Schumann's Myrthen
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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.