Robert Schumann composed two cycles from the set in 1849, for mixed voices and, in the case of the Spanische Liebeslieder Op 138, two pianists. Hugo Wolf later drew on Geibel’s work for his Spanish Songbook, a setting much better known today than Schumann’s, partly because the earlier cycles require multiple musicians.
Looking to the warmth and freedom of southern Europe was a common theme of German Romantic art but, typically, Schumann’s choice of poem tends towards the melancholy. The duet from Op 138, “Cover me with flowers for I am dying of love” more or less sums up the dichotomy. Yet there is a sombre side to the Spanish soul that chimes perfectly with the “tortured genius” of Schumann’s muse. (Most of the songs in both sets are in the minor key.) The only overt Spanish-sounding note is in the instrumental Nationaltanz of Op 138, where the composer imitates the strumming of guitars and (possibly) the stamping of feet.
These are stunning performances. The four young singers – none of whom I had encountered before – have strong, clear voices and the ability to colour the dramatic points of the poetry. Both pianists are sensitive, and the recording quality is a delight. Strongly recommended, and not just because competition is thin on the ground.
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