Robert Schumann: Du ring an meinem Finger (Thou ring on my finger)

by darklyseen (CC)

Robert Schumann’s song cycles Frauenliebe und –leben (The loves and lives of women) and Dichterliebe (The poet’s love) hold almost universal appeal among listeners and singers young and old, new and seasoned, amateur and professional. Not only are the real-life scenarios of love and love lost easy to grasp, but Schumann also sets them with heart-rending effectiveness.

In Du Ring an meinem Finger, we witness a private moment where a newly-engaged woman marvels in the beauty of a ring that somehow makes tangible the intangibility of love. Something about the rising and falling motion of the vocal line and the tenderness of the accompaniment is strikingly intimate. The middle section of the piece borrows heavily from the second song in the cycle, (Er, der Herrlichste von Allen, a song all about the wonders of the man whom she loves) with the text “I will serve him, live for him, belong to him entirely.” The piece finally returns to the revelry of the initial rocking melody.

• Video (Elly Ameling) – YouTube
• Text (Adelbert von Chamisso) and Translation – recmusic.org
• Accompaniment – YourAccompanist.com
• IPA Transcription & Translation – ipasource.com
• Score (Entire cycle) – IMSLP

Cécile Chaminade: L’anneau d’argent (The Silver Ring)

"Obstinate receiver of so many memories"

Shimmering sounds emanate from the piano and the singer sings a simple melody. The image of a glinting silver ring is easy to call to mind. Chaminade avoids low notes until the singer considers that they want the ring to shine on, even after they have died.

• Audio (Anne Sofie von Otter) (Excerpt) – Last.fm
• Audio (uncredited) – DailyMotion
• Score (Song #18) – IMSLP
• Text (Rosemond Gerard) – recmusic.org
• Article – wikipedia

Cecile Chaminade was a pianist who wrote lovely character pieces for piano and for voice at the turn of the Century; clubs devoted to her music sprang up in Europe and America, and she was a regular contributor to popular womens’ magazines, where her music was included along with articles on “How to play my music.” Her works usually have a lovely, catchy main melody, a contrasting middle section, and finally a return to the main melody.

This song is familiar to singers and teachers from its inclusion in Joan Frey Boytim’s First Book of Mezzo-Soprano Solos, but her lovely works in several volumes are definitely worth investigation. The first volume is available online (see above), and additional volumes can be found in libraries and in reprints.

I have submitted a translation to recmusic.org, but until it is posted, I’ve included it here