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Frauenliebe und Leben Now and Then

Frauenliebe und Leben Now and Then KRISTIN MUXFEL Frauenlie und Lebe Frauenliebe und Leben Now and Then KRISTINA MUXFELDT Rarely has the reputation of a poet come to be yoked so closely to a musical setting as is the case with Adelbert von Chamisso (1781–1838) and Robert Schumann’s song cycle Frauenliebe und Leben. Celebrated as a German poet the equal of Heine or Eichendorff during the nineteenth century (doubly remarkable as he was a French emigré), Chamisso’s poetry was read widely and set to music on dozens of occasions, mostly by composers who have since vanished from our historical horizon. But it is the prestige of Schumann’s setting that has continually rekindled reactions to a collection of poems, which many critics feel would likely have dropped out of sight if not for the fact that we are brought face to face with them each time we encounter Schumann’s cycle. Thanks in no small measure to the attention Schumann paid to them, the now negative reputation of the Frauenliebe poems has come to dominate discussions of this poet—who was also a renowned author of stories and of a celebrated travel account of his journey around the world— in literary histories, especially those from the last http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Frauenliebe und Leben Now and Then

Muxfeldt, Kristina
19th-Century Music , Volume 25 (1) – Jul 1, 2001
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
Subject
Research Article
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2001.25.1.27
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Abstract

KRISTIN MUXFEL Frauenlie und Lebe Frauenliebe und Leben Now and Then KRISTINA MUXFELDT Rarely has the reputation of a poet come to be yoked so closely to a musical setting as is the case with Adelbert von Chamisso (1781–1838) and Robert Schumann’s song cycle Frauenliebe und Leben. Celebrated as a German poet the equal of Heine or Eichendorff during the nineteenth century (doubly remarkable as he was a French emigré), Chamisso’s poetry was read widely and set to music on dozens of occasions, mostly by composers who have since vanished from our historical horizon. But it is the prestige of Schumann’s setting that has continually rekindled reactions to a collection of poems, which many critics feel would likely have dropped out of sight if not for the fact that we are brought face to face with them each time we encounter Schumann’s cycle. Thanks in no small measure to the attention Schumann paid to them, the now negative reputation of the Frauenliebe poems has come to dominate discussions of this poet—who was also a renowned author of stories and of a celebrated travel account of his journey around the world— in literary histories, especially those from the last

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19th-Century Music – University of California Press

Published: Jul 1, 2001

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