouns “I” or “my”. Schumann reveals the superficiality of this possessive attitude with the same rhythmic structure in every verse.

In the West (no.23), a two-trophic through-composed form without prelude or epilogue, takes up the F major of Nobody , but connects with the female perspective on the songs nos. 19 and 20, whereby Schumann an internal grouping analogous to the Hochländer songs in volumes II and III.

Heines You are like a flower (No. 24) is one of the most frequently written texts. Love, beauty and transience are the themes that Heine proposes with the introductory comparison of flowers and the antithetical stanzas. Schumann's metrical design of all eight phrases is striking: he converts the regular iambi of the first verse into upbeat phrase beginnings, but varies in rhythmic details; Phrase c begins after the accented beginning of the measure, phrase d at full measure. From the end of the second stanza, the chordal piano setting gains in compositional independence, which is continued in the aftermath, a piano-poetic gem of Schumann. With the A flat major, Schumann refers back to the dedication (No. 1), but the flower imagery also connects the Clara sphere to which this song belongs.

Schumann refers to the literary origins of the poem in song no. 25 From the Eastern Roses , which Rückert called A Greetings to the Distant from his Oestliche Rosen cycle . Here, too, the biographical reference to the ongoing separation from Clara during the creation of the songs is obvious.

A new perspective is only taken at the end (No. 26), in which the imperfect situation of the bride relationship on earth is contrasted with ideal love in the kingdom of heaven. The cycle is rounded off by the two stanzas of this well-composed song in A flat major, with which Schumann started the cycle. This also closes the series of Rückert's poetry dealing with love and marriage.

Total recordings

No. Performers Publishing year
1 Petre Monteanu (tenor), Franz Holetschek (piano) 1955
2 Edith Mathis (soprano), Dietrich Fischer-Dieskau (baritone), Christoph Eschenbach (piano) 1975/1981/1982
3 Lynne Dawson (soprano), Ian Partridge (tenor), Julius Drake (piano) 1994
4th Dorothea Röschmann (soprano), Ian Bostridge (tenor), Graham Johnson (piano) 2002
5 Sophie Koch (soprano), Nelson Goerner (piano) 2005
6th Diana Damrau (soprano), Ivan Paley (baritone), Stephan Matthias Lademann (piano). Letters from Robert and Clara Schumann, read by Martina Gedeck and Sebastian Koch 2006
7th Nathalie Stutzmann (alto), Michel Dalberto (piano) 2008
8th Juliane Banse (soprano), Olaf Bär (baritone), Helmut Deutsch (piano) 2010
9 Andrea Lauren Brown (soprano), Thomas E. Bauer (baritone), Uta Hielscher (piano) 2011

There are many recordings of individual songs of the Myrtles . Complete recordings, on the other hand, are rather rare. Of the total of nine recordings of the Myrtles , six are divided into a male and a female voice, a performance practice that is also obvious due to the open cast specification “for voice and pianoforte”. The distribution of the songs to the different vocal ranges is different for each recording, which shifts the focus of the content and creates other contexts of meaning. If a man sings No. 1 dedication , this emphasizes the biographical constellation of the dedication of the song cycle by Robert Schumann to his future wife Clara. If the female voice takes over the dedication , the theme itself, love as the starting point for artistic inspiration, comes to the fore. In other songs too, the cast appears like a reference back to the biography of the bride and groom. For example, in No. 16 Riddle, the impression is given that Robert would pose this riddle to Clara personally, while this song in a different line-up appears more like an inner monologue.

literature

  • Hans Peter Althaus: Is Schumann's Myrtle a Cycle? Constructing Meaning Through Text Collages , in: Journal of Singing 54 (1998), H. 3, pp. 3-8.
  • Wendelin Bitzan: moon island in the sea of ​​flowers. An analytical attempt on Schumann's Heine song Die Lotosblume op. 26, No. 7 , in: contrapunkt-online.net No. 1 (April 2011), pp. 18–24.
  • Klaus Döge: Myrtles. Liederkreis for voice and piano op.25 , in: Robert Schumann. Interpretations of his works . Vol. 1, ed. by Helmut Loos, Laaber Verlag, Laaber 2005, ISBN 978-3-89007-447-4 , pp. 141-146.
  • Arnfried Edler: Robert Schumann and his time , Laaber Verlag, Laaber 1986, ISBN 3-921518-71-7 .
  • Dietrich Fischer-Dieskau : Robert Schumann. The vocal work. dtv / Bärenreiter, Munich / Kassel 1985, ISBN 3-423-10423-6 .
  • Rebecca Grotjahn: Riddles and Readings. On the cyclical nature of Robert Schumann's Liederkreis Myrthen op. 25 , in: Gattungsgeschichte als Kulturgeschichte. Festschrift for Arnfried Edler , ed. by Christine Siegert, Olms, Hildesheim 2008, ISBN 978-3-487-13636-3 , pp. 149-162.
  • Rebecca Grotjahn: "My better me". Schumann's Myrtles as the Artist's Self-Portrait , in: Authorship, Genius, Gender. Musical creative processes from the early modern era to the present , ed. by K. Knaus and S. Kogler, Böhlau, Cologne 2013, pp. 159–178.
  • Rebecca Grotjahn: The composing of poems: Schumann's song cycle Myrthen , in: Schumann Studies 11 (2015), ed. by Ute Scholz and Thomas Synofzik, Studioverlag, Zwickau pp. 107–130.
  • Peter Gülke: Robert Schumann. Luck and misery of romanticism , Zsolnay Verlag, Munich 2010, ISBN 978-3-552-05492-9 .
  • Ingo Müller: Mask play and soul language. On the aesthetics of Heinrich Heine's book of songs and Robert Schumann's Heine settings (= Rombach Wissenschaft), 2 volumes, Baden-Baden 2020. Volume 1: Heinrich Heine's poetry aesthetics and Robert Schumann's song aesthetics , ISBN 978-3-96821-006-3 . Volume 2: Heinrich Heine's book of songs and Robert Schumann's Heine settings , Baden-Baden 2020, ISBN 978-3-96821-009-4 .
  • Eric Sams: Did Schumann Use Ciphers? , in: The Musical Times , Vol. 106 (1965), No. 1470, pp. 584-591; also: Eric Sams: Did Schumann use ciphers in his works? . German translation by Jutta Franc, in: Neue Zeitschrift für Musik 127 (1966), pp. 218– 224. [1]
  • Eric Sams: The Schumann Ciphers , in: The Musical Times , Vol. 107 (1966), No. 1479, pp. 392-400.
  • Eric Sams: The Songs of Robert Schumann. Methuen, London 1969.
  • Harald Schmutz / Erich Wolfgang Partsch: "You are like a flower". Approaches to literature and musicology , in: Heinrich Heine in contemporary settings , ed. by Andrea Harrandt and Erich Wolfgang Partsch, Hans Schneider, Tutzing 2008, pp. 105–142.
  • Karl H. Wörner: Robert Schumann. Atlantis, Zurich 1949.

Web links

Individual evidence

  1. ↑ Grotjahn: The composing of poems , p. 114.
  2. ↑ Grotjahn: The composing of poems , p. 115.
  3. ↑ Quoted from Grotjahn: “My better me” , p. 166.
  4. ↑ Quoted from Grotjahn: “My better me” , p. 167.
  5. ^ Wörner: Robert Schumann , p. 206 ( limited preview in Google book search).
  6. ^ Gülke: Robert Schumann , p. 160.
  7. ^ Edler: Robert Schumann and his time , p. 221.
  8. ↑ Grotjahn: The composing of poems , p. 114 and p. 124.
  9. ↑ Grotjahn: Rätsel und Lektüren , p. 152.
  10. ↑ See Althaus: Is Schumann's Myrthen a Cycle? , P. 6/7.
  11. ↑ Grotjahn: The composing of poems , p. 125.
  12. ↑ See Althaus: Is Schumann's Myrthen a Cycle? , P. 7/8, but especially Sams: Did Schumann Use Ciphers? and Sams: The Schumann Ciphers .
  13. ↑ Grotjahn: Rätsel und Lektüren, pp. 158/59.
  14. ↑ Cf. Döge: Myrthen , pp. 143/144.
  15. ↑ See Grotjahn: Mein bessres Ich , pp. 171/172.
  16. ↑ See Grotjahn: Mein bessres Ich , p. 170.
  17. ↑ See Grotjahn: Mein bessres Ich , pp. 176/177.
  18. ↑ See Grotjahn: Mein bessres Ich , p. 176.
  19. ↑ See Heinemann: Half sentences, postscripts , p. 129.
  20. ↑ See Grotjahn: Rätsel und Lektüren, pp. 157/58.
  21. ↑ Cf. Sams: Did Schumann use ciphers in his works? , P. 218.
  22. ↑ Cf. Bitzan: Moon Island in the Sea of ​​Flowers , p. 22.
  23. ↑ Cf. Sams: Did Schumann use ciphers in his works? , P. 220.
  24. ↑ See Sams: The Songs of Robert Schumann , p. 60.
  25. ↑ See Grotjahn: Rätsel und Lektüren , p. 156.
  26. ↑ See Grotjahn: Rätsel und Lektüren , pp. 155/156.
  27. ↑ See Grotjahn: Rätsel und Lektüren , p. 156.
  28. ↑ Cf. Sams: Did Schumann use ciphers in his works? , P. 218.
  29. ↑ Cf. Schmutz / Partsch: "You are like a flower" , p. 105 and p. 130.
  30. ↑ Cf. Schmutz / Partsch: “You are like a flower” , pp. 114/115.
  31. ↑ See Sams: The Songs of Robert Schumann , pp. 74/75.
  32. ↑ So also Althaus: Is Schumann's Myrthen a Cycle? , P. 5. Recording 2 was probably not even planned as a complete recording, but rather a compilation by the label.
  33. ↑ Grotjahn: The composing of poems , p. 120 also refers to the fact that the instrumentation with different voices and the resulting “transposition destroy the key relations”.