I have always preferred singing to purely instrumental music and never considered the latter to be high art (Robert Schumann, June 1839). Composing for the voice is something wonderful, dear Clara. I find it astonishingly easy to create all this; this music transcends the instrumental, is more immediate, and richer in melodies (Robert Schumann, February 1840).
One hardly expected consistency from Schumann, which is why his sudden focus on song in the year of his marriage came as a surprise. As early as the late 1820s, during his studies, he composed several songs influenced by his unrequited affection for Agnes Carus. Over the years, Schumann developed an increasing independence and distinctiveness, which manifested itself in works such as the Fantasia in C major, Op. 17, and in the Kreisleriana.
Often, Schumann's music contains allusions and secrets, many of which relate to Clara. During his separation from Clara, he wrote over one hundred songs. This prolific output was not only influenced by Mendelssohn Bartholdy's songs, but primarily by Clara's inspiration.
In May 1840, the "wonderful month," Schumann turned to the texts of Joseph von Eichendorff for his second song cycle. The twelve songs of Op. 39 are imbued with Eichendorff's poetry and revolve around themes such as longing, loss, and dreams.
Although Schumann primarily set texts by renowned poets to music, he also composed songs based on lesser-known poems. Among these is the cycle "Six Poems from a Painter's Songbook," Op. 36, with simple yet moving songs by Robert Reinick—composed in anticipation of his upcoming wedding.
Richard Wigmore © 2012
German: Viola Scheffel