1.Der Knabe mit dem Wunderhorn

Stemming from Arnim and Brentano's collection of folk poetry, with words by Geibel, "Der Knabe mit dem Wunderhorn," Op. 30/1, (The Lad with the Wonder Horn) evokes the chivalric world with its grandiose 6/8 rhythm and horn-like chords that arise from the piano. Robert Schumann placed the song at the beginning of Drei Gedichte, Op. 30, then followed it with two works of a similar theme: "Der Page," Op. 30/2, and "Der Hidalgo," Op. 30/3. Written in B major, the "Lebhaft, rasch" (lively, swift) song describes a merry lad who journeys through green land, stopping occasionally for song, dance, and drink before the setting sun urges him back to his travels. The first, second, and fourth verses are nearly identical; however, the third verse takes its own key and is approximately double the length of the others. The vocalist is afforded the liberty to brush through certain notes and lengthen others, flexibility being required to maintain a buoyant mood. The line becomes most dignified when the protagonist mentions his romantic interactions; his energy is maintained until the final measures when he makes his adieux, galloping away and blowing a silver horn. Schumann applied the work's illustrative rhythms the following year in his Overture, Scherzo and Finale in E major, Op. 52 (1841), for orchestra.

© Meredith Gailey, Rovi

2.Der Page

"Der Page," Op. 30/2 (The Page), from Drei Gedichte, Op. 30, is a moderately paced, tender song of humility and devotion, written in E major in 6/8 time. Based on a poem by Geibel, it tells of a youthful servant who, overwhelmed by adoration, vows to attend to a lovely lady with flowers, song, and protection, asking only for a smile in return. His personality greatly contrasts the vain confidence of the protagonist of the previous song, "Der Knabe mit dem Wunderhorn," Op. 30/1, and of the sly forcefulness of the succeeding work, "Der Hidalgo," Op. 30/3. The young boy makes his heartfelt, parlando style declaration in a lovely duet with the hardly supportive, light piano line (at times only two sets of chords are heard in three measures). Composed mainly of quarter and eighth notes, it also contains a few unusual duple eighths and arpeggios that indicate resilient activity. Containing one of Schumann's well-known triple grace notes, the postlude is meant to be performed effortlessly with grace.

© Meredith Gailey, Rovi

3.Der Hidalgo

The main character of "Der Hidalgo," Op. 30/3 (The Hidalg), a sly and lyrical Spanish aristocrat and skilled swordsman who spends his evenings serenading fine ladies in Seville and fighting his rivals, is one that Robert Schumann was able to identify with during the time he composed the humorous tune. With text attributed to Geibel, this third song of Drei Gedichte, Op. 30, was composed on August 1, 1840, or, as noted in the score "Am Tage des Consenses" (the day of consent). It was on that particular day that the Leipzig Court of Appeals officially granted permission for the composer to marry Clara Wieck, making him the Hidalgo who championed over his fiancée's father's objections. Written in a saucy polonaise rhythm in D major, the work expresses the facets of the musical Eusebius and the assertive Florestan. In this music, which is both ebullient and bold, the piano and voice sing a love duet that mimics the delicate and seductive strumming of the protagonist's mandolin. The composition is popularly recorded alongside "Der Knabe mit dem Wunderhorn," Op. 30/1, and "Der Page," Op. 30/2.

© Meredith Gailey, Rovi