Schumann: Frauenliebe und-leben - Mussorgsky: Kinderstube (1982)

	Robert Schumann 1810-1856: Frauenliebe Und -Leben Op. 42 	21:15
A1 	I Seit Ich Ihn Gesehen 	
A2 	II Er, Der Herrlichste Von Allen 	
A3 	III Ich Kann's Nicht Fassen, Nicht Glauben 	
A4 	IV Du Ring An Meinem Finger 	
A5 	V Helft Mir, Ihr Schwestern 	
A6 	VI Süsser Freund, Du Blickest 	
A7 	VII An Meinem Herzen, An Meiner Brust 	
A8 	VIII Nun Hast Du Mir Den Ersten Schmerz Getan 	

	Modest Mussorgsky 1839-1881: Die Kinderstube, Episoden Aus Dem Kinderleben 	17:12
B1 	I Mit Der Kinderfrau 	
B2 	II Im Winkel 	
B3 	III Der Käfer 	
B4 	IV Mit Der Puppe 	
B5 	V Vor Dem Schlafengehen 	
B6 	VI Ritt Auf Dem Steckenpferd 	
B7 	VII Kater Murr

Teresa Berganza – mezzo-soprano
Ricardo Requejo – piano

Frauenliebe und -leben (A Woman's Love and Life) is a cycle of poems by Adelbert von Chamisso, written in 1830. They describe the course of a woman's love for her man, from her point of view, from first meeting through marriage to his death, and after. Schumann wrote his setting in 1840, a year in which he wrote so many lieder (including three other song cycles: Liederkreis Op. 24 and Op. 39, Dichterliebe), that it is known as his "year of song". There are eight poems in his cycle. Schumann's choice of text was very probably inspired in part by events in his personal life. He had been courting Clara Wieck, but had failed to get her father's permission to marry her. In 1840, after a legal battle to make such permission unnecessary, he finally married her.

This is an immensely sophisticated and masterful song cycle. Mussorgsky was one of the first composers to fashion music from speech patterns, and in least one of the songs in this collection, "The Nanny," that technique is in evidence. He first began to develop this method with the songs "Darling Savishna," "You Drunken Sot," and "The Seminarist," all from 1866. But what Mussorgsky was striving for in "The Nanny" goes beyond mere reproduction of speech sounds: he attempts to express musically the feelings and ideas of the child.

The composer used his own texts in this cycle and the subject matter, of course, deals with the world of children, as the titles of the seven songs suggest. Yet, the music is not for children; it is formally, thematically, and harmonically as advanced as almost anything in its genre from that era. In certain ways, these songs are a vocal parallel to Schumann's keyboard collection Kinderszenen (Scenes of Childhood) (1838), which also represents an adult view of a children's world. But Mussorgsky's effort here was even more innovative and radical in its time than Schumann's work.

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