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Spain was one favorite destination, with its relative isolation from the European mainland, its mix of Moorish and Christian, its tales of knights and damsels in fortress towers, its Mediterranean languor and its alluring women. There were German evocations of Spain as far back as Mozart's Sevilla in Le nozze di Figaro and Don Giovanni, but it was the poet Emanuel Geibel (1815 - 1884) who stoked popular German enthusiasm for things Spanish. Geibel never traveled to Spain, but began his poetic career by translating Greek and Latin poetry into German, then was drawn to volumes of Spanish folk poems. He assembled a series of translations and pastiches from these books into a bestselling volume titled Volkslieder und Romanzen der Spanier (Folk-songs and Romances of Spain, 1843). Poems from this collection would be republished in a second volume called Spanisches Liederbuch (Spanish Song-Book, 1850) and published in collaboration with Paul Heyse.
Schumann drew inspiration from Geibel's poetry at several stages in his career. In the song year of 1840, he set three original poems as his Op. 30, writing the swaggering Der Hidalgo on the day he received consent to marry his beloved Clara Wieck. Nine years later, he invented the genre of vocal chamber music by selecting poems from Volkslieder und Romanzen der Spanier and setting them for ensembles of one to four singers with piano. The two cycles were called the Spanisches Liederspiel (Spanish Song-play, Op. 74) and Spanische Liebeslieder (Spanish Love Songs, Op. 138). The program has several excerpts from these cycles, including a song in which the urgency of a midnight getaway is sublimated into a placid duet for tenor and baritone. We will have a quartet in which the village gossips mercilessly tease a young girl for falling in love for the first time, and a second quartet which describes the girl's defiant response. The song Flutenreicher Ebro features a lovestruck lad, asking the river in the manner of Schubert's miller lad if his beloved still remembers him.
Like Geibel, Schumann gained his "knowledge" of Spain from books and published music rather than from first-hand experience. There are bolero rhythms, off-beat accents and other "Spanish" devices, though sometimes the music seems to owe more to Chopin polonaises, Liszt rhapsodies and Italian ballads than real Spanish music. But the idea took root; Johannes Brahms would enlarge on the Liebeslieder form and Hugo Wolf would publish his own Spanisches Liederbuch based on the Geibel and Heyse translations.
There was one authentic source that Schumann drew on: Seville native Manuel García (1775 - 1832) had a peripatetic career as an operatic tenor (famed for his "authentic" depictions of the Sevillanos Count Almaviva and Don Giovanni), composer, impresario and singing teacher (his techniques remain fundamental to this day). García created a furor with the Paris premiere of his one-act monologue opera El poeta calculista in 1809. Its hit aria was Yo que soy contrabandista, which may have been the first portrayal of an unrepentant outlaw as a Romantic hero, free of the constraints of conventional society. The aria inspired Franz Liszt to write a piano rondo, figured in books by Victor Hugo and George Sand, and was interpolated into Gioacchino Rossini's opera, Il barberiere di Siviglia (for which García originated the role of Almaviva). Georges Bizet's opera Carmen is filled with Andalucian smugglers and borrows tunes from García operas. Schumann created a German-language recollection of "Contrabandista," which shows the differences between aria and art song.
Aus Spanisches Liederspiel, Op. 74Words: Emanuel Geibel (1815 - 1884)Source: Volkslieder und Romanzen der Spanier im Versmaße des Originals, 1843. |
From Spanish Song-PlayMusic: Robert Schumann (1810 - 1856)Source: Spanisches Liederspiel, Op. 74, March 24-29, 1849. |
#5: Es ist verratenOriginal title: Ser de amor esa pasionIm Bolerotempo Daß ihr steht in Liebesglut, Schlaue, läßt sich leicht gewahren, denn die Wangen offenbaren, was geheim im Herzen ruht. Stets an Seufzern sich zu weiden, stets zu weinen statt zu singen, wach die Nächte hinzubringen und den süßen Schlaf zu meiden; das sind Zeichen jener Glut, die dein Antlitz läßt gewahren, und die Wangen offenbaren, was geheim im Herzen ruht. Daß ihr steht in Liebesglut, Schlaue, läßt sich leicht gewahren, denn die Wangen offenbaren, was geheim im Herzen ruht. Liebe, Geld und Kummer halt' ich für am schwersten zu verhehlen, denn auch bei den strengsten Seelen drängen sie sich vor gewaltig. Jener unruhvolle Mut läßt zu deutlich sie gewahren, und die Wangen offenbaren, was geheim im Herzen ruht. |
It is revealedOriginal author: UnknownIn the tempo of a bolero That you are in love's fervor, O sly ones, is easy to perceive, for your cheeks reveal what secrets rest in your heart. Always glorying in your own sighs, always weeping instead of singing, staying awake nights, and avoiding sweet sleep, these are signs of that fervor that your face makes plain, and your cheeks confess what secrets rest in your heart. That you are in love's fervor, O sly ones, leaves itself easily noticed, for your cheeks reveal what secrets rest in your heart. I hold love, money and worry as the hardest to conceal, for even in the sternest souls, they push themselves out powerfully. That wholly restless mood leaves itself revealed too clearly, and your cheeks confess what secrets rest in your heart. |
#2: IntermezzoOriginal title: Si dormís, doncellaNicht schnell Und schläfst du, mein Mädchen, auf! öffne du mir; denn die Stund' ist gekommen, da wir wandern von hier. Und bist ohne Sohlen, leg' keine dir an; durch reißende Wasser geht unsere Bahn. Durch die tief tiefen Wasser des Guadalquivir; denn die Stund' ist gekommen, da wir wandern von hier. |
InterludeOriginal author: Gil Vicente (c.1465 - c.1536)Not fast And do you sleep, my girl? Up! Open for me! For the hour is come that we wander from here. And are you without shoes? Put none on, through raging waters goes our path. Through the deep, deep waters of the Guadalquivir, for the hour is come that we wander from here. |
#9: Ich bin geliebtOriginal title: Dirà cuanto dijereSehr lebhaft Mögen alle bösen Zungen immer sprechen, was beliebt: wer mich liebt, den lieb' ich wieder, und ich weiß, ich bin geliebt. Schlimme, schlimme Reden flüstern eure Zungen schonungslos, doch ich weiß es, sie sind lüstern nach unschuld'gem Blute bloß. Nimmer soll es mich bekümmern, schwatzt so viel es euch beliebt; wer mich liebt, den lieb' ich wieder, und ich weiß, ich bin geliebt. Zur Verleumdung sich verstehet nur, wem Lieb' und Gunst gebrach, weil's ihm selber elend gehet und ihn niemand nimmt und mag. Darum denk' ich, daß die Liebe, drum sie schmäh'n, mir Ehre gibt; wer mich liebt, den lieb' ich wieder, und ich weiß, ich bin geliebt. Wenn ich wär' aus Stein und Eisen, möchtet ihr darauf bestehn, daß ich sollte von mir weisen Liebesgruß und Liebesflehn. Doch mein Herzlein ist nun leider weich, wie's Gott uns Menschen gibt, wer mich liebt, den lieb' ich wieder, und ich weiß, ich bin geliebt. |
I am BelovedOriginal author: UnknownVery lively Let all evil tongues always say what they wish. Whoever loves me, I love in return, and I know I am beloved. wicked, wicked whispering, your tongues merciless, but I know that you are merely greedy for innocent blood. Never will it worry me, gossip as much as you please. Whoever loves me, I love in return, and I know I am beloved. Slander is only the refuge of he whom love and favor have abandoned, for he himself is so wretched and nobody chooses or likes him. That's why I think that love, which they revile, gives me glory. Whoever loves me, I love in return, and I know I am beloved. If I were made of stone and iron, you would prefer that I carry on, that I should reject love's greeting and love's plea. But my little heart is now unfortunately tender, as God gives to us people. Whoever loves me, I love in return, and I know I am beloved. |
Der HidalgoWords: Emanuel GeibelSource: Gedichte, Erstes Buch, 1834 - 1835. Etwas kokett Es ist so süß, zu scherzen mit Liedern und mit Herzen und mit den ernsten Streit. Erglänzt des Mondes Schimmer, da treibt's mich fort vom Zimmer, durch Platz und Gassen weit; da bin zur Lieb' ich immer wie zum Gefecht bereit. Die Schönen von Sevilla mit Fächer und Mantilla blicken den Strom entlang; sie lauschen mit Gefallen, wenn meine Lieder schallen zum Mandolinenklang. Und dunkle Rosen fallen mir vom Balkon zum Dank. Ich trage, wenn ich singe, die Zither und die Klinge vom Toledan'schen Stahl. Ich sing' an manchem Gitter und höhne manchen Ritter mit keckem Lied zumal. Den Damen gilt die Zither, die Klinge dem Rival. Auf denn zum Abenteuer! Schon losch der Sonne Feuer jenseits der Berge aus; der Mondnacht Dämmrungsstunden, sie bringen Liebeskunden, sie bringen blut'gen Strauß; und Blumen oder Wunden trag' morgen ich nach Haus. |
The GallantMusic: Robert SchumannSource: Drei Gedichte von Emanuel Geibel, Op. 30, No. 3, 1840. Somewhat flirty It is so sweet, to play with songs and with hearts and with a serious fight! The glimmer of the moon's beams drives me forth from my room, through squares and wide streets, then for love I am always as ready as for combat! The beauties of Seville, with fan and mantilla, gaze along the stream, they listen with pleasure when my songs sound to the mandolin's twang. And dark roses fall to me from the balconies as thanks. I carry, when I sing, a zither and a sword of Toledo steel. I sing at many trellises and scoff at many knights with cheeky songs in particular. For the ladies is meant the zither, the sword for the rival. Off, then, for adventure! Already the sun's fire is extinguished, gone beyond the mountain. The moon-night, twilight hours, they bring love's tidings, they bring bloody garlands, and blooms or wounds I will carry in the morning back home. |
RomanzeWords: Emanuel GeibelSource: Volkslieder und Romanzen der Spanier, 1843. Nicht schnell Flutenreicher Ebro, blühendes Ufer, all' ihr grünen Matten, schatten des Waldes, fraget die Geliebte, die unter euch ruhet, ob in ihrem Glücke sie meiner gedenket! Und ihr tauigen Perlen, die ihr im Frührot den grünenden Rasen bunt mit Farben schmückt, fraget die Geliebte, wenn sie Kühlung atmet, ob in ihrem Glücke sie meiner gedenket! Ihr laubigen Pappeln, schimmernde Pfade, wo leichten Fußes mein Mädchen wandelt, wenn sie euch begegnet, fragt sie, fragt sie, ob in ihrem Glücke sie meiner gedenket! Ihr schwärmenden Vögel, die den Sonnenaufgang singend ihr begrüßet mit Flötenstimmen, fraget die Geliebte, dieses Ufers Blume, ob in ihrem Glücke sie meiner gedenket! |
RomanceOriginal poem: Ebro caudolose (unknown poet)Source: Spanisches Liebeslieder, Op. 138, No. 5, April 1849. Not fast Flood-rich Ebro, blossoming shore, all you green meadows, shades of the woods, ask my beloved, who rests under you if in her bliss she remembers me! And you dewy pearls, which at dawn's light bedeck the greening lawn, bright with colors, ask my beloved when she breathes the cool air, if in her bliss she remembers me! You leafy poplars and gleaming trails, where lightfootedly my maiden wanders, when she comes to you, ask her, ask her if in her bliss she remembers me! You swarming birds, who at sunrise sing it welcome with flute-like voices, ask my beloved, that shore's blossom, if in her bliss she remembers me! |
Yo que soy contrabandistaWords and Music: Manuel del Pópulo VicenteRodríguez-García (1775 - 1832) Allegretto poco Yo que soy contrabandista y campo por mi respeto, a todos los desafío pues a nadie tengo miedo. Ay, ay, ay! Jaleo muchachas. ¿Quien me merca algun hilo negro? Mi caballo está cansado y yo me marcho corriendo. Ay, ay, que viene la ronda y se movió el tiroteo. Ay, ay, caballito mío, caballo mío careto. Ay jaleo que nos cojen ay sácame de este aprieto. Ay caballito, jaleo, ay caballito, jaleo. |
I who am a smugglerSource: Polo from El poeta calculista,an opera in one act, 1805. A little fast-ish I who am a smuggler and do as I please, I challenge all, because I fear noone. Hey, hey, hey! Make merry, girls! Who will buy my black thread? My horse is tired and I leave, running. Hey, hey! the patrol is coming, and that would set off a shoot-out. Hey, hey, my little horse, my ugly mug of a horse. Hey, go and take us away, hey, get me out of this jam. Hey, little horse, let's go, hey, little horse, let's go! |
Spanische RomanzeWords: Emanuel GeibelSource: Gedichte, 1840. Schnell Ich bin der Contrabandiste, weiß wohl Respekt mir zu schaffen. Allen zu trotzen, ich weiß es, furcht nur, die hab' ich vor keinem. Drum nur lustig, nur lustig! Wer kauft Seide, Tabak! Ja wahrlich, mein Rößlein ist müde, ich eil', ich eile, ja eile, sonst faßt mich noch gar die Runde, los geht der Spektakel dann. Lauf nur zu, mein lustiges Pferdchen, ach, mein liebes, gutes Pferdchen, weißt ja davon, mich zu tragen! |
Spanish RomanceOriginal poem: Yo que soy contrabandistaSource: Spanisches Liederspiel, Op. 74, Anhang, March 24-29, 1849. Fast I am the smuggler, and know well how to earn respect. To defy all is what I know, fear I have for no one. So just be merry, just merry! Who will buy my silk? Tobacco? Yes truly, my little steed is tired, I hurry, I hurry, yes, hurry, or else I'll be seized yet by the patrol, wouldn't that be a sight? Run fast then, my merry horse, ah, my dear, good little horse, you know well how to carry me away! |
Don Quichotte à DulcinéeWords: Paul Morand (1888 - 1976) |
Don Quixote to DulcineaMusic: Maurice Ravel (1875 - 1937), 1932-33 |
Chanson romanesqueModeratoSi vous me disiez que la terre a tant tourner vous offensa, je luis dépêcherais Pança: vous la verriez fixe et se taire. Si vous me disiez que l'ennui vous vient du ciel trop fleuri d'astres, déchirant les divins cadastres, je faucherais d'un coup la nuit. Si vous me disiez que l'espace ainsi vidé ne vous plaît point, chevalier dieu, la lance au poing, j'étoilerais le vent qui passe. Mais si vous disiez que mon sang est plus à moi qu'à vous ma Dame, je blêmirais dessous le blâme et je mourrais vous bénissant. O Dulcinée. |
Romantic Songdedicated to Robert CousinouIf you were to tell me that the earth with all its turning, offended you, I would dispatch (Sancho) Panza there; you would see it fixed and silent. If you were to tell me that you grew annoyed of a sky too flowery with stars, destroying the divine order, I would sweep the night away with one blow. If you were to tell me that space thus emptied, did not please you, knight of God, lance in hand, I would stud stars into the wind as it passes. But if you said that my blood is more mine than yours, my Lady, I would blanch at the reproach, and I would die, blessing you. Oh, Dulcinea. |
Chanson épiqueMolto moderato
Bon Saint Michel qui me donnez loisir
de voir ma Dame et de l'entendre,
bon Saint Michel qui me daignez choisir
pour lui complaire et la défendre,
bon Saint Michel veuillez descendre
avec Saint Georges sur l'autel
de la Madone au bleu mantel.
D'un rayon du ciel bénissez ma lame
et son égale en pureté
et son égale en piété
comme en pudeur et chasteté:
Ma Dame.
(O grands Saint Georges et Saint Michel)
L'ange qui veille sur ma veille,
ma douce Dame si pareille
a Vous, Madone au bleu mantel!
Amen.
|
Epic Songdedicated to Martial SingherGood Saint Michael, who gives me the liberty to see my Lady and to hear her, good Saint Michael, who deigns to choose me to please her and to defend her, good Saint Michael, I pray you to descend with Saint George upon the altar of the Madonna of the blue mantle. With a beam from heaven, bless my sword and its equal in purity and its equal in piety as in modesty and chastity: my Lady! (O great Saint George and Saint Michael!) the angel who watches over my watch, my sweet Lady who is like you, Madonna of the blue mantle! Amen. |
Chanson à boireAllegroFoin du bâtard, illustre Dame, qui pour me perdre à vos doux yeux dit que l'amour et le vin vieux mettent en deuil mon cœur, mon âme! Je bois à la joie! La joie est le seul but où je vais droit... lorsque j'ai bu! Foin du jaloux, brune maîtresse, qui geind, qui pleure et fait serment D'être toujours ce pâle amant qui met de l'eau dans son ivresse! Je bois à la joie! La joie est le seul but où je vais droit... lorsque j'ai bu! |
Drinking Songdedicated to Robert BourdinTo hell with the bastard, illustrious Lady, who, to lose me in your sweet eyes says that love and old wine will bring to grief my heart and my soul! I drink to joy! Joy is the sole aim that I pursue ... when I've drunk! To hell with the jealous fool, dark mistress, who whines, who weeps and makes oaths to always be the pale lover who puts water into his intoxication! I drink to joy! Joy is the sole aim that I pursue ... when I've drunk! |
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Last updated: February 26, 2007 by James C.S. Liu.
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