Robert & Clara Schumann - EESC European Economic and Social ...

European Economic and Social Committee
Come’N’Listen
Musical journeys through Europe
Voyages musicaux à travers l’Europe
Robert
& Clara
Schumann
27-10-2010
6.30 pm - 9.00 pm / 18h30 - 21h00
La Brasserie, VMA2
EESC/CESE, rue Van Maerlant 2, 1040 Brussels/Bruxelles

&
Robert
Clara
Schumann
Robert Schumann in 1839 Clara Wieck in 1838

Do you know Robert Schumann? What do you know about his wife Clara?
Though much has been written about Robert Schumann and his wife Clara, born Wieck,
it is mainly Robert that is recalled and recognised for his compositions.
Robert Schumann, sometimes given as Robert Alexander Schumann, (8 June 1810 – 29
July 1856) was a German composer and influential music critic. He is one of the most
famous and important Romantic composers and exerted considerable influence in the
nineteenth century and beyond. He left an array of acclaimed music in virtually all the
forms then known.
Clara Schumann (13 September 1819 – 20 May 1896) was a gifted piano player and
composer, teacher, editor and a creative partner for three men: Friedrich Wieck, her
father, Robert Schumann, her husband, and Johannes Brahms, a close friend. She toured
Europe for concerts and was one of the great stars of the 19th century.
The presentations of this evening invite you to a musical journey back in time and
space – a European journey. They will give an illustrated view on this particular couple,
which was extremely intertwined by their common love to music and towards each
other.
The European Economic and Social Committee (EESC) uses this opportunity to celebrate
the 200th anniversary of Schumann’s birthday in 2010. Yet, the engagement of the
EESC in music events as an important part of its cultural activities wants to go beyond.
Music is a crucial part of European cultural heritage and has shaped European identity.
Selected composers that left a trace are put into their European context. They were
European citizens whose lives and oeuvre are embedded in European traditions and
that left a musical heritage behind for the world after.
The European Economic and Social Committee wishes you a pleasant evening!

Come’N’Listen
Musical journeys through Europe
Voyages musicaux à travers l’Europe
27-10-2010
6.30 pm - 9.00 pm / 18h30 - 21h00
Robert
& Clara
Schumann
La Brasserie, VMA2
EESC/CESE, rue Van Maerlant 2, 1040 Brussels/Bruxelles
Program

Welcome
Anne-Marie Sigmund, Member of the EESC
Robert and Clara Schumann Part I
Dichterliebe (selection) | Robert Schumann Op. 48
Liam Ó Brádaigh, Baritone, David Miller piano
• Die Rose, die Lilie, die Taube, die Sonne (N°3)
• Im Rhein, im heiligen Strome (N°6)
• Ich grolle nicht (N°7)
• Hör’ ich das Liedchen klingen (N°10)
• Ein Jüngling liebt ein Mädchen (N°11)
Robert and Clara Schumann Part II
Clara Schumann songs – Group I
Albane Carrère, Mezzo-soprano, David Miller piano
• Warum willst du andere fragen
• Die gute Nacht, die ich dir sage
• Du mein Stern
Die beiden Grenadiere | Robert Schumann (Op. 49, No 1).
Liam Ó Brádaigh, Baritone, David Miller piano
Robert and Clara Schumann Part III
Clara Schumann songs – Group II
Albane Carrère, Mezzo-soprano, David Miller piano
• Die stille Lotosblume
• Ich stand in dunklen Träumen
• Walzer
Robert and Clara Schumann Part IV
me
Duets by Robert Schumann
Albane Carrère and Liam Ó Brádaigh, David Miller piano
• In der Nacht
• Ich denke dein
Cocktail

Clara
1819 Born 13 September in Leipzig to Friedrich Wieck (a music teacher) and Marianne Tromlitz Wieck (a soprano)
1824 Begins piano lessons taught by her father
1825 Parents divorce
1828 First concert debut at Leipzig Gewandhaus
1830 Robert Schumann comes to live with the Wiecks
1831 First extended concert tour with her father in Germany and France (Paris). Among other private and public
performances she plays for Johann Wolfgang von Goethe, aged 82, in Weimar
1831-1835 Extensive concert tours in Germany
Clara composes several piano pieces: Caprices en forme de valse, op.2, Romance varie, op.3, Valses romantiques, op. 4, Quatre
pieces characteristiques, op. 5 and song accompaniments: Romanze für Gesang und Klavier, Walzer für Gesang und Klavier
1835 Acknowledged throughout Europe as a phenomenally talented child prodigy; among her admirers are Mendelssohn-
Bartholdy, Paganini, Chopin. The Premier concert pour le piano forte, op.7
1836 Several concert tours in Germany
Clara composes Soirées musicales, op. 6
1837 Robert officially asks for Clara’s hand in marriage; Clara composes Variations de Concert pour le Piano-Forte sur la Cavatine du
‘Pirate’ de Bellini, op. 8
Clara starts her first concert tour to Vienna
1838 Awarded highest Austrian honour: named Royal and Imperial Virtuosa; gets to know Franz Liszt and the poet Franz Grillparzer,
who honors her with the poem «Clara Wieck and Beethoven»
1839 Concert tour to Paris
Trois romances pour le piano, op. 11
1840 Marriage to Robert
writes song accompaniments Am Strande, Volkslied
1841 Songs for the collection Liebesfrühling (Love’s Springtime) by Friedrich Rückert Birth of Marie
1843 Birth of Elise
1844 Clara named honorary member of St. Petersburg Philharmonic Society
1845-1849 Birth of Julie, Emil, Ludwig, Ferdinand, Eugenie Schumann
1853-1854 Robert and Clara meet Johannes Brahms who becomes a very close family friend. Birth of Felix Schumann
1857 Moves to Berlin where she performs, teaches; champions the music of Schumann and Brahms in concert tours throughout
Europe
1877 Clara begins to edit Robert Schumann’s completed works
1878 Joins faculty of Hoch Conservatory where she teaches until 1892
1891 Performs her last public concert in Frankfurt, playing Brahms’ Variations on a Theme by Haydn
1895 Vorspiele, Präludium und Präludien für Schüler
1896 Dies 20 May; is buried at the Zentralfriedhof in Bonn

Robert
1810 Born 8 June in Zwickau, Saxony the fifth and last child in the family of August Schumann (a bookseller, publisher and
novelist) and his wife
1824 Writes an essay on the aesthetics of music; contributes to a volume entitled Portraits of Famous Men. Major influences: Jean
Paul, Friedrich Schiller, Johann Wolfgang von Goethe, Lord Byron and the Greek playwrights
1826 His father August Schumann dies
1828 Graduates tours Germany, meeting Heinrich Heine in Munich; begins law studies in Leipzig
1829 Continues law studies in Heidelberg
1830 Inspired after hearing Niccolo Paganini play in Frankfurt, he abandons his law studies and goes back to Leipzig to study with
Friedrich Wieck; he permanently injures his right hand, which forces him to abandon his dreams of becoming a concert
pianist and to focus instead on composing
1831 Writes first critical essay, a piece on Chopin’s variations on a theme from Mozart’s Don Giovanni, which is published in the
Allgemeine musikalische Zeitung; composes Papillons, intended as a musical representation of Jean Paul’s «Flegelijahre»
1832 Visits his relatives in Zwickau and performs the first movement of his Symphony in G minor at a concert by Clara Wieck,
1833 Affected by the deaths of his brother Julius and his sister-in-law Rosalie, attempts to commit suicide, but fails
1834 Composes Carnaval (op. 9); inaugurates Die Neue Zeitschrift fur Musik (New Journal in Music) on April 3, 2008 in which he
publishes his critical writings; supports the revival of interest in past composers, e.g., Mozart, Beethoven and Weber, and
promotes the works of Chopin and Berlioz, while criticizing the style of Liszt and Wagner; becomes engaged to 16-year old
Ernestine von Fricken, the adopted daughter of a rich Bohemian
1835 His love for 15-year-old Clara Wieck blossoming, breaks off the engagement; meets secretly in the evenings with Clara
whose father puts an end to the meetings; meets Felix Mendelssohn
1836 Composes the Fantasia in C (op. 17)
1837 Formally asks Wieck for Clara’s hand in marriage, but Wieck refuses; publishes his Études symphoniques
1838 Completes Kinderszenen (Scenes from Childhood),and Kreisleriana
1839 Composes the Faschingsschwank aus Wien (The Carnival Prank from Vienna). Petition to the Court of Appeals to marry
without the consent of Friedrich Wieck
1840 Robert and Clara are married on 12 September in Schönefeld after a protracted legal battle; writes 168 Lieder; receives an
honorary doctoral degree from the University of Jena for his achievements
1841 Composes two of his four symphonies
1842 Composes his famous piano quintet (op. 44)
1843 Receives a professorship in the Conservatorium of Leipzig; composes the oratorio Paradise and the Peri
1844 Joins Clara in her concert tour of Russia; abandons his editorial work due to poor mental health; writes in his diaries about
suffering from constantly hearing the note A
1848 Finishes his only opera, Genoveva (op. 81)
1850 Succeeds Ferdinand Hiller as musical director at Düsseldorf, but is soon terminated because he was a bad conductor
1851 Completes the Rheinische Symphonie (Rhenish Symphony); revises his Fourth Symphony
1853 Meets Johannes Brahms who impresses the Schumanns; composes the overture to Faust
1854 Travels to Hannover, where he hears a performance of his Paradise and the Peri ; writes five variations for the piano; his
mental state deteriorates, attempts suicide by throwing himself into the Rhine but is rescued by boatmen; asks to be
committed to an insane asylum, where he will remain until his death
1856 Dies 29 July; is buried at the Zentralfriedhof in Bonn

DICHTERLIEBE
LIEDERZYKLUS
aus dem
Buch der Lieder von H. Heine
für eine Singstimme mit Begleitung des Pianoforte
komponiert und
Frau Wilhelmine Schröder-Devrient zugeeignet
von Robert Schumann
Op. 48
Komponiert 1840 - Erschienen 1844
C.F. Peters, Leipzig.
Lied 3
Die Rose, die Lilie, die Taube, die Sonne,
die liebt’ ich einst alle in Liebeswonne.
Ich lieb’ sie nicht mehr, ich liebe alleine
die Kleine, die Feine, die Reine, die Eine;
sie selber, aller Liebe Bronne,
ist Rose und Lilie und Taube und Sonne.
Ich liebe alleine
die Kleine, die Feine, die Reine, die Eine!
Lied 6
Im Rhein, im heiligen Strome,
da spiegelt sich in den Well’n
mit seinem großen Dome
das große, heilige Köln.
Im Dom da steht ein Bildniß
auf goldenem Leder gemalt.
In meines Lebens Wildniß
hat’s freundlich hineingestrahlt.
Es schweben Blumen und Eng’lein
um unsre liebe Frau;
die Augen, die Lippen, die Wänglein,
die gleichen der Liebsten genau.
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 Schröder-Devrient
by Robert Schumann
Op. 48
Composed in 1840 - Published in 1844
Plate nos. 2867 I. and 2867 II.
Song III
The rose, the lily, the dove, the sun,
I once loved them all in love’s bliss.
I love them no more, I love only
the small, the fine, the pure, the one;
she herself, source of all love,
is rose and lily and dove and sun.
I love only
the small, the fine, the pure, the one!
Song VI
In 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 image
on golden leather painted.
Into my life’s wilderness
it has shined in amicably.
There hover flowers and little angels
around our beloved Lady,
the eyes, the lips, the little cheeks,
they match my beloved’s exactly.

Lied 7
Ich grolle nicht, und wenn das Herz auch bricht,
ewig verlor’nes Lieb! Ich grolle nicht.
Wie du auch strahlst in Diamantenpracht,
es fällt kein Strahl in deines Herzens Nacht,
das weiß ich längst.
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 frißt,
ich sah, mein Lieb, wie sehr du elend bist.
Ich grolle nicht.
Lied 10
Hör’ ich das Liedchen klingen,
das einst die Liebste sang,
so will mir die Brust zerspringen
von wildem Schmerzendrang.
Es treibt mich ein dunkles Sehnen
hinauf zur Waldeshöh’,
dort lös’t sich auf in Tränen
mein übergroßes Weh’.
Lied 11
Ein Jüngling liebt ein Mädchen,
die hat einen Andern erwählt;
der Andre liebt’ eine Andre,
und hat sich mit dieser vermählt.
Das Mädchen nimmt aus Ärger
den ersten besten Mann
der ihr in den Weg gelaufen;
der Jüngling ist übel dran.
Es ist eine alte Geschichte
doch bleibt sie immer neu;
und wem sie just passieret,
dem bricht das Herz entzwei.
Song VII
I bear no grudge, even when 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 when my heart is
breaking.
I saw you, truly, in my dreams,
and saw the night in your heart’s space,
and saw the serpent that feeds on your heart,
I saw, my love, how very miserable you are.
I bear no grudge.
Song X
I hear the little song sounding
that my beloved once sang,
and my heart wants to shatter
from savage pain’s pressure.
I am driven by a dark longing
up to the wooded heights,
there is dissolved in tears
my supremely great pain.
Song XI
A young man loves a girl,
who has chosen another man,
the other loves yet another
and has gotten married to that other.
The girl takes out of anger
the first, best man
who crosses her path;
the young man is badly off.
It is an old story
but remains eternally new,
and for him to whom it has just happened
it breaks his heart in two.

Warum willst du and’re fragen
Op. 12 No. 11 (1841)
Warum willst du and’re fragen,
die’s nicht meinen treu mit dir?
Glaube nicht, als was dir sagen
diese beiden Augen hier!
Glaube nicht den fremden Leuten,
glaube nicht dem eignen Wahn;
nicht mein Tun auch sollst du deuten,
sondern sieh die Augen an!
Schweigt die Lippe deinen Fragen,
oder zeugt sie gegen mich?
Was auch meine Lippen sagen,
sieh mein Aug’, ich liebe dich!
Text: Friedrich Rückert (1788-1866)
Die gute Nacht, die ich dir sage
(1841)
Die gute Nacht, die ich dir sage,
Freund, hörest du!
Ein Engel, der die Botschaft trage
geht ab und zu.
Er bringt sie dir und hat mir wieder
den Gruß gebracht:
Dir sagen auch des Freundes Lieder
Text: Friedrich Rückert (1788-1866)
CLARA SONGS1
Mein Stern
(1848)
O du mein Stern, schau dich so gern,
wenn still im Meere die Sonne sinket,
dein goldnes Auge so tröstend winket
in meiner Nacht!
O du mein Stern, aus weiter Fern,
bist du ein Bote mit Liebesgrüßen,
laß deine Strahlen mich durstig küssen
in banger Nacht!
O du mein Stern, verweile gern,
und lächelnd führ’ auf des Lichts Gefieder
der Träume Engel dem Freunde wieder
in seine Nacht.
jetzt gute Nacht
Text: Friederike Serre (?-1872)
Why will you question others
Op. 12 No. 11 (1841)
Why will you question others,
who are not faithful to you?
Believe nothing but what
both these eyes say!
Believe not strange people,
believe not peculiar fancies;
even my actions you shouldn’t interpret,
but look in these eyes!
Will lips silence your questions,
or turn them against me?
Whatever my lips may say,
see my eyes: I love you!
The good night wish, with which I
greet you (1841)
The good night wish, with which I greet you,
friend, may you hear!
An angel, who conveys the greeting,
goes here and there.
To you and back to me is bringing
the wish I sent:
The songs your friend sends now are saying
My star
(1848)
O star of mine, I gladly watch,
when still in ocean the sun is sinking,
your golden eye winks with faithful comfort
in my dark night!
O star of mine, from distance far,
you are a herald of loving greetings,
o let your beams give me thirsty kisses
in yearning night!
O star of mine, do tarry long,
and smiling travel on starlight’s feathers,
in dreams appear as my friend’s bright angel
in his dark night.
I bid good night.

Die stille Lotosblume
Op. 13 No. 6 (1843)
Die stille Lotosblume
steigt aus dem blauen See,
die Blätter flimmern und blitzen,
der Kelch ist weiß wie Schnee.
Da gießt der Mond vom Himmel
all seinen gold’nen Schein,
gießt alle seine Strahlen
in ihren Schoß hinein.
Im Wasser um die Blume
kreiset ein weißer Schwan
er singt so süß, so leise
und schaut die Blume an.
Er singt so süß, so leise
und will im Singen vergehn.
O Blume, weiße Blume,
kannst du das Lied verstehn?
Text: Emanuel Geibel (1815-1884)
Ich stand in dunklen Träumen
Op. 13 No. 1 (1843)
Ich stand in dunklen Träumen
und starrte ihr Bildnis an,
und das geliebte Antlitz
Heimlich zu leben begann.
Um ihre Lippen zog sich
Ein Lächeln wunderbar,
Und wie von Wehmutstränen
Erglänzte ihr Augenpaar.
Auch meine Tränen flossen
Mir von den Wangen herab -
Und ach, ich kann’s nicht glauben,
Daß ich dich verloren hab!
Text: Heinrich Heine (1797-1856)
CLARA SONGS2
Walzer (1834)
Horch! Welch ein süßes harmonisches Klingen,
Flüstern erhebt sich zum jubelnden Laut.
Laß mich dich, reizendes Mädchen, umschlingen,
wie ein Geliebter die liebende Braut.
Komm! Laß mit den wogenden Tönen uns
schweben,
die uns wie Stimmen der Liebe umweh’n:
So uns der seligsten Täuschung ergeben,
glücklich es wähnen, was nie kann gescheh’n.
Auge in Auge mit glühenden Wangen,
bebende Seufzer verlangender Lust!
Ach! Wenn die Stunden der Freude vergangen,
füllet nur trauernde Sehnsucht die Brust,
nimmer erblüht, was einmal verblüht,
nie wird die rosige Jugend uns neu,
o drum, eh’ das Feuer der Herzen verglüht,
Liebe um Liebe, noch lächelt der Mai.
Text: Johann Peter Lyser (1803-1870)
The quiet lotus blossom
Op. 13 No. 6 (1843)
The quiet lotus blossom
sprouts from the pond so blue,
its leaves all glimmer and sparkle,
its bud is white as snow.
The moon pours down from heaven
all of its golden shine,
pours all its golden moonbeams
into her blossom heart.
In water ‘round the blossom
circles the whitest swan
it sings so sweet, so softly
and gazes on the bloom.
It sings so sweet, so softly
and would but perish in song.
O blossom, whitest blossom,
can you conceive the song?
I stood in darkened daydreams
Op. 13 No. 1 (1843)
I stood in darkened daydreams
and stared at her portrait long
as that beloved face was
secretly coming to life.
Around her lips there blossomed
a wondrous laughing smile,
and melancholy teardrops -
they glittered in her fair eyes.
Likewise my teardrops welled up
and flowed down mournful cheeks
alas, I can’t believe it,
that I am deprived of you!
Waltz (1834)
Hark! What a sweet and harmonious ringing,
whispers rise up to a jubilant sound.
Let me embrace you, most charming of maidens,
just as a lover his amorous bride.
Come! Let us then soar with the rollicking music,
wafting ‘round us like the voices of love:
so let’s surrender to happy delusion,
blissful pretending, what never can be.
Eye close to eye with our cheeks ardent glowing,
heaving great signs of voracious desire!
Ah! When the hours of pleasure have fled by,
only sad longing is left in the breast,
never will bloom, whose flower has dried,
nor will the rose of our youth be so new,
so before the fire in our hot hearts burns out,
love just for love’s sake, while smiles month of May.

DIE BEIDEN GRENADIERE (1840)
1. Nach Frankreich zogen zwei Grenadier’,
Die waren in Rußland gefangen.
Und als sie kamen ins deutsche Quartier,
Sie ließen die Köpfe hangen.
2. Da hörten sie beide die traurige Mähr’:
Daß Frankreich verloren gegangen.
Besiegt und geschlagen das tapfere Heer,
Und der Kaiser, der Kaiser gefangen.
3. Da weinten zusammen die Grenadier’
Wohl ob der kläglichen Kunde.
Der eine sprach: «Wie weh wird mir,
Wie brennt meine alte Wunde!»
4. Der andre sprach: «Das Lied ist aus,
Auch ich möcht’ mit dir sterben,
Doch hab’ ich Weib und Kind zu Haus,
Die ohne mich verderben.»
5. «Was schert mich Weib, was schert mich Kind;
Ich trage weit besser’ Verlangen;
Laß sie betteln geh’n, wenn sie hungrig sind-
Mein Kaiser, mein Kaiser gefangen!
6. Gewähr’ mir Bruder eine Bitt’;
Wenn ich jetzt sterben werde,
So nimm meine Leiche nach Frankreich mit,
Begrab’ mich in Frankreichs Erde.
7. Das Ehrenkreuz am roten Band
Sollst du aufs Herz mir legen;
Die Flinte gib mir in die Hand
Und gürt’ mir um den Degen.
8. So will ich liegen und horchen still’,
Wie eine Schildwach’ im Grabe,
Bis einst ich höre Kanonengebrüll
Und wiehernder Rosse Getrabe.
DIE BEIDEN GRENADIERE,
with words by Heinrich
Heine and music by Robert
Schumann (Op. 49, No 1).
THE GRENADIERS (1840)
Two grenadiers were returning to France,
From Russian captivity they came.
And as they crossed into German lands
They hung their heads in shame.
Both heard there the tale that they dreaded most,
That France had been conquered in war;
Defeated and shattered, that once proud host, --
And the Emperor, a free man no more.
The grenadiers both started to weep
At hearing so sad a review.
The first said, «My pain is too deep;
My old wound is burning anew!»
The other said, «The song is done;
Like you, I’d not stay alive;
But at home I have wife and son,
Who without me would not survive.»
What matters son? What matters wife?
By nobler needs I set store;
Let them go beg to sustain their life!
My Emperor, a free man no more!
Promise me, brother, one request:
If at this time I should die,
Take my corpse to France for its final rest;
In France’s dear earth let me lie.
The Cross of Valor, on its red band,
Over my heart you shall lay;
My musket place into my hand;
And my sword at my side display.
So shall I lie and hark in the ground,
A guardwatch, silently staying
Till once more I hear the cannon’s pound
And the hoofbeats of horses neighing.
9. Dann reitet mein Kaiser wohl über mein Grab,
Viel Schwerter klirren und blitzen;
Dann steig’ ich gewaffnet hervor aus dem Grab-
Den Kaiser, den Kaiser zu schützen!
Then my Emperor’ll be passing right over my grave;
Each clashing sword, a flashing reflector.
And I, fully armed, will rise up from that grave,
The Emperor’s, the Emperor’s protector!»
Translation from German to English copyright © 1995 by Walter Meyer, walterm (AT) erols.com

Ich denke dein
(1849)
Ich denke dein, wenn mir der Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich des Mondes Flimmer
In Quellen malt.
Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.
Ich höre dich, wenn dort mit dumpfem Rauschen
Die Welle steigt.
Im stillen Hain da geh ich oft zu lauschen,
Wenn alles schweigt.
Ich bin bei dir, du seist auch noch so ferne.
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!
DUETS
I think of you when the sunlight shimmers
(1849)
I think of you when the sunlight shimmers,
beaming from the sea;
I think of you when the moon’s gleam
paints the streams.
I see you when, on distant roads,
the dust rises up;
in deep night, when on the narrow bridge
a traveler quivers.
I hear you when there, with a muffled roar,
the waves rise.
In the still grove I go often to listen,
when everything is silent.
I am with you, even if you are so far away.
You are near me!
The sun sinks, and soon the stars will shine for me.
O, if only you were here!
Text von Johann Wolfgang von Goethe (1749-1832) ,
«Nähe des Geliebten», 1795, Musik Robert Schumann
Text by Johann Wolfgang von Goethe (1749-1832),
«Nähe des Geliebten», 1795, music by Robert Schumann
In der Nacht
(1837)
Alle gingen, Herz, zur Ruh,
alle schlafen, nur nicht du.
Denn der hoffnungslose Kummer
scheucht von deinem Bett den Schlummer,
und dein Sinnen schweift in stummer Sorge
seiner Liebe zu seiner Liebe zu.
O wärst du da!
All have gone to their rest, heart
(1837)
All have gone to their rest, heart,
all are sleeping except you.
Because hopeless care
frightens away slumber from your bed,
and your thoughts wander in silent
sorrow to their love.
Text von Emanuel von Geibel (1815-1884) , ohne Titel, Musik Robert
Schumann aus Spanisches Liederbuch, in Weltliche Lieder, no. 13
Text by Emanuel von Geibel (1815-1884) , no title, music by Robert
Schumann from Spanisches Liederbuch, in Weltliche Lieder, no. 13

The artists
Albane Carrère is a French mezzo-soprano who has recently joined
the Opéra de Rouen where she shall interpret various roles in the
2010/2011 season. After completing her sociology studies at the Free
University of Brussels, Ms. Carrère proceeded with vocal training
at the Royal Conservatory of Brussels, where she also took part in
master classes with Nadine Denize.
As a young artist and lyrical singer she was invited to sing in the festival «Solistes
au Domaine» along side José van Dam and has participated in many other festivals,
amongst others in the Martha Argerich project within the Lugano Festival. She has
sung in the Palais des Beaux-Arts de Charleroi, Forum de Liège and had her debut in
the opera in roles of «Malika» and «Mistress Bentson» of the «Lakmé» of Léo Delibes.
In June 2011, Ms. Carrère will play the role of Thérèse in an opera by Jules Massenet in
the Royal Opera of Wallonia.
«For me, Clara Schumann represents a woman, a spouse and an artist in all her glory.
Without Clara, Robert Schumann wouldn’t have been Robert Schumann.»

Liam Ó Brádaigh is a lyric baritone singer, originally coming from
Ireland. After graduating from the College of Music in Dublin and
winning a silver prize in the National Music Festival of Ireland for solo
singing, he moved to Belgium in 1985 where he continued his vocal
studies and developed a singing career.
Over the years, Liam has sung with various international vocal chamber groups, such as
Consonaza, De Musen and Kassiopeia. Moreover, he has performed lunchtime recitals
and sung various roles at the Royal Opera of Flanders, the Belgian National Opera as
well as in a number of Belgian music festivals.
In addition to his career as a singer, he has been active as administrator of OPERAPLUS
a cultural/educational organisation based in Belgium and is an Associate of the Royal
College of Music in London. Apart from his musical career Liam is working at the EESC
in the Secretariat of Group III «Various Interests».
«In order to compose, all you need to do is remember a tune that nobody else has
thought of.»
David Miller is a pianist, composer and conductor with the
experience of almost 30 years. As a conductor and repetitor he has
worked in various operas, such as the Théâtre Royal de la Monnaie
and Semperoper in Dresden. David Miller has worked as pianist
repetitor in the Bayreuth Festival, Rossini Opera Festival, La Scala
and the Carnegie Hall in New York. The former professor of the
Royal conservatory of Liege is currently repetitor in the Belgian National Opera and
has also written the musical comedy «Tom Sawyer» which had its premiere in 2007.
David Miller’s compositions are included in two films of Gérard Corbiaux – «Le maitre
de Musique» and «L´année de l’Éveil» and he was musical advisor for Corbiaux´s film
«Farinelli».
«Schumann’s music struck me as dreamy and very masculine, and modest and
emotional all at once! What marvellous songs, and how generous he is to the pianist,
as well as to the singer! I am also happy to have discovered the songs by his wife,
Clara, and the duets.»

Robert to Clara, 1838
«What would I not do for love of you, my own Clara! The knights of old were better off;
they could go through fire or slay dragons to win their ladies, but we of today have to
content ourselves with more prosaic methods, such as smoking fewer cigars, and the
like. After all, though, we can love, knights or no knights; and so, as ever, only the times
change, not men’s hearts...»
Clara to Robert, 1839
«A thousand wishes! Oh, if only I could look you in the eye! If you looked me in the eye
now, you would see many things; a lot of great love and much that words can’t express.»
Robert to Clara, 1839
«I don’t wish for anything but that these lines please you a little after your concert
tomorrow. I read it in the Staatszeitung today and was amazed. If only I could be with you
while you’re reading this--hiding at first--then I’d jump out and kiss you and hug you for
playing so beautifully.»
Clara to Robert, 1839
«Oh, how indescribably beautiful your Kinderszenen are; if only I could kiss you! Yesterday
I thought, and am still thinking, «Is it really true that the poet who speaks in these pieces
will be mine?» Isn’t that too much happiness? Oh, I can’t believe it! I am more and more
delighted every time I play them. There is so much in your music, and your thoughts are
so clear to me that I could lose myself in you and your music.»
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