In his childhood, Robert Schumann’s attention was equally divided between music and literature. Though literature would remain a strong influence on him throughout his lifetime, music eventually became the focus of his energies. Yet even then, he initially aspired to be a concert pianist and not a composer. It was not until a damaging injury to his right hand destroyed his hopes of becoming a piano virtuoso that Schumann turned wholeheartedly to composition. At the beginning of his compositional career, Schumann composed almost exclusively for the piano. However, in 1840, the year of his long awaited marriage to Clara Wieck, Schumann turned to the composition of song. Indeed, his output was so tremendous during this solitary year that it has ubiquitously become known as his Liederjahre, or “Year of Song,” and it solidified Schumann’s place, along with Franz Schubert and Johannes Brahms, as one of the greatest composers of lieder.
Composed in April and October of that year was the 3 Romanzen und Balladen, op. 45 and based on a poem by Heinrich Heine and two by Joseph Eichendorff. Though not technically a song cycle, the three songs are connected by the general theme of exploration and adventure: the first, for buried treasure; the second, for accomplishment; and finally, the third, for unknown lands. In this last song, Abends am Stram, based on Heinrich Heine’s poem, Wir saßen am Fischerhause(“We sat at the fisherman’s house”), the poet tells of him and his comrades reminiscing of the life at sea and far-off lands as they watch a distant passing ship. Once they finish, the day has grown dark and the ship is no longer visible. Schumann carefully crafts his setting with the piano, for the most part, depicting the rolling waves of the sea as the voice gives utterance to Heine’s text. The accompaniment changes, however, to depict the storms of the third stanza and the shimmering Ganges River in the fifth.Joseph DuBose
Classical Music | Bass
Robert Schumann
Abends am Strand, Op. 45, No. 3
PlayRecorded on 08/11/2010, uploaded on 10/27/2011
Musician's or Publisher's Notes
In his childhood, Robert Schumann’s attention was equally divided between music and literature. Though literature would remain a strong influence on him throughout his lifetime, music eventually became the focus of his energies. Yet even then, he initially aspired to be a concert pianist and not a composer. It was not until a damaging injury to his right hand destroyed his hopes of becoming a piano virtuoso that Schumann turned wholeheartedly to composition. At the beginning of his compositional career, Schumann composed almost exclusively for the piano. However, in 1840, the year of his long awaited marriage to Clara Wieck, Schumann turned to the composition of song. Indeed, his output was so tremendous during this solitary year that it has ubiquitously become known as his Liederjahre, or “Year of Song,” and it solidified Schumann’s place, along with Franz Schubert and Johannes Brahms, as one of the greatest composers of lieder.
Composed in April and October of that year was the 3 Romanzen und Balladen, op. 45 and based on a poem by Heinrich Heine and two by Joseph Eichendorff. Though not technically a song cycle, the three songs are connected by the general theme of exploration and adventure: the first, for buried treasure; the second, for accomplishment; and finally, the third, for unknown lands. In this last song, Abends am Stram, based on Heinrich Heine’s poem, Wir saßen am Fischerhause (“We sat at the fisherman’s house”), the poet tells of him and his comrades reminiscing of the life at sea and far-off lands as they watch a distant passing ship. Once they finish, the day has grown dark and the ship is no longer visible. Schumann carefully crafts his setting with the piano, for the most part, depicting the rolling waves of the sea as the voice gives utterance to Heine’s text. The accompaniment changes, however, to depict the storms of the third stanza and the shimmering Ganges River in the fifth. Joseph DuBose
More music by Robert Schumann
Maerchenbilder for viola and piano - I mov, op.113
Wehmuth, from Liederkreis, Op. 39
Novellette no. 6 in A Major: Sehr lebhaft mit vielem Humor, from Novelletten, Op. 21
Nur wer die Sehnsucht kennt, from Lieder und Gesänge aus Wilhelm Meister
Intermezzo
Carnaval, Op. 9
Adagio and Allegro, Op. 70
Presto Passionato in g minor, Op. 22a
Faschingsschwank aus Wien, Op. 26 (Carnival of Vienna)
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Performances by same musician(s)
Die Beiden Grenadiere, Op. 49, No. 1
Le paon, from Histoires naturelles
Le cygne, from Histoires naturelles
Le grillon, from Histoires naturelles
Le pintade, from Histoires naturelles
Le martin-pêcheur, from Histoires naturelles
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