Frühlingsglaube d686

4 Lieder

Frühlingsglaube D686 (1820)

Im Haine D738 (1822–3)

Im Frühling D882 (1826)

Der Musensohn D764 (1822)

Unlike the erotically obsessive Platen and Rückert settings featured in the second of these concerts, all four of the present group of Lieder are redolent with the joys of spring – which does not, of course, exclude the erotic but which does inspire a brighter, fresher attitude to the emotions associated with it.

Frühlingsglaube, an essentially relaxed observation of spring renewal secure in its major harmonies, is the epitome of its kind. There is an anxious modulation as thoughts turn inwards towards the end of each stanza but faith in the restorative powers of nature is retained by the consistent presence of the initial rhythmic pattern in the piano part. Although there is no mention of spring in Bruchmann’s Im Haine, the third stanza seems to imply a recent winter, the passing of which is celebrated in Schubert’s setting in a delightfully waltz-like 9/8 time. One of the most beautiful of all spring songs, Im Frühling is so relaxed that it is almost indolent – or it is until memories of lost love intrude so painfully that the harmonies are chilled into the minor and the blissful piano melody is displaced by stabbing syncopations. The not quite reconciled closing stanza restores both the major mood and the piano melody but retains the syncopations until the very last line.

Der Musensohn stands apart from the others. The protagonist in this case is not a languid lover but a musician driven, like Schubert, by his art. The “son of the muses” sings of spring but, while inspiring others, is denied the liberty to act the lover himself. The ultimate professional, he dances tirelessly through every season to a fleet-footed but relentlessly regular 6/8 without pausing, except in minimal ritardando in the very last line, to give expression to his own innermost feelings.