Meine Liebe Meaning In German
Gracia Bradshaw
If he wouldn't use "meine" then it the phrase can be related to @runlevel0 answer: When addressing the person you can use "Liebe Frau Mustermann, ich habe eine Frage....". That would just mean "Dear Mrs. Mustermann, ...".
The second question is again relative: There is no such thing like "Seelenpartner" but there is "Seelenverwandter" - a "soul relative" or in proper english a soul mate. Soul mate has the very same meaning in German as in English.
If you would like to answer, again, there is no particular dialect. If you really want to use dialect as a gimmick, than make yourself familiar with _German and I guess you can use -woerterbuch.de/pages/plattdeutsches_woerterbuch.html to get some clues of what to say.
If I had the intention of declaring love I wouldn't use "Meine liebe XXX," this is too formal an introduction and as said it's the way we use in 99% of cases when we aren't addressing somebody with "Sehr geehrte/r Frau/Herr".
Verse
Hallo my love
Du siehst heute so verdammt hbsch aus,
Hallo my love
Du bist meine Supermaus
Hallo my love
Es ist so schn, dass es dich gibt.
Hallo my love
ich bin total in Dich verliebt
Verse 2
Hallo my love
Ich will Dich heute nacht verfhrn
Hallo my love
Wenn wir uns haut an Haut berhrn
Hallo my love
Du bist ein wahrer Traum fr mich
Hallo my love
Darum liebe ich Dich
In German, like in English, you tell someone you love them using three little words. This German phrase is serious business and usually reserved for romantic partners, good friends, or family members.
This is one of those wise German quotes about love that also gives you some insight into how German speakers think about love. It basically states that, if you really love someone, you see beyond the physical.
Learning phrases is a quick way to practice deconstruction sentences in German, which will help you properly construct your own German sentences which is key to having real conversations with native speakers.
Ich liebe dich. English meaning: I love you. In German, like in English, you tell someone you love them using three little words. This German phrase is serious business and usually reserved for romantic partners, good friends, or family members.
Heine found his voice as a poet very early in his career, establishing his reputation with his second volume, the Tragdien, nebst einem lyrischen Intermezzo (Tragedies with a Lyric Intermezzo) of 1823. Heine reworked the Lyric Intermezzo and republished it in his first anthology, the Buch der Lieder (Book of Songs) of 1827. This anthology became a classic of Romantic German literature and composers began setting his poems to music within a year of the book's publication.Heine's poetry is rooted in riddles, allegories, allusions, dreams and above all ambivalences and contradictions. Heine mixed naked honesty with savage irony, constructed a folk-like simplicity with the keenest artifice, mingled autobiography with fantasy, comedy and tragedy, love and hate. The sixty-six poems of the Lyric Intermezzo explore the emotions of someone who has just lost a sweetheart, and often these conflicting emotions tangle in the same poem. The goal of these contradictions is to create a bridge to another world, though it is not clear if the ultimate aim is forgiveness and redemption or bitterness and isolation. Robert Schumann may have put it best when he wrote, "At certain points in time, (Heine's) poetry dons the mask of irony in order to conceal its visage of pain; perhaps for a moment the friendly hand of a genius may lift that mask so that wild tears may be transformed into pearls."back to the topAbout Robert Schumann (1810 - 1856) and the Song CycleSchumann was born in June 1810 in the town of Zwickau in modern southeastern Germany. Like Heine, Schumann was pushed to study law (in his case at Leipzig and Heidelberg) and like Heine, Schumann abandoned a lawyer's life to pursue a creative career, in his case as a composer, pianist and music critic. Schumann's earliest compositions were collections of piano pieces that sought to incorporate literary ideas into the musical construction. His writing as early as 1831 also shows a split personality with two distinct dueling halves: Florestan, the representation of the active and passionate, and Eusebius, who was dreamy and contemplative.Schumann fell in love with Clara Wieck, the pianist prodigy daughter of his piano teacher Friedrich Wieck. Wieck objected to Schumann as a potential son-in-law, and the stresses and roadblocks of a thwarted romance led Schumann to turn to poetry and song in the extraordinary "song-year" of 1840, when Schumann wrote over a third of all the songs he wrote in his lifetime. In that oeuvre, the songs to texts by Heinrich Heine stand out. Perhaps Heine's intrinsic contradictions appealed to Schumann's split personalities. Maybe the cunnning craft of Heine's poetry brought something out of Schumann the master miniaturist. In any event, many of Schumann's most beloved songs are set to Heine texts. Schumann selected twenty of the sixty-six poems of Heine's Lyric Intermezzo, rearranged poem order and altered some texts to create a cylical narrative. He fashioned music to match the poems in nine wonderfully fair days in the month of May 1840. The song cycle, titled "Twenty Songs from the Lyric Intermezzo in the Book of Songs for One Singer and Piano," was rejected by at least three different publishers in 1840 and 1843. C.F. Peters accepted the set for publication in November 1843, but four songs would be removed from the cycle and someone (it is not known who) attached the title Dichterliebe to the cycle. Schumann's songs feel more like an extension of his earlier piano music than music conceived for the voice. The piano typically carries most of the melody, with extended preludes and postludes that comment on the poems and give voice to thoughts and feelings that the words only decorate. Schumann continues his knack for creating literary effects in music: the wistful, ambivalent longing of Im wunderschnen Monat Mai is expressed in unsteady harmony veering between major and relative minor before settling on an unresolved dominant seventh chord. For Im Rhein, im heiligen Strome, Schumann elicits the feel of Kln Cathedral, whose bells were the first in Christendom to sound out three consecutive notes of the scale, by playing a bell-like figure in the left hand while the right hand plays snatches of a Bach organ prelude. Ich hab' im Traum geweinet evokes Heine's nightmares with one of the sparest piano parts ever put into an art song, while the voice recalls melodic fragments from Wenn ich in deine Augen seh, casting the words of that poem in a new light. And Schumann uses common musical motifs between songs to pull ideas together, such as the disembodied melodies bringing forth painful memories in Hr ich das Liedchen klingen and Am leuchtenden Sommermorgen, and the parallel postludes of Am leuchtenden Sommermorgen, and the final Die alten, bsen Lieder. In this way, Schumann created a song cycle that remains a perennial favorite in the art song literature.back to the topTexts and TranslationsMusic:
Original submission:
GEDICHTE
von Heinrich Heine
20 Lieder und Gesange
aus dem Lyrischen Intermezzo im Buch der Lieder
fr eine Singstimme und das Pianoforte
componirt
und
Hrn. Dr. Felix Mendelssohn Bartholdy
freundschaftlich zugeeignet
von
Robert Schumann.
2ter Liederkreis
aus dem Buch der Lieder
Op. 29. Heft. 1. u. 2.
Final publication:
DICHTERLIEBE
LIEDERCYKLUS
aus dem
Buch der Lieder von H. Heine
fr eine Singstimme mit Begleitung des Pianoforte
componirt und
Frau Wilhelmine Schrder-Devrient zugeeignet
von Robert Schumann
Op. 48
Komponiert 1840 - Erschienen 1844
C.F. Peters, Leipzig.Translation:
Original submission:
POETRY
by Heinrich Heine
20 Lyrics and Songs
from the Lyric Intermezzo in the Book of Songs
for solo voice and piano
composed
and
to Dr. Felix Mendelssohn Bartholdy
in friendship dedicated
by
Robert Schumann.
2nd Song Cycle
from the Book of Songs
Op. 29. Vols. 1. & 2.
Final publication:
POET'S LOVE
CYCLE OF SONGS
from the
Book of Songs by H. Heine
for One Voice with Pianoforte Accompaniment
composed and
dedicated to Mme Wilhelmine Schrder-Devrient
by Robert Schumann
Op. 48
Composed in 1840 - Published in 1844
Plate nos. 2867 I. and 2867 II.Note: Song numbers refer to the order in Schumann's original 20-song submission; the Opus numbers either indicate the order in the published Dichterliebe song cycle or where the song was published separately. The texts of deleted songs are shown in italics.Poem numbers refer to the published order in the first edition of Heine's Buch der Lieder. Hyperlinks in the German text show places where Schumann altered Heine's texts either by changing words or repeating phrases (leave the cursor over the link to pull up a balloon that describes the difference). Hyperlinks in the English text show explanations of some concepts long forgotten in the 21st century, or show links to web sites with useful information.Translations by James C.S. Liu, with assistance from Prof. Alison Hickey, Emily Spear, Kathy Gerlach, and especially invaluable input from Jim Wilkinson.Song 1 (Op. 48, No. 1)Im wunderschnen Monat Mai,als alle Knospen sprangen,da ist in meinem Herzendie Liebe aufgegangen.Im wunderschnen Monat Mai,als alle Vgel sangen,da hab' ich ihr gestandenmein Sehnen und Verlangen.Poem IIn the wonderfully fair month of May,as all the flower-buds burst,then in my heartlove arose.In the wonderfully fair month of May,as all the birds were singing,then I confessed to hermy yearning and longing.Song 2 (Op. 48, No. 2)Aus meinen Trnen sprieenviel blhende Blumen hervor,und meine Seufzer werdenein Nachtigallenchor,und wenn du mich lieb hast, Kindchen,schenk' ich dir die Blumen all',und vor deinem Fenster soll klingendas Lied der Nachtigall.Poem IIFrom my tears springmany blooming flowers forth,and my sighs becomea nightingale choir,and if you have love for me, child,I'll give you all the flowers,and before your window shall soundthe song of the nightingale.Song 3 (Op. 48, No. 3)Die Rose, die Lilie, die Taube, die Sonne,die liebt' ich einst alle in Liebeswonne.Ich lieb' sie nicht mehr, ich liebe alleinedie Kleine, die Feine, die Reine, die Eine;sie selber, aller Liebe Bronne,ist Rose und Lilie und Taube und Sonne.Poem IIIThe rose, the lily, the dove, the sun,I once loved them all in love's bliss.I love them no more, I love onlythe small, the fine, the pure, the one;she herself, source of all love,is rose and lily and dove and sun.Song 4 (Op. 48, No. 4)Wenn ich in deine Augen seh',so schwindet all' mein Leid und Weh!Doch wenn ich ksse deinen Mund,so werd' ich ganz und gar gesund.Wenn ich mich lehn' an deine Brust,kommt's ber mich wie Himmelslust,doch wenn du sprichst: Ich liebe dich!so mu ich weinen bitterlich.Poem IVWhen I look into your eyes,then vanish all my sorrow and pain!Ah, but when I kiss your mouth,then I will be wholly and completely healthy.When I lean on your breast,I am overcome with heavenly delight,ah, but when you say, "I love you!"then I must weep bitterly.Song 5 (Op. 127, No. 2)Dein Angesicht so lieb und schn,das hab' ich jngst im Traum geseh'n;es ist so mild und engelgleich,und doch so bleich, so schmerzenreich.Und nur die Lippen, die sind rot;bald aber kt sie bleich der Tod.Erlschen wird das Himmelslicht,das aus den frommen Augen bricht.Poem VYour face, so dear and fair,that I have recently seen in a dream;it is so mild and angelic,and yet so pale, so rich in sorrow.And only your lips are red;but soon they will be kissed pale by death.Extinguished shall be the heavenly light,which streams from those innocent eyes.Song 6 (Op. 142, No. 2)Lehn deine Wang' an meine Wang',dann flieen die Trnen zusammen;und an mein Herz drck' fest dein Herz,dann schlagen zusammen die Flammen!Und wenn in die groe Flamme flietder Strom von unsern Trnen,und wenn dich mein Arm gewaltig umschliet -sterb' ich vor Liebessehnen!Poem VIRest your cheek against my cheek,then shall our tears flow together;and against my heart press firmly your heart,then together shall our flames pulse!And when into the great flameflows the stream of our tears,and when my arm holds you tight - I shall die of love's yearning!Song 7 (Op. 48, No. 5)Ich will meine Seele tauchenin den Kelch der Lilie hinein;die Lilie soll klingend hauchenein Lied von der Liebsten mein.Das Lied soll schauern und beben,wie der Ku von ihrem Mund',den sie mir einst gegebenin wunderbar ser Stund'!Poem VIII want to plunge my soulinto the chalice of the lily;the lily shall resoundingly exhalea song of my beloved.The song shall quiver and tremble,like the kiss from her mouth,that she once gave mein a wonderfully sweet hour!Song 8 (Op. 48, No. 6)Im Rhein, im heiligen Strome,da spiegelt sich in den Well'nmit seinem groen Domedas groe, heilige Kln.Im Dom da steht ein Bildniauf goldenem Leder gemalt.In meines Lebens Wildnihat's freundlich hineingestrahlt.Es schweben Blumen und Eng'leinum unsre liebe Frau;die Augen, die Lippen, die Wnglein,die gleichen der Liebsten genau.Poem XIIn the Rhine, in the holy stream,there is mirrored in the waves,with its great cathedral,great holy Cologne.In the cathedral, there stands an imageon golden leather painted.Into my life's wildernessit has shined in amicably.There hover flowers and little angelsaround our beloved Lady,the eyes, the lips, the little cheeks,they match my beloved's exactly.Song 9 (Op. 48, No. 7)Ich grolle nicht, und wenn das Herz auch bricht,ewig verlor'nes Lieb! Ich grolle nicht.Wie du auch strahlst in Diamantenpracht,es fllt kein Strahl in deines Herzens Nacht,das wei ich lngst.Ich grolle nicht, und wenn das Herz auch bricht. Ich sah dich ja im Traume,und sah die Nacht in deines Herzens Raume,und sah die Schlang', die dir am Herzen frit,ich sah, mein Lieb, wie sehr du elend bist.Ich grolle nicht.Poem XVIIII bear no grudge, even as my heart is breaking,eternally lost love! I bear no grudge.Even though you shine in diamond splendor,there falls no light into your heart's night,that I've known for a long time.I bear no grudge, even as my heart is breaking. I saw you, truly, in my dreams,and saw the night in your heart's cavity,and saw the serpent that feeds on your heart,I saw, my love, how very miserable you are.I bear no grudge.Song 10 (Op. 48, No. 8)Und wten's die Blumen, die kleinen,wie tief verwundet mein Herz,sie wrden mit mir weinenzu heilen meinen Schmerz.Und wten's die Nachtigallen,wie ich so traurig und krank,sie lieen frhlich erschallenerquickenden Gesang.Und wten sie mein Wehe,die goldenen Sternelein,sie kmen aus ihrer Hhe,und sprchen Trost mir ein.Die alle knnen's nicht wissen,nur Eine kennt meinen Schmerz;sie hat ja selbst zerrissen,zerrissen mir das Herz.Poem XXIIAnd if they knew it, the blooms, the little ones,how deeply wounded my heart is,they would weep with meto heal my pain. And if they knew it, the nightingales,how I am so sad and sick,they would merrily unleashrefreshing song. And if they knew my pain,the golden little stars,they would descend from their heightsand would comfort me. All of them cannot know it,only one knows my pain,she herself has indeed torn,torn up my heart.Song 11 (Op. 48, No. 9)Das ist ein Flten und Geigen,Trompeten schmettern darein.Da tanzt wohl den Hochzeitreigendie Herzallerliebste mein.Das ist ein Klingen und Drhnen,ein Pauken und ein Schalmei'n;dazwischen schluchzen und sthnendie lieblichen Engelein.Poem XXThere is a fluting and fiddling,and trumpets blasting in.Surely, there dancing the wedding danceis my dearest beloved. There is a ringing and roaringof drums and shawms,amidst it sobbing and moaningare dear little angels.Song 12 (Op. 48, No. 10)Hr' ich das Liedchen klingen,das einst die Liebste sang,so will mir die Brust zerspringenvon wildem Schmerzendrang.Es treibt mich ein dunkles Sehnenhinauf zur Waldeshh',dort ls't sich auf in Trnenmein bergroes Weh'.Poem XLI hear the little song soundingthat my beloved once sang,and my heart wants to shatterfrom savage pain's pressure. I am driven by a dark longingup to the wooded heights,there is dissolved in tearsmy supremely great pain.Song 13 (Op. 48, No. 11)Ein Jngling liebt ein Mdchen,die hat einen Andern erwhlt;der Andre liebt' eine Andre,und hat sich mit dieser vermhlt.Das Mdchen nimmt aus rgerden ersten besten Mannder ihr in den Weg gelaufen;der Jngling ist bel dran.Es ist eine alte Geschichtedoch bleibt sie immer neu;und wem sie just passieret,dem bricht das Herz entzwei.Poem XXXIXA young man loves a girl,who has chosen another man,the other loves yet anotherand has gotten married to her.The girl takes out of resentmentthe first, best manwho crosses her path;the young man is badly off.It is an old storybut remains eternally new,and for him to whom it has just happenedit breaks his heart in two.Song 14 (Op. 48, No. 12)Am leuchtenden Sommermorgengeh' ich im Garten herum.Es flstern und sprechen die Blumen,ich aber wandle stumm.Es flstern und sprechen die Blumen,und schau'n mitleidig mich an:Sei uns'rer Schwester nicht bse,du trauriger, blasser Mann.Poem XLV On a shining summer morning I go about in the garden. The flowers are whispering and speaking, I however wander silently. The flowers are whispering and speaking, and look sympathetically at me:"Do not be angry with our sister, you sad, pale man."Song 15 (Op. 127, No. 3)Es leuchtet meine Liebe,in ihrer dunkeln Pracht,wie'n Mrchen traurig und trbe,erzhlt in der Sommernacht.Im Zaubergarten wallenzwei Buhlen, stumm und allein;es singen die Nachtigallen,es flimmert der Mondenschein.Die Jungfrau steht still wie ein Bildnis,der Ritter vor ihr kniet.Da kommt der Riese der Wildnis,die bange Jungfrau flieht.Der Ritter sinkt blutend zur Erde,es stolpert der Riese nach Haus.Wenn ich begraben werde,dann ist das Mrchen aus.Poem XLVIMy love, it shinesin its dark splendor,like a fairy-tale, sad and bleak,told on a summer night.In a magic garden appeartwo lovers, mute and alone;the nightingales are singing,the moonlight is shimmering.The maiden stands still as a portrait,the knight before her kneels.Then comes the giant of the wilderness,the fearful maiden flees.The knight sinks, bleeding, to the earth,then the giant stumbles home.When I am buried,then the fairy-tale is over.Song 16 (Op. 142, No. 4)Mein Wagen rollet langsamdurch lustiges Waldesgrn,durch blumige Tler, die zaubrischim Sonnenglanze blh'n.Ich sitze und sinne und trume,und denk' an die Liebste mein;Da gren drei Schattengestaltenkopfnickend zum Wagen herein.Sie hpfen und schneiden Gesichter,so spttisch und doch so scheu,und quirlen wie Nebel zusammen,und kichern und huschen vorbei.Poem LIVMy coach rolls slowlythrough the merry forest green,through blooming valleys, which magicallybloom in the sun's gleam.I sit and reflect and dream,and think on my beloved;then I am greeted by three shadowy formsnodding at the coach.They hop and make faces,so mocking and yet so shy,and whirl like mist together,and snicker and scurry by.Song 17 (Op. 48, No. 13)Ich hab' im Traum geweinet,mir trumte du lgest im Grab.Ich wachte auf, und die Trneflo noch von der Wange herab.Ich hab' im Traum geweinet,mir trumt' du verlieest mich.Ich wachte auf, und ich weintenoch lange bitterlich.Ich hab' im Traum geweinet,mir trumte du wr'st mir noch gut.Ich wachte auf, und noch immerstrmt meine Trnenflut.Poem LVI have in my dreams wept,I dreamed you lay in your grave.I woke up and the tearsstill flowed down from my cheeks.I have in my dreams wept,I dreamed you forsook me.I woke up and I weptfor a long time and bitterly.I have in my dreams wept,I dreamed you still were good to me.I woke up, and still nowstreams my flood of tears.Song 18 (Op. 48, No. 14)Allnchtlich im Traume seh' ich dich,und sehe dich freundlich gren,und lautaufweinend strz' ich michzu deinen sen Fen.Du siehest mich an wehmtiglich,und schttelst das blonde Kpfchen;aus deinen Augen schleichen sichdie Perlentrnentrpfchen.Du sagst mir heimlich ein leises Wort,und gibst mir den Strau von Zypressen.Ich wache auf, und der Strau ist fort,und's Wort hab' ich vergessen.Poem LVIEvery night in my dreams I see you,and see your friendly greeting,and loudly crying out, I throw myselfat your sweet feet. You look at me wistfullyand shake your blond little head;from your eyes steal forthlittle pearly teardrops.You say to me secretly a soft word,and give me a garland of cypress.I wake up, and the garland is gone,and the word I have forgotten.Song 19 (Op. 48, No. 15)Aus alten Mrchen winkt eshervor mit weier Hand,da singt es und da klingt esvon einem Zauberland';wo bunte Blumen blhenim gold'nen Abendlicht,und lieblich duftend glhenmit brutlichem Gesicht;Und grne Bume singenuralte Melodei'n,die Lfte heimlich klingen,und Vgel schmettern drein;Und Nebelbilder steigenwohl aus der Erd' hervor,und tanzen luft'gen Reigenim wunderlichen Chor;Und blaue Funken brennenan jedem Blatt und Reis,und rote Lichter rennenim irren, wirren Kreis;Und laute Quellen brechenaus wildem Marmorstein,und seltsam in den Bchenstrahlt fort der Widerschein.Ach! knnt' ich dorthin kommen,und dort mein Herz erfreu'n,und aller Qual entnommen,und frei und selig sein!Ach! jenes Land der Wonne,das seh' ich oft im Traum,doch kommt die Morgensonne,zerfliet's wie eitel Schaum.Poem XLIIIFrom old fairy-tales it beckonsto me with a white hand,there it sings and there it resoundsof a magic land,where colorful flowers bloomin the golden twilight,and sweetly, fragrantly glowwith a bride-like face.And green trees singprimeval melodies,the breezes secretly soundand birds warble in them.And misty images riseindeed forth from the earth,and dance airy reelsin fantastic chorus.And blue sparks burnon every leaf and twig,and red lights runin crazy, hazy rings.And loud springs burstout of wild marble stone,and oddly in the brooksshine forth the reflections.Ah! If I could enter thereand there gladden my heart,and have all anguish taken away,and be free and blessed!Oh, that land of bliss,I see it often in dreams,but come the morning sun,and it melts away like mere froth.Song 20 (Op. 48, No. 16)Die alten, bsen Lieder,die Trume bs' und arg,die lat uns jetzt begraben,holt einen groen Sarg.Hinein leg' ich gar manches,doch sag' ich noch nicht was.Der Sarg mu sein noch grerwie's Heidelberger Fa.Und holt eine Totenbahre,von Bretter fest und dick;auch mu sie sein noch lngerals wie zu Mainz die Brck'.Und holt mir auch zwlf Riesen,die mssen noch strker seinals wie der starke Christophim Dom zu Kln am Rhein.Die sollen den Sarg forttragen,und senken in's Meer hinab;denn solchem groen Sargegebhrt ein groes Grab.Wit ihr warum der Sarg wohlso gro und schwer mag sein?Ich senkt' auch meine LiebeUnd meinen Schmerz hinein.Poem LXVThe old, angry songs,the dreams angry and nasty,let us now bury them,fetch a great coffin.In it I will lay very many things,though I shall not yet say what.The coffin must be even largerthan the Heidelberg Tun.And fetch a death-bier,of boards firm and thick,they also must be even longerthan Mainz's great bridge.And fetch me also twelve giants,who must be yet mightierthan mighty St. Christopherin the Cathedral of Cologne on the Rhine.They shall carry the coffin away,and sink it down into the sea,for such a great coffindeserves a great grave.How could the coffinbe so large and heavy?I also sank my lovewith my pain in it.back to the topGetting a Score of the Song CycleDichterliebe was originally published by C.F. Peters. It was reissued by Breitkopf & Hrtel in 1885 as part of a Complete Schumann Edition, edited by Clara Schumann. Dichterliebe was also edited by Max Friedlnder for their edition of the complete songs and has also been issued by Peters as a separate volume. The best cheap alternative to get a score would be to use PDF files of the Friedlnder edition, available as part of the CD sheet music set of late Romantic German lieder or on IMSLP.There are two critical editions worth considering: the Norton critical edition edited in 1971 by Arthur Komar which features a complete score, texts and translations, some textual notes, detailed Schenkerian analysis of some of the cycle and essays about Heine and Schumann. Henle has also brought out an Urtext edition of the score edited in 2006 by Kakuzo Ozawa which has detailed notes comparing the working manuscript, Robert and Clara's copies of the first edition of 1844. This is the best, cleanest critical edition currently available, and also includes published copies of the four songs deleted from the cycle.For those curious about the original 20 song version, there are facsimile editions of the autograph draft, which includes all 20 songs and some intriguing musical differences from the final published version.Schumann's music is challenging to sing, testing both the highest heights and the lowest depths of a tenor voice. A mid or low range voice is even worse off. If the songs are transposed too low, some of them (especially Ich grolle nicht, Ein Jngling liebt ein Mdchen and Allnchtlich im Traume become inaudibly low. Moreover, Schumann assembled the songs with a clear intent to the sequence of the keys (see Komar for the best discussion of this). So even more than in Schubert, it is fairly important to preserve relationships between keys of different songs, and ideally take all the songs down an equal distance. Unfortunately, no currently available published edition does this; the Peters medium and low voice editions don't transpose some songs at all, and take others down variable distances. The Henle Urtext edition is now available in medium and low voice editions. Cheaper budget editions also don't respect Schumann's original harmonic design. Partly, this is because some songs inevitably get transformed into awkward keys with any transposition. In addition, some of the awkward piano writing gets even more awkward when the fingers shift positions on the keys.For those adventuresome enough to try to do a consistent transposition, there is now another option. Glendower Jones at Classical Vocal Reprints has a new published edition of all 20 songs taken down a major second. back to the topRecommended RecordingsDichterliebe is one of the most recorded art song works in the catalog. I cannot claim to have comprehensive knowledge of the available recordings, but can share information about a few recordings that have been useful to me:
The Danish tenor Aksel Schitz made a recording in 1946 for EMI/HMV with Gerald Moore (easily the most important art song accompanist of the 20th century). This has been reissued on a Danacord CD. This is perhaps the finest recording in a tragically short vocal career, with Schitz at the height of his vocal powers, mingling beautiful tone with sensitive handling of the text, and with Gerald Moore's customary impeccable partnering.