Schumann's most popular song cycles performed by mezzo-soprano Marianne Beate Kielland, who is established as an exceptional performer with a wide-ranging repertoire from baroque to contemporary. Schumann's astonishing outpouring of songs in his so-called "Liederjahr" was inspired by his love for Clara, whom he married in September that year after prolonged and acrimonious opposition from her father. Schumann survived the ordeal of court appearances in which Friedrich Wieck attempted to defame his character. Myrthen (Myrtle Wreath), a group of twenty-six songs based on texts by several poets, including Ruckert, Goethe, Burns, Byron and Thomas Moore, was published on the day of Schumann's wedding. It contains many of his most popular songs. The majority of Schumann's most popular songs (and song-cycles) date from 1840 but his extensive and treasurable work in this genre continued until 1852. At the end of that year he set five poems doubtfully attributed to Mary, Queen of Scots and translated by Gisbert von Vincke - Gedichte der Königin Maria Stuart, Opus 135. Written in one of Schumann's least productive years, they were his last songs.
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Schumann's most popular song cycles performed by mezzo-soprano Marianne Beate Kielland, who is established as an exceptional performer with a wide-ranging repertoire from baroque to contemporary. Schumann's astonishing outpouring of songs in his so-called "Liederjahr" was inspired by his love for Clara, whom he married in September that year after prolonged and acrimonious opposition from her father. Schumann survived the ordeal of court appearances in which Friedrich Wieck attempted to defame his character. Myrthen (Myrtle Wreath), a group of twenty-six songs based on texts by several poets, including Ruckert, Goethe, Burns, Byron and Thomas Moore, was published on the day of Schumann's wedding. It contains many of his most popular songs. The majority of Schumann's most popular songs (and song-cycles) date from 1840 but his extensive and treasurable work in this genre continued until 1852. At the end of that year he set five poems doubtfully attributed to Mary, Queen of Scots and translated by Gisbert von Vincke - Gedichte der Königin Maria Stuart, Opus 135. Written in one of Schumann's least productive years, they were his last songs.
