Kathleen Ferrier and Bruno Walter (Edinburgh Festival, 1949)
Poems by A. von Chamisso

00:00 - No. 1: Seit ich ihn gesehen
02:09 - No. 2: Er, der herrlichste vor allen
05:08 - No. 3: Ich kann's nicht fassen
06:51 - No. 4: Du Ring an meinem Finger
09:40 - No. 5: Helft mir, ihr Schwestern
11:36 - No. 6: Süßer Freund, du blickest mich verwundert an
15:20 - No. 7: An meinem Herzen, an meiner Brust
16:44 - No. 8: Nun hast du mir den ersten Schmerz getan

A historic recording of one of Schumann's most intimate yet expressive compositions, often neglected and overshadowed by his more appealing Dichterliebe or Liederkreise, also written in the same year.

The work is exceptional for various reasons: first, because the piano part is highly individualized, almost completely independent from the voice. Indeed many pieces of the cycle could be played as independent piano miniatures and would be just as charming, such as No. 1, 4, 6, even No. 2. This notion is far removed from the conception that Schubert in his lied-writing, where the piano is first and foremost an accompanist to the singer. This doesn't hold true in all songs, check for example the wonderful stillness Schumann achieves with a recitativo-like accompaniment in No. 6 or 8, or just the opposite in No. 3. In any case, the writing in Schumann is densely polyphonic, full, and robust, serving as the perfect support for the singer.

The other particularity of this cycle is that it is, indeed, a cycle. Schumann makes subtle reflections and recollections of previous songs every now and then. Check for example the characteristic pulsating rhythm he uses first in No. 2, which he will then employ in smaller passages, with very similar harmonic progressions in other songs such as No. 4, 5 or 6. There is a clear tonal arch going on, with all the pieces centered around the home key of B flat major, and last but not least, Schumann ends the cycle in the most heart-touching way, explicitly citing the opening song as an extended piano epilogue in the final movement, indeed one of those moments in song-writing where no words are needed to express all the emotions.

The poems are also quite exceptional, for they offer the rarity of being composed from the point of view of a woman in love, as opposed to that of a man, also quite unique considering they were indeed written by a man, Adelbert von Chamisso, most famous for his play Peter Schlemihl, the man who sold his shadow. It is hardly a coincidence that Schumann decided to set music to these poems since 1840 was the year he and Clara were finally able to marry after a long judicial battle with her father.

Whilst there exist many fine versions of this cycle, I have chosen a particularly special one, for it includes the excellent piano playing of the legendary conductor Bruno Walter. It offers us the chance of hearing a final glimpse of that old style of performing of the first half of the 20th century, where surprisingly soberness, as well as freedom, coexisted hand in hand. For instance, take the pristine interpretation of Ferrier, void of many nuances and clichés that one may encounter today. She remains calm, cristal clear, the ritardandos feel natural and organic, the pauses like breaths, any deviation from what's explicitly written in the score come effortlessly and completely natural. Then check Walter's performance. He has no inconvenience of disregarding Schumann's indication of playing with or without pedal (check no. 2). Also, notice the complete independence of his hands, the left almost always coming before, and his predilection for breaking chords where Schumann asks for the opposite. Again, check the end of no. 2 for some examples of this.

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