Schumann's Vocal Album
The Musical Times and Singing Class Circular
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... out Early Journal Content at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact firstname.lastname@example.org. ;s sustained tllrough three more pages; a sudden and bold modulation into (: major leading back to the original movement; withwhich,sotnewhat prolonged and amplified the piece terminates. These charming productions may compare in beauty arsd value with the recently published 4; Preludes " and 44 Etudes " of Mendelssohn all, together forming such contril)utions to pianoforte music as have not otherwise been made for many years past; and such as we cannot expect from any living colnposer. Let us hope that more such treasures may still be found arnong the lnalluscript remains of Mendelssohll and 'Schubertwho are thas in some measure brought back to a world which they quitted too soon-the former at the age of 38, the latter in his tllirty-second year. 1. Schumann's Vocc61 Alblbnz. 2. Schumann's SIbum for Young Psanists (Op. 68). 3. ;' Forest Scenes." By R. Schllmann (Op. 82). WE have here, in quarto form, and at cheap prices neatly engrcaved and printed editions of some of the many exquisite piecesy vocal and instrumental, of a composer who has long been, either ignorantly or wilfully, tlle sullject of rnuch ulisconception and misrepresentation in this countr-. That, in sonLle instances, he produced too rapidly, and occasionallfr in too ambitious imitation of the vast and ullapproachable genius of Beethoven, Inay be conceded. It may be granted, also, that some of' his larger worlH are diffuse, and even occasionally labouredbut, with the exception, perhaps, of a few of his latest productions, scarcely any can be found in which the hawd of masterly power and the beauty of original thouEr,ht are not sufflcientltr apparent and prominent to more than compensate for transiently uninterestillg passages. Whatever opinion, however, may be held as to his more anlbitious works, it is difficult to conceive any hesitation, excepting among the most igtlorant or preJudiced, to recognize the special beauty and ,strongla marked individuality of such pieces as those of which we are now recording the pulolication in a popular form -a laJrge number of sirnilar, if not of equal, merit, still remainillg for a like re-productio should the publishers find it expedient. To begrin with his songs? thirty of which are included in the selection before us-some of these may cornpare with similar productions of' Beethoven (always excepting the incomparable " Adelaida " which stands alone in its kind), Schubert and Mendelssolm-in other words, witll the greatest of their clasbs. The songs of Schumann now referred to are settings of lyrics by some of the most popular Gerelan poets-Heine and others-the original test being given in this edition toCether with English translations, mostls from the accomplished pen of Mr. John (3senford. It is impossible to specify the wllole of' tlle pieces here re-produced * Iout we may point to a few specimens in justification of the opinion just given. '; Der Nussbaum," with its graceful phrases of vocal melody echoed by the pianoforte and supported by a delicate sprinkling oi' s6rpeggio chords, ;4 Sonntags am Rhein," a strain of' such pure religious beauty, with such a masterly accompaniment, simple as it is, that it can only fail to be both impressive and charllling through imperfect and unsynlpathisillg interpretation. Of similar earnest beauty is " An den Sonnenscheill," both melody and accompaniment as simple as a hymn tune bat bearing the unmistalQable impressof poetical genius. 44 Mtidmung " ( 4 ' Des-otion "), is also full of the same elevation and beauty, in a higher degree of elaboration. The accompaniment to this song, with its alterllations of arpeggios and chords, is an admirable specinlen of the rich framework with hich a master can surroulld a vocal melody. " Abendlied " is a hymn expressive of such feelings of thankfulness as the most poetical and religious mind could conceive on the close of a peaceful and well-spent day The same then}e is also used by the composer in the last of his set of twelve pianoforte duets (Op. 82), sc Filr grosse und kleine Einder." It must not be supposed that all these songs are of serious character-some are in a much lighter vein such as " I)er arme Peter," ; Die beiden Grena(liere," " Trinklied," &c. ,&11 who value the lieder THE MIJSICAL TIMES. ;s 1, 1868. THE MIJSICAL TIMES. ;s 1, 1868. THE MIJSICAL TIMES. ;s 1, 1868.