Schumann`s Myrthen: an unknown manuscript source

Schumann’s Myrthen: an unknown manuscript source
Text: Karijn Dillmann.
All translations: Lodewijk Muns
Among the manuscripts in the collections of the Nederlands Muziek Instituut are several
handwritten documents by Robert and Clara Schumann. One of them contains six songs
from the Myrthen cycle op. 25 (1840) by Robert Schumann (1810-1856). It is part of a
manuscript which has served as engraver’s copy for the first edition, published in August
1840 by Friedrich Kistner in Leipzig. This manuscript has at some time been split up; its
parts are now in Paris, Zwickau, an unknown private collection, and in the NMI in The
Hague. The pages in the NMI have long been thought lost. A comparison with the other
portions has now proved it to be the missing source.
The investigation has also proved that two songs in this manuscript are autographic (in
Schumann’s own handwriting), and four in the handwriting of Carl Brückner, a copyist
employed by Schumann. The four songs in Brückner’s handwriting contain corrections
and additions in Schumann’s own hand, and are therefore of musicological interest too.
Schumann wrote the 26 songs in the Myrthen cycle as a bridal gift for his beloved Clara
Wieck. The myrtle is a symbol of marital happiness and fertility, and the flowers are
traditionally used in bridal bouquets. Robert and Clara married on 12 September 1840.
This web exhibition contains a digital reproduction of the manuscript and an introduction
to its history and the genesis of the composition.
Myrthen: genesis
The manuscript
Other Schumann sources in the NMI
Letter and diary excerpts: original texts
References
Myrthen: genesis
Oh Clara, what bliss it is to write for the voice.
Robert Schumann wrote these words on 22 February 1840 in a letter to his fiancée Clara
Wieck. Working on the completion of Liederkreis op. 24 and a new song cycle, Myrthen
op. 25, he was eager to share his enthusiasm:
Since yesterday early morning I’ve written another 24 pages of music (something new,
which I can’t tell you anything about, except that it made me laugh and cry for joy) [...].
It is uncertain whether Schumann refers to pages from Liederkreis op. 24, Myrthen op.
25 or a combination of the two, but it is generally assumed to be Myrthen.
Two days later, on 24 February, the information is more specific:
In the past few days I have fully completed a large, integrated cycle of Heine songs.
Besides, a ballad “Belsazar” [op. 57], a volume from Goethe’s West-Östlicher Divan, a
volume by Burns (an Englishman, not often put to music), as well as two volumes by
Mosen, Heine, Byron and Goethe [all op. 25]; that is altogether, the cycle included, 7
volumes. Now look, isn’t that quite a feat?
The Myrthen cycle, composed during the period January to April 1840, would eventually
comprise 26 songs, and serve as a bridal gift to Clara. This had, of course, to be kept
secret. From Goethe’s West-Östlicher Divan (a collection [2] containing twelve volumes)
Schumann eventually included five poems as nrs. 2, 5, 6, 8 and 9 in the cycle. The
manuscript here presented contains the two Goethe songs from the Schenkenbuch im
Divan [3] in autograph (nrs. 5 and 6).
On 25 February Clara responded:
… it makes me quite happy that you are composing so much – this cannot be greater
bliss to you than it is to me. [...] If only I had a good singing voice, I could sing your
songs for you later, wouldn’t that be wonderful! [...] Why did you neglect composing for
the voice for such a long time?
Schumann did not answer that question, but it is true that before the winter of
1839/1840, apart from a few youthful experiments from the years 1827-28 [4], he had
never written vocal music. As recently as 30 June 1839 he had written to the composer
Hirschbach [5] that he had always considered vocal music inferior to instrumental music
[6]. That his facility in writing songs came sudden and gave him great satisfaction, is
clear from the letter to Clara of 24 February quoted above:
I cannot tell you how easy this has become for me, and how happy it made me feel.
Usually I make them [songs] standing or walking about, not at the piano. It is a very
different kind music, when the fingers have no part in its creation – much more direct
and melodious.
In his vocal compositions Schumann could unite his passions for poetry and for music. It
has been argued however that there was a more lucrative market for songs, and
Schumann may have intended to improve his financial position in order to obtain the
consent of Clara’s father, Friedrich Wieck. Robert did make several references in his
letters to Clara to the sums he earned with his new compositions, for instance in his
letter of 22 May 1840:
And look, the earnings I make with composition are not insubstantial, and are steadily
improving [...] You may be surprised: for a volume of songs I don’t accept less than 6
Louisd’or. That makes a difference; when I’m in the mood I write 2 sheets of vocal music
in one day, or even more; for instance, if you would wish so.
Suing for marriage
Financial uncertainty was a major objection brought forward by Friedrich Wieck in his
attempt to prevent the marriage of Robert and Clara. After their secret engagement in
August 1837 it took the couple three years of struggle and legal action before they could
finally marry on 12 September 1840. During the genesis of Myrthen it was still uncertain
whether Wieck’s consent was forthcoming; the couple had however taken steps to ensure
their marriage even without his consent. Near the end of 1839 Wieck had written a
statement accusing Schumann of alcohol abuse, among other things. This was brought
forward during a hearing on 18 December 1839; on this occasion Wieck caused such a
scene that the judge had to silence him. Most of the accusations were declared
unfounded, and only the accusation of alcohol abuse was considered relevant to the case.
The burden of proof was placed on Wieck, who on the next day spread copies of his
statement among concert organizers and music critics. Schumann reacted by threatening
Wieck with a lawsuit for slander, and submitted a written defense on 12 February.
Eventually the court ruled in Schumann’s favour, and official permission for the marriage
came forth on 1 August 1840. Wieck failed to appeal within the time limit of ten days,
and on 11 August Schumann wrote in his ‘Haushaltbuch’ [8]: “Happiest day and an end
to the struggle.” Clara wrote in her diary: “I can scarcely grasp my happiness.”
‘Liederjahr’
Despite all legal entanglements Schumann wrote most of the Myrthen songs in the month
of February. With full justification he described his productivity in his diary: “In February
a rich blessing of songs.” This was just the beginning of what is known as the
‘Liederjahr’; in 1840 Schumann wrote many other cycles of songs and duets, including
the aforementioned Liederkreis op. 24, Vier Duette op. 34, Liederkreis op. 39,
Frauenliebe und -leben op. 42 and Dichterliebe op. 48. No less than 138 of his total
number of 250 songs were written in 1840. Inspiration came with an intensity which he
could hardly comprehend himself. He wrote to Clara on 25 May 1840:
I had such a lot to do these days, that my head is spinning, and then again I composed
so much, that sometimes it gives me an eerie feeling. What else can I do! I’d like to sing
myself to death like a nightingale. I often dream about you, like before, and I’m thinking
of you all the time, sweet darling girl – they all come from you, those longing and sweet
harmonies, and all good things. There are twelve by Eichendorff [songs, op. 39]. But
those I’ve forgotten already and started something new.
On 2 May he had already written to her:
And I am so full of music, that I would like to sing all day. But above all I want to put
them to paper.
A bridal gift
In the meantime, the idea of presenting Myrthen as a bridal gift to Clara had been
crystallizing. Schumann wrote to his publisher, Friedrich Kistner, on 7 March:
For quite some time now I’ve been cherishing an idea, in the realization of which you
might be able to participate. It should be a bridal gift, which calls for the kind of delicate
and subtle decoration which is your speciality. The title is:
Myrthen
song cycle
in four volumes
by R. Sch.
The poems are by Rückert, Goethe, Heine, Burns and Byron. Each volume would be
prized at some 16 Gr. retail prize. The first two I would like to be ready by the end of
May, and the others by the end of August, and for this a fee of 12 Louisd'or at the end of
May, and the same at the end of August for the others. The songs themselves, if I’m not
very much mistaken, will find their audiences quickly and be often sung; all who have
heard some of them confirm this, and the composer himself above all should know what
came from his heart and should make an effect. The first volume contains: "Widmung"
by Rückert, "Lotosblume" by Heine, "Jemand" by Burns, two bridal songs by Rückert, and
"Mein Herz ist im Hochland" by Burns. Monday I will receive the fair copy of the first
volume, and you may hand it to the engraver at once. If my idea appeals to you, we will
discuss the cover later. I kindly beseech you not to tell anybody about this, for the news
must not get to Clara!
From this letter we gather that Schumann had found a suitable title for the cycle [9], and
expressly asked for handsome decoration. The printed title page is decorated with green
myrtle branches, and the following page contains a dedication to Clara (“Seiner geliebten
Braut”), crowned with a myrtle wreath by the torch-bearing figure of Hymen, god of
marriage. A copy of a slightly later print run [10] in the NMI collections is identical to the
first edition, except for the prize which is given in Neugroschen instead of Groschen [11].
On 8 September Schumann recorded in his ‘Haushaltbuch’ the fee paid to the bookbinder
for the luxury volume he presented to Clara on ‘Polterabend’ [12]. It was covered in red
velvet with golden print [13] and bore a dedication in Robert’s handwriting: “Meiner
geliebten Clara am Vorabend unserer Trauung von ihrem Robert”. Clara was moved and
wrote in her diary:
My Robert has given me a beautiful bridal gift, “Myrthen” – I was deeply moved! Cäcilie
[14] handed me the myrtle wreath, and touching it was like a sacred experience.
Resonance
The letter to Kistner also shows Schumann’s confidence in the success of his songs,
though this may of course have been a sales trick. In fact new print runs of the first
edition appeared fairly quickly. At first the songs to poems by Burns found most
response, as Schumann wrote to publisher Julius Kistner in 1846 [15]. For that reason
Schumann proposed to publish these as a separate selection, but the publisher preferred
to issue all the songs separately at a later date. Separate editions of songs from the
Myrthen cycle did appear later that year, but only of a selection (nrs. 2, 3, 7 and 19).
Eventually the first song in the cycle (Widmung) would become by far the most popular.
Franz Liszt (1811-1886) made a transcription for piano solo, published by Kistner in
1848. One year later Carl Reinecke (1824-1910) arranged eight songs, including
Widmung, for piano. Schumann didn’t have a high opinion of Liszt’s arrangements, but
spoke more favourably of those by Reinecke, writing to him on 30 June 1848:
Actually, as indeed you suspect, I am no friend of song transcriptions, and some of those
by Liszt I find abhorrent. But under your hands, dear Mr. Reinecke, I feel comfortable,
and this is because you understand me like few others, and simply pour the music into
another vessel, as it were, without pepper and additives à la Liszt.
That the songs did not remain unnoticed, is clear from the attention paid to them by Liszt
and Reinecke. However, not many public performances are known to have taken place in
the first few years after publication, in spite of what Schumann suggests in a letter to the
French composer and author Jean-Georges Kastner (1810-1867). On 25 October 1840 he
sent him a complimentary copy of the cycle and wrote in the accompanying letter:
Please accept, as a small token of my gratitude [16] for your benevolent words about
me, a song collection [op. 25], which at least should not diminish your benevolence for
me, even though this collection bears the marks of the days of their creation, days of
great grief and joy. Please give your attention to these songs for a few hours, and when
it suits you inform my friends in Paris about them, in particular Berlioz and Chopin; this I
would greatly appreciate. In Germany they are already receiving a lively response.
Schumann is advertising his songs, hoping for a success in Paris; it is common in such
cases to paint a somewhat rosier picture of how things are. A French edition of Myrthen
would not appear until 1856 [17].
The cycle: unity in diversity
Unlike Schumann’s first song cycle, Liederkreis op. 24 on texts of Heinrich Heine, the
Myrthen songs are on poems by various poets: Friedrich Rückert (1788-1866), Johann
Wolfgang von Goethe (1749-1832), Julius Mosen (1803-1867), Robert Burns (17591796), Heinrich Heine (1797-1856), Marianne von Willemer (1784-1860), Lord Byron
(1788-1824), Catherine Maria Fanshawe (1765-1834) and Thomas Moore (1779-1852).
1
2
3
Heft I
Widmung
Freisinn
Der Nussbaum
Rückert
Goethe
Mosen
4
Jemand
Burns
5
6
Lieder aus dem Schenkenbuch im Divan
Setz’ ich allein
Setze mir nicht du Grobian
Goethe
Goethe
7
8
9
10
Heft II
Die Lotosblume
Talismane
Lied der Suleika
Die Hochländer-Wittwe
Heine
Goethe
Willemer/Goethe [18]
Burns
11
12
Lieder der Braut
Mutter
Lass mich ihm am Busen hangen
Rückert
Rückert
13
14
15
16
Heft III
Hochländers Abschied
Hochländisches Wiegenlied
Mein Herz ist schwer
Räthsel
Burns
Burns
Lord Byron
Fanshawe/Byron [19]
17
18
Zwei Venetianische Lieder
Leis’rudern hier, mein Gondolier
Wenn durch die Piazzetta die Abendluft weht
Moore
Moore
19
20
21
22
23
24
25
26
Heft IV
Hauptmann’s Weib
Weit, weit!
Was will die einsame Thräne
Niemand
Im Westen
Du bist wie eine Blume
Aus den östlichen Rosen
Zum Schluss
Burns
Burns
Heine
Burns
Burns
Heine
Rückert
Rückert
The cycle is not often performed in its entirety, because of the variety of poems, the
diversity of subjects, and maybe the technical demands of a complete performance.
Schumann’s intention in writing these songs, as an expression of all the facets of their
romance and as a bridal gift, produces however a strong intrinsic unity, though this is of
a biographical rather than musical nature: his love for Clara, his elation in view of the
marriage, but also the setbacks on the road towards its realization – all these provided
inspiration. Its inception with Widmung (dedication) and ending with Zum Schluss (both
in A flat major) leaves no doubt about Schumann’s unified conception. It is also
expressed by the subtitle Liederkreis, which it has in common with op. 24 and op. 39.
A clear message is contained in the arrangement of the songs and the story they tell. In
spite of the diversity of subjects – it is not a collection of love songs, as the title might
lead one to expect – the songs may be interpreted as references to various aspects of
love, marriage and the struggle the couple had to endure in the realization of their
marital bond. These range from the ‘dedication’ of the beginning (‘Du meine Seele, du
mein Herz’), through uncomplicated love songs such as Du bist wie eine Blume, a
reference to their protracted separation, waiting for Wieck’s consent, in Weit, weit!, to
the fulfillment of their hopes in Lieder der Braut. Despair is expressed in Mein Herz ist
schwer and Jemand (‘Mein Herz ist betrübt um jemand’), the anticipation of marriage in
Der Nussbaum (‘Flüstern von Bräut'gam und nächstem Jahr’), and even father Wieck’s
accusation of alcohol abuse seems to be ironically alluded to in the drinking songs from
the Schenkenbuch im Divan. There might be a reference to Wieck’s opposition in
Hauptmann’s Weib (‘Schlagen wir den Feind, küssest du den Gatten, wohnst mit ihm
vereint in des Friedens Schatten’). The ‘Kranz’ of the final song no doubt refers to the
cycle as a whole, which Schumann presents as a symbolic wreath to his bride.
In this earthly-heavy air,
Moist with melancholy’s dew,
This far-from-perfect wreath I made,
Sister, bride, for thee!
Once ascended, and accepted,
We will face the Son of God;
Love will then make another, flawless,
Sister, bride, for both of us!
The manuscript
Until recently the Myrthen manuscript in the collection of the NMI was registered as the
work of a copyist, and for that reason it has remained unknown to Schumann
scholarship. It contains six songs from the cycle (in the order of the source):
Nr.
poet
p. in ms.
handwriting
5
6
title
Lieder aus dem Schenkenbuch im Divan
Sitz’ ich allein
Setze mir nicht du Grobian
J.W. Goethe
J.W. Goethe
11/12
12/13
Schumann
Schumann
7
Die Lotosblume
H. Heine
14/15
Brückner
4
Jemand
R. Burns
16/17
Brückner
11
12
Lieder der Braut
Mutter
Lass mich ihm am Busen hangen
Fr. Rückert
Fr. Rückert
18/19
20
Brückner
Brückner
Physical characteristics
The manuscript contains ten pages of blue, lineated music paper, numbered in ink 11-20
(in unidentified handwriting, possibly Schumann’s). It consists of three separate sheets
of sizes 24,7 x 33,5 cm (sheet 1: pp. 11-12) and 24,4 x 33,3 cm (sheet 2: pp. 13-16 and
sheet 3: pp. 17-20). The first sheet (pp. 11-12) is of a somewhat thicker paper, but
otherwise matches the other sheets. The first page of the first sheet is discoloured due to
acidification.
The two Goethe songs (nrs. 5 and 6) are autographic (i.e. in the composer’s
handwriting). The remaining four (nrs. 7, 4, 11 and 12) are in the handwriting of Carl
Brückner, one of the copyists who regularly worked for Schumann in his Leipzig years. All
six songs contain corrections and additions in Schumann’s handwriting, such as dynamics
and tempo marks. It is therefore a composite manuscript: in part autographic, in part
copy with autographic additions. It has been part of a fair copy which was the engraver’s
model (‘Stichvorlage’) [20]. A curious detail is that the second sheet consists of the
second page of nr. 6 (the continuation of the first sheet, in Schumann’s handwriting),
and continues with nr. 7 in Brückner’s handwriting. More about this below.
Autograph and copy
An autograph is a manuscript in the author’s handwriting. When a manuscript is
identified as a copy, it is usually in another person’s handwriting, for instance that of a
professional copyist. A manuscript copy could serve as fair copy for the engraver, but
manuscripts were also sold: since copyists’ wages were low, manuscripts were often
cheaper than printed sheet music. Orchestra parts in particular were more often copied
than engraved. Publishers, theatres, orchestras and courts therefore employed copyists.
Copies were also made for private use, and many albums have been preserved
containing the personal selections made by musicians, professional or amateur. The
Walther Manuscript (ca 1730) in the collection of the NMI is an example, though in this
case some of the compositions are by J.G. Walther himself, and therefore autographs.
There are several manuscript sources of Myrthen: a few sketches, the complete
‘Arbeitsmanuskript’ [21] of the cycle, the ‘Stichvorlage’ which was sent to the publisher
Kistner (part autograph, part copy), and a few ‘Widmungsautographe’ and
‘Widmungsabschrifte’ – complimentary copies for friends or colleagues, written by either
Schumann or Clara or by a professional copyist. Variations occur among these sources;
nr. 24 (Du bist wie eine Blume) exists in a different version, written on 8 June 1840,
Robert’s birthday, and dedicated to Clara. Schumann often revised his works.
Schumann’s copyist Carl Brückner
Apart from Clara, who did much of the copying, some 30 copyists have been in
Schumann’s employment over the years. During his Leipzig years (1828-1844) he
worked mainly with Carl Brückner (1798-1871), a theologian and music teacher [22].
Known for his accuracy, he was mostly chosen to make the engraver’s copies. He was
probably also in the employment of the publisher Friedrich Whistling; Schumann often
had his orders executed through Whistling, as we can conclude from some of his letters.
After he had moved to Dresden he mainly employed Carl Gottschalk, and in Düsseldorf
Peter Fuchs.
Since musicians were generally not well paid, many made extra earnings by copying
music. Fees varied substantially, but a reasonable estimate can be made on the basis of
sources such as a bill from Carl Gottschalk to Schumann [23]: Gottschalk states that he
can copy four sheets per day at most, and is paid for this 10 Groschen. In this way, he
could earn some 10 Thaler per month, a welcome supplement to the 200 Thaler per year
he earned as a trombone player in the Dresden court orchestra. With this, he had to
support his family; according to a letter from 1846 [24] Schumann had lived on a similar
income as a solitary student.
Brückner too was badly in need of these extra earnings, especially since ill health
apparently impeded other activities. He wrote to Schumann on 14 August 1843:
If you would please be so kind as to consider my ill health, I would urgently request that
you support me by sending me your commission soon, since I am unable to make any
earnings.
He was certainly not lacking in diligence. According to a brief note written in November
1846:
With all my hard work I still couldn’t finish the job completely [...]. As for the fee, I will
charge for 3 days and one night, utensils included [25], 3 rt. [Reichsthaler].
His nocturnal labour did not make him wealthy; after the death of his wife in 1863 he
finished up in the poorhouse, where he died in 1871 at 72 years of age.
Reconstruction of the engraver’s copy
The manuscript presented here was part of the once complete engraver’s copy
(‘Stichvorlage’). This loose-leaf manuscript has at some time been split up, and its parts
are now in an unknown private collection (nrs. 1, 2), in the Robert-Schumann-Haus in
Zwickau (nr. 3), in the Bibliothèque Nationale in Paris (nrs. 8-10 and 13-26), and in the
NMI (nrs. 4-7 and 11-12). Until now this part had been considered lost; the
Werkverzeichnis by McCorkle [26] notes: “Stichvorlagen fehlen zu Nr. 4-7, 11 und 12”.
With the identification of the manuscript in the NMI a source of great musicological
significance is completed.
Part of its significance is the fact that this fair copy has been the definitive source for the
publication, containing details of dynamics and tempo. As such, it is more dependable
than the ‘Arbeitsmanuskript’, which lacks a final check. The ‘Stichvorlage’ served as
source when the score was engraved on copper plates.[27] For a modern, scientific
edition of Myrthen – which has not yet appeared in the Neue Robert-SchumannGesamtausgabe (RSA) – it is important to compare all the sources and evaluate the
purpose for which a manuscript was made. The ‘Stichvorlage’ will have to be compared
with the printed edition. Since mistakes may have occurred in the engraving process, the
source here presented is of great importance.
The order within the cycle
Besides indications for tempo and dynamics, the manuscript contains clues as to the
order of the songs within the cycle. The 26 songs were presented in four volumes
(‘Hefte’), but Schumann has changed their order several times during the composition
process. At the end of the second Goethe song (p. 13 in the manuscript) is written in
Schumann’s handwriting: “Schluss des ersten Heftes”. On p. 17 he writes (as and
addition to Brückner’s copy): “Dann folgen die zwei Lieder aus dem Schenkenbuch v.
Göthe.”
In the letter to Kistner of 7 March 1840, cited above, Schumann states that he will
receive the fair copy of the first volume on the next Monday (9 March). The order and
division according to this letter are however different from the printed edition: nr. 1, 7,
4, 11, 12 and 13. This agrees with Brückner’s copy in the NMI, from which however nrs.
1 and 13 are absent. The absence of nr. 13 may be explained by the way the manuscript
has been slit up later, which bears no relation to any planned division. The absence of nr.
1 (Widmung) may be explained by the probability that Schumann himself had already
written a fair copy; the ‘Stichvorlage’ of this song is autographic, and Brückner probably
never got an order to copy this song. It must have been clear from the outset that
Widmung would be the opening song of the cycle. At a later stage Schumann decided to
incorporate the Lieder aus dem Schenkenbuch im Divan in the first volume, and he may
have added these songs himself to the copy received from Brückner. This may explain
the use of a separate leaf of different paper, and the fact that both Schumann’s and
Brückner’s handwriting are found on the same sheet [28]. The Paris source too is
composed of autographs and copies; evidently the task had not been given to Brückner
in its entirety.
The pagination in ink (pp. 11- 20 in the NMI manuscript) could have been made by
Schumann after he had established the definitive order of the songs, but also by the
publisher. It matches the pagination in the Zwickau (pp. 7-10) and Paris (pp. 21-28)
manuscripts. One may surmise that the manuscript of nrs. 1 and 2 (in an unknown
private collection) bears the page numbers 1-6. Part of the Paris manuscript is
unnumbered: songs nrs. 8, 9, 10 and 16 are written on pp. 21-28, songs nrs. 13-15 and
17-26 on unnumbered pages. The numbering may have been added later, but it is
equally possible that it was made for the first instalment that was sent to the publisher
[29], and not for the later instalments. In any case, with the identification of the NMI
manuscript as the missing piece of the puzzle the ‘Stichvorlage’ can now be fully
reconstructed.
Other Schumann sources in the NMI
Besides the Myrthen manuscript in this presentation, the NMI holds a number of other
interesting Schumann sources. One of these is an autograph manuscript of the Vier
Duette op. 34, dedicated to the Dutch composer Johannes Verhulst (1816-1891). These
duets were composed by Schumann in the same year as Myrthen, 1840. The friendship
between Schumann and Verhulst dates from 1838, when Verhulst came to Leipzig to
complete his studies. The dedication of this autograph shows that their friendship was
more than superficial: “zur Erinnerung an häusliche Stunden”. The manuscript is in the
Johannes Verhulst archive, as is the photograph of Robert and Clara illustrating this
presentation.
Over 70 letters and postcards from Robert and Clara to Johannes Verhulst, to Richard Hol
(1825-1904) and to Johann Heinrich Lübeck (1799-1865) are in the Verhulst archive, in
the archives of Julius Röntgen (1855-1932) and Richard Hol (1825-1904), and in the
letter collection created by Daniël François Scheurleer (1855-1927) [30]. Some of these
letters were written in the Netherlands, during their stay in Scheveningen in 1852 and
during the concert tour of 1853.
Other interesting items are an album leaf containing fragments from the Konzertallegro
op. 134, in both Robert’s and Clara’s handwriting. It dates from December 1853, when
the couple made a highly successful concert tour through the Netherlands. Another
album leaf and a few visiting cards were written by Clara.
Letter and diary excerpts: original texts
Chapter Myrthen: genesis
Ach Clara, was das für eine Seligkeit ist, für Gesang zu schreiben.
Seit gestern früh hab’ ich gegen 24 Seiten Musik wieder geschrieben (etwas Neues, von
dem ich Dir weiter gar nichts sagen kann, als daß ich dabei gelacht und geweint vor
Freude) [...].
Die vorigen Tage hab’ ich einen großen Cyklus (zusammenhängend) Heine’scher Lieder
ganz fertig gemacht. Außerdem noch eine Ballade “Belsazar”, ein Heft aus dem WestÖstlichen Divan v. Göthe, ein Heft von R. Burns (einem Engländer, noch wenig
componirt), dann noch zwei Hefte v. Mosen, Heine, Byron u. Göthe; das gibt mit dem
Cyklus 7 Hefte. Sieh, ist das nicht gut von mir?
... daß Du so viel componierst beglückt mich ganz – Du kannst nicht seliger sein als ich
dabei. [...] Hätte ich nur Stimme, daß ich Dir später Deine Lieder vorsingen könnte, das
wäre doch recht schön! [...] Warum hast Du das Componieren für Gesang so lange liegen
lassen?
Wie mir das Alles leicht geworden ist, kann ich Dir nicht sagen, und wie ich glücklich
dabei war. Meistens mach’ ich sie stehend oder gehend, nicht am Clavier. Es ist doch
eine ganz andere Musik, die nicht erst durch die Finger getragen wird – viel unmittelbarer
u. melodiöser.
Und sieh, es ist doch auch nicht unbedeutend, was ich mir verdiene durch Composition,
und es wird auch immer besser […] ja staune nur, ich gebe kein Heft Lieder von 3 Bogen
unter 6 Louisdor. Das fällt ins Gewicht; denn bei guter Stimmung schreib’ ich an einem
Tag 2 Bogen Gesang, auch mehr, wenn Du es z.B. verlangtest.
Glücklichster Tag u. Ende des Kampfes.
Ich kann das Glück nicht fassen.
Im Februar reicher Liedersegen […].
Es hat viel zu thun gegeben in diesen Tagen, daß mir der Kopf ganz wirr ist, und dann
hab’ ich wieder soviel componirt, daß mir’s manchmal ganz unheimlich vorkömmt. Ach,
ich kann nicht anders, ich möchte mich todtsingen wie eine Nachtigall. Oft träume ich
jetzt auch wieder von Dir, denke unaufhörlich an Dich, mein gutes Herzensmädchen –
von Dir kommen doch alle die Harmonien auch, die sehnsüchtigen u. guten und
überhaupt Alles. Eichendorff’sche sind es zwölf. Die hab’ ich aber schon vergessen und
etwas Neues angefangen.
Und Musik hab’ ich in mir, daß ich den ganzen Tag nur singen möchte. Vor Allem aber will
ich Lieder aufschreiben [...].
Seit lange hege ich einen Lieblingsgedanken, zu dessen Mitausführung Sie sich vielleicht
verstehen. Es soll ein Brautgeschenk werden, das eine Ausschmückung verlangt, wie
gerade Sie sie so sinnig und zart immer zu geben wissen. Der Titel ist:
Myrthen
Liedercyklus
in vier Heften
von R. Sch.
Die Texte sind von Rückert, Goethe, Heine, Burns und Byron. Jedes Heft würde im
Ladenpreis etwa 16 Gr. zu stehen kommen. Die zwei ersten wünschte ich bis Ende Mai,
die letzten zwei bis Ende August beendigt, und dafür Ende Mai ein Honorar von 12
Louisd’or für die zwei ersten, und für die zwei letzten Ende August ein gleiches Honorar.
Die Lieder selbst, glaub’ ich mich nicht zu täuschen, werden sich rasch verbreiten und
viel gesungen werden; wer davon gehört hat, sagt mir das, und der Componist weiß ja
immer auch am besten, was ihm von Herzen gekommen ist und was wirken muß. Das
erste Heft enthält: „Widmung“ v. Rückert, „Lotosblume“ von Heine, „Jemand“ von Burns,
zwei Brautlieder v. Rückert, und „Mein Herz ist im Hochland“ v. Burns. Montag erhalte ich
die Reinschrift des 1sten Heftes und Sie können gleich mit dem Stich beginnen lassen.
Sagt Ihnen mein Gedanke zu, so sprechen wir noch über das Äußere. Daß Sie
Niemandem noch davon sagen möchten, ersuche ich noch freundlich, damit Clara nichts
davon erfahre!
Mein Robert machte mir noch ein schönes Brautgeschenk „Myrthen“ – ich war ganz
ergriffen! Cäcilie überreichte mir den Myrthenkranz, es war mir ordentlich heilig zu
Muthe, als ich ihn berührte.
Im Grunde, wie Sie auch vermuthen, bin ich kein Freund von Liedertransscriptionen und
die Lisztschen sind mir zum Theil ein wahrer Gräuel. Unter Ihren Händen aber, lieber Hr.
Reinecke, fühl’ ich mich ganz wohl, und dies kömmt daher, weil Sie mich verstehen wie
Wenige, - die Musik gleichsam nur in ein anderes Gefäß schütten und zwar ohne Pfeffer
und Zuthat à la Liszt.
Empfangen Sie als ein kleines Dankeszeichen für Ihre wohlwollenden Worte über mich
eine Liedersammlung, die Ihr Wohlwollen für mich wenigstens nicht schwächen möchte,
eine Sammlung von Musikstücken übrigens, die allerdings von der Zeit, in der sie
entstanden, einer vielfach durch Schmerz und Freude bewegten, die Spuren an sich
trägt. Widmen Sie den Liedern denn einige Stunden mit Aufmerksamkeit und theilen
davon gelegentlich auch meinen musikalischen Freunden in Paris, namentlich den Herren
Berlioz und Chopin, mit, wofür ich Ihnen herzlich verbunden sein würde. In Deutschland
fangen sie schon recht lebhaft anzuklingen an.
Hier in diesen erdbeklommnen Lüften,
Wo die Wehmut taut,
Hab ich dir den unvollkommnen Kranz geflochten,
Schwester, Braut!
Wenn uns, droben aufgenommen,
Gottes Sohn entgegenschaut,
Wird die Liebe den vollkommnen Kranz uns flechten,
Schwester, Braut!
Chapter The manuscript
Wenn Sie gütigst meine Krankheitsumstände berücksichtigen wollten, so bitte ich sehr,
da ich nichts mehr verdienen kann mit baldiger Zusendung mich zu unterstützen.
Ich konnte bei allem Eifer dennoch nicht ganz fertig werden […]. Das Honorar anlangend,
so berechne ich 3 Tage u eine Nacht mit dabei zu brauchenden Utensilien mit – 3 rt.
References
Dahms, Walter - Schumann (Berlin/Leipzig: Schuster & Loeffler, 1916)
Daverio, John/Sams, Eric – Schumann article in Grove Music Online (Oxford: Oxford
University Press, 2008)
Desmond, Astra – Schumann songs (London: BBC, 1972)
Edler, Arnfried - Robert Schumann und seine Zeit. 3. überarb. und erw. Aufl. (Laaber:
Laaber-Verlag, 2008)
Eismann, Georg - Nachweis der internationalen Standorte von Notenautographen Robert
Schumanns, in: Sammelbände der Robert-Schumann-Gesellsschaft; Bd. II
(Leipzig: VEG Deutscher Verlag für Musik, 1966)
Erler, Hermann - Robert Schumann’s Leben: aus seinen Briefen (Berlin: Ries & Erler,
1887)
Ferris, David – Schumann’s Eichendorff Liederkreis and the genre of the romantic cycle
(Oxford: Oxford University Press, 2000)
Fischer-Dieskau, Dietrich – Robert Schumann, Wort und Musik: das Vokalwerk
(Stuttgart: Deutsche Verlags-Anstalt, 1981)
Gerstmeier, August - Die Lieder Schumanns: zur Musik des frühen 19. Jahrhunderts
(Tutzing: Schneider, 1982)
Hallmark, Rufus – Die handschriftlichen Quellen der Lieder Robert Schumanns, in: Robert
Schumann: eine romantisches Erbe in neuer Forschung. Acht Studien (Mainz:
Schott, 1984)
Jansen, Gustav (Hg.) – Robert Schumann’s Briefe: neue Folge (Leipzig: Breitkopf &
Härtel, 1886)
Jansen, Gustav (Hg.) – Robert Schumann’s Briefe: neue Folge. 2. verm. und verb. Aufl.
(Leipzig: Breitkopf & Härtel, 1904)
Kinsky, Georg - Manuskripte - Briefe - Dokumente: von Scarlatti bis Stravinsky. Katalog
der Musikautographen-Sammlung Louis Koch (Stuttgart: Felix Krais, 1953)
Litzmann, Berthold - Clara Schumann: ein Künstlerleben: nach Tagebüchern und Briefen.
(Leipzig: Breitkopf & Härtel, 1920)
McCorkle, M.L. - Robert Schumann: thematisch-Bibliografisches Werkverzeichnis
(München: Henle, 2003)
Miller, Richard - Singing Schumann: an interpretive guide for performers (Oxford:
Oxford University Press, 2005)
Moore, Gerald – Poet’s Love: the songs and cycles of Schumann (London: Hamish
Hamilton, 1981)
Müller, Anette - Komponist und Kopist: Notenschreiber im Dienste Robert Schumanns
(Hildesheim: Olms, 2010)
Reich, Nancy B. – Clara Schumann: the artist and the woman (Oxford: Oxford University
Press, 1989)
Sams, Eric - The songs of Robert Schumann (New York: Norton & Company, 1969)
Schumann, Robert - Jugendbriefe von Robert Schumann: nach den Originalen
mitgetheilt von Clara Schumann. 4. durchges. Aufl. (Leipzig: Breitkopf &
Härtel, 1910)
Schumann, Clara/Robert - Briefwechsel: kritische Gesamtausgabe. Bd. I-III (Basel:
Stroemfeld/Roter Stern, 1984-2001)
Schumann, Robert - Tagebücher. Bd. I-III (Basel: Stroemfeld/Roter Stern, 1988)
Tadday, Ulrich (Hg.) – Schumann Handbuch (Stuttgart: Metzler, 2006)
Walsh, Stephen – The Lieder of Schumann (London: Cassell, 1971)
[1] In several sources incorrectly 27.
[2] ‘Divan’ (‘diwan’) is Persian for collection of poems.
[3] The Schenkenbuch is part of the West-Östlicher Divan, containing poems by Saki
Nameh.
[4] Among them eleven songs dedicated to his sisters in law. Some of these have been
published in 1933 under the title Sechs frühe Lieder WoO21.
[5] Hermann Hirschbach (1812-1888).
[6] “[…] unter die Instrumentalmusik gesetzt und nie für eine große Kunst gehalten”.
[7] A Louisd’or was equal to 5 Thaler; 1 Thaler to 24 Groschen.
[8] Schumann kept both a diary and a housekeeping book. The ‘Haushaltbücher’ contain
a detailed account of his finances, but also notes about other matters.
[9] The myrtle symbolizes marital happiness and fertility. The flowers are traditionally
used in bridal bouquets, also known as ‘Jungfräuliche Myrte’. The incorrect spelling
‘Myrthe’ (with h) was not current in the 19th century.
[10] Shelf mark NMI 44 A 2.
[11] The ‘Dresdner Münzkonvention’ of 1838 established the use of the Neugroschen in
Saxony. Apparently it took several years for its use to be generally adopted.
[12] ‘Polterabend’ is the eve of the wedding. Family and friends bring pottery in order to
break it as a blessing ceremony.
[13] In the collection of the Robert-Schumann-Haus in Zwickau.
[14] Clara’s half sister.
[15] Brother of Friedrich Kistner, who died in 1844.
[16] Kastner had published an biographical article on Schumann in the Revue et Gazette
musicale de Paris of 21 juni 1840.
[17] Le Myrthe, 26 mélodies (Paris: Simon Richault, 1856).
[18] Erroneously ascibed to Goethe; Marianne von Willemer (1784-1860) was later
identified as the poet. She was one of Goethe’s muses, and contributed several poems to
the West-Östlicher Divan.
[19] Formerly ascribed to Lord Byron.
[20] A ‘Stichvorlage’ is a manuscript copy made for the engraver to work with.
[21] In the Berlin Staatsbibliotheek.
[22] He was known to Schumann as music teacher, according to the addresses of their
correspondence.
[23] See Müller, p. 118.
[24] Letter of 28 October 1846 to Karl Christoph Meinardus (1798-1888), father of
Ludwig Meinardus; Schumann recommends that he allows his son to study in Leipzig.
[25] The fee usually included paper, ink and other utensils.
[26] McCorkle, M.L. - Robert Schumann: thematisch-bibliografisches Werkverzeichnis
(München, 2003).
[27] Copper plates or plates of a lead-tin alloy.
[28] Though this would mean that Brückner did not write on the first page of the
separate double sheet. This might be doubtful, considering the costliness of paper. It is
possible that composer and copyist consulted about a later addition on the first page, or
that Brückner thought this would have served as title page. It is not possible to
reconstruct the working process in full detail.
[29] As has been pointed out, according to Schumann’s letter to Kistner the manuscript
was to be delivered in instalments.
[30] The collection of the Hague banker and music historian Daniël François Scheurleer is
the historical core of the collections of the Nederlands Muziek Instituut. A virtual tour of
his museum is found here.