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Ich Grolle Nicht" is a poem originally written by Heinrich Heine, and first set to music by German composer Robert Schumann. In 1899, American composer Charles Ives re-set the *****, putting h***** own twist on t*****e magical sound crea*****d by Schumann.

The poem, as translated from the original German:

will not complain, even if my heart does break,

Forever lost, o love! I will not complain.

However you may shine in bediamonded splendour,

No ray illuminates the night in your *****.

***** have I known this. Yes, ***** saw you in a dre*****m,

***** saw the night in the abyss of your heart,

And saw the serpent that gnaws at your breast, saw, my *****, how miserable you are.

I ***** not compla*****, I will ***** complain!]

***** d*****ferent styles employed by the two composers in their approach to the setting of "Ich Grolle Nicht" is readily apparent.

Schumann had a very literary ***** to h***** compositions. Starting *****f in life with ***** idea of be*****g a pianist, along ***** his talent for word-setting, made him particularly keen to the ***** of setting poetry to music. His compositions are usually short-bre*****hed and somewhat square, but speak with a distinct person*****lity. Within the scope ***** setting the work of Heine, including "Ich Grolle Nicht," Schumann demonstrates his ability to compress immense emotion into a few short bars.

Schumann's transcendance ***** a capricious ***** to ***** more lyrical, poetic masterpieces capturing the human voice is also seen in t***** piece. He approaches this sett*****g with a feeling ***** w*****rmth and impulsiveness not seen in his earlier work, ***** also which is markedly different from the approach taken by Charles Ives.

Heine, ***** nature, wrote his ***** with a biting terseness th*****t allowed Schumann to add his own richness to the setting. Emotion is expressed in a very intimate yet informal manner. In t***** piece, ***** passion of the ***** is terse and unrhetorical.

***** way in which Schumann set "Ich Grolle Nicht" requires a singer with an enormous vocal range. A singer whose ***** ***** ***** of great compass is forced to *****ne down ***** song in parts. A challenge ***** created for the *****, whereby he must carry the rich melody of the tune but also broadcast the emotion that Schumann is wanting to emphasize. To some, this may be seen as a technic*****l weakness in this composition.

*****'s music generally contains a strongly Teutonic ch*****racter to it, expressing a wide variety of mood within a short span. Schumann here employs subtle shifting between a focus on the piano and the focus on the vocal. There appears a *****what chaotic characteristic ***** the interplay ***** ***** voice and piano, bringing out the rich ***** that ***** intended.

***** the majority of Schumann's 1840 *****, he displays his temperament as a dominant innovator, reaching ***** to grasp something new. Schumann was an expert at maintaining ***** energy from the unity ***** words *****d music. This is expressed str*****gly in "***** Grolle *****"

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