Heine-Lieder : Morgens steh ich auf und frage / Schumann

Composer: Schumann, Robert
Dates: 1810-1856
Song title: Morgens steh ich auf und frage
Opus, no., etc.: op.24, Nr.1
Music collection title: Liederkreis nach Gedichten von Heinrich Heine für eine Singstimme mit Klavier
Imprint(s): Leipzig: Breitkopf & Härtel, 1840
Source(s) for score: Schumann, Sämtliche Lieder für eine Singstimme mit Klavierbegleitung, Bd. II, ed. Friedländer -- Originalausgabe (hohe Stimme) -- NY : C.F. Peters (Pl. no.9559)
1st line of poem: Morgens steh' ich auf und frage (Go to text and translation)
Source of poem: Buch der Lieder: Junge Leiden: Lieder, Nr.1
Date of composition: 1840
Nationality of composer: German
Language(s) of text: German
Tempo marking: Allegretto
Key: original key D major (several others available in various eds.)
Time signature: 2/4
No. of measures: 45
Approximate duration: 1 min.
Form: Through-composed
Vocal range: d to e' [d' to e"]
Vocal tessitura: middle overall; somewhat low (mostly between e and b) in first half; second half rises in tessitura, with a couple of skips of a fourth up to e' (Go to chart)
Vocal rhythms: mostly eighth and quarter notes
Vocal intervals: mostly stepwise or by third, a few accidentals
Vocal comments: Male singer (tenor or high baritone) more appropriate to text
Textual variants, etc.: Not content with the simple line repetition with which Liszt and other indulge themselves, Schumann essentially rewrites Heine's poem to fit his musical phrases. In the first stanza he tacks on an extra "auf heut" to the fourth line, and in the second stanza both the second and fourth lines have added feet as well: "Lieg' ich schlaflos, lieg' ich wach" and "Träumend wandle ich bei Tag."
Instrumental part(s): piano part not difficult technically, but careful attention is needed to coordinate with the singer rhythmically, especially at the written ritardandos
Summary: This is certainly the most famous setting of these words, and on a par with Liszt's second setting in terms of capturing the poem's essence. The melody is of rather narrow compass (especially compared to some other settings of this same text), but combined with the hypnotic pulsating piano part it masterfully portrays the wandering, dreamlike state of the poet, as given in the final line: "All day I wander in dream, half asleep." The entire setting is directed toward the general portrayal of this mood rather than painting each word or phrase. (Go to analysis) For a fascinating analysis of the entire Heine Liederkreis see Berthold Hoeckner's "Poet's Love and Composer's Love" in Music Theory Online, Volume 7, Number 5, October 2001.