Schumann: Frauenliebe und -leben, Lieder
Clara Schumann: Lieder
Carolyn Sampson (soprano), Joseph Middleton (piano) (BIS)
(scroll down for English review)
這套舒曼藝術歌曲集「給太太的歌曲集」的中心曲目為聯篇歌曲《女人的愛和一生》，不過女高音Carolyn Sampson不但把這八首歌曲拆開、穿插舒曼的其他歌曲，還有七首克拉拉舒曼的藝術歌曲混雜其中，沿着《女人的愛和一生》寫女人從戀愛到結婚、生育，最後喪夫的歷程，構成一套70分鐘的節目。
克拉拉舒曼的歌曲主要在頭三分一，除了是因為詩詞內容以愛情為主，有心也好，無心也好，也帶出克拉拉舒曼在嫁給舒曼後，創作生命就此作結。我覺得太刻意標榜克拉拉的才華，假設如果她沒有有家庭犧牲藝術會怎樣，實在無謂。不過從選錄的這幾首歌曲，和舒曼的歌曲比較，我認為克拉拉寫得比較費勁，歌唱的旋律很着跡的加入感情，伴奏也寫得太過花巧。
克拉拉從這套歌曲集淡出後，之後的舒曼歌曲卻又愈來愈好聽，恍似克拉拉不單為家庭犧牲，也為舒曼的藝術犧牲了。
The Frauenliebe und -leben song cycle is the centre of this 70-minute recital of lieder of the Schumanns. Yes, Robert and Clara Schumann. The eight songs of the cycle were broken up into eight sections, interspersed by other lieder by Robert and Clara, expanding the cycle’s structure of a woman’s life through love, marriage, childbearing and widowhood.
Clara’s lieder were concentrated in the first third of the recital and they were mostly about youthful romances. The subsequent absence of Clara’s compositions also corresponded to the termination of Clara’s creative life after she became Mrs. Schumann. I don’t think any speculation on what would Clara achieve had she not married would be a meaningful discussion. Yet if we compare her lieder selected here with Robert’s, I’d say Clara was a less natural composing talent, the emotions of the vocal melodies were too extroverted and the piano writings were also overloaded.
I feel sorry to say, on this recital, after Clara had faded out, Robert’s lieder got better and better. As if Clara not only sacrificed herself for Robert’s household, but for Robert’s artistry as well.