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0:00 Liebesgarten 3:50 Liebhabers Ständchen 6:11 Unterm Fenster 7:45 Familien-Gemälde Performers: Dorothea Röschmann (soprano), Ian Bostridge (tenor), Graham Johnson (piano) Programme notes by Graham Johnson for Hyperion: By 1840 there had clearly been a change of emphasis which was cultural as much as musical. Cosy musical domesticity was the keynote of the Biedermeier epoch, and the musical celebration of family values, which was to reach its peak in the later Victorian era, had already begun. Duets were a means of keeping music in the family – it was increasingly fashionable to entertain at home where performances were given by siblings, parents and children, husbands and wives or engaged couples. (An early indication of this trend was the quartet Gebet which Schubert conceived for different members of the Esterhazy family in Hungary in 1824.) Schumann’s sensitivity to, and interest in, this form is not hard to understand: the defining struggle of his life was the winning of his bride, and the earlier part of his own biography is a testament to the inspiration of a happy marriage and harmonious family life. Even if his Op. 34 duets were written before his marriage the very sound of this music betokens the domesticity of the marital state. Like so many other Schumann songs of 1840 the music describes projected happiness rather than the experience of it – the musical spell seems consciously woven in advance, as if one of the duets’ functions was to help to turn into reality the togetherness implied by the close interactions of the music. See detailed notes for each song, texts and translations at https://www.hyperion-records.co.uk/notes/3...