Sämtliche Lieder für Singstimme und Klavier, Bd. 1 by Clara Schumann; Joachim Draheim;Brigitte Höft; Sämtliche Lieder für Singstimme und Klavier, Bd. 2 by Clara Schumann;Joachim Draheim; Brigitte Höft; Drei gemischte Chöre nach Gedichten von Emanuel Geibelfür vierstimmigen Chor a cappella: Abendfeier in Venedig; "Vorwärts;" Gondoliera by ClaraSchumann; Gerd NauhausReview by: Nancy B. ReichNotes, Second Series, Vol. 50, No. 2 (Dec., 1993), pp. 747-749Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/898516 .

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Music Reviews

Clara Schumann. Samtliche Lieder fur Singstimme und Klavier, Bd. 1. Hrsg. von Joachim Draheim, Brigitte Hoft. Wiesbaden: Breitkopf & Hartel, 1990. [Vorwort in Ger., Anmerkungen, facsims., pp. 3-9; score, pp. 10-47; Revisionsbericht, pp. 48-50; Summary of the preface, pp. 51-52. Edition Breitkopf Nr. 8558. DM28,00.] Clara Schumann. Samtliche Lieder fur Singstimme und Klavier, Bd. 2. Hrsg. von Joachim Draheim, Brigitte Hoft. Wiesbaden: Breitkopf & Hartel, 1992. [Vorwort in Ger., Anmerkungen, facsims., pp. 3-9; score, pp. 10-55; Revisionsbericht, pp. 56-58; Summary of the preface, pp. 59-60. Edition Breitkopf Nr. 8559. DM29,00.] Clara Schumann. Drei gemischte Chore nach Gedichten von Emanuel Geibel fur vierstimmigen Chor a cappella: Abendfeier in Venedig; "Vor- warts;" Gondoliera. Erstdruck hrsg. von Gerd Nauhaus. Wiesbaden: Breitkopf & Hartel, 1989. [Vorwort, pp. 3-4; choral score, pp. 5-14; Zur Edition, pp. 15-16; DM3,20.]

In a review of recordings of Clara Schu- mann songs (Fanfare 16 [March/April 1993]: 278-80), David Johnson refers to a "Clara Schumann boomlet." The "boomlet" continues with authoritative editions of her music-in this case-long-awaited modern editions of her lieder and the first edition of her Drei gemischte Chore, composed in 1848.

Volume 1 (1990) of the Breitkopf & Har- tel edition of the Clara Schumann Samtliche Lieder, edited by Brigitte Hoft and Joachim Draheim, offers few surprises since it com- prised fifteen songs published soon after they were composed. Volume 2 (1992) and the Drei gemischte Chdre, however, open a whole new world of vocal music to the per- former and listener. Of the Clara Schu- mann songs in volume 2, only three had ever appeared in print (though a number have been available on recordings). Vol- ume 2 also presents early versions of two Heinrich Heine settings: "Ihr Bildnis (Ich stand in dunklen Traumen)," op. 13, no. 1 and "Sie liebten sich beide," op. 13, no. 2. Both appeared in volume 1 in their final and extensively revised versions. The pub- lication of these first versions offers a unique glimpse of the composer's thought processes. Not unexpectedly, the earlier versions are bolder, more dramatic, and less conventional than the final ones.

Perhaps to fill out the volume, the editors include two songs attributed to Friedrich Wieck on texts by Justinus Kerner, which the editors believe may be efforts of the

twelve-year-old Clara Wieck. Though they acknowledge that the authorship is still un- determined, the questionable decision was made to include them in this volume. It is difficult to believe that a twelve-year old, talented as she was, would have set these texts with a sophistication not found in her piano works from about the same time.

Most of the recent writings about Clara Schumann deal with her as a pianist and composer for the piano. Her involvement with singing and vocal music, however, be- gan early. The young Clara had a well- rounded musical education supervised by her teacher-father, Friedrich Wieck, who strongly believed that every pianist should understand the art of singing. At fourteen, Clara was sent to Dresden to study with Johann Aloys Miksch, teacher of Wilhel- mine Schroder-Devrient and other prom- inent vocalists.

At her childhood concerts, lieder com- posed by Clara were performed along with her piano solos and the orchestral over- tures, guitar duets, and other varied mu- sical events programmed at concerts in the 1830s and 1840s. Her first published song, "Walzer," appeared in 1834 when she was fifteen and is reprinted in volume 2. "Walzer" and the second song in volume 2, "Der Abendstern," are not in the same class as the others but presumably appear here for the sake of completeness.

Clara Wieck knew the Schubert lieder before they were generally familiar to Ger- man audiences. Schubert's "Die Forelle"

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NOTES, December 1993

was performed in her first concert of 1828; "Gretchen am Spinnrade" and "Erlk6nig" (of which she owned an autograph) and the Liszt transcriptions of such Schubert lieder as "Standchen," "Gretchen," and "Ave Maria," were heard at her girlhood appear- ances. She was acquainted with the songs of Felix Mendelssohn, and Robert Schu- mann's lieder were, of course, an intimate part of her life. Singers-Jenny Lind, Julius Stockhausen, and Pauline Viardot- for example, were among her closest friends and associates.

Of Clara Schumann's small oeuvre, the songs are certainly among the most inter- esting and original. There is a common- but incorrect-perception that women write light, simple, tender, sentimental songs. In terms of Clara Schumann's lieder, nothing could be further from the truth. These are not lieder for the parlor nor for the student; they must be performed by an experienced artist with devoted prepara- tion. The songs that appear in Sdmtliche Lieder were heard in the concert hall during the nineteenth century. "Am Strande," for example, was performed at the concert of 31 March 1841 when Felix Mendelssohn conducted the premiere of Robert Schu- mann's "Spring" Symphony at the Leipzig Gewandhaus. This song was first published in Robert Schumann's musical supplement of the Neue Zeitschriftfiir Musik of July 1841, along with vocal works by Felix Men- delssohn, Robert Schumann, and Johannes Verhulst.

Most of the songs in the Sdmtliche Lieder were written as Christmas or birthday gifts for Clara Schumann's husband. Indeed three of her best-known songs-"Am Strande" (Wilhelm Gerhard's translation of Robert Burns's "Musing on the Roaring Ocean"); "Volkslied" (later set by Robert in his op. 64); and "Ich stand in dunklen Traumen" were gifts to Robert Schumann on the first Christmas of their married life. These first songs represent some of the contrasting facets of Clara Schumann's art, and her later songs also take these diver- gent paths: there are the "dark" songs- intense, dramatic, and tragic like "Volks- lied" and "Ich stand in dunklen Traumen"; lyrical outpourings with sweeping virtuoso accompaniments like "Am Strande" and "Lorelei" (yes, Heine's text); and delightful

songs with folklike overtones: "Was weinst du, Bliimlein" and her setting of Goethe's "Das Veilchen."

Except for "Walzer," and "Der Abend- stern," all the Clara Schumann songs in these two volumes were composed between Christmas 1840 and July 1853, the years of her marriage to Robert Schumann. Al- though Schumann lived until 1856, his fi- nal two and one-half years were spent in a mental hospital, away from his wife and family. Clara Schumann did not compose again after his death. The editors speculate on this point briefly in their prefaces but cannot come up with a satisfying answer about why this talented woman stopped composing. Familiarity with these beautiful songs makes this even more puzzling.

Another question arises about the un- published songs in volume 2, among the most dramatic and powerful of her works. One may well wonder why such songs as "Lorelei" or "Volkslied" or "Oh weh, des Scheidens, das er tat" remained in manu- script for so many years. Draheim and Hoft do not address this issue in their Vorwort to volume 2 but do offer plentiful biograph- ical background supported by references to the recently published Tagebiicher II: 1836-1854 by Robert Schumann (edited by Gerd Nauhaus [Leipzig: Deutscher Verlag fur Musik, 1987]). These include the "mar- riage diaries" in which Robert and Clara Schumann communicated with each other: Robert encouraged-even coaxed-her to compose, and Clara confided to the diary her trepidations and anxieties about com- posing. (Forthcoming in English transla- tion as The Marriage Diaries of Robert and Clara Schumann: From Their Wedding Day to the Russian Trip, edited by Gerd Nauhaus, translation with a preface by Peter Ostwald [Boston: Northeastern University Press].)

The prefaces to both volumes are in Ger- man. English summaries, heavily cut and unfortunately without sources or acknowl- edgements, are given at the end of each volume. From the Revisionsbericht we learn that editorial decisions were solidly based on editions that appeared during the com- poser's lifetime and on autographs in the Berlin Staatsbibliothek and Robert-Schu- mann-Haus in Zwickau.

The edition is well produced; the print is large, the songs-for the most part-well

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Music Reviews Music Reviews

laid out. Both volumes are easy to read and handle. The publication of Clara Schu- mann's lieder in this edition is to be cele- brated.

Clara Schumann composed some of her finest works during the five and one-half years the family lived in Dresden (1844- 50). Despite her weighty responsibilities-a large family, playing for and with Robert Schumann's Choral Society, preparing piano-vocal scores of her husband's works, teaching, and performing-she composed the Trio, op. 17, a number of songs, and Drei gemischte Chore. In his excellent Vorwort (unfortunately not translated into English), Gerd Nauhaus informs us that the choruses were written for Robert Schumann's thirty- eighth birthday, in 1848. The music was sung from manuscript several times by the Dresden choral group; why it was not published remains unknown. The three a cappella choruses, SATB, have already been recorded (Heidelberger Madrigal- chor singing Chore und Lieder of Lili Bou- langer, Fanny Hensel, and Clara Schu- mann [Bayer Records 100 041]). The Clara

laid out. Both volumes are easy to read and handle. The publication of Clara Schu- mann's lieder in this edition is to be cele- brated.

Clara Schumann composed some of her finest works during the five and one-half years the family lived in Dresden (1844- 50). Despite her weighty responsibilities-a large family, playing for and with Robert Schumann's Choral Society, preparing piano-vocal scores of her husband's works, teaching, and performing-she composed the Trio, op. 17, a number of songs, and Drei gemischte Chore. In his excellent Vorwort (unfortunately not translated into English), Gerd Nauhaus informs us that the choruses were written for Robert Schumann's thirty- eighth birthday, in 1848. The music was sung from manuscript several times by the Dresden choral group; why it was not published remains unknown. The three a cappella choruses, SATB, have already been recorded (Heidelberger Madrigal- chor singing Chore und Lieder of Lili Bou- langer, Fanny Hensel, and Clara Schu- mann [Bayer Records 100 041]). The Clara

Schumann choruses are brief-of about ten-minutes' duration-and are a charm- ing addition to the repertory for small cho- rus. The final chorus, "Gondoliera," is par- ticularly effective.

The poems Clara Schumann chose for the choral pieces were by Emanuel Geibel (1815-1884), an immensely popular con- temporary, whose romantic, often senti- mental poetry was set by a number of Ger- man composers. Nauhaus points out that Geibel's collection, Gedichte, (1840), from which "Abendfeier in Venedig," "Vor- warts," and "Gondoliera" were taken, had as many as 100 subsequent printings.

Once again, we are indebted to Gerd Nauhaus. His editions of Robert Schu- mann's diaries, Clara Schumann's Sonata in G-minor, and now Drei gemischte Chire are meticulously edited with generous ac- knowledgements and documentation. His are authoritative editions that bring to life an era and its music.

NANCY B. REICH

Williams College

Schumann choruses are brief-of about ten-minutes' duration-and are a charm- ing addition to the repertory for small cho- rus. The final chorus, "Gondoliera," is par- ticularly effective.

The poems Clara Schumann chose for the choral pieces were by Emanuel Geibel (1815-1884), an immensely popular con- temporary, whose romantic, often senti- mental poetry was set by a number of Ger- man composers. Nauhaus points out that Geibel's collection, Gedichte, (1840), from which "Abendfeier in Venedig," "Vor- warts," and "Gondoliera" were taken, had as many as 100 subsequent printings.

Once again, we are indebted to Gerd Nauhaus. His editions of Robert Schu- mann's diaries, Clara Schumann's Sonata in G-minor, and now Drei gemischte Chire are meticulously edited with generous ac- knowledgements and documentation. His are authoritative editions that bring to life an era and its music.

NANCY B. REICH

Williams College

Ernest Chausson. Pieces pour piano; edition d'Yves Lado-Bordowski. (Patrimoine, collection dirigee par Franqois Lesure, 6.) Paris: Editions musicales de Marais (Hal Leonard), 1990. [Intro., sources, critical notes, in Fr., Eng., pp. iii-viii; score, 34 p. E.M.M. 3509. $15.95.] Deodat de Severac. Sonate pour piano; edition de Pierre Guillot. (Pa- trimoine, collection dirigee par Franqois Lesure, 4.) Paris; Editions mu- sicales de Marais (Hal Leonard), 1990. [Intro., sources, in Fr., Eng., pp. iii-vi, score, 54 p. E.M.M. 3507. $17.95.]

Ernest Chausson. Pieces pour piano; edition d'Yves Lado-Bordowski. (Patrimoine, collection dirigee par Franqois Lesure, 6.) Paris: Editions musicales de Marais (Hal Leonard), 1990. [Intro., sources, critical notes, in Fr., Eng., pp. iii-viii; score, 34 p. E.M.M. 3509. $15.95.] Deodat de Severac. Sonate pour piano; edition de Pierre Guillot. (Pa- trimoine, collection dirigee par Franqois Lesure, 4.) Paris; Editions mu- sicales de Marais (Hal Leonard), 1990. [Intro., sources, in Fr., Eng., pp. iii-vi, score, 54 p. E.M.M. 3507. $17.95.]

Although the major orchestral, chamber, and vocal works of Ernest Chausson (1855- 1899) are occasionally performed, his compositions for the piano are virtually un- known. This unjust neglect is partially re- dressed in volume 6 of the French series Patrimoine, which presents a new edition of Chausson's mature piano works. There are but two compositions: Quelques danses, op. 26, a suite in four movements ("Dedi- cace," "Sarabande," "Pavane," and "For- lane"), and a wistful character piece in C minor, Paysage, op. 38. These works were composed in 1895 and 1896, just several years before Chausson's untimely death at age forty-four in a bicycling accident. (The remainder of Chausson's piano works,

Although the major orchestral, chamber, and vocal works of Ernest Chausson (1855- 1899) are occasionally performed, his compositions for the piano are virtually un- known. This unjust neglect is partially re- dressed in volume 6 of the French series Patrimoine, which presents a new edition of Chausson's mature piano works. There are but two compositions: Quelques danses, op. 26, a suite in four movements ("Dedi- cace," "Sarabande," "Pavane," and "For- lane"), and a wistful character piece in C minor, Paysage, op. 38. These works were composed in 1895 and 1896, just several years before Chausson's untimely death at age forty-four in a bicycling accident. (The remainder of Chausson's piano works,

three youthful pieces, are not printed: Cinq fantaisies, op. 1, was published in 1879 by Durand and Schoenewerk but later re- tracted by the composer; in addition, a So- nata in F minor and a Marche militaire are still unpublished.)

Quelques danses and Paysage were initially printed in Paris by Emile Baudoux and later reprinted by Bellon and Ponscarme (Quelques danses) and Rouart Lerolle (both pieces). In 1978, Salabert published a new edition containing both pieces, edited by Herbert Haufrecht. The Patrimoine vol- ume, edited by Yves Lado-Bordowski, is not only the handsomest in appearance but also the only one that contains an intro- duction and critical apparatus (in French

three youthful pieces, are not printed: Cinq fantaisies, op. 1, was published in 1879 by Durand and Schoenewerk but later re- tracted by the composer; in addition, a So- nata in F minor and a Marche militaire are still unpublished.)

Quelques danses and Paysage were initially printed in Paris by Emile Baudoux and later reprinted by Bellon and Ponscarme (Quelques danses) and Rouart Lerolle (both pieces). In 1978, Salabert published a new edition containing both pieces, edited by Herbert Haufrecht. The Patrimoine vol- ume, edited by Yves Lado-Bordowski, is not only the handsomest in appearance but also the only one that contains an intro- duction and critical apparatus (in French

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