In these lieder, Robert Schumann seems to mirror his life full of crises. The composition coincides with the first signs of his illness. The picture of the drowning Ophelia evoked in the first chant conjures up the image of his suicide attempt three years later. Aribert Reimann’s transcription seems to be opposed to Schumann’s endeavours to make stronger use of ‘the development of the accompanying instrument, the piano’. On the other hand, the complete integration of the vocal part in the musical setting of the string quartet confirms Schumann’s assessment that the singing voice alone cannot ‘express everything; apart from the expression of the whole, even subtle nuances of the poem shall become apparent’. These transcriptions show Reimann’s sense of timbre and his many years of experience as a lied accompanist.