Schumann’s Frauenliebe und -leben and Dominick Argento’s From the Diary of Virginia Woolf are two song cycles that are staples of the vocal repertoire. Argento modeled the large-scale form and dramatic concept of his own work after Schumann’s cycle: eight songs depicting moments from a woman’s life in a chronological manner. Another common feature is the return of thematic material in the last song from the first song.

It’s important to note that the character in Frauenliebe und -leben is fictional & created from a male perspective (both poet and composer are male). From the Diary of Virginia Woolf is a series of actual texts extracted from a woman’s personal journal. Schumann’s cycle represents a man’s impression of what a woman might have been (or even should have been) feeling, thinking or experiencing. The poetry was written in 1830 and offers a highly romanticized depiction of courtship and marriage. In contrast, Argento’s cycle offers a feminine (or even early feminist) perspective.

In Jeanette Marie Fontaine’s comparative analysis: “Robert Schumann’s Frauenliebe und -leben and Dominick Argento’s From the Diary of Virgina Wolf,” she writes “Though the cycle is named A Woman’s Love and Life, her life does not ‘begin’ musically until she first sees him. Every song in Frauenliebe und -leben is directly related to their relationship—from their first meeting to marriage, from the birth of their child to the husband’s death.

Virginia Woolf’s obsession is not directed towards worshipping a husband or a male lover but instead is directed inward. Woolf’s fixation, at least in the diary entries that Argento has chosen to excerpt, appears to be her own thoughts and observations about life and writing. Throughout the eight entries included in the song cycle, she tries to better understand herself and her art. Her metaphorical remark, “I think it is true that one gains a certain hold on sausage and haddock by writing them down...” suggests that writing helps Woolf to better comprehend herself and her experiences.”

We hope that this recital will make you take an even closer look at this music, and all of the music that we sing and enjoy in the classical vocal cannon. Even if you have heard these pieces before, the juxtaposition of them in this setting highlights some of similarities and differences and encourages us to ask new questions of the composers and writers. Thank you for being here!