#3 The Words and Music of Dichterliebe
UDC: 78.071.1 Шуман Р.
78.01
COBISS.SR-ID 33178633
_________________
Received: Dec 15, 2020
Reviewed: Jan 24, 2021
Accepted: Feb 03, 2021
#3 The Words and Music of Dichterliebe
Citation: Shao, Xin. 2021. "The Words And Music of Dichterliebe." Accelerando: Belgrade Journal of Music and Dance 6:3
Abstract
The purpose of this article is to help singer to get more ideas for interpreting Robert Schumann’s work Dichterliebe (1840) through analyzing its relationship between words and music. The article also simply stating Schumman’s love story and his setting music of Heinrich Heine since this piece could be seen as a music resume of Schumann’s life. Otherwise, Word painting is a common composition tool for his work. Accordingly, the article analysis and shows the corresponding between the word meaning and piano part in this song cycle.
Dichterliebe, Robert Schumann, Heinrich Heine, word and music, song cycle, word painting
Introduction
What happens when an emotional and intelligent composer becomes interested in beautiful and sentimental poetry? Songs and song cycles, of course. Many singers consider Robert Schumann’s Dichterliebe (1840) to be their favorite song cycle. It includes sixteen songs to poetry by Heinrich Heine. Schumann composed the song cycle in just over a week. Its exquisite blend of words and music has caused it to become among the most widely known German Romantic song cycles. What makes this work so exceptional? In this essay, I discuss Schumann and Heine, and then investigate the relationship between the piano and the voice in Dichterliebe. As one of the leading composers of the Romantic era, Robert Schumann (1810-49) devoted his entire life to music. His songs have tremendous artistic appeal in part because he did not separate the essential essence of a poem, its words, from the music, which he used to express deep inner feelings where words would fail. His exceptional talent of setting words to music came from his love of reading books and old literature when he was a child. Schumann is generally considered an expert in short character pieces instead of larger works. Among his most popular collections of short pieces or cycles are Carnival (1834-1835) and Kreisleriana (1838) for solo piano and Liederkreis (1840) and Dichterliebe for solo voice and piano.
The Words and Music of Dichterliebe
Heinrich Heine (1797-56) was a significant figure in German literature. Humor and irony are central to his writing style, and his poems concern the tragic experience of love and delicate emotions. He experienced the pain of love firsthand, and this became evident in his poetry. Heine fell in love with his cousin Amalie Heine when he was 18. However, Amalie’s father forced her to marry the manor owner’s son. Then, Heine transferred his love to Amalie’s sister, but she directly refused him. Undoubtedly, these experiences of love created huge shadows in his heart and mentality. He was at first full of passion about love: then he started to suspect that Amalie never loved him and began to recognize love as an unforgivable betrayal. Heine wrote a collection of poems titled Lyrisches Intermezzo (Lyrical Intermezzo) in 1822-23; the poems came two years before he was crossed in love. The 65 poems in the collection may presage his tragic love experience. They were published as part of Buch der Lieder in 1827, two years after his romantic tragedy.
Schumann set poetry from nearly every poet of his generation, including Heine. Over his lifetime, he set 38 of Heine’s poems to music. Schumann met Heine in Munich in 1828, when Schumann was 18 years old (Hallmark 1979, 7), and he was attracted to several of Heine’s personal characteristics. They came from similar social backgrounds, and both hated the corruption and hypocrisy in society. Schumann related to Heine’s melancholic temperament, which was similar to his own. Heine was experienced at the suffering of love, which resonated with Schumann.
Schumann discovered Heine’s Lyrisches Intermezzo at the time when he was being forced to separate from Clara, who herself was a renowned pianist and composer, and she inspired Schumann to focus on writing love songs. This formed a significant connection between the two men. Then, Schumann began setting Heine’s poems to music in 1840 with Liederkreis, op. 24, and Dichterliebe, op. 48, the year in which Heine’s Buch der Lieder had become one of the most popular poetic anthologies of the time (Perrey 2007, 126).
Dichterliebe, op. 48 is a song cycle based on Heine’s collection of poems Lyrisches Intermezzo. The poems describe a woeful love-struck knight who sits in his home all day. His fairy bride visits him at night, and he dances with her until the next day arrives and she returns him to his room.
Heine’s poetry emphasizes a man’s love for a woman. Heine rarely writes about maidens and young girls’ love for a man; instead, he often relates his own experiences of love from real life. For instance, in Ein Jüngling liebt ein Mädchen (no. 40 in Lyrisches Intermezzo, no. 11 in Dichterliebe) he describes an old story of a youth’s love:
A youth loved a maiden who chose another: the other loved another girl, and married her. The maiden married, out of 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, who is turned aside, had his heart broken in two. (Hallmark, op.cit., 22)
The response of Schumann when he read this poem was delicate and sensitive. He knew about women’s thoughts and he sympathized with them. Clara’s father angrily prevented Clara and him from being together, and the poem raised Schumann’s interest and gave him the inspiration to set the texts (Miller, 1999, 98).
The poems and music of Dichterliebe
As a composer, Schumann equalized the roles of the piano and the voice in his songs. The piano is not just accompaniment; its functions in Lieder include preludes, interludes, and postludes. It also completes vocal lines and provides tonal closure when the vocal part does not end on the tonic. This relationship is evident in Dichterliebe.
Schumann chose 20 poems from Heine’s collection that included fine rhythmic momentum and readability. However, only 16 songs were published in the original set. After Schumann selected poems from Lyrisches Intermezzo, he started to conceive a melodic setting. His first written idea of a song is not a fragmentary idea but rather a complete or nearly complete voice part, fully texted. (Hallmark op.cit., 22)
He envisioned Dichterliebe as connected character pieces. Most songs are connected by unfinished endings or half cadences. Therefore, some pieces in Dichterliebe are not good for singing individually.
Dichterliebe Lyrisches | Intermezzo | |
---|---|---|
Im wunderschönen Monat Mai | No.1 | No.1 |
Aus meinen Tränen sprießen | No 2 | No.2 |
Die Rose, die Lilie, die Taube, die Sonne | No.3 | No.3 |
Wenn ich in deine Augen she | No.4 | No.4 |
Ich will meine Seele tauchen | No.5 | No.7 |
Im Rhein, im schönen Strome | No.6 | No.11 |
Ich grolle nicht, und wenn das Herz auch bricht | No.7 | No.18 |
Und wüßten's die Blumen, die kleinen | No.8 | No.22 |
Das ist ein Flöten und Geigen | No.9 | No.20 |
Hör ich das Liedchen klingen | No.10 | No.40 |
Ein Jüngling liebt ein Mädchen | No.11 | No.39 |
Am leuchtenden Sommermorgen | No.12 | No.45 |
Ich hab im Traum geweinet | No.13 | No.55 |
Allnächtlich im Traume seh' ich dich | No.14 | No.56 |
Aus alten Märchen winkt es | No.15 | No.43 |
Die alten, bösen Lieder | No.16 | No.65 |
The storyline of the song cycle is as same as that of Schumann’s and Heine’s love experiences. Nos.1-6 describe a poet’s love for a girl. Nos. 7-14 concern the poet’s suffering after he lost the girl. Nos. 15-16 tell of the poet’s decision to bury this love. Most of the songs in Dichterliebe are in strophic form, like the poems themselves. Schumann created a variety of settings in the cycle, depending on the nature of the poem. For example, he used a declamatory style in “Die alten, bösen Lieder,” since the text was very serious sounding like the singer was making a vow. Likewise, in “Aus meinen Tränen sprießen,” he created a very simple melody and simple piano part in order to express the objective nature of the poem. (See Example 1.)

Example 1. Schumann, “Aus mienen Tränen sprießen,” mm. 1-4.
English translation: 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. (Moore 1981,2) Metaphor is an important tool for a poet, including Heine. An image of a woman serves him as his poetic canvas, appearing as Virgin, Madonna, Maiden, Sphinx, or Beast; because, as Beate Julia Perrey (2002) asserts, this image functions as a poetic mirror of Heine’s critique of his time, it becomes the catalyst for his reaction. For instance, Heine described his lover as a holy virgin surrounded by angels in his Lyrisches Intermezzo no. 11.
Dichterlibe analysis
The author divided Dichterlibe into parts based on the protagonist’s emotional changes:
- The first seven songs exhibit the story of the poet from falling in love to failing out of love in the protagonist’s memory. They show a young man who changes his inner feeling from happiness to extreme pain and the music also changes from gentle lyricism to high drama. No. 7, “Ich grolle nicht” is the climax of the entire song cycle. The story notably changes in this song.
- The second part starts from the song eight. The protagonist’s emotion turns to negative. He has full heart of negative emotions. For example, the man feels inner pain while thinking about his love experience, which can be traced from the eighth song “Und wüßten's die Blumen, die kleinen” to the last song “Die alten, bösen Lieder”. The man is being gradually pulled by his sad love to grave and death.
The First Seven Songs
No. 1 “Im wunderschönen Monat Mai” (The Beautiful Month of May)
In this song, the scene was set in the past, a month of beautiful May. Everything has energy as well as love. Schumann’s setting of this opening poem establishes a romantic and soft atmosphere to capture the love coming from the young man. This time was the first time that the protagonist confesses to his lover. The song is marked “Langsam, zart,” which means slow and sweet, and the strophic form of the song unfolds a scene of spring blossom and the character’s growing desire for love. In the beginning, Schumann moves between F sharp minor and A major to create a sense of ambiguity (see Example 2) that is never resolved. (Ferris 2000, 92)
It seems to be a symbol of spring, a season of exuberance of love as cold temperatures intertwine with warm ones. Then, the first sentence “In the beautiful month of May'' confirms the atmosphere of the lovely music heard thus far. Arpeggios frequently appear in piano parts and the vocal line to tightly connect both parts. However, the piano seems to play a different mood to contrast the vocal part with a delicate dissonance, which probably indicates some hidden troubles of their love (see Example 3). The author’s view is that it is a rather subtle dramatic that was deliberately made by Schumann.
The arpeggios are preparations for the climax in the middle part of the song at the word “aufgegangen” (unfold). When the music arrives at the climax, the singer and the pianist must match on the crescendo. It feels like a confession to one’s lover. The song does not end with a firm cadence but instead on an unsolved dominant seventh chord, which gives the audience the effect of holding the wonderful moment into the next song.
Im wunderschönen Monat Mai has a great balance between voice and piano, which differs from piano by only playing an accompaniment background. Although the piano part seems as if playing a different role with the vocal line, they are perfectly getting together in harmony, which means the protagonist is talking about his love in the beautiful day that is played by piano. Therefore, the first song is a notable example that Schumann enhanced the function of the piano as important as the role of the voice.

Example 2. Schumann, “Im wunderschönen Monat Mai,” mm. 1-6.

Example 3. Schumann “Im wunderschönen Monat Mai,” mm. 8-12.
No. 2 “Aus meinen Tränen sprießen” (Many flowers spring up from my tears)
While this is a sorrowful song it is otherwise a sweet one: the protagonist is unsure about his love, but he feels happiness about the preparation of the love. This song continues the sweet mood from the last song, but the entire song is in a little sorrowful emotion as well, which may contribute to the ambiguity of tonality. In the beginning, the piece starts with A major, but then the tonality has a tendency to F# minor. Therefore, the ending of the song does not have a solid cadence. (see Example 4) “Aus meine Tränen” presents a different kind of unsatisfactory cadence, in which the voice constantly ends on a half-cadence that the pianist must resolve. It is as if the pianist mocks the singer/speaker with a disparaging affirmation. (Finson 2007, 63).

Example 4. Schumann “Aus meinen Tränen sprießen” mm.14-18.
No. 3 “Die Rose, die Lilie, die Taube, die Sonne” (I used to love the rose, lily, dove and sun)
The song starts with barely a break, which is a great contrast and surprise in comparison with the previous two. This poem exhibits more constancy of pattern than any other poem in Lyrisches Intermezzo through the alternation of two unstressed syllables with two stressed syllables. It is realized musically with in two-measure phrases that seem crowded and flow breathlessly from one to another (Hallmark op.cit.).
The poem expresses the exuberance of love, so it should not become an exhibition of bombastic diction or airflow and subglottic pressure. Schumann sets a vigorous accompaniment for the poem. He uses a combination of sixteenth-notes and rests as the main motivic module with the rose, the lily, the dove and sun to represent the exciting emotions.
In the second part, Schumann gives the left-hand eighth notes instead of sixteenth notes, when the text comes to the fact that she is the rose, the lily, the dove, and the sun. The second part becomes lyrical because the poem turns to love. Also, Schumann adds two “ritardandos” to soften the pace at the words “sie selber, aller Libe Wone” (she herself, the well of all love) and “ist Rose unLilieun Taube und Sonne” (is rose, lily, dove and sun). This creates a more reflective mood.
No. 4 “Wenn ich in deine Augen seh” (When I look in your eyes all my pain and woe fades)
The fourth song contrasts enormously in the mood with the previous one. The starting tempo is “Langsam” and the dynamic is piano. A long silence before the introductory chord of the fourth song should exist to demonstrate the difference.