PDF Was will die einsame Träne Op.25 No.21 - Score

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In so doing they join hands with others from all over the world who have endured hardships in similar and different ways.


Myrten is a musical encyclopaedia of love around the world, an alpha-to-omega of love. Most of the songs were written in February of that year with the two book-end songs, the first and the last, composed a month or so later. But the composer has consciously stretched out his arms to lovers from all countries and ages.

The Burns characters display a steadfastness of heart which beats in the sometimes wild breasts of highland soldiers and border bandits, but their music is associated with the goodness that comes from unvarnished simplicity, and their songs are distributed throughout the set like the humble straw that binds bricks and mortar. In a parallel set of linked G major songs XI and XII we learn of what Clara must renounce in marrying him — close links with her family.

The impassioned plea to a mother could also be addressed to her father, in this case it would have been in vain. Here Robert does not shrink from depicting his despair in the years leading up to the marriage, and the consolation he found in the discovery of his own genius as a minstrel of song.

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This is one of a number of self portraits in various moods that Schumann allows himself throughout the cycle. And of course there are portraits of Clara. The first of these is the third song in Myrten, about the dreaming bride, Der Nussbaum, and long ago Eric Sams pointed out that this coincided with the third letter of the alphabet in a progress of twenty-six songs, itself an alphabet of sorts.

e-book Was will die einsame Träne Op No - Score

If Schumann, obsessed with codes and ciphers, ever developed this idea with any consistency we will never know; if so it might have been explained to Clara who never mentioned it or wrote it down. She passed on to posterity almost nothing regarding the songs. The two linked Lieder der Braut are also specifically about Clara, they occupy the letters K and L in the sequence where KLara was a common alternative spelling for her name. And so the speculation goes on.


Everyone will have their own ideas in this game but one observation seems worthy of more serious consideration. The greatest player in the drama of the marriage, apart from Robert and Clara themselves, was Friedrich Wieck. If he was to feature in this cavalcade it would have to be in a fashion tactful enough for Clara who was still devoted to him, though full of sorrow about his behaviour.

The Beethoven is a collection of interconnected songs played without interruption, and Myrten, no matter how many times it has been excerpted on the concert platform, is also meant to be presented as an entity.

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The work is arranged as a kaleidoscope where colours are meant to be seen and heard one after the other without long intervening gaps. In this royal progress from A flat major back to A flat major — encompassing a grand rainbow of different tonal colours — almost every song has a strong, though not always obvious, tonal relationship with its predecessor. This is clear from the chart above.

It goes without saying that from the point of view of the key relationships, a performance of this cycle with tenor and soprano in original keys is preferable to one between baritone and soprano involving inevitable transpositions. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Was will die einsame Träne Op.25 No.21 - Score

Don't show me this message again. Myrthen, Op 25 composer. January to early April ; presented to Clara on their wedding day in September He told her that he had written 27 pages of music but he did not say what the music was. In her reply Clara expressed her bemused curiosity — was it a quartet, an overture or a symphony? The only thing she correctly guessed was that it was to be a wedding present. The person I spoke to went to check on the product personally to make sure the format was the one I wanted.

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Schumann: "Was will die einsame Träne", Op.25, No.21

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