—Yes; it is he!”
Throughout this melody one is conscious of a deep and inward happiness, which is not without a pleasing touch of melancholy.
In that which next follows the young girl sings her beloved. The rhythm is lofty, the melody brilliant. There are, however, in this Lied parts which are not equal to the preceding, and which are wanting in naturalness. But listen; she is loved:
“Why tremble thus? why doubt, my heart?
Thou beatest nigh to breaking. Ah!
Me has he chosen among all;
And thou, my heart, believ’st it not!”
The enthusiasm which fills this melody makes it comparable to the deepest melodies of Schubert. What we feel peculiar in it to Schumann is a feverish tone, a shade of delirium, if we may say so, which we might seek for in yain in Schubert. The ternary rhythm, especially when the measure is rapid, is singularly suitable to impassioned movements. A chord, detached not too strongly falls upon the first beat of each
bar; the hurrying melody stops upon the word Ah, on a concord of the seventh, very simple, but of a pleasing effect after the regular ascent of the bass. Then it continues, rapid and fevered, and the first phrase closes in C, on the words: “And thou, my heart, believ’st not.”
Then, more slowly, the maiden caresses her precious memories: