Im wunderschönen Monat Mai, which comes from the Dichterliebe cycle, is indescribably delicate. It should be sung with great lightness and simplicity. Any effort toward a striving for effect would ruin this exquisite gem. Frühlingsnacht with its wonderful accompaniment, which Franz Liszt thought so remarkable that he combined the melody and the accompaniment, with but slight alterations, and made a piano piece of the whole—is a difficult song to sing properly. If the singer does not catch the effervescent character of the song as a whole, the effect is lost. Any "dragging" of the tones destroys the wonderful exuberance which Schumann strove to connote. The balance between the singer and the accompanist must be perfect, and woe be to the singer who tries to sing Frühlingsnacht with a lumbering accompanist.
Der Nussbaum is one of the most effective and "thankful" of all the Schumann songs. Experienced public singers almost invariably win popular appreciation with this song. It is probably my favorite of all the Schumann songs. Here again delicacy and simplicity reign supreme. In fact simplicity in interpretation is the great requirement of all the art songs. The amateur singer seems to be continually trying to secure "effect" with these songs and the only result of this is affectation. If amateurs could only realize how hard the really great masters tried to avoid results that were to be secured by the cheap methods of "affectation" and "show," they would make their singing more simple. Success in singing art songs comes through the ability of the artist to bring out the psychic, poetical and musical meaning of the song. There is no room for cheap vocal virtuosity. The great songs bear the sacred message of the best and finest in art. They represent the conscientious devotion of their composers to their loftiest ideals.
I have mentioned three songs which are representative, but there are numberless other songs which reveal the intimate and personal character of Schumann's works. One popular mistake regarding these songs which is quite prevalent is that of thinking that they can only be sung in tiny rooms and never in large auditoriums. Time and again I have achieved some of the best results I have ever secured on the concert stage with delicate intimate works sung before audiences of thousands of people. The size of the auditorium has practically nothing to do with the song. The method of delivery is everything. If the song is properly and thoughtfully delivered, the audience, though it be one of thousands, will sit "quiet as mice" and listen reverently to the end. However, if one of these songs were to be sung in a flamboyant, bombastic manner, by some singer infected with the idea that in order to impress a multitude of people an exaggerated style is necessary, the results would be ruinous. If overdone, they are never appreciated. Art is art. Rembrandt in one of his master paintings exhibits just the right artistic balance. A copy of the same painting might become a mere daub, with a few twists of some bungling amateur's brush. Let the young singer remember that the results that are the most difficult to get in singing the art song are not those by which she may hope to make a sensational impression by means of show, but those which depend first and always upon sincerity, simplicity and a deep study of the real meaning of the masterpiece.
The Love Interest in the Schumann Songs
Up to the time Schumann was thirty years of age (1840), his compositions were confined to works for the piano. These piano works include some of the very greatest and most inspired of his compositions for the instrument. In 1840 Schumann married Clara Wieck, daughter of his former pianoforte teacher. This marriage was accomplished only after the most severe opposition imaginable upon the part of the irate father-in-law, who was loath to see his daughter, whom he had trained to be one of the foremost pianists of her sex, marry an obscure composer. The effect of this opposition was to raise Schumann's affection to the condition of a kind of fanaticism. All this made a pronounced impression upon his art and seemed to make him long for expression through the medium of his love songs. He wrote to a friend at this time, "I am now writing nothing but songs great and small. I can hardly tell you how delightful it is to write for the voice, as compared with instrumental composition; and what a tumult and strife I feel within me as I sit down to it. I have brought forth quite new things in this line." In letters to his wife he is quite as impassioned over his song writing as the following quotations indicate: "Since yesterday morning, I have written twenty-seven pages of music (something new of which I can tell you nothing more than that I have laughed and wept for joy in composing them). When I composed them my soul was within yours. Without such a bride, indeed no one could write such music; once more I have composed so much that it seems almost uncanny. Alas! I cannot help it: I could sing myself to death like a nightingale."
During the first year of his marriage Schumann wrote one hundred of the two hundred and forty-five songs that are attributed to him. In the published collections of his works, there are three songs attributed to Schumann which are known to be from the pen of his talented wife. As in his piano compositions Schumann avoided long pieces and preferred collections of comparatively short pieces, such as those in the Carnaval, Kreisleriana, Papillons, so in his early works for the voice Schumann chose to write short songs which were grouped in the form of cycles. Seven of these cycles are particularly well known. They are here given together with the best known songs from each group.
Critics seem to be agreed that Schumann's talent gradually deteriorated as his mental disease increased. Consequently, with but few exceptions his best song works are to be found among his early vocal compositions. I have tried repeatedly to bring forth some of the lesser known songs of Schumann and have time and again devoted long periods to their study, but apparently the public, by an unmistakable indication of lack of approval, will have none of them.
Evidently, the songs by which Schumann is now best known are his best works from the standpoint of popular appreciation. Popular approval taken in the aggregate is a mighty determining factor. The survival of the fittest applies to songs as well as to other things in life. This is particularly so in the case of the four famous songs, Die beiden Grenadiere, Widmung, Der Nussbaum and Ich grolle nicht, which never seem to diminish in popularity.