A history of the art song in Germany

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A

HISTORY OP THE ART SONG IN GERMANY

A

T h e sis

P re se n te d to t h e F a c u l t y o f t h e D e p a rtm e n t o f M usic The U n i v e r s i t y o f S o u th e r n C a l i f o r n i a

In P a r t i a l F u l f i l l m e n t o f t h e R e q u ir e m e n ts f o r t h e D eg ree M a s te r o f A r t s

fey Vernon J . L e e M a ste r A u g u st 1942

UMI Number: EP61771

At I rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissenaiion PfcWisfing

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7 YW

This thesis, w rit te n by e

under the direction of h~%SFacuity C o m m it te e , a n d a p p r o v e d by a l l its m e m b e r s , has be en pr e s e n te d to an d ac c e p te d by the C ou nc il on G ra du at e S t u d y an d Resea rch in p a r ti a l fulfill­ m e n t o f th e r e q u i r e m e n t s f o r th e d e g r e e o f

RASTER OF ARTS

Secretary

Faculty Committee

TABLE OP CONTENTS CHAPTER

I,

I

PAGE

THE PROBLEM AND PROCEDURE................................................. S t a t e m e n t o f th e p ro b le m

. ................................ .

I m p o r ta n c e o f t h e s t u d y . .

II.

1

.

1

..................................

1

Method o f p r o c e d u r e . ..........................................

2

D e f i n i t i o n o f t e r m s ...............................................

2

O r g a n i z a t i o n o f t h e t h e s i s ............................

5

EARLY GERMAN S O N G ........................

6

German song b e f o r e th e t h i r t e e n t h c e n t u r y . .

7

The f i r s t p e r i o d o f t h e M in n e s in g e r . . . . .

7

The se c o n d p e r i o d o f th e M in n e s in g e r

• • • •

8

• • • •

8

The t h i r d p e r i o d an d d e c l i n e o f th e M in n e sin g e r

The L i e d , L e i c h , an d t h e S p r u c h .............................

9

The M e i s t e r s i n g e r s d e v e lo p e d s c h o o ls a n d ru le s

.............................................................

The P o lk S o n g .......................................................................

10 12

The i n t e r - r e l a t i o n s h i p o f t h e P o l k Song and t h e A r t S o n g ................................................................... III.

13

GERMAN SONG FROM THE.'FIFTEENTH CENTURY TO THE EIGHTEENTH CEN TU RY ................................................

16

F i f t e e n t h an d s i x t e e n t h c e n t u r y German w r i t e r s .................................................................................

16

iv CHAPTER

PAGE

S e v e n te e n th , c e n t u r y song w r i t e r s . . . . . . . The " F a t h e r o f th e L i e d " ...........................

23

Jo h a n n S e b a s t i a n B a c h ...........................

24

G eorge F r e d e r i c H an d e l ........................................... IV .

IMMEDIATE PREDECESSORS OF FRANZ SCHUBERT C h r i s t o p h W i l l i b o l d G lu ck C a r l P h i l i p p Emanuel B ach Jo h a n n Adam H i l l e r F r a n z J o s e p h Haydn Jo h a n n Abraham P e t e r S c h u lz Jo h a n n F r i e d r i c h R e i c h a r d t W olfgang Amadeus M o z art C arl F r ie d e r ic h Z e lte r Jo h a n n R u d o lf g u m steeg Ludwig van B e e th o v e n Ludwig S p o h r C a r l M a ria von Yfeber Giacomo M e y e rb e e r Jo h a n n C a r l G o t t f r i e d Loewe

V.

1714-1787 1714-1 78 8 1 7 28 -18 0 4 1 73 2-1 80 9 1 7 47 -18 00 17 52 -1 8 1 4 1756-1791 17 58 -1 8 3 2 1 7 60 -1 8 0 2 1770 -18 27 17 8 4 -1 8 5 9 1786 -18 26 1 7 9 1 -1 8 6 4 1 79 6-1 86 9

FRANZ SCHUBERT.................................................... ....

. . . . . . . . . . . . . .

29

. . . . . . . . . . . . . . . . . . . . . . . . . . . .

29 30 31 32 34 34 36 37 38 39 42 43 45 45

. . .

50 50

The q u a l i t i e s o f S c h u b e rt* s s o n g s ...

52

............................

56

H is p l a c e i n th e w o rld o f s o n g ............. V I.

26

. . .

B i o g r a p h y ....................... ‘ .............................

S c h u b e rt* s song c y c l e s

20

58

EARLY ROMANTIC SONG WRITERS* CONTEMPORARIES AND IMMEDIATE FOLLOWERS OF SCHUBERT K a r l F r i e d r i c h Curschmann F an n y H e n s e l F e l i x M en d elsso h n B a r t h o l d y R o b e r t A le x a n d e r Schumann K a r l G. W ilhelm T a u b e r t F ran z L is z t J u liu s R ie tz R i c h a r d Wagner

. . . .

1 8 0 4 -1 8 4 1 . . . 1 80 5-1 84 7 • • . 18 09-1847 . . . 181 0-1 85 6 . . . 1 8 1 1-1 89 1 . . . 1 811-1886 . . . 18 1 2 -1 8 7 7 . . . 1 8 1 3 -1 8 8 3 . . .

63 64 65 65 68 73 74 76 76

V

CHAPTER

PAGE

F r i e d r i c h R o b e r t Volkmann R o b ert F ran z F ra n z A bt C a r l A nton F . E c k e r t J o s e p h J o a c h im R a f f K a r l R e in e c k e P e te r C o rn e liu s Salomon J a d a s s o h n V II.

1 8 1 5 -1 8 8 5 18151 8 1 9 -1 8 8 5 1 8 2 0 -1 8 7 9 1 8 2 2 -1 8 8 2 1 8 2 4 -1 9 1 0 1 8 2 4 -1 8 7 5 1 83 1 -1 9 0 2

LATE ROMANTIC AND MODERN SONGWRITERS J o h a n n e s Brahms A d o lf J e n s e n G eorge H e n s c h e l G u sta v M a h le r Hugo W olf

• . . . . . . .

. • . . . . . . . . . . . . . .

. . . .

183 3-1 89 7 1 8 37 -1 8 7 9 1 8 5 0 -1 9 3 4 1 8 60 -19 1 1 1 8 6 0 -1 9 0 3

. . . . .

. . . . .

78 79 81 82 82 83 84 86 88

. . . . .

V I I I . TWENTIETH CENTURY SONG WRITERS . . . . . . . .

88 95 95 96 98 112

A. F o l l o w e r s i n t r a d i t i o n s o f t h e l a t e r o m a n ti c co m p o sers F e l i x W e in g a rtn e r R ic h a rd S tr a u s s Hans P f i t z n e r Max R e g e r R i c h a r d T ru n k J o s e p h Marx

. .

............................... 1 8 6 3 -1 9 4 2 1864 1869 1 8 7 3 -1 9 1 6 18791882

. .

. . . . . . . . . . . . . . . .

112 113 114 120 122 124 124

B. R e v o l u t i o n a r y t r e n d s a n d t h e German song

.............................................................

A rn o ld S c h o n b e rg P a u l H in d e m ith IX .

18741895-

125 .

. . . . .

125 133

THE ART SONG, ITS CHARACTERISTICS AND A S P E C T S ...............................

137

A. C h a r a c t e r i s t i c s ................................ ........................

137

B. A s p e c t s ............................................................................

138

BIBLIOGRAPHY.............................• ...........................................................

139

CHAPTER I THE PROBLEM AND PROCEDURE S t a t e m e n t o f th e p r o b le m # in v e stig a tio n *

(l)

I t was t h e p u r p o s e o f t h i s

t o make a s u r v e y and c o m p ile t h e h i s t o r y

a n d d e v e lo p m e n t o f t h e German A r t S o ng ; (2 ) t o c o n s i d e r t h e c o n t r i b u t i o n s made by t h e more i m p o r t a n t co m p o se rs o f song lite ra tu re ;

(3 ) t o s t u d y t h e a s p e c t s an d c h a r a c t e r i s t i c s o f

t h e German A r t S on g; an d (4 ) b y a s t u d y o f t h i s c h a r a c t e r , t o i n d i c a t e b r i e f l y t h e s i g n i f i c a n c e i n th e e n t i r e f i e l d o f m u s ic o f t h e German A r t Song an d a few o f i t s g r e a t e s t m a s te r s # I m p o r ta n c e o f t h e s t u d y #

Many b ooks h a v e b ee n w r i t t e n

on t h e s u b j e c t o f v o c a l m u sic i n g e n e r a l .

Numerous

m u s i c o l o g i s t s h av e w r i t t e n f i n e w orks on t h e h i s t o r y o f song b u t t h e s e i n c l u d e a g e n e r a l t r e a t m e n t w h ic h c o v e r s s e v e r a l c o u n trie s.

T h i s one ty p e o f v o c a l m u s i c , t h e German A r t

Song, h as r e c e iv e d v e r y l i t t l e

a tte n tio n .

S in c e i t i s f o r e ­

m o st i n t h e w o rld o f song l i t e r a t u r e , i t w o uld seem , t h e r e ­ f o r e , t h a t a s p e c i f i c t r e a t m e n t o f t h e s u b j e c t sh ow ing i t s e v o l u t i o n , c h a r a c t e r and v a l u e s i s j u s t i f i e d . A r t Of M u sic , volume V, D a n i e l G re g o ry Mason t r e a t s t h e h i s t o r y a n d e a r l y d e v e lo p m e n t o f song from

Germany, I t a l y , F r a n c e an d E n g la n d more a s a c o m p le te u n i t , an d a v o i d s d e t a i l c o n c e r n in g t h e e a r l i e r w r i t e r s an d t h e i r w o rk s ,

H is c h a p t e r on Modern German song w r i t e r s i s n o t

c o m p le t e .

H en ry T . F in c h i n h i s S ongs an d Song W r i t e r s

d e a l s c h i e f l y w i t h t h e R o m an tic p e r i o d .

C h a rle s B iso n ’ s

book The H i s t o r y o f German Song d i s c u s s e s t h e s u b j e c t i n a s i m i l a r m a n n e r.

L i t t l e a t t e n t i o n i s g iv e n t o t h e w r i t e r s o f

t h e p e r i o d p r e c e d i n g t h e n i n e t e e n t h c e n t u r y , and s i n c e h i s book was p u b l i s h e d i n 1888 t h e modern w r i t e r s a r e n o t d isc u sse d . M ethod o f p r o c e d u r e .

I n d e v e l o p i n g t h i s p ro b le m th e

p r o c e d u r e h a s been* (1 ) t o exam ine a l l a v a i l a b l e m a t e r i a l s c o n c e r n i n g t h e h i s t o r y o f German song and w i t h t h i s t h e b i o g r a p h i c a l f a c t s c o n c e r n i n g German c o m p o s e r s ; (2 ) t o a s s e m b le fro m t h e s e , a s n e a r l y a s p o s s i b l e , t h e s i g n i f i c a n t f a c t o r s i n t h e d e v e lo p m e n t o f German s o n g s .

In l i s t i n g

c o m p o sers a s t r i c t l y c h r o n o l o g i c a l o r d e r d e t e r m i n e d b y d a t e o f b i r t h has been fo llo w e d . D e fin itio n o f te rm s.

A rt Song.

A song w r i t t e n f o r

s o l o v o i c e w i t h i n s t r u m e n t a l a c c o m p a n im e n t.

W h ile a r t so n g s

a p p e a r e d e a r l i e r , t h i s fo rm f lo w e r e d d u r i n g t h e r o m a n t i c m ovem ent.

I t i s an e m o t i o n a l e x p r e s s i o n t h a t h a s t h e e x a c t ­

n e s s o f an e t c h i n g .

E ach l i n e an d word o f p o e t r y i s p a i n t e d

w i t h i t s own m u s i c a l id io m .

3

F o lk Song. o r d in a ry p eo p le,

An u n a f f e c t e d e x p r e s s i o n o f t h e p l a i n an d t o l d i n a p h a s e o f p o e t r y an d s i n g i n g *

It

i s s im p le i n n a t u r e , s t r i c t i n i t s fo rm w hich i s t h e r e s u l t o f t r a n s m i t t i n g by r o t e f o r s e v e r a l g e n e r a tio n s , and speaks o f t h i n g s t h a t a r e common t o a l l men i n a s t y l e t h a t i s u n i v e r s a l l y u n d e r s to o d *

T h i s ty p e o f song i s f r e e from

t e c h n i c a l d e t a i l s , and i s e x p r e s s e d i n a g e n e r a l way. a u th o rsh ip i s fre q u e n tly fo rg o tte n .

The

V o l k s l i e d ( F o lk S o n g )

t h i s i s a German te r m f o r F o l k S ong. 1L ie d - F o rm l

O s c a r Thompson g i v e s t h e f o l l o w i n g

d e fin itio n s The German word 1L i e d * d e n o t e s a ty p e o f so ng p a r t i c u l a r l y c u l t i v a t e d by th e German c o m p o s e rs . 1L i e d 1 a c t u a l l y means a German poem i n t e n d e d f o r s i n g i n g a n d w hich r e f l e c t s th e n a t i o n a l s e n t i m e n t . I t i s n o t t h e e q u i v a l e n t o f t h e F r e n c h 1C h a n so n 1 o r t h e I t a l i a n ‘ C a n z o n e ,1 a l t h o u g h a l l t h r e e embody n a t i o n a l c h a r a c t e r i s t i c s . The t y p i c a l f Lied* r e f l e c t i n g t h e German l o v e o f n a t u r e an d N i n e t e e n t h - C e n t u r y R o m a n tic ism , i s fo u n d i n t h e l y r i c s o f G o e th e , S c h i l l e r , H e in e , E i c h e n d o r f f , M o e ric k e , K l o p s t o c k , an d many o t h e r s . C .P .E . B ach, Haydn, M o z a r t, R e i c h a r d t , B e e th o v e n , a n d Weber w ere t h e f o r e r u n n e r s o f c o m p o sers o f th e *L i e d , 1 w h ich fo u n d i t s g r e a t e x p o n e n t i n F r a n z S c h u b e r t . F o r many c e n t u r i e s t h e Germans h a d t h e i r * V o lk slie d e rf so n g s o f t h e p e o p l e ( f o l k s o n g s ) b u t w i t h t h e a d v e n t o f t h e ‘ L i e d 1 a s a poem, t h e f o l k s o n g was t r a n s f o r m e d i n t o t h e a r t s o n g . 3V o lk stu m lic h e s L ie d .

T h is fo rm was s im p le a n d

^ O s c a r Thompson, I n t e r n a t i o n a l C y c lo p e d ia o f M usic and M u s ic ia n s , p . 1014.

;

4

p o p u l a r a s com pared t o t h e A r t S o n g .

I t was w r i t t e n i n a

s t r o p h i c fo rm an d h ad a p l e a s a n t m e lo d y .

The accom p anim en t

was u n p r e t e n t i o u s w i t h a s im p le an d p u r e h arm o n y i n r e g u l a r r h y th m .

N a t u r a l s e n t i m e n t was g e n e r a l l y e x p r e s s e d i n t h e

te x t. D u rc h k o m p o n ie rte s L i e d .

T h is song h a d d i f f e r e n t m u sic

f o r e a c h s t a n z a , and d o e s n o t a d h e r e t o a common fo rm , b e i n g f r e e to th e re q u ire m e n ts o f th e t e x t .

At th e ap p e aran c e o f

t h i s fo rm more a t t e n t i o n was g iv e n t o w o rd s , m e t r e , an d v a r i e t y o f a c c o m p a n im e n t.

T h is t e r m i s a l m o s t synonymous

w i t h t h e te r m ^ A rt S o n g .1® A b o u t 1L i e d e r k r e i s 1 O s c a r Thompson w r i t e s t h e fo llo w in g : A s e r i e s o f s o n g , i n w h ic h t h e s u b j e c t s o f t h e l y r i c s a r e r e l a t e d so a s t o fo rm a hom ogeneous w ork . The f i r s t u s e o f t h e word o c c u r s i n B e e th o v e n * s Opus 9 8 , *An d i e f e r n e G e l i e b t e 1 ------ . The c y c l e i n c l u d e s s i x so n g s and was p u b l i s h e d i n 1 8 1 6 . I n 1823 S c h u b e r t w ro te *D ie S chone M u l l e r i n . 1 T h is c o m p ris e d tw e n t y s o n g s on t e x t s b y W ilh e lm M u e l l e r . Two o t h e r s e r i e s b y S c h u b e r t a r e 1W i n t e r r e l s e * an d *Schwanen G e s a n g .1 The f o r m e r , on poems b y M u e l l e r , i s a 1L i e d e r k r e i s »1 b u t t h e l a t t e r i s n o t , a l t h o u g h i t i s a lw a y s spoken o f a s a c y c l e . -----Schumann1s s e v e r a l song c y c l e s i n c l u d e h i s Opus 2 4, H e i n e 1s 1L i e d e r k r e i s ;* Opus 3 9 , t h e 1L i e d e r k r e i s 1 • t o E i c h e n d o r f f *s l y r i c s ; Opus 4 8 , H e i n e 1s 1D ic h t e r l i e b e ; 1 Opus 3 5 , *L i e d e r r e i h e von J . K e m e r ; 1 Opus 4 2 , 1F r a u e n l i e b e und L e b e n . 1 on t e x t s b y C h am isso . B rahm s*s *M a g e lo n e - L ie d e r * i s a l s o a *L i e d e r k r e i s . *

5

( 1L i e d e r c y k l u s 1 and 1L l e d e r r e i h e 1 a r e synonymous w i t h 1L i e d e r k r e i s • 1) 2 O rg a n iz a tio n o f th e t h e s i s .

The f o c a l p o i n t o f t h i s

t h e s i s i s t h e German A r t Song and I t s d e v e lo p m e n t.

In order

t o p r e s e n t t h i s work i n i t s n a t u r a l s e t t i n g , i t i s n e c e s s a r y t o s u r v e y b r i e f l y th e h i s t o r y o f t h e e a r l y German song an d i t s r e l a t i o n s h i p t o t h e u l t i m a t e fo rm , t h e A r t S o n g .

For

t h a t r e a s o n t h e f i r s t c h a p t e r o f t h e main body o f t h e t e x t d e a l s w i t h e a r l y German song b e f o r e t h e t h i r t e e n t h c e n t u r y , t h e M i n n e s i n g e r , t h e M e i s t e r s i n g e r . t h e F o l k S o n g , an d i t s i n t e r - r e l a t i o n s h i p t o t h e A r t S ong. The n e x t c h a p t e r d e a l s w i t h s o n g - w r i t e r s fro m A l b e r t , MF a t h e r o f t h e L i e d . n th r o u g h t h e co m p o sers o f t h e e i g h t e e n t h c e n tu ry .

T h is i s f o l l o w e d w i t h a d i s c u s s i o n o f t h e im m e d ia te

p r e d e c e s s o r s o f F ra n z S c h u b e r t .

C h a p te r f i v e d e a l s w i t h t h e

g r e a t A r t Song co m p o se r, F r a n z S c h u b e r t , h i s s o n g s , song c y c l e s , and t h e i r p l a c e i n t h e w o r ld o f song l i t e r a t u r e . The n e x t p a r t d i s c u s s e s c o n t e m p o r a r i e s a n d im m e d ia te f o l l o w e r s o f S c h u b e r t , f o l l o w e d w i t h l a t e r o m a n ti c a n d m odern son g w rite rs.

T w e n tie th c e n tu r y w r i t e r s a r e p r e s e n te d in c h a p te r

e i g h t an d f i n a l l y t h e a s p e c t s and c h a r a c t e r i s t i c s o f t h e A r t Song a r e r e v ie w e d i n summary.

2 I b i d . , p . 1013

CHAPTER I I EARLY GERMAN BONG Song h a s a lw a y s b e e n i m p o r t a n t i n r e n d e r i n g s e r v i c e to th e p eo p le o f th e c i v i l i z e d w o rld .

In th e b e g in n in g

e v e r y b o d y made son g s t o f i t t h e i r p a r t i c u l a r n e e d s .

L e t us

remember t h a t a v e r y s m a l l p e r c e n t o f t h e so n g s i n v e n t e d have been re c o rd e d in h i s t o r y . d e s c e n d a n t s , and i t

S ongs h a v e a n c e s t o r s an d

i s our b u s in e s s to se a rc h out th e h i s t o r y

o f t h i s m u s i c a l fo rm . N ef s a y s : MG r e a t movements i n t h e l i f e o f p e o p l e s s t i m u l a t e t h e jo y i n s i n g i n g an d awaken v e r n a l s e a s o n s o f s o n g . 1*'*'

The f i r s t o f t h e s e a w a k e n in g s t o i n f l u e n c e German

son g was p r o b a b l y t h a t o f t h e c r u s a d e s .

As t h e r e s u l t o f

t h e s o c i a l c h a n g e s w h ic h to o k p l a c e d u r i n g t h e s e y e a r s we h a v e t h e a r t o f t h e T r o u v e r e s a n d T ro u b a d o u rs in F r a n c e an d t h a t o f t h e M i n n e s i n g e r s i n Germany.

T h i s ty p e o f song

w h ich d e v e lo p e d a l l o v e r E u ro p e was one o f t h e f r u i t s o f ;the c u l t u r e o f c h i v a l r y .

The same k i n d o f s u b j e c t m a t t e r

was u s e d i n e v e r y c o u n t r y and ev en t o some e x t e n t t h e same v e r s e fo rm s.

I t i s t h o u g h t to h av e s p r e a d from t h e s o u t h

^ K a r l N e f , An O u t l i n e o f t h e H i s t o r y o f M usic (New Y ork: C olum bia“l J n i v e r s i t y T r e s s , 1 § 3 5 }, p . 32.

to th e n o r t h .

L e t u s lo o k a t t h e work o f t h e M i n n e s i n g e r s ,

t h e f i r s t co m p o sers o f German A r t S ong. The te rm M in n e s in g e r i s a c o m b in a tio n o f two w ords fro m t h e o l d German o f t h e M id d le A g esi Minne m e an in g l o v e , an d s i n g e r m ean in g s i n g e r ;

i n o t h e r w o rd s — s i n g e r s o f l o v e .

German so n g b e f o r e t h e t h i r t e e n t h c e n t u r y b e g a n t o t a k e sh a p e w i t h t h e M in n e s in g e r s whose w orks w ere r e c o r d e d in sq u are c h o r a l n o t a t i o n .

The d e l i v e r y o f t h e s e so n g s was

n o t i n a m anner c o m p a ra b le to t h e G r e g o r i a n c h o r a l , b u t t h e rh y th m was d e t e r m i n e d by t h e m e te r o f t h e v e r s e . The m o st common fo rm o f t h e M innesong was a c o u p l e t (m ean in g two s t o l l e n ) and a c o n c l u d i n g s e c t i o n ( a b g e s a n g ) . N ef in f o r m s u s t h a t th e **two l i n e s o f th e c o u p l e t a r e m e t r i c a l l y a l i k e , a n d sung t o t h e same m e l o d y .” 2

He g o e s on

t o s a y t h a t t h i s form 11r e m a in e d t h e r u l e f o r t h e L ie d d u r i n g t h e s i x t e e n t h c e n t u r y , e s p e c i a l l y o f t h e s p i r i t u a l s o n g . 115 The f i r s t p e r i o d o f t h e M in n e s in g e r 1150 t o 1190 A.D. b r o u g h t f o r t h some o f t h e b e s t m e d ia e v a l German s o n g s . i n c l u d e d s u c h names a s D le tm a r von A i s t , M e in lo h von K u r e n b e r g . and S p e r v o g e l .

The s u b j e c t m a t t e r a s i n t h e

T ro u b a d o u r so n g s was lo v e an d g a l l a n t r y , b u t t h e German

It

s i n g e r s a l s o a d d e d so n g s o f p r a i s e f o r t h e b e a u t i e s o f n a tu re . The se c o n d p e r i o d o f t h e M i n n e s i n g e r , known a s t h e

J

b e s t p e r i o d , 1190 t o a b o u t 1250 A.D. saw t h e M in n e s in g e r a t h is b e st.

T h e i r m e lo d ie s w ere d e p e n d e n t on t h e m e tr e and

p o e tic a l c o n s tru c tio n of th e s tr o p h e .

The t e x t s o f t h e

M ln n eso n g s w ere s u p e r i o r t o t h o s e o f t h e T r o u b a d o u r s , b o t h i n d e l i c a c y o f s e n t i m e n t , e l e g a n c e , and v a r i e t y i n r h y t h m i c a l stru c tu re .

Most o f t h e i r t e x t s w ere w r i t t e n i n Sw abian

d i a l e c t w h ich was t h e c o u r t la n g u a g e i n Germany a t t h a t t i m e . The M i n n e s i n g e r 1s g r e a t e s t i n f l u e n c e was p r i m a r i l y t h e p e r f e c t i o n o f t h e song rhym e. The M in n e s in g e r s a lw a y s sa n g and ac co m p a n ie d t h e i r own c o m p o s i t i o n s and t o o k no r e m u n e r a t i o n f o r t h e e n t e r t a i n ­ m ent t h e y g a v e .

Among t h e n o t a b l e s a r e H e i n r i c h von V e l d e c k e .

F r i e d r i c h von H a u se n . R einm ar d e r A l t e , H artm ann von d e r Aue ( a u t h o r o f D er Arme H e i n r i c h ) , and W a lth e r von d e r V o g e lw e id e . V o g e lw e id e was a member o f t h e lo w e r n o b i l i t y an d s p e n t s e v e r a l y e a r s em ployed a s a m i n s t r e l .

A c c o rd in g t o R e e se

some o f h i s so n g s w ere p r o b a b l y a s s o c i a t e d w i t h t h e c r u s a d e o f 1 2 2 8 .4 The t h i r d p e r i o d an d d e c l i n e o f t h e M in n e s in g e r was a

^ G u sta v e R e e s e , M usic i n t h e M id d le Ages (London: J . M. D en t and S o n s , L t d . , 1 9 4 0 7 , p . 2 3 4 .

tim e o f t r a n s i t i o n t o t h e M e i a t e r s i n g e r .

D u r in g t h i s p e r i o d

t h e y d e s c e n d e d t o t r i v i a l and u n p o e t i c th e m e s .

As f o r

i n t r i n s i c s i g n i f i c a n c e , and r i c h n e s s o f m e lo d ic i n v e n t i o n , t h e y c a n n o t b e com pared w i t h t h e l a t e r German s o n g ,^ N i t h a r t von R e u e n t h a l , U l r i c h von L i c h t e n s t e i n , R ein m ar von Z w e t e r . d e r M a rn e r an d K onrad von W urzburg w ere t h e p r i n c i p a l M in n e sin g e rs o f t h i s p e r io d . I f a t h o u g h t i s g iv e n t o i n s t r u m e n t a l i n t r o d u c t i o n a n d ac c o m p a n im e n t, i t i s n e c e s s a r y t o m e n tio n Oswald von W o lk e n s te in 1 3 7 7 -1 4 4 5 A.D,

He was a M i n n e s in g e r o f n o b l e

b i r t h , i n whose so n g s o c c u r a d e f i n i t e i n s t r u m e n t a l i n t r o d u c tio n .

\

The f o u r t e e n t h an d f i f t e e n t h c e n t u r i e s a r e o f t e n

sp o k en o f a s a p e r i o d o f th e M i n n e l i e d , t h e m a tu r e manhood o f t h e M e i s t e r s i n g e r . an d t h e y o u th o f t h e V o l k s l i e d ,^ The L i e d , L e i c h , a n d t h e S p r u c h . c o m p o s i t i o n s o f t h e M i n n e s i n g e r s , w ere o f t h r e e p r i n c i p a l k i n d s .

The L i e d ,

m e an in g so n g , was u s u a l l y i n t h r e e p a r t s ; t h e f i r s t an d se c o n d p a r t s w ere o f t h e same m e tr e an d c a l l e d S t o l l e n : when com bined t h e y w ere spoken o f a s A u f g e s a n g . was u n l i m i t e d I n l e n g t h a n d c a l l e d A b g e sa n g ,

The t h i r d p a r t S om etim es t h e

f i r s t s e c t i o n was r e p e a t e d a f t e r t h e t h i r d p a r t .

5 N ef, op. c i t . . p . 33. 6 R eese, op. c i t . . p . 376. 7 I b i d . . p . 233.

R eese7 says

\

i n t h e L i e d , t h e M in n e s in g e r t r e a t e d lo v e i n an i d e a l i s t i c way, e x p r e s s i n g d e v o t i o n t o t h e i d e a l s o f c h i v a l r o u s lo v e r a t h e r th a n t h e lo v e f o r a p a r t i c u l a r l a d y .

They a l s o d e a l t

w i t h n a t u r e and r e l i g i o u s s u b j e c t s . kQicfo. ( a l s o w r i t t e n L e r c h ) , m eaning l a y , was g e n e r a l l y a m elo d y c o n s t r u c t e d from a w e ll-k n o w n c h u r c h , s e q u e n c e o r from an o l d d a n c e t u n e .

I t was o f t e n more th a n

one s t r o p h e ( s t a n z a ) . S p ru c h m ean in g a p r o v e r b , was composed o f one e n t i r e s t r o p h e , som etim es m o re, b u t c o u ld be a l l sung t o t h e same t u n e .

I t was o f t e n i n t h e fo rm o f a f a b l e a n d o c c a s i o n ­

a l l y d e a l t w i t h s o c i a l an d p o l i t i c a l q u e s t i o n s . The M e i s t e r s i n g e r s d e v e lo p e d s c h o o l s an d r u l e s t h a t w ere s t r i c t an d s y s t e m a t i c .

They ev e n c l a s s i f i e d t h e i r

members a c c o r d i n g t o t h e i r a b i l i t i e s .

4s a r u l e , th e

M in n e s in g e r s w ere n o t a t t e n d e d b y b a r d s l i k e th e T r o u b a d o u r s , b u t sa n g t h e i r own l a y s , o f t e n i m p r o v i s i n g w ords a n d m u sic to g e th e r.

T hose who w ere a b l e t o a c c o m p l i s h t h i s w ere

s u b s e q u e n t l y d e s i g n a t e d MM a s t e r s i n g e r s . u H e i n r i c h von M e isse n ( 1 2 6 0 - 1 3 1 8 ) , a l s o known a s F r a u e n l o b , was t h e c o n n e c t i n g l i n k b etw e en t h e d y in g c o u r t l y m i n s t r e l s y and th e g e rm in a tin g c i v i c M e i s t e r l i e d . s t a r t e d sin g e rs*

g u ild s in 1311.

F ra u e n lo b

Soon s c h o o l s o f m u sic s p r a n g

up t h r o u g h o u t t h e l a r g e r German tow ns a n d M e l s t e r s i n g e r s were

i n f u l l sway f o r t h e n e x t two c e n t u r i e s .

The M e i s t e r l i e d

a c t u a l l y o r i g i n a t e d a t M ayence, a c i t y on t h e R h i n e . M i n n e l i e d fo rm s w ere a d o p t e d and t h e t i t l e

o f M e iste rsin g e r

was aw a rd e d o n l y t o t h o s e who i n v e n t e d b o t h m e lo d y and v e r s e The f o l l o w i n g s u g g e s t s how t h e i r r a n k was d e t e r m i n e d ; He who d o e s n o t t h o r o u g h l y u n d e r s t a n d t h e t a b l a t u r e becom es a p u p i l ; he who knows e v e r y t h i n g i n t h e same, a s c h o o l f r i e n d ; h e who can s i n g f o r t h s e v e r a “l t u n e s , a b o u t f i v e o r s i x , becom es a s i n g e r ; h e.w ho com poses t e x t s a c c o r d i n g t o o t h e r m e l o d i e s , a p o e t ; he who o r i g i n a t e s a tu n e i s c a l l e d a M a s t e r . I t i s e v i d e n t t h a t t h e g r e a t e s t a c c o m p lis h m e n t was t h e i n v e n t i o n o f a new t u n e .

T h e i r t i t l e s an d t e x t s were

o f t e n c r u d e and u n c o u t h , r e g a r d l e s s o f s a c r e d and s e c u l a r s u b j e c t s t h a t w ere u s e d f r e e l y .

The a c t u a l v o c a l r e n d i t i o n

was o f good q u a l i t y , g e n e r a l l y .

T h ese so n g s w ere d e l i v e r e d

slo w ly , w ith a r t f u l c o l o r a t u r e s .

T h is f a c t ev o k es a c e r t a i n

r e s p e c t f o r th e v o c a l a b i l i t i e s o f th e M e is te r s in g e r . ft Some o f t h e fam ous M e i s t e r s i n g e r s w ere Hans R o s e n b lu t T i l l B u le n sp ie g e l.

H e i n r i c h von Mug1i n . P uschm an n .

F i s c h a r t . and B ra n d t.

The g r e a t e s t o f a l l was Hans S a c h s .

c o b b l e r o f N u rem b erg .

He was b o rn i n 1494 a n d d i e d i n 1576.

S a c h s was a p o e t , m u s i c i a n , p h i l o s o p h e r , an d sh o e m a k e r.

He

w r o t e more t h a n f o u r th o u s a n d poem s, s e v e n t e e n h u n d r e d t a l e s

8

N e f, o p . c i t . . p . 3 5.

9

L oc. c i t .

10

I b i d . . p. 36.

12 two hundred dramatic tales, and invented numerous melodies•

H is M e i s t e r l i e d e r t o t a l s f o u r t h o u s a n d , two h u n d r e d s e v e n t y fiv e .

S e v e r a l o f h i s m e l o d i e s a r e p r e s e r v e d i n 1Das S in g e b u c h

d e s Adam P uschm ann.* ^ W h ile t h i s s t u d y d e a l s w i t h a r t song i t i s i m p o s s i b l e t o d i s c u s s t h e e a r l y h i s t o r y o f t h i s fo rm w i t h o u t r e l a t i n g i t c l o s e l y t o P o l k S ong. The P o l k Song i s a c l a s s o r p h a s e o f p o e t r y and s i n g ­ in g .

P o l k S ongs a r e t h e f o u n t a i n o f n e a r l y a l l v o c a l m u s i c .

T h ey a r e g e n e r a l l y s im p le i n n a t u r e w i t h a fo rm t h a t i s s t r i c t and q u ite r e g u l a r .

The m ost p o p u l a r P o l k Songs s p e a k o f

i n t e r e s t s and e m o tio n s t h a t c o n c e r n t h e g r e a t e s t num ber o f men.

The g r e a t e s t P o lk Songs s i n g o f t h i n g s t h a t a r e common

t o a l l men i n a s t y l e t h a t i s u n i v e r s a l l y u n d e r s t o o d .

The

P o l k Song p a i n t s t h e p i c t u r e i n a g e n e r a l way— q u i t e f r e e fro m t e c h n i c a l d e t a i l s . A c c o r d in g t o Grove* s D i c t i o n a r y t h e V o l k 3 l i e d ( P o l k S o n g ) , was s t r o p h i c a l i n fo rm , h a d a v a r i a t i o n o f ways i n w h ic h t h e m e tr e was t r e a t e d , a n d was g e n e r a l l y com posed i n d i f f e r e n t e c c l e s i a s t i c a l m odes, b u t b y d e g r e e s t h e I o n i a n mode, i n w h ich a l o n e t h e d o m in a n t p r i n c i p l e ca n h a v e f u l l

O s c a r Thompson, I n t e r n a t i o n a l C y c lo p e d ia o f Music and M u s ic ia n s , p . 1600.

13

w e i g h t , o b t a i n e d p r e - e m i n e n c e . 3*^ O th e r common th o u g h n o t i n v a r i a b l e a t t r i b u t e s o f t h e V o l k s l i e d w ere a d i a t o n i c i n t e r v a l l i c p r o g r e s s i o n , r e i t e r a t i o n o f one n o t e , a l i m i t e d c o m p a ss, th e k e y o r mode s t e a d i l y a d h e r e d t o , an d u n l i k e t h e s o n g s o f many o t h e r c o u n t r i e s , t h e m e lo d y o f t h e V o l k s l i e d a lw a y s m a i n t a i n e d a c o m p le te in d e p e n d e n c e o f t h e acco m p an y in g i n s t r u m e n t . I n c h a r a c t e r t h e o l d V o l k s l i e d e r a r e m arked by a c e r t a i n e a r n e s t n e s s and d ig n ifie d s e l f - r e s t r a i n t . T hey a r e c h e e r f u l an d even g a y , b u t w i t h o u t i m p e t u o s i t y o r e x c i t a b i l i t y . T h e re i s no a t t e m p t a t w o r d - p a i n t i n g ; t h e same tu n e m u st s e r v e f o r t h e num ero us v e r s e s . Hence t h e n e c e s s i t y f o r c o n c ise m e lo d ie s. To a t t e m p t t o s e t a p r e c i s e d a t e f o r t h e o r i g i n o f t h e P o lk Song i s f u t i l e in a sm u ch a s t h e m ass o f p e o p l e m ust d e t e r m i n e t h e p o p u l a r i t y o f a song w hich i n t u r n d e c i d e s i f a song i s w o r th y o f b e i n g a g e n u in e P o l k S o n g .

The o l d e s t

known German P o l k Song i s 1C h r i s t 1 s t B r s t a n d e n 1 ( C h r i s t i s R ise n ). The f i r s t i m p o r t a n t p e r i o d f o r t h e German P o l k Song was d u r i n g t h e f o u r t e e n t h c e n t u r y .

The se c o n d p e r i o d to o k

p l a c e d u r i n g t h e s i x t e e n t h c e n t u r y and was I n f l u e n c e d by t h e P r o t e s t a n t R e f o r m a t i o n . 3-4 The i n t e r - r e l a t i o n s h i p o f t h e F o l k Song an d t h e A r t Song i s o b v i o u s .

^ G eorge G ro v e , D i c t i o n a r y o f M usic (Hew Y ork: The M a c m illa n Company, 1 9 3 6 ) , volume V, p . 6 5 . ^

^oc. c i t .

3,4 F r e d e r i c L o u is R i t t e r , The H i s t o r y o f M usic (B o s to n s O l i v e r DjLtson Company, 1 8 8 3 ) , p . 2 0 9 .

14

The h i g h e s t g l o r y o f t h e f o l k song i s to e x p r e s s w hat u n i t e s men* The h i g h e s t g l o r y o f t h e a r t song i s t o e x p r e s s w hat d i f f e r e n t i a t e s men. The f o l k song i n c l u d e s ; t h e a r t song s e l e c t s . The f o l k song i s g e n e r a l ; t h e a r t song p r e c i s e . The f o l k song t e l l s o f l i f e a s man fo u n d i t ; t h e a r t so ng t e l l s o f l i f e a s man made i t *3.5 An A r t Song i s o f t e n an e l a b o r a t i o n and r e f i n e m e n t o f a P o l k Song. H i t t e r f s H i s t o r y o f M u s ic , t h e a u t h o r s u g g e s t s an i n t e r - r e l a t i o n s h i p o f F o l k Song and A r t Song i n t h e f o l l o w i n g s ta te m e n t;

(He was s p e a k in g o f t h e o r i g i n o f t h e A r t S o n g .)

. . . t h e form o f m e lo d y , t h e h a rm o n ic t r e a t m e n t , t h e c o m p a c tn e s s o f t h e w h ole form ,*— a l l d e v e lo p e d fro m t h e P o l k s o n g , — - s e c u l a r a s w e l l a s s a c r e d , — w ere q u a l i t i e s w i t h w h ich th e p e o p l e c o u ld r e a d i l y s y m p a th iz e b e c a u s e t h e y u n d e r s t o o d t h e m . 3*6 Mason s u g g e s t s p r a c t i c a l l y t h e same t h i n g .

He s a y s

t h e e l e m e n ts t h a t d i s t i n g u i s h b e tw e e n t h e P o l k Song an d th e A r t Song a r e o f t e n m i s l e a d i n g .

Most F o l k S ongs a r e s im p le

an d many A r t S ongs a r e s i m p l e , t o o . The A r t Song s p e c i a l i z e s on i n d i v i d u a l s , w h i l e t h e P o l k Song e x p r e s s e s f o r t h e m a s s e s , a t y p e em o tio n s u c h a s lo v e , so rro w , o r p a t r i o t i s m .

A gain t h e A r t Song w o rks i n

f i n e r d e t a i l and g i v e s a p a r t i c u l a r sh a d e o r n u a n c e t o t h e s e e m o tio n s.

Some o f t h e g r e a t A r t S ongs a r e sung and p r a c t i -

D a n i e l G re g o ry Mason, The A r t o f M usic (New Y ork: N a t i o n a l S o c i e t y o f M u sic , 1 9 1 5 ) , voIume~“V, p . 9 3 . R i t t e r , jog. c i t . . p . 2 0 9 .

15

c a l l y c o n s i d e r e d a F o l k Song w i t h i n t h e i r own c o u n try *

An

exam ple i s S c h u b e r t 1s ttL in d e n T r e e . 11^ T h is i n t e r - r e l a t i o n s h i p i s even se e n i n t h e so n g s o f modern tim e s *

When a co m p oser o f A r t Song w r i t e s i n t h e

same s im p le s t y l e o f t h e F o l k Song we f i n d h i s work a d o p t e d b y t h e p e o p l e an d t a k i n g i t s p l a c e i n t h e r e a l m o f f o l k m u s i c . To sum m arize we f i n d a s German A r t Song d e v e l o p e d i n t h e t h i r t e e n t h an d f o u r t e e n t h c e n t u r i e s b y t h e M in n e s in g e r and M e i s t e r s i n g e r . t h e g r e a t e s t i n f l u e n c e o f t h e M in n e s in g e r was p r i m a r i l y t h e p e r f e c t i o n o f t h e song rh y m e.

T h e ir s u b je c t

m a t t e r d e a l t w i t h l o v e , g a l l a n t r y , an d t h e p r a i s e s o f n a t u r e . The M e i s t e r s i n g e r o r g a n i z e d s c h o o l s an d r u l e s w h ic h h e l p e d t o e n c o u r a g e t h e i n v e n t i o n o f b o t h tu n e and v e r s e .

I n fo rm t h e

M in n e s in g e r was c h a r a c t e r i z e d b y t h e c o u p l e t w h ich was u s e d f o r t h e h i e d d u r i n g t h e s i x t e e n t h c e n t u r y ; t h i s fo rm was a d o p te d by th e M e is te r s i n g e r .

T h e re was a l s o a c l o s e r e l a ­

t i o n s h i p i n fo rm and s u b j e c t m a t t e r w ith th e German F o lk Song o f t h e p e r i o d , a r e l a t i o n s h i p on w h ich i t i s d i f f i c u l t a t t h i s d i s t a n t tim e t o p a s s a n y d e f i n i t e ju d g m e n t.

^

Mason, o£• c i t . . p . 9 1 .

CHAPTER III GERMAN SONG PROM THE FIFTEENTH CENTURY TO THE EIGHTEENTH CENTURY F i f t e e n t h and s i x t e e n t h c e n t u r y German w r i t e r s w ere n o t o u ts ta n d in g f o r t h e i r m u sic a l o u tp u t in th e f i e l d o f song.

The c o m p o se rs o f t h i s p e r i o d d e v e lo p e d a form o f L ie d

t h a t c o n t r i b u t e d and h e l p e d t o b r i n g a b o u t t h e r e a l form a s t h e w o r ld knows i t t o d a y .

K a r l N ef s a y s s

The German L i e d o f t h i s tim e was s t i l l c o n s i s ­ t e n t l y b a s e d upon t h e o l d German f o l k s o n g . The co m p o se rs to o k a s t h e i r b a s i s a f o l k m e lo d y w h ic h t h e y em ployed a s t e n o r , a n d t h e n , a s i t w e r e , wove th e th r e e o th e r v o ic e s about i t . ^ He g o e s on t o s a y , I n t h e s e p o ly p h o n ic s e t t i n g s t h e d i v e r s i t y o f v ie w , t h e d e p t h , an d t h e f r a n k n e s s o f t h e o l d m onophonic f o l k so ng a r e r e n e w e d . They s i g n i f y a new s p r i n g t i d e o f L i e d c o m p o s i t i o n s . ^ H e i n r i c h I s a a k , b o r n b e f o r e 1450 In t h e N e t h e r l a n d s b e lo n g s to t h i s p e r io d . co m p o se r.

He s e r v e d a s M a x i m i l i a n ’ s c o u r t

The I m p e r i a l c h a p e l o f M a x im ilia n a t I n n s b r u c k

se rv e d a s a c e n te r f o r t h i s sc h o o l o f com posers.

In r e f e r r in g

1 K a r l N e f , An O u t l i n e o f t h e H i s t o r y o f M usic (New * Yorks C olum bia U n i v e r s i t y P r e s s , 1 § 3 5 ) , p . 8 1 . 2 Loc. c i t .

17

t o t h i s s c h o o l an d I s a a k , N ef s a y s s 11I t r e a c h e d i t s h e i g h t in h i s p u p il and s u c c e s s o r , th e l a t e r B a v a ria n c o u r t c o m p o se r, Ludwig S e n f l , a n a t i v e o f S w i t z e r l a n d . M^ Adam von F u ld a was a F r a n c o n ia n monk, a n d an e a r l y s c h o la r o f m u sic.

He was b o rn i n 1450 a n d p o s s i b l y h e l d a n

c o u r t p o s i t i o n i n t h e s e r v i c e o f the. B is h o p o f W urzburg*

He

w r o te so n g s an d m o t e t s t h a t w ere o f a d v a n c e d c h a r a c t e r f o r th a t p e rio d . H e i n r i c h F in o k l i v e d i n P o la n d d u r i n g t h e e a r l y y e a r s o f h i s l i f e , a n d was e d u c a te d a s a c h o r i s t e r o f t h e Warsaw H o fk a p e lle .

D u rin g 1 5 1 0 -1 5 1 1 h e was K a p e l l m e i s t e r a t

S t u t t g a r t an d r e c e i v e d an a n n u a l s a l a r y o f s i x t y g u l d e n .

He,

no d o u b t , h e l d t h i s p o s i t i o n l o n g e r , h o w e v e r, i t i s n o t c e rta in .

F i n c k com posed num erous so n g s t h a t w ere n o t e d f o r

t h e i r fre e d o m o f e x p r e s s i o n , sy m p a th y , an d f e e l i n g . m o t e t s w ere f u l l o f u n u s u a l c o u n t e r p o i n t .

H is

*C h r i s t 1 s t

E r s t a n d e n 1 I s one o f h i s f i n e s t c o m p o s i t i o n s , i t was s e t down f o r f i v e p a r t s . Thomas S t o l t z e r l i v e d d u r i n g t h e e a r l y p a r t o f t h e s ix te e n th c e n tu ry .

He was m a s t e r o f t h e c h a p e l a t t h e

H u n g a r ia n c o u r t u n d e r K in g L o u i s .

H is many L a t i n p s a lm s

a n d m o t e t s r e c e i v e d much p r a i s e and a p p e a r e d i n v a r i o u s

3 I b i d . . p. 80.

18

c o lle c tio n s.

H is t h i r t y - n i n e s e t t i n g s o f L a t i n C h u rch Hymns

w ere o u t s t a n d i n g .

Of h i s s e c u l a r s o n g s ,

1B n t l a u b e t 1 s t D er

Walde* d e s e r v e s s p e c i a l m e n tio n b e c a u s e t h e t e n o r tu n e was a d o p t e d a s t h e c h o r a l - t u n e f o r th e hymn 1I c h Dank D i r . L ie b e r H e rre . ’

H arm onized b y B a c h , i t f o rm s t h e c o n c l u s i o n

of h is c a n ta ta ,

1Wer Da G la u b e t Und W ird . 1^

Ludwig S e n f l was b o r n a t Z u r i c h o r B a s e l in 1492 and d i e d i n 1 5 55 , p r o b a b l y a t M un ich .

D u rin g h i s e a r l y l i f e h e

s t u d i e d a t t h e R o y a l c h a p e l i n V ien n a w i t h I s a a k .

A fte r h is

t e a c h e r 1s d e a t h he became t h e s u c c e s s o r a s c o u r t co m p o ser t o M a x im ilia n I .

D u rin g 1520 he p e r s o n a l l y e d i t e d one o f t h e

f i r s t m u sic b o o k s p r i n t e d in G ermany.

Many o f h i s m a n u s c r i p t

s o n g s a r e i n t h e V ie n n a an d M unich l i b r a r i e s .

S everal

h u n d r e d p i e c e s a r e c r e d i t e d t o t h i s e a r l y c o m p o s e r .^ Hans Leo H a s s l e r was one o f t h e m o st c e l e b r a t e d o f e a r l y German c o m p o s e r s , known f o r h i s r e l i g i o u s a n d s e c u l a r c o m p o sitio n s.

T h is n o t e d o r g a n i s t and com poser l i v e d fro m

1564 t o 1 6 1 2 .

He s t u d i e d w i t h h i s f a t h e r who was o r g a n i s t

a t N u rem b erg .

Young H a s s l e r was s e n t t o V e n ic e i n 1584 t o

s t u d y w i t h G a b r i e l i , and was t h e f i r s t i m p o r t a n t German

^ G eorge G ro v e , D i c t i o n a r y o f M usic (New Y ork; The M a c m illa n Company, 1 9 3 6 ) , volum e V, p." 1 4 4 . 5 I b i d . . volume IV , p . 7 1 5 .

19

c o m p o ser t o s t u d y i n I t a l y . D u rin g h i s l i f e t i m e he s e r v e d a s o r g a n i s t a t N urem berg, A u g s b u rg , an d D r e s d e n .

He w r o te i n s t r u m e n t a l a n d c h o r a l

m u sic a l o n g w i t h many s o n g s .

Among h i s p u b l i s h e d w orks a r e

e ig h t m asses, a c o lle c tio n o f f o r ty - e i g h t m o te ts, K i r c h e n g e s a n g e . a n d P aslm en Uhd G e i s t l i c h e L i e d e r . ^ I t was i n t h i s c e n t u r y t h a t t h e r i c h b a c k g ro u n d o f f o l k so n g s w h ic h w ere t o i n s p i r e t h e c l a s s i c an d r o m a n ti c co m p o sers o f t h e e i g h t e e n t h a n d n i n e t e e n t h c e n t u r i e s came in to e x iste n c e .

The m e lo d ie s became c l e a r e r an d more s im p le

i n d e s i g n an d d i s p l a y e d more e x p r e s s i v e n e s s .

Thompson s a y s ,

MGerman f o l k m u s ic i s n o t a b l e f o r t h e s q u a r e n e s s an d d i r e c t ­ n e s s o f i t s t u n e s , a n d f o r t h e a b s e n c e o f o r n a m e n t a t i o n . 0^ I n t h e e a r l y p a r t o f t h e s e v e n t e e n t h c e n t u r y Germany was s u f f e r i n g fro m r e l i g i o u s w a r s t h a t r e s u l t e d i n a n a t i o n a l an d c u l t u r a l d e p r e s s i o n .

N e a r t h e m id d le o f t h e c e n t u r y a

g ro u p c a l l e d p o e t p a t r i o t s w orked fro m a n a t i o n a l s p i r i t i n p o e try .

U n der a l l t h e s u p e r f i c i a l c u l t u r e o f t h e a r i s t o c r a c y ,

t h e common p e o p l e w ere s t r u g g l i n g t o b u i l d a n a t i o n a l c u l t u r e t h a t was soon t o a t t r a c t H e i n r i c h A l b e r t a n d o t h e r s , a s l y r i c s f o r t h e i r songs. it

L a t e r , t h e s e a r t so n g s known a s V o l k s t u m l l c h e L i e d e r

® O s c a r Thompson, I n t e r n a t i o n a l C y c lo p e d ia o f M usic an d M u s ic ia n s (New Yorks Dodd, Mead an d Company, 1 9 5 9 ) . 7 I b i d . . p. 561.

20

w ere w r i t t e n i n f o l k s t y l e a n d became s im p ly a p a r t o f Germany* s r i c h f o l k song t r e a s u r y .

Borne o f t h e s e s o n g s ,

w r i t t e n d u r i n g t h e s e v e n t e e n t h c e n t u r y , b eg an d i s p l a y i n g t h e d i s s o n a n c e an d d o m in a n t s e v e n th *

T h is m e an t m ore fre e d o m

i n v o i c e l e a d i n g an d g r e a t e r e m o t i o n a l e x p r e s s i o n t h a t was n o t fo u n d i n c h u r c h m u s ic a n d f o r t h a t r e a s o n e n c o u r a g e d m u s i c a l p ro g re s s * ® S e v e n t e e n t h c e n t u r y song w r i t e r s w ere a p p r o a c h i n g t h e g r e a t e s t p e r i o d o f song t h a t a n y n a t i o n h a s p e r h a p s en jo y ed .

D u rin g t h i s c e n t u r y o p e r a was t o be i n t r o d u c e d

i n t o Germany an d t h e s o l o so n g was t o r e c e i v e c o n s i d e r a b l e a tte n tio n . H e i n r i c h S c h u tz i n t r o d u c e d o p e r a i n t o Germany i n 1 6 2 7 . He was b o r n a t K o s t r i t z , n e a r G e r a , in 1585 an d d i e d a t D re sd e n i n 16 7 2.

H is e a r l y y e a r s w ere s p e n t i n s t u d y i n g

la w ; h o w e v e r, a f t e r e n t e r i n g t h e c h a p e l o f L a n d g ra v e M o r itz o f H e s s e - K a s s e l a s c h o r i s t e r , he was soon d i r e c t e d i n h i s proper f i e l d .

I n 1609 h e w en t t o V e n ic e t o s t u d y m u sic, w i t h

G io v a n n i G a b r i e l i , fro m whom h e l e a r n e d t h e g r e a t a r t o f m a n y -v o ic e d c h o r a l m u s i c . ^ HI I _ I 11

^

® D a n i e l G re g o ry M ason, The A r t o f M usic (New Y o rk : N a t i o n a l S o c i e t y o f M u sic , 1 9 1 5 ) , volume V, p . 1 6 3 . ^ N ef, £ £ . c i t . , p . 169.

21

I t a l y was f u l l o f news o f t h e new m u sic drama an d M o n te v e rd i*

Soon, a s a r e s u l t o f I t a l i a n i n f lu e n c e , th e ir c h u r c h m u s ic ~ o f S c h u tz b e c a m e .a new c a n t a t a - l i k e fo rm w i t h

d i a l o g u e an d h i s t o r y t h a t l a t e r d e v e lo p e d I n t o t h e o r a t o r i o * T h e se c a n t a t a - l i k e p i e c e s w ere c a l l e d G e i s t l l c h e K o n z e r te ( s p i r i t u a l c o n c e r t s ) , f o r one o r more s o l o v o i c e s w i t h c h o r u s a n d i n s t r u m e n t a l accom panim ent* S c h u tz w r o te more th a n o n e .h u n d r e d o f t h e s e , b e s i d e s num erou s m o t e t - l i k e c h o r a l w o rk s , f o u r c h u r c h p a s s i o n s , s e v e r a l o r a t o r i o - l i k e w o rk s , an d t h e f i r s t g e n u in e German o r a t o r i o , H i s t o r i a Von P e r F re u d e n Und Gnaden R e ic h e n G e b u r t J e s u C h r i s t ! ( H i s t o r y o f th e J o y f u l an d B l e s s e d B i r t h o f Je su s C h rist)*

A c c o r d in g t o N ef t h i s o r a t o r i o h a s f o l k - l i k e

f e a t u r e s and r e v e a l s a r e c i t a t i v e s t y l e o f u n u s u a l m e r i t f o r t h a t p a r t i c u l a r tim e .

I n t h e s p i r i t o f h i s w o rk s , S c h u tz

was a t r u e p r e d e c e s s o r o f H an d e l and B a c h . ^ Jo h a n n Hermann S c h e in was one o f t h e t h r e e g r e a t S ! s o f th e s e v e n te e n th c e n tu r y .

He was b o r n a t G ru n h a in i n

S a x o n y , 1586 a n d d i e d a t L e i p z i g i n 1630* t h e D re sd e n c h a p e l a s a s o p r a n o .

I n 1599 h e e n t e r e d

F o u r y e a r s l a t e r h e was a

p u p i l a t S c h u l p f o r t a and i n 1607 he w en t t o L e i p z i g t o s tu d y la w .

He became K a p e l l m e i s t e r a t t h e c o u r t o f Weimar in 1615,

a n d t h e f o l l o w i n g y e a r was th e c a n t o r a t S t* Thomas’ S c h o o l

10 I b i d . , p . 171

22

a t L e ip z ig ,

He was one o f t h e g r e a t e s t o f t h e p r e d e c e s s o r s

o f B ach i n t h i s o f f i c e , S c h e i n i s known a s an i n s t r u m e n t a l c o m p o se r, n e v e r ­ t h e l e s s , h i s i n t e r e s t i n t h e A r t Song i s shown i n t h e s e volum es c r e d i t e d t o him h y J , R. M iln e i n h i s a r t i c l e a b o u t S c h e in i n G ro v e*s D i c t i o n a r y ; 11 Neue Y v'eltliche L i e d e r , m i t 5 Stimmen (1609) Cymbalum S io n iu m S i f e C a n t i o n e s S a c r e W a l d l i e d e r l e i n Auf I t a l i e n - V i l l a n e l l i s c h e O p e l l a H ove, E r s t e r T h e i l G e i s t l i c h e r C o n c e r t e n D i l e t t i P a s t o r a l ! , H i r t e n L u s t Von 5 Stimmen Zusam pt Dem G e n e r a l - B a s s A uf M a d r ig a l M a n ie r . H is c h o r a l w ork *Komm H e i l i g e r G e i s t * ( Come H oly S p irit)

r e v e a l s a m odem s t y l e an d t h e work o f a d a r i n g

co m p o ser f o r 1 62 8,

He was one o f t h e p i o n e e r s f o r new German

m u sic a t t h e b e g i n n i n g o f t h e s e v e n t e e n t h c e n t u r y , Sam uel S c h e l d t , a n o t h e r o f t h e fam ous S * s o f t h e s e v e n t e e n t h c e n t u r y , s p e n t h i s e a r l y y e a r s a t A m sterdam s t u d y i n g w i t h S w e e li n c k . d ie d th e re in 1654,

He was b o r n a t H a l l e i n 1587 an d

I n 1609 he became o r g a n i s t a t t h e

M o r i t z k i r c h e i n H a l l e and s e r v e d i n t h a t c a p a c i t y u n t i l h i s d e a th .

B e s i d e s t h i s o f f i c e he was a l s o K a p e l l m e i s t e r o f t h e

a d m i n i s t r a t o r s o f th e c i t y , H is c o m p o s i t i o n s w ere s i g n i f i c a n t f o r t h e i r h a r m o n ie s

G ro v e , o p . p i t , , volum e IV , p , 5 5 4 , 12 N e f , o p . p i t . , p . 1 9 3 .

23

a n d u n u s u a l to n e c o l o r , w ere n o t to o p o e t i c .

show ing t e c h n i c a l q u a l i t i e s t h a t

H is m u s i c a l o f f e r i n g c o n s i s t s o f o r g a n

m u sic a n d v o c a l c o m p o s i t i o n s .

A c c o rd in g t o M i l n e 1s a r t i c l e

i n G ro v e 1s D i c t i o n a r y , h i s c h i e f w orks i n t h e f i e l d o f t h e A r t Song a r e t o b e fo u n d i n a volum e known a s L i e b l i c h e K r a f f t B lu m le in C o n z e r t W e isse m it 2 Stimmen Sam pt Den G e n e ra l-B a ss , H a lle , 1 6 2 5 . ^ The trF a t h e r o f t h e L i e d . 11 H e i n r i c h A l b e r t , l i v e d fro m 1604 t o 1 6 5 1. m u sic ia n .

He was a la w s t u d e n t , s t a t e s m a n , p o e t , a n d

He !,may be lo o k e d upon a s t h e f a t h e r o f t h e

m odern L ie d w i t h c l a v i e r a c c o m p a n im e n t.11-1-4 fi

He l i v e d a t

ft

K o n ig s b e r g an d s t u d i e d w i t h S c h u tz who was h i s u n c l e .

H is

s m a l l form o f t h e L ie d was h i s b e s t , h o w e v e r, h e c u l t i v a t e d a l l fo rm s d u r i n g t h e y e a r s 1638 t o 165 0. H is many s e c u l a r so n g s a r e fo u n d i n e i g h t c o l l e c t i o n s p r i n t e d f o r him by P a s c h e n , Mence an d K e u s n e r u n d e r t h e p a t r o n a g e o f t h e E m peror o f Germany, t h e K ing o f P o l a n d , and th e E l e c t o r o f B randenburg.

The p o p u l a r i t y and demand f o r

t h e s e so n g s was so g r e a t t h a t s e v e r a l e d i t i o n s w ere p u b l i s h e d by th e a u th o r. A l b e r t 1 s V o r .j a h r l l e d c h e n ( L i t t l e Song o f Y e s t e r - y e a r ) an3%—S o n g ,

An D ie H o ffn u n g 4 6 —S o n g , A d e la id e - 1 7 9 5

42

4 8 — S i x S ongs f o r S o p r a n o , B i t t e n ; D ie L ie b e Des N a c h s t e n ; Vom T o d e; D ie E h re G o t t e s M ach t; B u s s l i e d 7 5 — S i x S ongs f o r S o p r a n o , K e n n s t Du Das L an d ; H e r z , Mein H e r z ; Es War E in m a l; M it L i e b e s b l i c k ; E i n s t W ohnten; Ewar S c h u f Da G lu ck 8 3 — T h re e S on g s f o r S o p r a n o , T r o e k n e t N i c h t ; Was Z e i h t M ir ; K l e i n e Blum en-1 8 1 0 8 4 — M usic t o G o e th e 1s Egmont— S o n g s , D ie Trommel; C l a r a ’ s D e a th ; P r e t j d v o l l Und L e i d v o l l - 1 8 1 0 8 8 — S o n g , Das G lu c k D er F r e u n d s e h a f t 94— S o n g , An D ie H o ffn u n g -1 8 1 6 98— Song C ycle-A n D ie F e r n e G e l i e b t e - 1 8 1 6 99— S o n g , D er Mann Von W ort 108— T w e n t y - f i v e S c o t c h S on gs f o r one an d two v o ic e s - 1 8 1 5 - 1 8 1 6 Ludwig S p o h r was a German v i o l i n i s t , c o m p o se r, a n d c o n d u c t o r , b o rn a t B r u n s w ic k , A p r i l 5 , 1784 and d i e d a t C a s s e l , O c to b e r 22 , 1 8 5 9 .

H is c h i l d h o o d was s p e n t i n a

m u s i c a l a tm o s p h e r e s i n c e b o t h h i s p a r e n t s w ere m u s i c a l .

At

f i v e h e b eg a n h i s m u s i c a l s t u d i e s an d even v e n t u r e d a t c o m p o sin g .

F o r y e a r s h e p l a y e d c o n c e r t s an d c o n d u c te d i n

th e i m p o r t a n t c e n t e r s o f E u r o p e . He c o n d u c te d t h e r e p u t e d l y f i r s t m u sic f e s t i v a l g iv e n i n Germany a t F r a n k e n h a u s e n i n 1810.

F o r t h e F&te N ap o leo n ff a t E r f u r t , h e w r o te h i s f i r s t c a n t a t a 1Das J u n g s t e G e r i c h t . 1 I n 1820 he made h i s E n g l i s h d e b u t w i t h t h e London P h i l h a r ­ m onic p l a y i n g h i s E i g h t h C o n c e r to w i t h much s u c c e s s .

D u rin g

t h i s same y e a r h e c o n d u c te d h i s D M in o r Symphony. I n 1822 S p o h r was a p p o i n t e d H o f k a p e l l m e i s t e r t o t h e ’ E le c to r of H esse-C assel fo r l i f e . R e g a r d l e s s o f him n o t ii l i k i n g W eber’ s 1F r e i s c h u t z , * Weber h ad recommended him f o r th e p o s itio n .

43

D u rin g h i s l i f e t i m e he a s s o c i a t e d w i t h su c h i m p o r t a n t m u s i c i a n s a s M e y e r b e e r , M e n d e ls s o h n , W eber, a n d o t h e r s * Among t h e fam ous w orks h e c o n d u c t e d a r e i

**The P l y i n g

D u tc h m a n ,” a n d ' ”T a n n h a u s e r ff b y W agner, and irM is sa S o le m n i s ” a n d t h e uC h o r a l Symphony” b y B e e th o v e n . H is w orks i n c l u d e n i n e sy m p h o n ie s , f i f t e e n v i o l i n c o n c e rto s, th re e o r a to r io s ,

se v e ra l o p eras, dozens of

cham ber m u sic w o r k s , m i s c e l l a n e o u s v o c a l w o rk s , an d n i n e b o o k s o f s o n g s . 21 Spohr* s n i n e b o o k s o f so n g s i n c l u d e t h e f o l l o w i n g o p u s numbers# t w e n t y - s i x , t h i r t y - s e v e n , f o r t y - o n e , s e v e n t y tw o , n i n e t y - f o u r , on e h u n d r e d o n e , one h u n d r e d t h r e e , one h u n d r e d f i v e , an d one h u n d r e d t h i r t y - n i n e .

Opus 154

c o n ta in s s ix songs f o r b a r ito n e w ith v i o l i n and p ia n o . Opus 71 — S c e n a a n d A r i a — f o r s o p r a n o . C a r l M a ria von Weber (1 7 8 6 -1 8 2 6 )

i s rem em bered f o r

h i s i n t e r e s t an d d e v e lo p m e n t i n r o m a n ti c o p e r a .

D u rin g h i s

l i f e t i m e he se rv e d a s K a p e llm e is te r a t th e t h e a t r e in P ra g u e an d l a t e r w ent t o D re sd en w here he h e l p e d t o e s t a b l i s h a new fo rm o f German o p e r a .

B e s i d e s h i s o p e r a s an d i n s t r u ­

m e n t a l m u s i c , h e w r o te s e v e n t y - e i g h t German L i e d e r f o r s i n g l e v o i c e w i t h p ia n o o r g u i t a r a c c o m p a n im e n ts .

21 I b i d . . PP. 1 7 7 9 -8 0

Grove

44

s a y s h i s L i e d e r . a r e n e x t to h i s o p e r a s f o r i m p o r t a n c e . Weber seemed t o h a v e t h e c h a r a c t e r i s t i c

to n e f o r

r e a l German V o l k s l i e d e r a s n o b o d y h a d done b e f o r e . ^ h is te a c h e r,

i t was

t h e Abbe V o g l e r , a t V ie n n a who made Weber a w a re

o f th e b e a u ty in f o lk m e lo d ie s. s i m p l i c i t y an d d i s t i n c t i o n .

T h e se m e lo d ie s show

He com posed two b o ok s o f

V o l k s l i e d e r . o p u s 54 a n d o p u s 6 4 . H is a b i l i t y t o c r e a t e m a g n i f i c e n t t o n e - p i c t u r e s i s m o st c o n v i n c i n g i n h i s two s o n g s — 1V a t e r . I c h R u fe D l c h 1 a n d *D ie Wunde B r e n n t .*

The f o l l o w i n g a r e some o f h i s

v a r i e d an d e x p r e s s i v e s o n g s , f i l l e d w i t h f r e s h n e s s an d o rig in a lity ; *Mein S c h a t z 1 s t A uf D ie W a n d e rd c h a ft Hin* 1H e r z c h e n . Mein S c h ^ t z c h e n . B i s t T au se n d m al M e in 1 1Wenn I c h B in V o g le in W ar1 1I c h B a b 1 M ir B in s E r w a h l e t * f£ B e r l i n . I c h Muss D ic h L a s s e n 1 1S i s t N i c h t s M it Den A l t e n W e ib e r n 1 H is v o c a l c o m p o s i t i o n s h a v e t h e two m ain e l e m e n t s o f German o p e r a — t h e L ie d an d t h e d r a m a t i c s o n g . P4. ^ T h ree o t h e r o u th

s t a n d i n g so n g s o f W eber*s i n c l u d e 1S c h l a f H e r z e n s s o h n c h e n . 1 op ^

G ro v e , o p . c i t . . volum e V, p . 6 6 6 . koc. c i t . L o c. c i t .

45

a c r a d l e s o n g ; 1D ie G efa n g e n e n S a n g e r , 1 an d 1Das Madchen An Das E r s t e S c h n e e g l o c k c h e n .* ^ Giacomo M e y e rb e e r ( J a k o b Liebm ann B e e r ) , n o t e d c o m p o ser o f d r a m a t i c m u s i c , was o f l i t t l e h i s t o r y o f German s o n g . d ie d a t P a r i s in 1864. p ia n ist.

i m p o r ta n c e i n th e

He was b o r n a t B e r l i n i n 1791 a n d As a c h i l d h e was a r e m a r k a b l e

He s t u d i e d c o m p o s iti o n w i t h Z e l t e r an d B e r n a r d A. /*

Weber an d c o u n t e r p o i n t w i t h Abbe V o g le r .

T ra v e l and stu d y

i n I t a l y an d F r a n c e i n f l u e n c e d h i s o p e r a t i c w orks f o r w h ic h h e was n o t e d .

H ow ever, t o d a y h i s w orks a r e seld o m p e r f o r m e d .

M e y e rb e e r i s c h i e f l y known a s t h e c o m p o ser o f s e v e n t e e n o p e r a s , h o w e v e r, i n 1840 h e p u b l i s h e d f o r t y so n g s ( M e l o d i e s ) , b u t l i k e so much o f h i s m u s i c , t h e s e s o n g s a r e se ld o m h e a r d o f t o d a y . but of l i t t l e

H is so n g s w ere c o n s i d e r e d ch a rm in g

sig n ific a n c e .

The t a s k o f c r e a t i n g a n d d e v e l o p i n g t h e a r t - b a l l a d f e l l t o Jo h a n n C a r l G o t t f r i e d Loew e. who was b o r n i n N o r t h Germany In 1796 and d i e d i n K i e l in 1 8 6 9 .

Z e l t e r and t h e

m a s t e r S c h u b e r t h a d a l r e a d y u s e d t h e b a l l a d fo rm i n t h e i r c o m p o sitio n s.

S c h u b e r t * s one im m o r ta l b a l l a d ,

"The E r l K in g ,"

was a n d s t i l l i s a c h a l l e n g e t o an y com poser i n t h a t p a r t i c u l a r fo rm .

^

G ro v e , l o c . c i t .

Loewe b eg a n h i s m u s i c a l s t u d i e s w i t h h i s f a t h e r , L a t e r , he a t t e n d e d th e F ranke I n s t i t u t e and th e U n i v e r s i t y a t H a lle .

I n 1821 h e was a p p o i n t e d m u sic d i r e c t o r t o t h e

m u n ic ip a lity of S t e t t i n .

T h is p o s i t i o n he h e l d • u n t i l 1 8 6 6 ,

when he r e s i g n e d an d moved t o K i e l .

He won c o n s i d e r a b l e

fam e a s a c o n d u c t o r a t t h e Music F e s t i v a l s o f D u s s e l d o r f a n d M ayence.

As a c o m p o s e r, h e was a d m ire d f o r h i s German

b a l l a d s w h ic h p r o v e d t o b e a p o p u l a r a r t fo rm w i t h t h e p e o p le. He w r o t e c o n s i d e r a b l e c h o r a l an d c h u r c h m u s i c , b u t i s c h i e f l y rem em bered f o r h i s s m a l l e r f o r m , t h e b a l l a d , w h ic h h e made known t h r o u g h o u t E u ro p e a s a r e s u l t o f h i s own c o n c e r t t o u r s .

Mason s a y s Loewe was n o t endowed w i t h a

r i c h fu n d o f m u s i c a l i d e a s , b u t he was an a r t i s t who w orked w i t h s i n c e r i t y and r e s e r v e in a fo rm , w h ich more t h a n m o st f o r m s , w ould te m p t a co m po ser t o a r t i s t i c

e x c e s s . 26

H is b a l l a d s a r e p i c t o r i a l , v i v i d , an d d e s c r i p t i v e in th e h ig h e s t d e g re e .

At t h a t tim e h i s harm ony was f r e e a n d

d a r i n g , an d p e o p l e w ere c o n c e r n e d w i t h h i s m o d u l a t i o n s w h ic h w ent b y d i r e c t c h r o m a t i c p r o g r e s s i o n t o t h e m o st d i s t a n t keys.

He u s e d d i s s o n a n c e f r e e l y f o r k e e n e f f e c t s .

From a

s t a n d p o i n t o f m e lo d y , h i s b a l l a d s a r e c o n s i d e r e d p o o r . Q u o tin g a g a i n from Mason;

26 Mason, op. cit., volume V, p. 273.

47

M elody i s o b v i o u s l y a b s e n t b e c a u s e t h e co m p o ser c o u l d n o t command i t , n o t b e c a u s e he c h o s e n o t t o use i t . Time and a g a i n he w r i t e s w hat i s m ean t t o b e , a n d p e r h a p s was b e l i e v e d t o b e , a p l e a s i n g t u n e . B u t t o o ' o f t e n i t i s o n l y em pty an d a n g u l a r . I t was i n d e v e l o p i n g t h e fo rm an d t e c h n i q u e o f t h e a r t b a l l a d t h a t Loewe p e r f o r m e d h i s c h i e f s e r v i c e t o m u s ic .^ ' The p o e t G o e th e s a i d ; The b a l l a d r e q u i r e s a m y s t i c a l t o u c h , b y w h ich t h e m ind o f t h e r e a d e r i s b r o u g h t i n t o t h e fra m e o f u n d e f i n e d sy m p a th y a n d awe w h ich men u n a v o i d a b l y f e e l when f a c e t o f a c e w i t h t h e m i r a c u l o u s o r w i t h t h e m ig h t y f o r c e s o f n a t u r e . 28 A c c o r d in g t o t h i s d e f i n i t i o n Loewe seemed t o c a t c h t h e t r u e s p i r i t o f th e b a l l a d .

He h a d u n l i m i t e d r e s o u r c e s

o f p ic tu r e s q u e m u sic a l fo rm u las t h a t a r e e x c e l l e n t l y d i s ­ p l a y e d in h i s ftE r l K in g 11 an d MS i r O l u f . 11

Loewe g a v e t h e

im p r e s s i o n o f h i s c h a r a c t e r s s p e a k i n g w i t h d i f f e r e n t q u a l i t i e s o f v o i c e a n d k ey i n a s e t t i n g t h a t was m o st p ic tu re s q u e . Some o f h i s b e t t e r known b a l l a d s i n c l u d e ;

,tE d w a r d ,,t

MH en ry The F o w l e r , w MThe M o o ris h P r i n c e , 11 an d ltO d in f s R id e O ver The S e a * 11 He i s c r e d i t e d w i t h w r i t i n g two h u n d r e d . f i f t y s o l o so n g s a n d one h u n d r e d and f i f t y b a l l a d s , o p e ra s , e ig h te e n c a n ta ta s ,

fiv e

s e v e r a l c h o r u s e s and m i s c e l l a n e o u s

w o rk s . Loewe1s e f f o r t s i n d e v e l o p i n g t h e u s e o f a fo rm o f

I b i d . . volum e V, p . 2 7 3 . 88 I b i d . . p . 2 7 4 .

48

p o e t r y t h a t t e l l s a d r a m a t i c s t o r y i n s u c h a c o n c i s e way h a v e b ee n i n s p i r i n g to many c o m p o se rs i n a t t a i n i n g g r e a t e r h e i g h t s i n d r a m a t i c son g w r i t i n g *

S i n c e h e l i v e d so many

y e a r s l o n g e r th a n S c h u b e r t , h i s work a c t u a l l y comes a f t e r S c h u b e r t Ts t i m e , b u t t h e fo rm o f w ork he p r o d u c e d seems t o b e l o n g t o a tim e p r e c e d i n g S c h u b e r t . A c o l l e c t i o n o f h i s B a l l a d , L e g e n d s , L i e d e r , an d G esange ( o v e r 500 i n s e v e n t e e n v o lu m es) h a s b e e n e d i t e d b y Max R un ze.

I n a d d i t i o n t o t h o s e b a l l a d s a l r e a d y m e n tio n e d ,

th e re a re :

*D er W i r t h i n T o c h t e r l e i n . 1 1P e r N o ck . * 1A r c h i b a l d

D o u g l a s . 1 *Tom P e r R e im e r . 1 an d *P i e V e r f a l l e n e M u h le. * A l b e r t B ach s a y s Loewe **ereated t h e m e th o d o f t h e s o - c a l l e d L e i t m o t i v e . an d a p p l i e d t o t h e b a l l a d t h e s y s te m w h ich R i c h a r d W agner h a s b r o a d l y a n d e x h a u s t i v e l y c a r r i e d o u t i n h i s d ra m a s o r g i a n t b a l l a d s . L o e w e 1 s n e e d f o r in d i v i d u a l i s i n g h i s d ra m a tic p e rso n n e l i s r e s p o n s ib le f o r t h i s d e v e lo p m e n t.

The b a l l a d S i r 0 l u f tf i s a n o t h e r . Some o f h i s o t h e r o u t s t a n d i n g b a l l a d s i n c l u d e **The Flow er* s R e v e n g e . ** **The N ig h t P a r a d e . 11 ^Herod* s Lament F o r M a r i a n n e . u **Ha r a i d . tt a n d uThe M o o ris h P r i n c e a t t h e C i r c u s . 1*

^ A l b e r t B a c h , The A r t B a l l a d (L ondon: T r u b n e r an d Company, L t d . , 1 8 9 7 ) , p“ I l 4 .

I n r e v i e w i n g t h e w ork o f S c h u b e r t ' s p r e d e c e s s o r s i t i s n e c e s s a r y t o m e n tio n t h e e s t a b l i s h m e n t o f t h e S i n g s p j e l a s a d e f i n i t e form o f l y r i c a r t d e v e lo p e d b y H i l l e r and Reicbardfc*

The a p p e a r a n c e o f t h e P u r c h k o m p o n i e r t e s L ie d

fo rm d u r i n g t h i s p e r i o d showed g r e a t e r r e g a r d f o r t h e s p i r i t o f t h e t e x t , an d was u s e d b y H i l l e r , B e e th o v e n a n d o th e rs.

S c h u lz s t r e s s e d c o n s i d e r a t i o n f o r t h e m e lo d y a n d

t h e t e x t i t m ust f i t , w h ile B e e th o v e n 1s e x p r e s s i v e u s e o f m o d u l a t i o n an d h arm o ny , a l o n g w i t h t h e o r i g i n o f h i s son g c y c l e a l l h e l p e d to l e a d t h e way t o a b r i l l i a n t f u t u r e o f t h e German L i e d *

Bven W e b e r 's t o n e - p i c t u r e s s e r v e d a s

s te p p in g s to n e s to g r e a t e r ones o f th e n i n e t e e n t h c e n tu r y , an d Loew e’ s d e v e lo p m e n t o f t h e d r a m a t i c b a l l a d , fo rm a d d e d t o t h e p r o g r e s s an d d e v e lo p m e n t th e

A rt

i t s g r e a t e s t c lim a x was t o b e r e a c h e d .

Song n e e d e d b e f o r e

CHAPTER V FBAm SCHUBERT

F r a n z P e t e r S c h u b e r t was a m u s i c i a n who p l a y e d , com posed, and i m p r o v i s e d i n d e f a t i g a b l y .

He was t h e d i s c o v ­

e r e r o f t h e s h o r t l y r i c , w h ic h , i n a few l i n e s an d t u r n s o f a p h r a s e , c r e a t e s a mood; an d t h e q u i e t ,

lim p id c h a r a c t e r

o f t h e mood, t h e p a s t o r a l i n m u s i c , was w here t h e S c h u b e r t g e n i u s sh o n e so b r i l l i a n t l y . He was b o rn J a n u a r y 3 1 , 1 7 9 7 , i n L i c h t e n t h a l n e a r V ie n n a .

From h i s f a t h e r h e l e a r n e d t o p l a y t h e v i o l i n ,

fro m h i s b r o t h e r t h e p i a n o , an d fro m H e r r H o l z e r ( c h u r c h c h o r a l d i r e c t o r ) , he le a r n e d th e o r y and o r g a n - p la y in g , and c u l t i v a t e d a good s o p r a n o v o i c e .

In 1808, a t th e age o f

e l e v e n , young F r a n z e n t e r e d t h e V ie n n a C o u r t c h a p e l a s a soprano.

I t was a t t h e s c h o o l c o n n e c t e d w i t h t h i s i n s t i t u ­

tio n t h a t he r e c e iv e d h i s e a r l y e d u c a tio n .

H is m u s i c a l

i n s t r u c t o r s w ere R u z ic k a and S a l i e r i , t h e l a t t e r w i t h whom h e s t u d i e d t h o r o u g h b a s s an d c o m p o s i t i o n . I n O c t o b e r 1812 he e n t e r e d a n o r m a l s c h o o l t o p r e p a r e fo r te a c h in g .

Two y e a r s l a t e r h e becam e an a s s i s t a n t i n

h i s f a t h e r 1s s c h o o l .

I t was d u r i n g h i s f i r s t y e a r o f

t e a c h i n g , 1 8 1 4 , t h a t he composed h i s im m o r ta l s o n g , «* 1B r l k o n i g . 1 T h re e y e a r s o f p u n is h m e n t fro m t e a c h i n g c a u s e d

51

h im t o c h a n g e h i s w o rk , an d he t r i e d g i v i n g p r i v a t e m u sic l e s s o n s , h u t t h i s was. n o t s a t i s f a c t o r y , so h e c h o s e t h e l i f e o f an i l l - p a i d c o m p o se r. S c h u b e rt w ro te i n c e s s a n t l y , r e g a r d l e s s o f h i s fin a n c ia l re tu rn s.

He s p e n t much tim e w i t h h i s t a l e n t e d

f r i e n d s , th e p o e ts S ch o b er, M ay rh o fer, B a u e rn fe ld , G r i l l p a r z e r , von S o n n l e i t h n e r , t h e p a i n t e r S c h w in d , t h e s i n g e r V o g l, H u t t e n b r e n n e r n , a n d L a c h n e r . As e a r l y a s 1822 S c h u b e r t was b o t h e r e d w i t h v e n e r e a l d ise a se .

D u rin g t h e r e m a i n d e r o f h i s l i f e he s u f f e r e d

g r e a t l y from t h i s i l l n e s s .

In s p it e o f h is u n to ld s u f f e r in g

he w ent ah ead w ith h i s c o m p o s itio n s .

The y e a r 1823 p r o d u c e d 11

i/

some o f t h e b e s t S c h u b e r t s o n g s , 1S ch on e M u l l e r i n 1 c y c l e . F e b r u a r y 1827 fo u n d S c h u b e r t co m p o sin g t h e f i r s t so n g s o f h i s 1W i n t e r r e i s e 1 c y c l e .

I t i s s a id t h a t he s e t

s i x o f t h e s e so n g s i n a s i n g l e m o r n in g .

He c o m p le te d t h i s

c y c l e o f t w e n t y - f o u r so n g s I n O c to b e r o f t h e same y e a r . T h e se so n g s w ere t h e w i n t e r m u s ic o f h i s l i f e , j o u r n e y t h r o u g h i c e and s n o w .1''1-

Min d e e d a

D u rin g A u g u s t 1 8 28 , t h e

l a s t y e a r o f h i s l i f e , he com posed t h i r t e e n so n g s w h ic h were l a t e r known a s t h e »S c h w a n e n g e sa n g . 1

The f i n a l song i n t h i s ,

s e r i e s was 1T a u b e n p o s t , 1 w r i t t e n i n O c t o b e r .

T h i s was t h e

^ O s c a r B i e , S c h u b e r t . The Man (New Y ork: Dodd, Mead an d Company, 1 9 2 8 ) , p . 9 5 .

52

l a s t song com posed b y t h e m a s t e r .

He d i e d November 1 9 , 1828

o f ty p h u s a n d o t h e r c o m p l i c a t i o n s . ' S c h u b e r t was so p r o l i f i c i n c o m p o s iti o n t h a t i t i s i m p o s s i b l e t o m e n tio n a l l h i s w o r k s .

Some o f h i s c o m p o si­

t i o n s i n c l u d e s i x m a s s e s , s e v e n t e e n o p e r a s , e i g h t s y m p h o n ie s , e i g h t o v e r t u r e s , t w e n t y - f i v e o t h e r o r c h e s t r a l w o rk s , f o u r t e e n s trin g q u a rte ts, th irte e n

s o n a t a s , s i x h u n d r e d an d t h r e e

so n g s f o r s o l o v o i c e , a n d many o t h e r w o r k s , m ak in g a g r a n d t o t a l o f m ore t h a n one th o u s a n d c o m p o s i t i o n s . K a rl N ef, n o te d a u t h o r i t y in m u sic o lo g y s a y s , ^ S c h u b e r ^ s p e r f e c t o r g a n i c u n io n o f song an d c l a v i e r i s i n c o m p a r a b l e . M2

He s i g h t s t h e song fM eine Huh1 1 s t H i n *

a s a so n g w i t h a w e a l t h o f m e lo d y , m e lo d y c h a r a c t e r i z e d b y a s i n g a b l e n e s s an d v a r i e t y o f n u a n c e s , s u c h a s can b e fo u n d in few o t h e r German c o m p o s e r s . THE QUALITIES OP SCHUBERT!S SONGS The m e l o d i e s o f S c h u b e r t * s s o n g s a r e n o t e d f o r p u r i t y o f to n e and s e n s i t i v e n e s s o f l i n e ; c a n t e l l an d p r o v e i r r e s i s t i b l e .

t h e y s u g g e s t more t h a n one C ape11 t h i n k s h i s m e lo d y

l i n e s a r e u n s u rp a s s e d f o r s h a p e lin e s s and g r a c e .

He f u r t h e r

s u g g e s t s t h a t t h e m e lo d ic and v e r b a l m e tr e i n S c h u b e r t * s so n g s show s u c h an a g r e e a b l e r e l a t i o n s h i p t h a t one i s

^ K a r l N e f , An O u t l i n e o f t h e H i s t o r y o f M usic (New Y ork: C olum bia U n i v e r s i t y P r e s s , 1 9 3 5 ) , p p . 2 9 0 - 2 9 1 .

53

c o n v i n c e d t h e co m p o ser h ad a s p e c i a l a g r e e m e n t b e tw e e n m u s ic and v e r s e The t e x t s o f h i s so n g s a r e c l o t h e d i n m u sic so p e r f e c t l y , an d t h e m a s t e r l y m anner i n w hich h e h a n d l e s e a c h song i s p e r f e c t i o n i t s e l f .

Many m u s i c i a n s t h i n k S c h u b e r t

t o b e t h e m o st p o e t i c a l m u s i c i a n t h a t e v e r l i v e d .

In speak­

i n g o f S c h u b e r t ' s s o n g s , O s c a r B i e s a y s : MOur e n s e m b le i s e x p a n d e d , t h e v o i c e i s a d d e d t o t h e p i a n o , an d p o e t r y t o m u sic.

The L ie d i s c r e a t e d . ft 4 The c h i e f c h a r a c t e r i s t i c s o f h i s m u sic w i l l a lw a y s

b e v i v i d p e r s o n a l i t y , f u l l n e s s , an d p o e t r y ,

to sa y n o th in g

o f e a s e an d a b s e n c e o f e f f o r t i n a l l h i s c o m p o s i t i o n s .

He

endowed h i s so n g s w i t h a m a g ic , a ro m a n c e , a s w e e t n a t u r a l ­ ness th a t i s u n surpassed. S c h u b e rt d id n o t d e v e lo p h i s i n d i v i d u a l i t y by d e g re e s h i s e a r l y s o n g s a r e some o f t h e g r e a t e s t an d m o st m a s t e r l y o f a l l song l i t e r a t u r e

( B r l k o n i g , G re tc h e n am S p i n n r a d e ) .

The h a r m o n ie s i n S c h u b e r t* s s o n g s a r e f r e s h , v a r i e d and r i c h w ith m o d u la to ry p a s s a g e s .

H is w ide u s e o f v a r i e d

h a r m o n ie s c r e a t e a w o rld o f u n e x p l o r e d f e e l i n g s an d m oods. The ac c o m p a n im e n ts i n h i s s o n g s a r e a lw a y s i n t e r e s t i n g a n d

^ C a p e l l , S c h u b e r t* s S on gs (New Y ork: E . P . D u tto n a n d Company, 1 9 2 4 ) , p . 4 1 . 4 B i e , o g . c i t .« p . 8 0 .

s u g g e s tiv e ; f u l l o f f o r c e , v a r i e t y , and q u a l i t y o f id e a s . H is u n l i m i t e d u s e o f m o d u l a t i o n s a r e a s r i c h an d v a r i e d a s h i s m e lo d ie s.

The a c c o m p a n im e n ts o f h i s so n g s a r e o f t e n

q u i t e e l a b o r a t e an d a s i m p o r t a n t f o r t h e g e n e r a l e f f e c t a s t h e m elod y i t s e l f . S c h u b e r t ’ s so n g s a r e f i l l e d w i t h r h y t h m i c a l s u r p r i s e s , r i c h w i t h a v a r i e t y o f r h y t h m i c a l p a t t e r n s t h a t a lw a y s s u i t th e t e x t o f th e song.

C a l c u l a t e d m ono to ny i s t h e ' p r i m a r y

r h y t h m i c a l c h a r a c t e r i s t i c i n !,The E r l k i n g " ( t h e g a l l o p o f f l y i n g h o o f s w h ic h s e r v e s a s e m o t i o n a l a g i t a t i o n ) .

But h is

v a r i a t i o n s i n m e lo d y , an d c h a n g e o f k e y p r e v e n t t h i s fro m b e i n g m o n o to n o u s . H is p a s s i o n f o r rh y th m i s e v i d e n t t h r o u g h o u t h i s song lite ra tu re .

The r e s u l t s o f h i s r h y t h m i c a l e n t e r p r i s e b o r e

f r u i t i n t h e m u sic o f t h e f o l l o w i n g g e n e r a t i o n , e s p e c i a l l y B rahm s.

“S c h u b e r t u s e d a g r e a t a b u n d a n c e o f m e t r i c a l f o r m s .

. . . H i s a s s i m i l a t i o n o f a l l he p u t h i s b a n d s on was t h e p r o o f o f h i s s e n s e o f r h y t h m . 11^ R e g a r d l e s s o f t h e mood, h i s tempo was n a t u r a l a n d u n a s s u m in g .

S c h u b e r t u s e d a h e a l t h y an d r e g u l a r p u l s e ,

b u o y a n t b u t n o t to o q u i c k .

H is tem pos a r e n o t a s v i v a c i o u s

a s M o z a r t, an d n o t a s d e l i b e r a t e a s W agner.

A S chubert

tempo d o e s n o t t r o u b l e t o p o n d e r , an d i t d o e s n o t c a r e t o

^ C a p e ll,

o jd

.

c i t . . p. 48.

55 race* found.

I t h as a l e i s u r e l i n e s s o f n a tu re th a t i s not o fte n O f te n tim e s a tempo m ig h t n e e d a b r a k e , an d S c h u b e r t

a g a i n showed h i s g e n i u s b y l e t t i n g h i s b a s s p a r t s e r v e i n th is c a p a c ity .

I t was an i m p o r t a n t w ork f o r t h e b a s s t o do.®

S c h u b e r t was r e a l l y t h e f i r s t co m p o ser t o w r i t e m u sic f o r German p o e t r y .

German la n g u a g e h a s a h e a v y g a i t —w h ich

r e q u i r e s e n e r g y f o r so un d a r t i c u l a t i o n .

T h is n a t u r a l l y

i n f l u e n c e d h i s tempo i n h i s s o n g . The s t r o p h i c an d t h e 1d u r c h k o m p o n i e r t 1 a r e t h e two fo rm s S c h u b e r t u s e d i n h i s so n g s t h r o u g h o u t h i s c a r e e r .

Some

o f h i s s t r o p h i c song f o r m s , i n w h ic h s e v e r a l s t a n z a s a r e su n g t o i d e n t i c a l r e p e t i t i o n s o f a t u n e , a r e m i r a c l e s o f a r t . wWho i s S y l v i a ? 11 a n d 11I m p a t i e n c e ” ( V n g e d u ld * ) a r e s p l e n d i d e x a m p le s o f t h i s fo rm .

MThey a r e t h e h e a r t o f S c h u b e r t

H is 1d u r c h k o m p o n i e r t 1 so n g s ( o r so n g s com posed t h r o u g h ­ o u t and n o t r e p e t i t i o n o f v e r s e ) a r e l i k e m u s i c a l p i c t u r e s p a i n t e d w i t h v a r y i n g t i n t s arid s h a d e s t h a t t h e m o st s e n s i t i v e a r t i s t co u ld n o t f in d a b ru s h -s tro k e o u t o f p la c e .

E xam ples

o f t h i s fo rm a r e num erous? ”The E r l K i n g , ” ”The S e r e n a d e , ” a n d ”The H u rd y - g u r d y Man*1 a r e some o f t h e more f a m i l i a r o n e s .

6 I b i d . . p . 53. 7 I b i d . . p . 67.

56

SCHUBERT*S SONG CYCLES F r a n z S c h u b e rth l e f t some f i n e e x a m p le s o f t h e so n g c y c l e i n h i s 'm u s i c a l o f f e r i n g t o ' t h e w o r l d .

A lth o u g h h e

was n o t t h e o r i g i n a t o r o f t h e fo rm h e was t h e f i r s t t o show f u l l p o s s i b i l i t i e s o f th e s o n g - c y c l e a c c o r d i n g t o Mason. ( B e e th o v e n , i n a d d i t i o n t o o t h e r s , h ad w r i t t e n a s o n g - c y c l e *An D ie F e m e G e l i e b t e . 1 D u rin g a s i n g l e week, i n 1 8 2 3 , S c h u b e r t s e t *D ie S ch on e M u l l e r i n * a c y c l e o f tw e n t y poems b y t h e p o e t it

W ilh elm M u l l e r .

T h e se "-MUler- s o n g s r e l a t e a c o n n e c t e d

s t o r y i n t h e song s e q u e n c e .

The h e r o o f t h i s c y c l e i s a

young w a n d e re r s u f f e r i n g from u n r e q u i t e d l o v e .

H is g r e a t

l o v e f o r n a t u r e seems t o r e f l e c t h i s d i f f e r e n t moods an d so rro w s. Mason i n f e r s t h a t S c h u b e r t * s own p e r s o n a l l i f e a n d h a p p e n in g s w ere so s i m i l a r to t h e t e x t o f h i s c y c l e s t h a t h i s so n g s i n v a r i a b l y s u g g e s t h i s p e r s o n a l e n t h u s i a s m t h r o u g h ­ o u t th e c y c le s .^ S im p le fo rm and c h a n g e a b le moods a c c o r d i n g t o t h e s t o r y i n t h e t e x t , s e t t o m u sic i n S c h u b e rt* s own i n i m i t a b l e s t y l e , w ith a te n d e r n e s s f o r i n t e r p r e t a t i o n o f se n tim e n t

8 D a n i e l G. M ason, The A r t o f M usic (New Y ork: N a t i o n a l S o c i e t y o f M u sic , 1 9 1 5 ) , volum e V, p . 2 1 5 . 9 Ibid.. p. 216.

57

g iv e s th e c y c le q u a l i t i e s th a t d e f i n i t e l y su g g est r e a l i t y . S c h u b e r t 1s d i s c r i m i n a t i o n i n u s i n g d i f f e r e n t k i n d s o f -ac c o m p a n im e n ts f o r p r e c i s e e m o t i o n a l e x p r e s s i o n i s u n u s u a l l y fin e .

Mason s a y s , ttI f i t i s r e a l i s m , i t i s r e a l i s m o f t h e

m o st p r i m i t i v e s o r t . 1* fD ie L ie b e P a r b e 1 (T he F a v o r i t e C o lo r ) num ber 1 6 , and fT r o c k f n e B lum en1 ( W ith e r e d F lo w e r s ) num ber 18 a r e two o f th e m a s t e r p i e c e s i n t h i s c y c l e . 3-0 S c h u b e r t 1 s f\ Y i n t e r r e i s e f c y c l e ( W in te r J o u r n e y ) c o n s i s t s o f t w e n t y - f o u r n u m b e rs .

I t i s c o m p a r a b le w i t h t h e

Book o f Jo b an d i n c l u d e s some o f t h e b e s t s o n g s e v e r w r i t t e n . M u l l e r 1s poems an d S c h u b e r t 1s m u sic a g a i n i n t e r p r e t s n a t u r e in te r m s o f human s e n t i m e n t s . ^ / M ason1s comment i s e x c e l l e n t : The s o n g s , i n d e e d , a r e l i t t l e m ore th a n a s e r i e s o f p a r a l l e l s drawn b e tw e e n t h e s c e n e o f t h e w i n t e r l a n d s c a p e a n d t h e f e e l i n g s o f t h e h e r o . T hey a r e a p e r s o n a liz in g o f th e w e a th e r, a d ra m a tiz a tio n o f t h e th e r m o m e te r . 3-3A c c o r d in g t o L eM assena— t h e s e s o n g s : . . . d e p i c t m e n ta l a n g u is h in a l l I t s p h a s e s , fro m w e a ry m e la n c h o ly t o m ock in g s e l f - t o r m e n t a n d b r o k e n -h e a rte d y e a rn in g f o r d e a th . N a tu re , b a rre n an d w i n t r y c o l d , b l e a k , a n d d i s c o n s o l a t e , p r o v i d e s a f i t b a c k g ro u n d f o r a l l t h i s s u f f e r i n g an d a g o n y . 3-2

-*-0 c . E. L eM assena, S o n g s o f S c h u b e r t (New Y ork: G. S c h i r m e r , 1 9 2 8 ) , p . 1 5 1 . 3-3- M ason, 12

0£ .

c i t . . p . 220.

LeMassena, op. cit., p. 152.

58

I n s p i t e o f th e e x tre m e l i m i t s o f d r a m a t i c an d p a t h e t i c e x p r e s s i o n r e a c h e d i n t h e s e s o n g s , S c h u b e r t a lw a y s r e t a i n e d a m e lo d ic l i n e w i t h g r e a t l y r i c b e a u t y , n o b l e f o rm ,, an d m e lo d io u s ch a rm . The m a s t e r p i e c e s , su c h a s ’ D er Lindenbaum* L i n d e n - T r e e ) , fD ie P o s t 1 (The P o s t ) , In n ),

(The

f Das W i r t s h a u s ’ (The

*Mut’ ( C o u r a g e ) , an d *Der L e ie r m a n n 1 (The H u rd y -G u rd y

Man) a r e some o f S c h u b e r t 1s b e s t s o n g s .

M ason, F i n c k , an d

LeM assena Im p ly t h e r e a l i t y o f S c h u b e r t ’ s *W i n t e r r e i s e *

c y c le

a s b ein g a b i t o f a u to b io g ra p h y . *Schw anengesang*

(Swan Songs o r D ying S t r a i n s ) was

S c h u b e r t’ s l a s t g i f t to s in g e r s .

T h e se f o u r t e e n so n g s

r e p r e s e n t t h r e e p o e t s an d seem t o h a v e b ee n i n t e n d e d b y t h e co m po ser t o fo rm a c y c l e , h o w e v e r, t h e p u b l i s h e r named t h e c y c l e . 3-3

The so n g s w ere a l l com posed i n 1 8 2 8 , d u r i n g t h e

l a s t y ear o f S c h u b e rt’ s l i f e . S e a ) , an d *Der D o p p elg a n g er*

’ S e r e n a d e * , ’Am Meer*

(By t h e

(The P h an to m D o u b le) a r e b u t

t h r e e o f t h i s fam ous g r o u p . HIS PLACE IN THE WORLD OF SONG The s t r o n g e s t p o i n t s to c o n v i n c e u s o f S c h u b e rt* s im p o r ta n c e , a s a s o n g - w r i t e r an d o f t h e g r e a t n e s s o f h i s co n ­ t r i b u t i o n t o t h e German L i e d a r e ;

13 Ibid.. p. 116.

59

1.

The v a s t num ber o f s o n g s h e com posed ( s i x h u n d re d

and th r e e p u b lis h e d ) . 2.

The l e n g t h o f th e s o n g s , v a r y i n g . f r o m o n e p ag e

t o f i f t y - s i x p a g e s e a c h ,' 3.

The v a r i e t y o f m a t e r i a l , f o rm , s e n t i m e n t , and

e x p re s s io n th ro u g h o u t h i s so n g s, 4.

The c l o s e way i n w h ic h h e a d h e r e s t o t h e w ords

5.

The h i g h e s t c l a s s o f p o e t r y an d song d e a l s w i t h

(te x t)•

human j o y s an d s o r r o w s .

S c h u b e r t 1s g r e a t e s t so n g s f i t i n

th is c la s s ific a tio n . 6.

H is a c c o m p a n im e n ts a r e r i c h a n d v a r i e d i n harm ony

w ith u n lim ite d m o d u la tio n s . 7.

The m e l o d i e s o f h i s so n g s p r o v e i r r e s i s t i b l e ;

t h e y a r e known f o r t h e i r s h a p e l i n e s s and g r a c e . 8.

H is s o n g s a r e f i l l e d w i t h r h y t h m i c a l s u r p r i s e s

and t h e p a t t e r n s a lw a y s s u i t t h e t e x t . 9.

R e g a r d l e s s o f t h e mood, h i s tempo, i s n a t u r a l an d

u n a s s u m in g . 10.

A

nS c h u b e r t i a n M son g i s an outcom e o f d e l i g h t

fro m a s t a n d p o i n t o f p o e t r y , m e lo d y , and a c c o m p a n im e n t.

It

i s an im p u ls e o f b e a u t i f u l p o e t r y p a i n t e d w i t h r i c h m e l o d i e s a n d h a r m o n ie s t h a t make a m o st s a t i s f y i n g a n d c o m p le te p ic tu re .

60

Some o f S c h u b e r t * s p u b l i s h e d so n g s a c c o r d i n g t o H e llb o rn * s c a ta lo g u e ; Opus No* 1 —- E r l k o n i g - 1 8 1 5 o r 1816 2— G re ^ c h e n Am S p i n n r a d e it 3— S c h a fe rs K la g e lie d , J a g e r s A b e n d lie d -1 8 1 6 , H e id e n ro s le in 1815, M e e re s s tille -1 8 1 5 D er W a n d e re r, W a n d e re rs N a c h t l i e d 4 — M o r g e n lie d - 1 8 2 1 5 — R a s t l o s e L i e b e , Nahe Des G e l i e b t e n , B r s t e r V e r l u s t - 1 8 1 5 , D er F i s c h e r , K onig i n T h u le - 1 8 1 6 Memnon, A n tig o n e Und O e d ip - 1 8 1 7 , Am G ra b e A n se lm o s-1 8 2 1 7 — D ie A b g e b liith e L i n d e , D er F lu g D er Z e i t , D er Tod Und Das M adchen-1821 8 — D er J u n g l i n g Aud Dem H u g e l- 1 8 2 0 , S e h n s u c h t - 1 8 2 4 , E r l a f s e e - 1 8 1 7 , Am S tro m e -1 8 1 7 1 2 — D r e i G esange Des H a r f n e r - 1 8 1 6 1 3 — D er S c h a f e r Und D er R e i t e r - 1 8 1 7 , Lob D er T h r a n e n - 1 8 2 1 , D er A l p e n j a g e r - 1 8 1 7 1 4 — S u l e i k a , G eheim es 1 9 —An S chw ager I f r o n o s - 1 8 2 7 , G anym ed-1817, An M ignon-1815 20— S e i M ir G e g r u s s t 2 1 —T h r e e b a s s s o n g s - 1 8 1 7 2 2 — D er Z w erg-1 82 3 2 3 — D ie L ie b e H at G elo gen 24 — G ruppe Aus Dem T a r t a r u s , S c h lu m m e r lie d -1 8 1 7 2 5 — D ie S cho ne M i i l l e r i n C y c le o f tw e n ty s o n g s - 1 8 2 3 3 1 - - S u l e i k a * s G esa n g -1 8 2 1 3 2 — D ie F o r e l l e - 1 8 1 8 3 6 — D er Z u rn e n d e n D ia n a - 1 8 2 3 , N a c h t s t u c k - 1 8 1 9 3 7 - - D e r P i l g r i m , D er A l p e n j a g e r - 1 8 1 7 3 8 --D er L ie d le r-1 8 1 5 39— D ie S e h n s u c h t ( r e - a r r a n g e d 1815) 4 1 — D er E in sa m e -1 8 2 5 /f 4 3 —D ie J u n g e N onne, N a c h t Und T raum e-1825 4 4 --A n d i e U n te r g e h e n d e S o n n e-1 8 2 7 5 2 - - F u n f E in s tim m ig e G esan g e ( S c o t t * s L ady o f t h e L ak e -1 8 2 5 ) 5 6 —-Wilkommen Und A b s c h ie d - 1 8 2 2 5 7 — D e r S c h m e t t e r l i n g , D ie B e r g e , An Den Mond 5 8 —-H e k to r* s A b s c h i e d , Emma-1814, Des M adchens K la g e -1 8 1 6 5 9 — Du L i e b s t M ich N i c h t , Du B i s t D ie R u h -1 8 2 3 , L achen Und Weinen 60— G re ise n g e sa n g , D ith ira m b e 62— T h re e L i e d e r o f Mignon 65 — S c h i f f e r * s N a c h t l i e d - 1 8 1 6 , D er W a n d e re r-1 8 1 9 68— D er W a c h t e l s c h l a g - 1 8 2 2

61

7 1 — D ran g I n D ie F e r n e - 1 8 2 3 72—A uf Dem W a s s e r £u S i n g e n -1 8 23 7 3 — D ie Hose-182.2 7 9 — Das Heimweh-1825 ( 7 9 ) - D i e A llm a c h t 8 0 — D er W a n d erer An Den Mond ( o t h e r s ) 8 1 — A l i n d e , An D ie L a u t e , Z u r G uten N a c h t 8 3 — D r e i I t a l i e n i s c h e G esa n g e -1 8 2 7 8 5 — L i e d D er Anna L y l e , G esang D er N orm a-1826 8 6 — Romance Des R i c h a r d L& w enherz-1826 8 7 —- D e r U n g l u c k l i c h e - 1 8 2 1 , D ie H o ff n u n g , D er J u n g l i n g Am B a c h e -1 8 1 5 8 8 —A b e n d li e d An D ie E n t f e r n t e , T h e k l a , Um M i t t e r n a c h t , An D ie M usik 8 9 — D ie W i n t e r r e i s e , C y c le o f t w e n t y - f o u r L i e d e r - 1 8 2 6 - 2 7 9 2 — D er M u sen so hn , G e i s t e s g r u s s , A uf Dem S ee 9 3 — Im W a ld e, A uf D er B ru c k n 9 5 — D ie U n t e r s c h e i d u n g , B e i D i r , D ie M anner S in d M e c h a n t, I r d i s c h e s G lu c k , R e f r a i n l i e d e r 9 6 —D ie S t e r n e , J a g e r s L i e b e s l i e d , W a n d e re rs N a c h t l i e d , F isc h e rw e ise 9 7 — G la u b e , H o ffn u n g Und L ie b e 98— An D ie N a c h t i g a l l - 1 8 1 6 , W i e g e n l i e d , I f i g e n i a - 1 8 1 6 - 1 7 1 0 1— D er B l i n d e K n ab e-18 25 1 0 5 — W i e g e n l i e d , Am F e n s t e r , S e h n s u c h t , W i d e r s p r u c h ( q u a r t e t ) ( T h e s e t h r e e s o n g s an d q u a r t e t w ere p u b l i s h e d on S c h u b e r t * s f u n e r a l d a y , November 2 1 , 1828*) 1 0 6 — H e im lic h e s L i e b e n , Das W einen, Vor M e in e r W iege, An S y lv ia -1 8 2 6 -2 7 1 0 8 — U eb er W ildem ann, T o d e sm u sik , E r i n n e r u n g 1 0 9 — Am B ach Im F r u h l i n g , G e n u g s a m k e it, An E in e Q u e ll e - 1 8 1 6 1 1 0 — D er Kampf-1815 1 1 1 —An D ie F r e u d e , ( L e b e n s m e lo d ie n , D ie V i e r W e l t a l t e r - - D a s L ie d Im G ru n e n , Wonne D er Wehmuth, S p r a c h e D er L ie b e 116— D ie E r w a r tu n g - 1 8 1 5 1 1 7 — Der S a n g e r - 1 8 1 6 G e i s t D er L i e b e , D er A bend, T i s c h l i e d , Lob Des T o k a y e r s , An D ie S o n n e , D ie S p i n n e r i n - 1 8 1 5 A uf Dem S tr o m - 1828 123—V io la -1 8 2 3 1 2 4 — Zwei S c e n e n -1 8 2 5 126—B a lla d e -1 8 1 4 1 2 9 — D er H i r t A uf Dem F e l s e n - 1 8 2 8 1 3 0— Das Echo 1 3 1 — D e r M ondabend, T r i n k l i e d , K l a g e l i e d - 1 8 1 2 -1 3 S c h w a n e n g e sa n g , f o u r t e e n L i e d e r - 1 8 2 8 I n a d d i t i o n t o t h i s l i s t t h e r e w ere m ore t h a n two h u n d r e d

s o n g s p u b l i s h e d a f t e r S c h u b e r t 1 s d e a t h , h o w e v e r, m o s t o f t h e im p o rta n t songs a r e in th e above l i s t . N e f 1s one s e n t e n c e su m m arizes t h e work o f S c h u b e r t i n a m o st a d m i r a b l e wayi The d e v e lo p m e n t o f t h e German A r t Song ^ fo u n d i t s

c o n s u m a tio n t h r o u g h t h e V i e n n e s e , P r a n z

S c h u b e rt.w S c h u b e r t 1s u s e o f t h e p i a n o t o c r e a t e an a tm o s p h e r e f o r h i s so n g s was a f o r e m o s t c o n t r i b u t i o n an d a new e le m e n t i n t h e d e v e lo p m e n t o f t h e L i e d .

The w e a l t h o f m e lo d y fo u n d

i n h i s so n g s s e t a new h i g h f o r a l l song w r i t e r s .

H is

c o n s i d e r a t i o n o f v e r s e - s t r u c t u r e an d b a l a n c e b e tw e e n t h e m u s ic an d p o e t r y i s s t i l l u n s u r p a s s e d . A fte r l i s t i n g

t h e t e n c o n c l u d i n g p o i n t s on t h e

p r e c e d i n g p a g e , w ords seem o f l i t t l e

use

.

The m a r v e lo u s

a c h ie v e m e n t s o f t h i s so n g co m p o ser a r e i n c o m p a r a b l e an d e n t i t l e him t o h i s r i g h t f u l p l a c e — suprem e m a s t e r o f t h e German A r t S o n g .

CHAPTER VI

EARLY ROMANTIC SONG WRITERS: CONTEMPORARIES AND IMMEDIATE FOLLOWERS OF SCHUBERT W ith t h e n i n e t e e n t h c e n t u r y and t h e d e v e lo p m e n t o f t h e r o m a n t i c m ovem ent, t h e L ie d o n c e m o re , became an i m p o r t a n t m u s ic a l form .

The r o m a n t i c p e r i o d i n m u sic i n c l u d e s a b o u t

h a l f t o t h r e e q u a r t e r s o f a c e n t u r y , b e g i n n i n g w i t h 1800 A.D. T h i s p e r i o d i s g e n e r a l l y t h o u g h t t o em b race t h o s e who i m m e d i a t e l y f o l l o w B e e th o v e n , i n c l u d i n g S c h u b e r t , Schumann, M e n d e ls s o h n , and o t h e r s a s r o m a n ti c c o m p o s e r s . A c c o r d in g t o P a t e r , i n Mason* s b o o k on R om an tic C o m p o sers. f,R o m a n tic is m n m eans: • • • i n t e r e s t In n o v e l and s tr a n g e e le m e n ts o f a r tis tic e ffe c t. 1I t i s t h e a d d i t i o n o f s t r a n g e ­ n e s s to b e a u ty , t h a t c o n s t i t u t e s th e ro m a n tic c h a r a c t e r in a r t ; and th e d e s i r e o f b e a u ty b ein g a f i x e d e le m e n t i n e v e r y a r t i s t i c o r g a n i z a t i o n , i t ' i s th e a d d itio n o f c u r i o s i t y to t h i s d e s i r e o f b e a u t y t h a t c o n s t i t u t e s t h e r o m a n t i c te m p e r .* R o m a n tic is m i s t h u s t h e i n n o v a t i n g s p i r i t a s opposed to th e c o n s e rv in g s p i r i t o f c l a s s i c ! s m .^ T h e r e a r e r o m a n t i c i s t s i n e v e r y ag e a n d s c h o o l . S te n d h a l s a id ,

lfA l l

good a r t was r o m a n t i c i n i t s d a y . ” 2

It

1 D a n i e l G r e g o r y Mason, The R o m an tic C om posers (New Y ork: The M a c m illa n Company, 1 9 4 0 ) , p . 4 . 2 L o c. c i t .

64

i s c e r t a i n t h a t S c h u b e r t 1s w h im s i c a l m o d u l a t i o n s a n d Schumann* s h a r s h d i s s o n a n c e s w ere c o n s i d e r e d n o v e l an d s tra n g e a c e n tu ry ago. The poet* s c o n t r i b u t i o n i n t h e d e v e lo p m e n t o f t h e A r t Song i s m ore i m p o r t a n t th a n t h e i n c i d e n t a l r e f e r e n c e t h a t . i s g e n e r a l l y g iv e n i t .

The a r t w o rld i s i n d e b t e d t o t h e p o e t

w hose m e lo d ic v e r s e h a s a s t r o n g an d p o l i s h e d r h y th m , an d i s a r e a l i n c e n t i v e an d i n s p i r a t i o n t o a c o m p o se r. German song i s i n s p i r i n g and d i s t i n c t l y a c o m b in a t io n o f l i t e r a r y and m u s ic a l a tta in m e n ts t h a t r e s u l t e d in a ro m a n tic p ro d u c t.

I t o r i g i n a t e d d u rin g th e p e rio d o f

r o m a n t i c i s m w i t h t h e g r e a t l y r i c g e n i u s , G o e th e , a s i t s to w e r i n g f i g u r e *

He was t h e i n s p i r a t i o n f o r m o st German

son g w r i t e r s o f t h e n i n e t e e n t h c e n t u r y .

O th e r p o e t s who

i n s p i r e d m u s i c i a n s t o f a s h i o n b e a u t i f u l so n g s fro m t h e i r v e r s e s i n c l u d e su c h nam es a s S c h i l l e r , H e in e , M u e l l e r , n

E i c h e n d o r f f , M o e r ic k e ,. T i e c k , and K o r n e r . K a r l F r i e d r i c h Curschm ann was a p u p i l o f S p o h r . son g w r i t e r , h e was p r o l i f i c an d e x t r e m e l y p o p u l a r . born a t B e r l i n , June 21, 1804.

As a

He was

H i s t o r y s a y s h e was a s i n g e r

an d a so n g c o m p o se r; an d one o f t h e e a r l y w r i t e r s o f L i e d e r . He d i e d i n 1841. C urschm ann*s so n g s w ere s e n t i m e n t a l an d o f a l i g h t v e i n an d d i d much to w a rd p o p u l a r i z i n g t h e son g fo rm t h r o u g h ­ o u t G erm any.

H is *G esam m elte L i e d e r * c o n s i s t s o f e i g h t y -

-65

t h r e e so n g s f o r s o l o v o i c e , an d was p u b l i s h e d i n B e r l i n i n 1871.

B e s i d e s h i s n u m ero us o t h e r so n g s h e w ro te d u e t s ,

t r i o s , a n d a one a c t o p e r a ,

1A b d u l Und B r i n n i c h . 1^

F a n n y H e n s e l n e e M e n d e lss o h n (1 8 0 5 -1 8 4 7 ) was a s i s t e r o f t h e fam ous F e l i x M e n d e ls s o h n .

She i s rem em bered f o r h e r

a b i l i t i e s a s a p i a n i s t an d f o r a few so n g s sh e com posed. T hey i n c l u d e s Two Books o f S ongs f o r v o i c e a n d p i a n o , an d one book o f P a r t - S o n g s . Jin o t h e r r o m a n t i c c o m p o se r, F e l i x M e n d e lss o h n B a r t h o l d y . b o r n a t Hamburg, i n 1809 an d d i e d a t L e i p z i g , i n 1 8 4 7 , was t h e son o f a w e a l t h y b a n k e r . t h e s t o r y o f some f a i r y p r i n c e .

H is l i f e r e a d s l i k e

He grew up i n a r e f i n e d

d o m e s tic a n d s o c i a l c i r c l e , a s t h e i m p o r t a n t c h a r a c t e r o f th e fa m ily , r e g a r d le s s o f o c c a s io n s . M e n d e lss o h n was a m u s i c i a n w hose n a t i v e t a l e n t was s u p e r i o r , an d whose t r a i n i n g was m o s t c o n s i s t e n t an d w e l l rounded o u t.

F o re ig n t r a v e l , p r i v a t e te a c h e r s , and e v e ry

a d v a n t a g e money c o u l d b u y w ere b u t a few o f t h e p r i v i l e g e s e n j o y e d b y a l l members o f t h e f a m i l y . H is m u s ic h a s t h e c h a r a c t e r i s t i c s o f c a r e f u l l y p o lis h e d d e t a i l ,

>2

i n i m i t a b l e d e l i c a c y , f i n e s s e , and a l i g h t -

° O s c a r Thompson, I n t e r n a t i o n a l C y c lo p e d i a o f Music and M u s i c i a n s (New Y ork: £>odd, Mead an d Company, 1939T7 p . 396.

66

n e s s o f s t y l e t h a t r e f l e c t s h i s v e r y e x i s t e n c e an d p e r s o n ­ a lity *

The i n s t r u m e n t a l m u s ic o f t h i s co m p o ser f a r s u r ­

passed h is songs.

T ry to f i n d deep e m o tio n a lism in any

one o f h i s s i x d o z e n s o n g s — t h e y a r e t u n e f u l a n d c h a r m in g , h u t t r i v i a l and s h a l l o w , an d w r i t t e n i n a sm ooth an d p o l i s h e d m anner* H en ry T . F i n c k f e l t t h a t h i s

so n g s showed e l e g a n t 4

w o rk m an sh ip h u t w ere f r e e o f p a s s i o n . -

In s p e a k i n g o f M e n d e ls s o h n 1s so n g s Mr. E ls o n r e m a r k s , " n e v e r grand o r so u l s t i r r i n g

• • • h i s s o n g - s u h j e c t s seem

t o h a v e h e e n c h o s e n in s u c h a m an n er t h a t t h e m u sic s h o u l d g e n e r a l l y be more i m p o r t a n t t h a n t h e words* M e n d e ls s o h n 1s p o p u l a r i t y an d l i g h t m u sic h e l p e d t o p r e p a r e t h e p u b l i c f o r a p p r e c i a t i o n o f t h e more s e r i o u s s o n g - w r i t e r s o f Germ any, a c c o r d i n g t o Mr* E ls o n a n d S i r G eorge G rove.® M e n d e lsso h n w r o t e s e v e n t y - f o u r so n g s w i t h p ia n o a c c o m p a n im e n t, " h u t t h e y l a c k t h e d e e p e r n o t e , t h e d i s t i n c ­ t i v e f l a i r o f t h e L i e d e r o f S c h u b e r t , Schum ann, and B r a h m s .”

^ H en ry T . F i n c k , S ongs an d S o n g - W r i t e r s (New Y ork: C h a r l e s S c r i b n e r * s S o n s , 1 9 ^ 8 ) , p p . 1 1 1 -1 1 2 • ® C h a r l e s L o u is E l s o n , H i s t o r y o f German Song ( B o s to n : New E n g la n d C o n s e r v a t o r y , 1 8 8 8 7 . ( A ls o q u o te d i n F i n c k , p . 1 1 1 .) 6 F i n c k , o p . . c i t . , p . 111.

67

Thompson g o e s on t o s a y “ o n l y s i x o r se v e n o f them s u r v i v e “by r e a s o n o f t h e i r f r e s h t u n e f u l n e s s , i n d i v i d u a l i t y , a n d ch arm —On Wings o f S o n g ; W i n t e r l i e d ; S o n n t a g s l i e d ; V o l k s l i e d ; G r u s s « 0 J u g e n d ; 0 S cho ne R o z e n z e i t ; an d Y e n e z i a n i s c h e s G o n d e l l i e d . **^ The f o l l o w i n g i s a l i s t o f h i s s o n g s ; Onus 8 — T w elve S o n g s-1 8 3 0 9 — T w elve S o n g s -1 8 2 9 1 9 a - S i x S o n g s -1 8 3 0 34— S i x S o n g s -1 8 3 4 - 3 7 4 7 — S i x S o n g s -1 8 3 9 57— S ix S on gs-1 8 3 7 -4 2 7 1 — S i x S o n g s -1 8 4 2 - 4 7 8 4 - - T h r e e S o n g s -1 8 3 1 - 3 9 8 6 — S i x S o n g s -1 8 2 6 - 4 7 99— S i x S o n g s -1 8 4 1 - 4 5 1 1 2 — Two S a c r e d S o n g s-1 8 3 5 No. 2 “Thou Who H a s t Doomed Man To D i e “ ( o r i g i n a l l y com posed f o r S t . P a u l) ’ Des M adchens K lage* ’ Des Seem anns S c h e i d e l i e d ’ Two Romances o f B y ro n — “T h e re Be None o f B e a u t y 1 s D aught e r s 11-1 8 33 11Son Of The S l e e p l e s s M-1 8 3 4 M i s c e l l a n e o u s S ongs “The M o u n tain B u rg h “ -1 8 3 5 11A B i r d I s S o f t l y C a llin g * * -1 8 4 1 “The Gar land**-1 8 2 9 “The M a id e n 1 a L am en t11 “Beware Of The R h in e 1* “The S a v o y a r d ’ s R e t u r n 1* “The Sun I s D a n c in g On The Streams** Two S o n g s — ( B i c h e n d o r f f ) -1 8 3 5 ’ Das W a ld s C h io s s ’ ’ P a ^ e n lie d *

^Thompson, c>p. cit. . p. 1127.

Two S o n g s-1 8 4 1 * I c h H o r* e in V o g l e i n 1

f T o d e s l i 0d D er B o ja re n *

T h re e V o l k s l i e d e r f o r Two V o ic e s a n d P i a n o , The co m p o se r, R o b e r t A le x a n d o r Schum ann. was b o r n a t Z w ickau J u n e 8 , 1 8 1 0 , an d d i e d a t E n d e n ic h , n e a r B onn, J u ly 29, 1856.

He b e g a n s t u d y i n g la w b u t was soon w o rk in g

i n t h e f i e l d o f m u s i c , w h e re h i s a b u n d a n t t a l e n t was soon t o b lo s s o m i n t o g e n i u s .

H is a b i l i t i e s a s a p i a n i s t were

p r o m i s i n g u n t i l he was f o r c e d t o g i v e up t h e i d e a a n d d ev o te h i s m u sic a l e f f o r t s to c o m p o sitio n . H is e a r l y e d u c a t i o n i n c l u d e d c l a s s work a t t h e acad em y an d m u sic l e s s o n s .

I n 1828 h e a t t e n d e d t h e

u n i v e r s i t y o f L e i p z i g a s a la w s t u d e n t , and l a t e r s t u d i e d a t H e id e lb e rg .

H is m o th e r w ould n o t -ap pro ve o f an a r t i s t *

c a r e e r f o r h e r s o n , so y o u n g R o b e r t p u t t e r e d a t la w ion t i l h e f i n a l l y a s s e r t e d h i m s e l f and d e c i d e d t o g i v e up h i s la w s t u d i e s a n d work i n t h e f i e l d w here h i s t a l e n t s w ere so p ro m in e n t. F r i e d r i c h W ieck , l a t e r h i s f a t h e r - i n - l a w , an d H e i n r i c h Dorn t a u g h t Schumann p ia n o an d c o m p o s i t i o n .

It

was t o D o rn , h i s t e a c h e r o f t h e o r y , t h a t Schumann f e l t so in d e b te d f o r i n s p i r a t i o n and t r a i n i n g .

Much o f t h e

c o m p o s e r 1s tim e an d e f f o r t s w ere s p e n t i n t h e w r i t i n g a n d p u b lic a tio n o f m u sical s u b je c ts . Some o f h i s f i n e s t so n g s w ere w r i t t e n d u r i n g 1 8 4 0 ,

when he was c o u r t i n g C l a r a W ieck.

I n f a c t , h i s r M y rth e n 1

s o n g s , o p u s 2 5 , w ere d e d i c a t e d t o h i s f u t u r e b r i d e .

Up to

t h i s tim e h i s work h a d b e e n i n s t r u m e n t a l a n d m o s t l y p ia n o c o m p o sitio n s. Due t o h i s m e n t a l c o l l a p s e , h i s e a r l y works a r e c o n sid e re d s u p e rio r to th a t o f h is l a t e r y e a r s . a g r e e t h a t he w en t fro m g e n i u s t o t a l e n t .

C ritic s

He l e f t th e

w o r ld two h u n d r e d an d f o r t y - f i v e so n g s f o r s o l o v o i c e an d p ia n o .

Many o f t h e s e so n g s w i l l a lw a y s h a v e a p l a c e i n

t h e w o r ld * s b e s t a r t so n g l i t e r a t u r e . A t t h e c u l m i n a t i o n o f Schumann*s t r o u b l e d an d r o m a n t i c c o u r t s h i p o f C l a r a W ieck , h e b eg a n an o u t p o u r i n g o f a r t - s o n g s t h a t n um bered more th a n one h u n d r e d an d i n c l u d e d s u c h m a s t e r p i e c e s a s *D ie L o to s b lu m e .* 1M ondnacht it

.

1F r u h l i n g s n a c h t . 1 *Er D er H e r r l i c h s t e Von A l l e n .* *I c h G r o l l e N l c h t »1 a n d 1D ie B e id e n G r e n a d i e r e . 1 The composer* s own w o rd s b a r e h i s t h o u g h t s i n r e l a t i o n t o h i s p e r s o n a l f e e l i n g s c o n c e r n i n g so n g d u r i n g t h e y e a r 1840s flI h a v e b e e n com po sin g so much t h a t i t r e a l l y seem s q u i t e u n c a n n y a t t i m e s ,

I cannot h e lp i t ,

and sh o u ld l i k e to s in g m y se lf to d e a th , l i k e a n i g h t i n ­ g a l e . 11® Schum ann*s so n g s h a v e a m e lo d ic f r e s h n e s s , w i t h

Q

° Finck,

ojd .

cit.. p. 114.

70

r i c h n e s s o f harm ony a n d a s u b t l e t y o f . c o l o r t h a t i s fo u n d i n h i s p ia n o m usic* Mr. M ason’ s v i e w p o i n t c o n c e r n i n g t h e c o m p a ris o n o f S c h u b e r t ’ s so n g s w i t h Schum ann’ s s o n g s i s m o st i n t e r e s t i n g . He f e l t Schumann h a d a g r e a t e r c u l t i v a t e d l i t e r a r y s e n s e an d s u b j e c t i v i t y . B e c a u se o f t h i s h e c a r r i e d t h e b l e n d i n g o f t h e poem an d t h e m u s ic t o a s t i l l f u r t h e r p o i n t th a n d i d S c h u b e r t , who a l t h o u g h o f t e n i n s p i r e d b y t h e s p i r i t o f t h e v e r s e s o r o f some p h r a s e s o f th e m , s t i l l to o o f t e n t r e a t e d t h e p ia n o p a r t a s an a c c o m p a n im e n t. S chum ann’ s t r a i n i n g a s a p i a n i s t an d a co m po ser f o r t h e p i a n o f o r b a d e t h i s , an d i n h i s songs th e p ia n o - f o r t e h o ld s a p o s it io n o f e q u a l i t y w ith th e v o ic e , and b o th a re used t o ­ g e th e r f o r e x p re ssio n o f th e p o e tic i d e a .9 Schum ann’ s m u sic h a s d e p t h an d i n t e n s i t y o f e m o tio n ­ al life .

H is s o n g s b e a r o u t h i s i n n e r m o s t n a t u r e d i s p l a y ­

i n g t h e d e p t h s an d h e i g h t s o f m u s i c a l e x p r e s s i o n .

T hey

demand much upon th e com pass o f t h e v o i c e ; o f t e n b e g i n n i n g i n t h e d e e p e s t p i t c h an d g r a d u a l l y s o a r i n g t o t h e h i g h e s t . One h a s t o s t u d y Schumann m u sic i n o r d e r t o b r i n g o u t w hat i s v e ile d in th e m a s te r’ s i n t e n t i o n s . He g ave t h e acco m p an im en t a c o n s p i c u o u s r o l e , so m e tim e s t o t h e e x t e n t o f a " p i a n o f o r t e s t u d y w i t h a d d e d v o c a l p a r t . 11

He was fo n d o f s y n c o p a t i o n s an d u n u s u a l

r h y th m s a n d h a r m o n i e s . Q 57 D a n i e l G re g o ry M ason, G r e a t Modern C om posers (Hew Y o rk: The H. W. G ray Company, 191B) , p . - 4 2 .

71

H en ry T , F i n c k s a y s Schumann w ro te m u s ic t h a t was a m i x t u r e o f humor and t r a g e d y .

C o n c e r n in g t h e b a l a n c e o f

v o i c e p a r t a n d p ia n o a c c o m p a n im e n t, Mr, F i n c k f e l t i n Schumann s o n g s t h e p i a n o p a r t o f t e n p r e d o m i n a t e s , w h ile i n S c h u b e r t t h e v o c a l a n d p ia n o p a r t s a r e o f e q u a l im portance.-*-0 The u n a f f e c t e d s i m p l i c i t y t h a t i s fo u n d i n many o f h i s so n g s i s p r i c e l e s s in a n y a r t .

B e s i d e s t h e 1M y r th e n 1

so n g s h e w r o te i L i e d e r k r e i s 1 op u s 24 ; E i c h e n d o r f f 1L i e d e r k r e i s ;

1 K ern er

Leben1 c y c le s ;

c y c l e , opus 35;

*F r a u e n l i e b e - U n d -

*D l o h t e r l i e b e * s o n g s ; an d t h e 1L i e b e s f r u h l i n g 1

c y c le . Schum ann! s m u s ic was t h e r e f l e c t i o n o f h i s f e e l i n g an d r e a s o n e x p r e s s e d e q u a l l y o f h i s h e a r t a n d h i s i n t e l l e c t . H is s o n g - w r i t i n g shows m a tu r e d h a rm o n ic a n d p i a n i s t i c t e c h n i q u e f o r t h e a c c o m p a n im e n ts t h a t i s n o t f o u n d i n S c h u b e r t* s w o rk .

I t i s t r u e he lo o k e d a s l o v i n g l y to w a rd

t h e a c co m p a n im e n t a s to w a r d t h e v o i c e p a r t — some c r i t i c s s a y ev e n more s o .H The a c c o m p a n im e n ts o f h i s *D i c h t e r l i e b e 1 c y c l e p ro v e h i s m a ste ry in p i a n i s t i c w r i tin g .

T h e se so n g s w ere i n t e n d e d

t o b e sung a s a u n i t b u t l a c k f o r q u a l i t i e s i n b e i n g a

F in c k , o p , c i t . . p . 120. D a n i e l G r e g o r y M ason, The A r t o f M usic (New Y ork: N a t i o n a l S o c i e t y o f M u s ic , 1 9 1 5 ) , volume V, p . 2 3 7 .

72

u n i f i e d n a r r a t i v e a s co m p ared w i t h S c h u b e r t* s *D ie S ch on e M u l l e r i n .* Mason c o n t i n u e s s a y i n g t h a t t h e a c c o m p a n im e n ts o f Schumann*s s o n g s , p a r t i c u l a r l y t h e *D i c h t e r l i e b e * c y c l e , m ig h t be p u b l i s h e d a l o n e a s E s s a y s i n S t y l e *

T hey m ark a

d e v e lo p m e n t o f d e t a i l e d t e c h n i c a l r e s o u r c e t h a t h a s b e e n m o st v a l u a b l e t o German s o n g - w r i t e r s . N or m u st i t be assu m ed t h a t t h e v o i c e p a r t s a r e u n i n t e r e s t i n g o r u n v o c a l. Q u ite th e c o n tr a r y . O nly i n t h e s e s o n g s , a s i n n o n e t h a t h a d p r e c e d e d them , t h e v o i c e p a r t s a r e n o t t h e s o n g s , n o r a s m a ll p a r t o f t h e s o n g s ; t h e so n g s a r e i n c o n c e i v ­ a b l e , a r e n o n - e x i s t e n t , e x c e p t a s v o i c e an d p ia n o p a r ts in tim a te ly c o m b in e d .^ The c y c l e *F r a u e n l i e b e Und L e b e n . 1 (Woman*s L i f e a n d Love) . . . i s Schumann* s m o st fam ous a n d p o s s i b l y t h e g r e a t e s t song c y c l e i n a l l m u s i c a l l i t e r a t u r e . . . . The p o e t A d a l b e r t von C ham isso s e l e c t s e i g h t c r u c i a l moments i n woman* s l i f e an d p u t s i n t o h e r m outh f o r e a c h o f t h e e i g h t an e x q u i s i t e l y r i c , e x p r e s s i n g w i t h w o n d e r f u l d e l i c a c y h e r e m o tio n s an d m oods. *I c h G r o l l e N i c h t * ( I w i l l n o t C o m p la in ) , i s one o f t h e g r e a t so n g s o f . t h e w o r l d an d one o f t h e n o b l e s t A

e x p r e s s i o n s o f e m o tio n i n song l i t e r a t u r e .

*Widmung*

( D e d i c a t i o n } , i s f i l l e d w i t h p a s s i o n a t e a r d o r , fre e d o m , c o n t r a s t , and a l l t h e o t h e r f i n e q u a l i t i e s t h a t make i t one o f t h e g r e a t so n g s o f a l l t i m e .

12 I b i d . , p . 2 5 1 . 13 I b i d . . p . 2 4 4 .

73

Schum ann’ s S o n g s f o r S o lo V oices Opus 2 4 — L i e d e r k r e i s ( H e in e ) N in e S ongs 2 5 —-M yrthen Song C y c l e ; T w e n t y - s i x S o n g s * 1-Widmung 7 - D i e L o to sb lu m e 2 7 — L i e d e r Unci G e s a n g e , volume I — F i v e S o n g s 3 0 - - D r e i G e d i c h t e — T h r e e S ongs 3 1 — D r e i G e sa n g e — T h r e e S ongs 3 5 — 21w o lf G e d i c h t e — T w elve S o n g s 3 6 — S e c h s G e d i c h t e — S i x So^igs 3 7 — G e d i c h t e Aus ’’L i e b e s f r u h l i n g , 11 T w elve S ongs 3 9 — L i e d e r k r e i s ( E i c h e n d o r f f ) T w elve S o n g s 5 -M o n d n ach t 12 F r u h l i n g s n a c h t 4 0 — F u h f L i e d e r — F i v e S ongs 4 2 — F r a u e n l i e b e U n d -L eb en , Song C y c l e —E i g h t S o n g s * 45--R om anzen Und B a lla d e n - v o lu m e I - - T h r e e S o n g s 4 8 — D i c h t e r l i e b e , C y c le (H e in e ) S i x t e e n S o n g s 7 - Ic h -G ro lle N ic h t 4 9 — Romanzen Und B a H a d e n - v o lu m e I I —T h r e e S ongs 1 - D ie B e i d e n ( G r e n a d i e r s 5 1 — L i e d e r Und G e sa n g e -v o lu m e I I — F i v e S o n g s 5 3 — Romanzen Und B a lla d e n - v o lu m e I I I — T h re e S on gs 57—B e l s a t z a r , B a lla d 6 4 — Romanzen Und B a lla d e n - v o lu m e IV — T h re e S on gs 7 7 — L i e d e r Und G esa n g e -v o lu m e I I I — F i v e S ongs 7 9 — L i e d e r Album F u r D ie J u g e n d — T w e n t y - e i g h t S ongs 8 3 — D r e i G e sa n g e — T h r e e S o n g s 8 7 — D er H an d sc h u h , B a l l a d 8 9 — S e c h s G e sa n g e — S i x S ongs 90— Sechs G e d ic h te 95— D r e i G e sa n g e — T h r e e S ongs 96— L i e d e r Und G e s a n g e , volum e IV— F i v e S o n g s 9 8 a - L i e d e r Und G esan g e Aus ’’W ilh elm M e i s t e r ” —N in e S o n g s 1 0 4 — S ie b e n L i e d e r — S i x S o n g s 117— V i e r H u s a r e n l i e d e r — F o u r S ongs 1 1 9 — D ^ e i G e d i c h t e — T h re e S ongs 1 2 5 — F u n f H e i t e r e G e sa n g e — F iv e S o ng s 1 2 7 —F u n f L i e d e r Und G e sa n g e — F iv e' S ongs 135— G e d ic h te D er K o n ig in M a ria S t u a r t — F iv e S o n g s 1 4 2 — V i e r G e sa n g e — F o u r S ongs (Two h u n d r e d a n d t h i r t y - t h r e e s o n g s . ) K a r l G o t t f r i e d W ilh elm T a u b e r t s p e n t h i s l i f e t i m e in B e rlin . 1891.

He was b o r n t h e r e i n 1811 a n d d i e d t h e r e in

He s t u d i e d p i a n o w i t h B e r g e r an d c o m p o s i t i o n w i t h

74

K le in ; l a t e r he s tu d ie d a t th e U n iv e r s ity o f B e r lin . B e sid e s b e in g c o u r t a c c o m p a n ist, he se rv e d a s d i r e c t o r a t t h e R o y a l O pera House an d a s C o u r t K a p e l l m e i s t e r . F o r s e v e r a l y e a r s h e c o n d u c te d t h e R o y a l O r c h e s t r a a t C o u r t c o n c e r t s a n d i n 1875 became a member o f t h e M u s i c a l D i v i s i o n C o u n c i l o f t h e Academy. T a u b e r t w r o t e c o n s i d e r a b l e o r c h e s t r a l an d cham ber m u s ic i n a d d i t i o n t o co m p o sin g two h u n d r e d n i n e t y - f o u r songs.

H is ’K i n d e r l i e d e r 1 s o n g s , Opus 145 a n d 160 a r e

s t i l l known i n Germany.

^ L u l l a b y 1* fro m t h i s g r o u p i s

c h a rm in g an d one o f h i s b e s t s o n g s . 1 ^ The b r i l l i a n t p i a n i s t , F r a n z L i s z t . was b o r n a t R a i d i n g , H u n g a ry , O c to b e r 2 2 , 1 8 1 1 , an d d i e d a t B a y r e u t h on J u l y 3 1 , 1 8 8 6 .

T h is im p o rta n t m u sic a l f i g u r e o f th e

n i n e t e e n t h c e n t u r y c o v e r e d a v a s t f i e l d o f w o rk .

H is

t r a n s c r i p t i o n s an d a r r a n g e m e n t s a r e i n n u m e r a b l e .

Among

t h e m o st fam ous o f t h e s e , a s w e l l a s t h e b e s t , a r e t h e a rra n g e m e n ts o f S c h u b e r t’ s so n g s. H is own o r i g i n a l w o rk s w ere g e n e r a l l y i n s p i r e d b y i m p r e s s i o n s fro m o t h e r a r t o r n a t u r a l s c e n e .

L is z t h elp ed

t o p av e t h e way f o r S t r a u s s an d o t h e r s ; e s p e c i a l l y t h e i r p ro g ra m m u s i c .

Thompson, 15

c i t " ., p . 1861.

G ro v e , £ p . c i t . . volum e I I I , p . 2 1 2 .

H is i n f l u e n c e on German m u sic a n d h i s f i n e German L i e d e r make him w o r t h y o f m e n tio n i n t h e h i s t o r y o f t h e a r t song.

G rove makes t h e f o l l o w i n g s t a t e m e n t c o n c e r n i n g

L isz t* s songs; H is so n g s a r e h i g h l y o r i g i n a l , e f f e c t i v e l y w r i tte n f o r th e v o ic e and i n t e r e s t i n g in th e a c c o m p a n im e n t, some a r e a l i t t l e f o r c e d i n se n tim e n t, h u t in a l l th e n a t u r a l a c c e n tu a tio n o f t h e w ords i s f o l l o w e d w i t h s i n g u l a r f i d e l i t y , a n d a few a r e among t h e m o st e x p r e s s i v e l y r i c s o f t h e w o r l d . 16 H is *K e n n s t Du Das L a n d 1 i s c o n s i d e r e d one o f t h e b est se ttin g s.

*D er K on ig Von T h u l e 1 h a s f i n e q u a l i t y ,

! E s Muss B in W u n d e rb a re s S e i n * i s n o t e d f o r i t s e m o t i o n a l d i r e c t n e s s , an d 1D ie L o r e l e i * a n d *Du B i s t Wie B in e Blume ua r e p e r f e c t c o u n t e r p a r t s o f Heine* s w o rd s . **If L i s z t h a d b e e n n o t h i n g more t h a n a s o n g - w r i t e r h e w ould h a v e b ee n h a i l e d a s a com poser o f r a r e g i f t . 1*-*-® H is so n g s i n c l u d e ; G esa m m e lti L i e d e r , f i f t y - f i v e D rei L ie d e r; *Hohe L iebe* * G e s to rb e n War Ich* *0 Lieb* *Tre s o n e t t i d i P e t r a r c a *

16 I b i d . , p . 2 1 3 .

songs

76

!D ie M acht D er M u s ik 1 1J e a n n e d ! a r e Au B u c h e r 1 ( f o r m e z z o - s o p r a n o and o rc h e stra ) *Ave M a r is S t e l l a * J u l i u s B i e t z (1 8 1 2 -1 8 7 7 ) was a c e l l i s t , a n d com poser*

c o n d u c to r,

He was a f r i e n d o f M e n d e lss o h n an d w orked

a f t e r h is p a tte rn *

I n 1834 h e was a s s i s t a n t c o n d u c t o r t o /i M e n d e lsso h n a t t h e D u s s e l d o r f O p e r a , an d t h e f o l l o w i n g y e a r s u c c e e d e d him a s t h e r e g u l a r c o n d u c t o r .

He a l s o

s e r v e d a s d i r e c t o r o f t h e Gewandhaus c o n c e r t s , c o u r t c o n d u c t o r a t D r e s d e n , an d d i r e c t o r o f t h e C o n s e r v a t o r y a t D resd en . H is w ork d e f i n i t e l y s u g g e s t e d t h e M e n d e lsso h n sc h o o l.

H is m u s i c a l i n f l u e n c e was i m p o r t a n t i n s p i t e o f

h i s w o rk s b e i n g p r a c t i c a l l y f o r g o t t e n t o d a y .

Among h i s

w orks a r e o p e r a s , o r c h e s t r a l m u s ic , c h o r a l w o r k s , and songs• R i c h a r d Wagner (1 8 1 3 -1 8 8 3 ) was n o t a son g c o m p o se r. H is g r e a t i n f l u e n c e on so n g came t h r o u g h h i s m u s ic d r a m a s . H is a b i l i t y i n u s i n g d e c l a m a t i o n i n song a n d h i s u n h e a r d o f m o d u la tio n s and in tr o d u c t io n to o r c h e s t r a l c o lo r in g r e s u l t e d i n a m ore d e t a i l e d t r e a t m e n t o f t h e t e x t . He h a s w r i t t e n s e v e r a l i n d e p e n d e n t s o n g s s u c h as? 1D ie Zwei G r e n a d i e r s , * 1D er E n g e l , * 1T ra u m e , 1 *Im T r e i b h a u s ,*

77 and 1Schmerzen.1

Conway W a lk e r f e e l s Wagner* s m u s i c a l i n n o v a t i o n s w ere s u c h t h a t t h e y l e f t a d e e p i m p r e s s i o n upon t h e w h o le f i e l d o f m u s i c a l a r t , an d t h u s i n f l u e n c e d t h e a r t s o n g . * ^ H en ry T, F i n c k s a y s Wagner* s i n f l u e n c e on so n g h a s h e lp e d to d e v e lo p th e d e c la m a to ry u se o f th e v o ic e a f t e r h i s m a n n e r, an d a more d e t a i l e d d r a m a t i c t r e a t m e n t o f t h e t e x t . 20 F o l l o w i n g i s a l i s t o f Wagner* s s o n g s ; S ev en c o m p o s i t i o n s t o G o e th e * s F a u s t - 1 8 3 2 *Vam pvr* A r i a - 1 8 3 3 Romance f o r B a s s - 1 8 3 7 Song f o r B a s s - 1 8 3 7 *D er T annenbaum *-1 8 5 8 *Les Deux G r e n a d i e r s *- 1 8 3 9 - 4 0 *D o r s . Mon E n f a n t *-1 8 4 0 *Mig;nonne*-1 8 4 0 *A t t e n t e *-1 8 4 0 *L es A d le u x De M a rie S t u a r t *-1 8 4 0 *F u n f G e d i c h t e Von M a t h i l d e Jffesondonk*- 1 8 5 7 -5 8 1 -D er E ngel 2-T raum e 3 -S c h m erze n 4 -S te h e S t i l l 5 -Im T r e i b h a u s

^ Conway ? / a l k e r , The A r t Song an d I t s Com posers (New Y o rk; The C a x to n I n s t i t u t e , 1 9 2 6 ) , p." 73 20 Finck,

o jd *

cit.

78

K r a f t - L i e d c h e n ( u n a c c o m p a n ie d ) -1 8 7 1 K i n d e r - K a t e c h i s m u s ( f o r f o u r d a u g h t e r s o f C o s im a )1873 1F i s c h e r l i e d 1 (u n a c c o m p a n ie d a n d hum orous) F r i e d r i c h R o b e r t Volkmann b e g a n h i s s t u d i e s w i t h h i s f a t h e r , who was c a n t o r an d s c h o o l t e a c h e r o f t h e to w n . F r i e b e l i n s t r u c t e d h im i n v i o l i n a n d 1c e l l o p l a y i n g , and l a t e r h e s t u d i e d w i t h A* F . A n a c k e r , d i r e c t o r o f m u sic a t t h e F r e i b u r g S e m in a r y .

I n 1836 h e s t u d i e d w i t h B e c k e r a t

L e i p z i g an d becam e a c q u a i n t e d w i t h Schum ann. Volkmann t a u g h t a t P r a g u e , P e s t , V ie n n a , and B u d a p est. of B e rlin .

I n 1883 h e became a member o f t h e R o y a l Academy He was c o n s i d e r e d a s u c c e s s f u l so n g w r i t e r o f

h i s t i m e — 1 8 1 5 -1 8 8 3 .

I n a d d i t i o n t o h i s n u m ero u s

o r c h e s t r a l a n d i n s t r u m e n t a l p i e c e s he com posed th e f o l l o w i n g so n g ss Opus 2— F i v e S ongs 1 3 — T h re e S ongs 1 6 - T h r e e S ongs 32— T h re e S ongs 46— 1L i e d e r k r e i s 1 f o r A l t o 5 2 — T h r e e S ongs f o r T e n o r o r S o p ra n o 54 — 1D ie B e k e h r t e 1 f o r S o p ra n o 56— Two S o n g s f o r Mezzo S o p ra n o 6 6 — T h re e S o n g s f o r S o p ra n o 67— S i x D u e ts , f o r S o p ra n o 7 2 — T h re e S o n g s f o r T e n o r

79

R o b e r t F r a n z h a d t h e l y r i c a l te m p e ra m e n t t h a t was b e s t s u i t e d t o t h e so ng fo rm .

He was an i m p o r t a n t r e p r e ­

s e n t a t i v e o f t h e German L i e d , b o r n a t H a l l e , J u n e 2 8 , 1 8 1 5 , a n d d i e d i n 1892.*

He s t u d i e d p i a n o an d o rg a n a n d i n 1855

b e g a n to s t u d y h arm o n y , c o u n t e r p o i n t , an d c o m p o s i t i o n w i t h S c h n e id e r, a t D essau.

I n 1843 h e p u b l i s h e d h i s f i r s t

o f s o n g s , t w e l v e i n n u m b e r.

set

B e sid e s s e rv in g as o r g a n is t

a n d c o n d u c t o r , he r e c e i v e d t h e t i t l e s o f K o n l g l i c h e r M u s i k d i r e c t o r a n d D o c t o r o f M u s ic , t h e l a t t e r b e i n g o f fe re d by th e U n iv e rs ity o f H a lle . F r a n z p r e f e r r e d t o b u i l d up h i s m e lo d ie s on one o r two s h o r t p h r a s e s , r e p e a t e d a t d i f f e r e n t l e v e l s , w i t h an e x te n sio n o f v a r ia tio n a t th e c o n c lu sio n .

T h is scheme

was n o t so s a t i s f a c t o r y fro m a s t a n d p o i n t o f m e lo d y . H is s o n g s w i l l be rem em bered f o r t h e i r t e n d e r n e s s , d e l i c a c y , an d s im p l e p a t h o s .

The h a r m o n ie s an d m o d u l a t i o n s

i n h i s a c c o m p a n im e n ts a r e m o s t s u i t a b l e t o t h e moods ex p ressed in h i s t e x t s .

The w o rk m an sh ip o f F r a n z i s a b o v e

r e p r o a c h a c c o r d i n g t o G ro v e . Naumann s a y s v e r y few o f F r a n z 1s so n g s h a v e become w e l l known; on a w hole h i s so n g s a r e t o n e - p i c t u r e s o f a r e f l e c t i v e n a t u r e , h i g h l y f i n i s h e d i n f o rm , w i t h c a r e f u l l y c h o s e n h a r m o n ie s and r e f i n e d a c c o m p a n im e n ts ; h o w e v e r,

Grove, 0 £. cit.. volume II, p. 309.

80

l a c k i n g i n m e lo d y a n d f l u e n c y . 22 ttI t i s a s a w r i t e r o f L i e d e r t h a t F r a n z i s t r u l y g re a t*

He n o t o n l y c a r r i e d t h e German L i e d t o i t s h i g h e s t

p o i n t , h u t u n i t e d t h e p u r e l y l y r i c a l e l e m e n ts o f S c h u b e r t w i t h t h e e m o t i o n a l q u a l i t i e s o f S ch u m a n n .1125 A

F r a n z ac co m p a n im e n t i s n e a r l y a lw a y s p o l y p h o n i c ,

a n d h e i s o f t e n sp o k e n o f a s a p o l y p h o n i c S c h u b e r t .

B roken

c h o rd s, b o ld d is s o n a n c e s , s t r i k i n g m o d u la tio n s, and r i c h h a r m o n ie s a r e c h a r a c t e r i s t i c o f h i s a c c o m p a n im e n ts .

H is

m o d u l a t i o n s a r e i n k e e p i n g w i t h t h e t e x t (a n e m o t i o n a l r e a s o n vender l i e s a l l o f h i s m o d u la tio n ) • Thompson s a y s he s p u r n e d t h e d r a m a t i c b a l l a d .

Most

o f h i s m u sic i s p u r e an d d i g n i f i e d , a n d f r e e fro m s e n t i ­ m e n ta l h a rm o n ie s.

f,He s t r o v e f o r ! &n e t h i c a l q u a l i t y *

w h ich was t o b r i n g 1p e a c e a n d r e c o n c i l i a t i o n . *

A s

a

r e s u l t ' h i s so n g s a r e u s u a l l y s h o r t a n d s f c r o p h i c . t|2^ F r a n z com posed m ore th a n t h r e e h u n d r e d s o n g s .

Some

o f h i s b e t t e r so n g s a r e l i s t e d b e lo w ; D ie L o to s Blume - Opus 1-Number 3 a c h lu m m e r l ie d - Opus 1-Number 10 S c h i I f 1 i e d e r - Opus 2 op

E m il Naumann, H i s t o r y o f M usic (L ondon: C a s s e l and Com pany), .volume V, p . 1 2 0 2 . O 'K

Thompson, o p . c i t . . p . 6 2 6 .

24 L o c . c i t .

81

Aus M einen G ro s s e n S chm erzen - Opus 5-Number 1 A uf Dem M eere - Opus 5-Number 3 Mad.ch.en M it Dem H othen Mundchen - Opus 5-Num ber 5 G ute N a c h t - Opus 5-Number 7 V e r g e s s e n - O p u s 5-Num ber 10 Wle Des Mondes A b b i l d - Opus 6-Number 2 S t i l l e S l c h e r h e i t - Opus 10-Num ber 2 B i t t e - Opus 9-Number 3 F u r M usik - Opus 10-Number 1 M u t t e r , 0 S in g M ich Z u r Ruh - Opus 10-Num ber 3 E ln F r i e d h o f - Opus 13-Number 3 Widmung - Opus 14-Number 1 M a rie Am F e n s t e r - Opus 18-Num ber 1 Wonne Der Wehmuth - Opus 33-Num ber 1 Mein S c h a t z 1 s t A uf D er W a n d e r s c h a f t - Opus 4 0 Number 1 Es H at D ie Rose S i e h B e k l a g t - Opus 42-Num ber 5 F r a n z A b t was a n o t h e r German c o m p o se r, known c h i e f l y f o r h i s v o c a l w o rk s , e s p e c i a l l y v o c a l e x e r c i s e s an d c h o r u s e s f o r m a le a n d f e m a le v o i c e s .

He was b o r n a t

E i l e n b u r g , S a x o n y , D ecem ber

2 2

, 1 8 1 9 , an d d i e d a t

W ie s b a d e n , M arch 3 1 , 1885*

He r e c e i v e d a t h o r o u g h

m u s i c a l t r a i n i n g a t t h e T ho m assch u1e w h i l e h i s g e n e r a l e d u c a t i o n was a t t h e U n i v e r s i t y o f L e i p z i g . He was K a p e l l m e i s t e r a t B e r n b u r g , Z u r i c h , an d B r u n s w ic k , s e r v i n g i n t h e l a t t e r o f t h e s e p l a c e s fro m 1852 t o 1 8 8 2 . H is w orks num ber more th a n f i v e h u n d r e d an d c o m p ris e more th a n t h r e e t h o u s a n d i n d i v i d u a l n u m b e rs , c h i e f l y s o n g s . H is f l o w i n g m e l o d i e s w ere n o t e d f o r t h e i r e a s y s t y l e . exam ple o f h i s work i s tfYlhen t h e S w a l l o w s . Homeward F l y .

^

Ibid., p. 4

An

82

G rove s a y s , 11A v o lu m in o u s w r i t e r o f s o n g s * 1* A b t f s ^ P r a c t i c a l S i n g i n g T u t o r ” o p u s 474 i s p u b l i s h ­ ed a n d u s e d t o d a y . aoven p a r t s .

I t i s a S c h l r m e r e d i t i o n a n d comes i n

H is s o n g s h a v e s u r v i v e d t o a c e r t a i n e x t e n t

an d a c o l l e c t i o n o f h i s s o l o L i e d e r h a s b ee n p u b l i s h e d b y P e t e r s l,A bt Album. 11 C a r l A n to n F . E c k e r t (1 8 2 0 -1 8 7 9 ) was a n o t h e r s t u d e n t o f M e n d e ls s o h n , who p l a y e d v i o l i n a n d p i a n o , i n a d d i t i o n t o c o n d u c t i n g a n d c o m p o s in g .

He s e r v e d a s c o n d u c t o r o f

t h e c o u r t o p e r a a t V ie n n a , a n d a s K a p e l l m e i s t e r a t S t u t t g a r t and B e r l i n . He com posed o p e r a s , a sym phony, c h u r c h m u s i c , ch am b er m u s i c , a n d s o n g s . J o s e p h J o a c h im R a f f ( 1 8 2 2 - 1 8 8 2 ) , a s e l f - t a u g h t German co m p o ser a t t r a c t e d t h e a t t e n t i o n o f M e n d e lss o h n an d was soo n r e c o g n i z e d a s a c o m p o s e r.

He t a u g h t p i a n o a t

W ie s b a d e n , and i n 1877 becam e d i r e c t o r o f t h e C o n s e r v a t o r y a t F ra n k fo rt. The A m eric an c o m p o se r, Edward MacDowell s t u d i e d w i t h h im .

R a f f 1s c o m p o s i t i o n s show t e c h n i c a l f a c i l i t y a n d i d e a s

o f e x tra v a g a n c e .

I n a d d i t i o n t o e l e v e n s y m p h o n ie s , h e

w r o t e s i x o p e r a s , c o n s i d e r a b l e cham ber m u s i c , c h o r a l w o rk s ,

26 Grove, £ 2 . cit. . volume I, p. 8.

cantatas, and songs.

H is so n g c o l l e c t i o n s i n c l u d e s

1L i e b e s f r u h l i n g 1

o p u s 2 9 , yT raum k on ig Und S e i n L i e b y o p u s 6 6, yB a n g e s f r u h l i n g o p u s 8 0 , 1B lum ens p r a c h e ! o p u s 1 9 1 , 1B l o n d e l De N e s l e 1 op us 2 1 1 , 1M a rie S t u a r t 1 o p u s 1 7 2 , 1D ie H i r t i n 1 o p u s 1 9 2 , w ith, o r c h e s t r a , a l s o op u s 47 a n d 5 3 , and 1F r u h l l n g s l i e d 1 and yS t a n d c h e n . 1 K a r l R e in e c k e was b o r n a t A l t o n a i n 1824 a n d d i e d a t L e ip z ig in 1910. and co n d u c to r.

He was a p i a n i s t , v i o l i n i s t ,

c o m p o se r,

He s t u d i e d w i t h h i s f a t h e r a n d made h i s

d e b u t a t th e age o f e le v e n a s a v i o l i n i s t .

L a t e r , he

d e v o te d h i s m u s ic a l e f f o r t s to th e p ia n o and to u re d e x t e n s i v e l y t h r o u g h o u t E n g la n d an d E u r o p e . He was d i r e c t o r o f t h e Gewandhaus C o n c e r t s a t L e ip z ig f o r t h i r t y - f i v e y e a r s .

P r e c e d i n g t h i s h e h ad b e e n

m u s ic d i r e c t o r a t B r e s l a u U n i v e r s i t y a n d B r e s l a u S in g a k a d e m l e .

Prom 1860 t o 1902 h e t a u g h t a t t h e L e i p z i g

C o n se rv a to ry . H is s o n g s a r e n o t c o n s i d e r e d g r e a t a c c o r d i n g t o M ason, b u t t h e y h a v e g r a d u a l l y f o u n d a p l a c e i n t h e a f f e c t i o n s o f t h e German p e o p l e .

R e i n e c k e 1s b e s t so n g s

a p p r o a c h t h e yV o l k s l i e d y an d show h i s r e a l German g e n i u s o f a c h ie v in g deep and n o b le e x p r e s s io n in th e s im p le s t fo rm .

^

Mason, op. cit.. volume V, p. 255.

84

’’C h i l d r e n * s S o n g s , ” Opus 3 7 , a r e o u t s t a n d i n g f o r t h e i r s i m p l i c i t y an d w h o le s o m e n e s s ,

*Wenn D ie K in d e r

S c h l a f e n B i n , 1 an d 1G e b e t Z u r N a c h t * d e s e r v e s p e c i a l m e n tio n ,

R e in e c k e w r o t e a song c y c l e ,

1S c h n e d w i t t c h e n *

f o r s o p r a n o a n d c o n t r a l t o , w i t h c h o r u s o f women*s v o i c e s , a n d a n o t h e r c y c l e 1Von P e r Wiege B i s Zum G ra b * f o r s o l o and p ia n o .

H is c o n c e r t a r i a s w i t h o r c h e s t r a d e s e r v e

m e n tio n a l s o *

*M ir .jams S i e g e s G e s a n g , * f o r s o p r a n o ,

*Das H in du m adchen * f o r a l t o , a n d *A lm a n s o r * f o r b a r i t o n e . P e t e r C o r n e l i u s was b o r n a t M ayence, D ecem ber 2 4 , 1824,

He was known a s a p o e t an d m u s i c i a n , a n d was a

m a t u r e man b e f o r e h e m et L i s z t an d d e c i d e d t o d e v o t e h im s e lf to c o m p o sitio n .

H is e n t h u s i a s m a n d k e e n a r t i s t i c

s e n s e , a l o n g w i t h h i s t h o r o u g h n e s s i n w ork made him one o f t h e more s a t i s f a c t o r y o f t h e l e s s known German c o m p o s e r s . A lth o u g h h i s s o n g s showed o r i g i n a l i t y a n d c r e a t i v e n e s s , o n l y a few h a d t h e n e c e s s a r y t o u c h e s t o p u t them i n t o a c l a s s w ith th e g r e a t .

He d i e d i n 1 8 75 .

The s o n g s from h i s ’’Lord* s P r a y e r ” c y c l e a r e i m p r e s s i v e b u t o f t e n f a i l i n e x e c u t i o n . * O ut o f t h i s g r o u p t h e n i n t h ”And D e l i v e r Us fro m E v i l ” i s t h e b e s t . C o r n e l i u s w r o te s e v e r a l o t h e r song c y c l e s , i n c l u d i n g * ’’S o rro w a n d C o n s o l a t i o n , ” ”R h in e S o n g s , ” ’’C h r is t m a s S o n g s , ” a n d ”B r i d a l S o n g s . ” own l y r i c s .

S i n c e h e was a p o e t h e o f t e n w r o t e h i s

Prom t h e ’’S o rro w a n d C o n s o l a t i o n ” c y c l e h i s

85

so n g “D re a m in g ” shows h i s l y r i c g i f t , w h i l e ”A T o n e , 1* i n w h ic h t h e v o i c e d w e l l s on one n o t e w i t h an i n t e r e s t i n g a c c o m p a n im e n t, i s r e a l l y a work o f a r t * H is h a s t s o n g s come fro m h i s “B r i d a l S o n g s ” c y c l e ( ^ r a u t l i e d e r 1) .

The l y r i c s a r e h i s own poems a n d h e

s u g g e s t s s i x d i f f e r e n t s e n t i m e n t s o f a young g i r l a t t h e season o f h e r m a rria g e . 1A

u f t r a g 1 and th e

T h ese so n g s a l o n g w i t h t h e

1A b e n d g e f u h l 1

have q u a l i t i e s t h a t ra n k

h im w i t h t h e b e s t . Borne o f C o r n e l i u s 1 s o n g s ; B ra u tlie d e r “A M y r t l e S p r a y ” " L o v ef s R ecom pense” “E v e n i n g ” “A w ak ening ” “Prom t h e Song o f S alom o n” “F u l f i l l m e n t ” Opus 1 K l e i n e L i e d e r - S i x S ongs “U n t r u e ” “V i o l e t s ” “S lu m b e r S ong” “The B u t t e r f l y ” “N ig h t T h o u g h t” “B ream 1s t Thou o f Me?” Opus 3 L i e d e r C y c lu s “T r a u e r Und T r o s t ” Opus 4 T h r e e L i e d e r Opus 5 S i x L i e d e r f o r B a r i t o n e Opus

6

T h re e L i e d e r f o r S o p ra n o

Opus

8

W e ih n a c h tslie d e r

“Ave M a r ia ”

“B in Ton”

86

Salomon J a d a s s o h n was a t h e o r i s t a n d c o m p o s e r, b o r n a t B r e s l a u i n 1831 an d d i e d a t L e i p z i g i n 1 9 0 2 .

H is

t e a c h e r s i n c l u d e d H e s s e , L i s z t , H auptm ann, a n d o t h e r s . a ls o s tu d ie d a t th e L e ip z ig C o n se rv a to ry .

He

L a t e r , he

t a u g h t h a rm o n y , c o u n t e r p o i n t , c o m p o s i t i o n , a n d i n s t r u m e n ­ t a t i o n a t t h i s same s c h o o l .

I n 1887 he r e c e i v e d an

h o n o r a r y d e g r e e , D o c to r o f P h i l o s o p h y , fro m t h e L e i p z i g C o n s e r v a t o r y , a n d was made R o y a l P r o f e s s o r i n 1 8 9 3 . He h a s p u b l i s h e d e l e v e n t h e o r e t i c a l w ork s o f im p o rta n c e .

H is c o m p o s i t i o n s v a r y fro m so n g t o symphony

a n d show a m a s t e r l y u s e o f t h e c a n o n - f o r m , e s p e c i a l l y in h is vocal d u e ts.

T h e i r o p u s n u m bers a r e a s f o llo w s *

N in e ,

T h i r t y - s i x , T h i r t y - e i g h t , and F o r t y - t h r e e . I m m e d i a te ly f o l l o w i n g S c h u b e r t t h e g r e a t l e a d e r s i n German song w ere Schum ann, M e n d e ls s o h n , F r a n z , a n d L i s z t . Schum ann1s e m o t i o n a l so n g s show d e v e lo p m e n t i n t h e m a tu r e d h a rm o n ic and p i a n i s t i c t e c h n i q u e t h a t i s t o b e f o u n d i n h i s a c c o m p a n im e n ts .

The so n g s o f F r a n z d i s p l a y e d l y r i c a l

te m p e ra m e n t an d s k i l l e d w o rk m a n sh ip , w h i l e L i s z t an d W agner h e l p e d t o p a v e t h e way f o r t h e m odern p e r i o d o f German so n g w i t h t h e i r u n h e a r d o f m o d u l a t i o n s an d t o n a l e ffe c ts. Jkt t h i s tim e i t i s i n t e r e s t i n g t o n o t e t h e g ro w in g num ber o f m in o r w r i t e r s who a r e s i g n i f i c a n t en o u g h i n t h e f i e l d o f song t o b e n o t e d b y m o st c r i t i c s .

H e n se l, E c k e r t,

87

R i e t z , an d R a f f a l l w orked a f t e r M e n d e ls s o h n * s p a t t e r n , h o w e v e r, n o n e o f t h e s e w r i t e r s a c h i e v e d a l o f t y e x p r e s s i o n i n t h e so n g f o r m ,

C o r n e l i u s w orked i n t h e so n g c y c l e a n d .

was c h i e f l y a f o l l o w e r o f L i s z t ,

A ll o f th e se w r i t e r s

w ere c o m p e te n t c o m p o se rs o f so ng h u t f a i l e d t o h a v e t h e to u ch o f g e n iu s .

CHAPTER VII

LATE ROMANTIC AND MODERN SONG WRITERS To d raw a l i n e w h ic h s e p a r a t e s t h e r o m a n t i c p e r i o d fro m w hat we c a l l t h e m odern p e r i o d i s o f l i t t l e ca n c e *

sig n ifi­

The te r m nM o d e m rt i s c o n v e n i e n t when r e f e r r i n g t o

a p e r i o d t h a t i s n o t f a r rem oved fro m t h e p r e s e n t *

Many

c o m p o s e rs l i v e d a t a tim e t o r e p r e s e n t b o t h t h e r o m a n t i c a n d m odern p e r i o d s .

Mason s u g g e s t s t h e r o m a n t i c p e r i o d

m ig h t b e s a i d to h a v e en d ed a b o u t 1 8 7 0 . J o h a n n e s Brahms i s one o f t h e g r e a t m a s t e r s who was n o t l i m i t e d t o one f i e l d o f c o m p o s i t i o n . m a s t e r i n e v e r y f i e l d t h a t h e w o rk ed i n .

He was a

T h i s co m p o ser

was b o r n a t Hamburg, Germ any, May 7 , 1833 a n d d i e d a t V ie n n a i n 1897*

H is fam ous t e a c h e r , E . M arxsen was

d e t e r m i n e d t o l e t h i s young p u p i l d e v e l o p f r e e l y a n d u n h a m p e re d , r e g a r d l e s s o f r u l e s a n d f u n d a m e n ta l th e o r y * A t tw e n t y , young Brahms becam e a c q u a i n t e d w i t h Schum ann, who p r e d i c t e d a b r i l l i a n t f u t u r e an d new p a t h s f o r t h i s young g e n i u s . I n 1863 Brahms moved t o V ien n a a n d h i s m u s i c a l

^ D a n i e l G re g o ry Mason, The Roman t i c Com posers (New Y ork: The M a c m illa n Company, 1 9 4 0 ) , p . 4 .

89

v e n tu re s began.

T h i s was r e a l l y t h e b e g i n n i n g o f h i s

c o m p o s i t i o n w o rk .

The f o l l o w i n g y e a r h e a c c e p t e d th e

d i r e c t o r s h i p o f t h e S in g a k a d e m ie i n V ie n n a 5 a l r e a d y he h a d a c c e p te d th e p o s itio n o f d i r e c t o r o f

1G

e se llsc h a ft der

M u sik freu n d e. f T h i s c o m p o s e r 1s so n g s p l a y an i m p o r t a n t p a r t i n h i s m u sic a l c o n t r ib u t io n to th e w o rld .

Niemann s a y s h i s so n g s

am ount t o a good t h i r d o f h i s t o t a l w ork, w i t h o u t c o u n t i n g i i i s V o l k s k i n d e r l i e d e r a n d t h e D e u ts c h e V o l k s l i e d e r Brahms i s n ow ad ay s r e c k o n e d a s one o f t h e g r e a t m a s t e r s , t h e c l a s s i c s o f German song i n £h e n i n e ­ te e n th c e n tu ry . H is e x t r e m e l y s t r o n g f a c u l t y f o r s e l f - c r iti c is m has had i t s r e s u l t th a t in th is immense c o l l e c t i o n o f so n g s . • . t h o u g h t h e r e i s n a t u r a l l y some i n e q u a l i t y among t h e i n d i v i d u a l so n g s . . . t h e r e i s n o t a s i n g l e one w h ic h i s m u s i c a l l y v a l u e l e s s ; i n fo rm and t h e t e c h n i q u e o f c o m p o s i t i o n a l i k e , even t h e s m a l l e s t song i s w o rth y o f th e m a s te r .^ O ut o f one h u n d r e d tw e n ty - tw o w orks o f t h e com po ser w i t h op u s n u m b e r, t h i r t y - o n e v o lu m es c o n t a i n so n g s f o r s o l o v o i c e ( a b o u t two h u n d r e d o r i g i n a l s o n g s ) , s i x v o lu m e s c o n t a i n v o c a l d u e t s , a n d s e v e n v o lu m e s c o n t a i n s o l o q u a r t e t s a c c o m p a n ie d b y t h e p i a n o . I n g e n e r a l c h a r a c t e r Brahm*s s o n g s a r e t h o r o u g h l y m e l o d i o u s . I t i s i n h i s s o n g s , i f a n y w h e re , t h a t Brahms may b e r e c o g n i z e d a s a g r e a t m a s t e r o f p

W a l t e r N iem ann, Brahm s (New Y ork; A l f r e d A. K n o p f, 1 9 2 0 ), p . 349. S L o c . cit.

90

m e lo d y . S u ch b r o a d , b o l d l y t r a c e d m e l o d i e s h a v e o n l y b e e n w r i t t e n b e f o r e him b y B e e th o v e n , S c h u b e r t , a n d Schumann* In h i s so n g s, to o , in s p i t e -o rd in a ry d iv e rs ity of m a te ria l, a somewhat n a r r o w s p h e r e . Hon i n t r i n s i c m e r i t a n d i n n u m b e r, a r e an i n a l i e n a b l e t r e a s u r e o f

o f a l l th e e x t r a ­ Brahms m oves w i t h i n th e l e s s , b o th in t h e s e so n g s o f h i s German s o n g .

Brahms f a v o r e d t h e s t r o p h i c fo rm , s t i l l h i s l a r g e r so n g s show a somewhat f r e e h a n d l i n g o f h i s f a v o r i t e s t r o p h i c fo rm i n t h e acco m p a n im e n t an d a m o d i f i e d s e t t i n g o f t h e d i f f e r e n t s t a n z a s o f t h e poem.

H is i n t r o d u c t o r y

and c o n c lu d in g in s t r u m e n t a l p a s s a g e s a r e c h a r a c t e r i s t i c o f Schum ann. Once Brahms* so n g s w ere c o n s i d e r e d u n v o c a l — t o d a y , few s i n g e r s do n o t i n c l u d e h i s so n g s i n t h e i r r e p e r t o r y . Many o f h i s s o n g s s u g g e s t a s t y l e o f n a t i o n a l m u sic an d a r e r i c h in a c t u a l f o l k m u sic.

He was s a i d t o be a

c r a f t s m a n an d co m p o ser o f g r e a t i n t e l l e c t u a l p o w e r.

Many

o f h i s so n g s a r e s a i d t o b e Md e s i g n p e r f e c t . ” ^ T u r n e r s a y s Brahms* s o n g s a r e b a s e d more c l o s e l y , t h a n a n y o t h e r German c o m p o s e r, on t h e f o l k s o n g s o f t h a t co u n try .

One o f h i s f i r s t p u b l i c a t i o n s was

1V

o lk sk in d e r-

^ N iem ann, op* c i t . . p . 3 5 3 . ^ W. J . T u r n e r , r,A G r e a t C r a f tsm a n 1*( London I The New S t a t e s m a n . November 2 6 , 1 9 2 7 .) hoc. c i t .

91

l i e d e r 1 a r r a n g e d f o r t h e c h i l d r e n o f R o b e r t an d C l a r a Schum ann.

One -of h i s l a s t p u b l i c a t i o n s was a s e t o f se v e n t

books o f

1V

o l k s l i e d e r * p u b l i s h e d i n 18 9 4 .

B rabm s 1 w o rk s w ere n o t so n u m e ro u s , ’ b u t he showed t h e m i n u t e s t c a r e a n d e a r n e s t n e s s i n h i s w o rk .

H is

c o m p o s i t i o n s d i s p l a y t e c h n i c a l an d e m o t i o n a l p o w e r. th e f i e l d o f song, th e c h o r a l c a n t a t a ,

In

th e c l a s s i c a l

q u a r t e t , a n d t h e symphony, Brahms r a n k s a s c h i e f m a s t e r i n t h e p e r i o d j u s t a f t e r 1 8 5 0 .^ I n s p e a k i n g o f Brahms* s o n g s , G uido A d l e r s a y s t h e i n t e l l e c t u a l e le m e n t o f t e n p r e d o m i n a t e s .

H is m e l o d i e s a r e

r o o t e d i n t h e s o i l o f German f o l k m u s ic ; o f t e n u s i n g w id e r i n t e r v a l s , an d a v o i d i n g c h r o m a t i c t o n e s an d v e r y e c o n o m ic a l i n t h e u s e o f e m b e l l i s h m e n t s .

He f a v o r e d t h e

d i a t o n i c c h o r d , a lw a y s a v o i d e d s e n t i m e n t a l i t y an d a lw a y s w r o t e h arm ony t h a t was n o t e d f o r i t s r o b u s t q u a l i t i e s . M o d u la tio n s w ere a lw a y s u s e d f r e e l y an d h e l o v e d t h e d i s s o n a n c e .® C o n t i n u i n g w i t h Mr. A d ler* s v i e w p o i n t , h e f e e l s t h a t Brahms r i d e s r o u g h - s h o d o v e r t h e r e g u l a r a c c e n t s o f th e m easure, o f te n u s in g sy n c o p a tio n i r r e g u l a r i t i e s , r a p id

^ Waldo S . P r a t t , H i s t o r y 8 o f M usic (New Yorks G. S c h i r m e r , 1 9 3 5 ) , p . 2 4 W l ® G uido A d l e r , wJ o h a n n e s B rahm s, H is A c h ie v e m e n t, H is P e r s o n a l i t y a n d H is P o s i t i o n . 11 M u s i c a l Q u a r t e r l y . A p r i l, 1933.

92

a l t e r a t i o n s o f tw o , t h r e e , an d f i v e b a r p h r a s e s , m ixed w i t h b i n a r y and t e r n a r y rh y th m s.

Brahms was e v e r •c o n s c i o u s o f

th e p o e tic and m u s ic a l c o n t e n t . 9 H is 'M agelqne* c y c l e o f f i f t e e n s o n g s , o p u s 5 8 / i s an ex a m p le o f some g r e a t l o v e so n g s o f t h e w o r l d . a r e y o u t h f u l s o n g s o f Brahms w r i t t e n i n 1 8 6 2 .

T h ese

1S i n d

Es

S c h m e rz e n , S i n d Es F r e u d e n . 1 *So W i l l s t Du Des A rm en . 1 a n d f H uhe, S u s s l i e b c h e n 1 a r e s p l e n d i d e x a m p le s o f h i s r o m a n t i c so n g s fro m h i s c y c l e . Many p e o p l e t h i n k o f S c h u b e r t , Schum ann, a n d Brahm s a s a t r i a d o f g r e a t so n g w r i t e r s s u c h a s no o t h e r n a t i o n can a p p r o a c h . o t h e r tw o .

Brahms c a n w e l l s t a n d c o m p a r is o n w i t h t h e

H is c h i e f d i f f e r e n c e i n song w r i t i n g fro m

o t h e r c o m p o se rs i s i n h i s e l a b o r a t e way o f d e a l i n g w i t h t h e p o e t 1s i d e a s .

H is e a s i e s t so n g s p r e s e n t d i f f i c u l t i e s

t o b o t h s i n g e r a n d p l a y e r ; b u t a r e w e l l w o rth o v e r c o m in g . Brahms was a lw a y s s t r i v i n g f o r t h e m o s t t h o r o u g h m u s i c a l e x p re s sio n .

He a v o i d e d w r i t i n g w o rk s t h a t w ere w i t h i n t h e

re a c h o f fe e b le e x e c u ta n ts. T h e re i s no q u e s t i o n c o n c e r n i n g h i s p l a c e a n d r a n k a s a song w r i t e r .

Niemann g i v e s a l i s t o f some o f B rahm s'

g r e a t s o n g s .-1-0

9

A d le r, l o c . c i t . N iem ann,

o jd

.

c i t . . p . 350.

93 tt

D er S ch m ied a n d t o E in e A o l s h a r f e , fro m op u s 19 Wie B i s t Du, M eine K o n ig in ? fro m o p u s 32 The Map; e l o n e - L i e d e r , o p u s 33 Von B w ig e r L i e b e a n d M a in a c h t, fro m o p u s 43 An D ie N a c h t i g a l l , fro m o p u s 46 ^ D i e b l i c h e W angen. fro m o p u s 47 H l e g e n l l e d , fro m o p u s 49 U nbew egte L aue L u f t , fro m o p u s 47 A uf Dem S e e an d Re/gen l i e d , fro m o p u s 59 M eine L ie b e 1 s t G run, fro m Book I a n d £ W u s s t1 I c h Doch Den Weg Z u r u c k . fro m Book I I o f op us 63 M i n n e l i e d , fro m o p u s 71 A l t e L i e b e , fro m o p u s 72 V e r g e b li c h .e s S t a n d c h e n . fro m o p u s 84 I n W alde s e i n s a m k e i t . fro m o p u s 85 S a p p h i s c h e O d e, fro m o p u s 49 • Wie M e lo d ie n Z i e h t E s , A uf Dem K i r c h o f e , and Immer L e i s e r W ird Mein S ch lu m m er. fro m o p u s 105 S t a n d c h e n . fro m (o p u s 106 V i e r E r n s t e G e s a n g e . fro m o p u s 121 As a co m p o ser o f s o n g s , Brahms i s i n a c l a s s w i t h Schum ann, F r a n z , a n d W o lf, an d many c r i t i c s p l a c e h im on t h e r i g h t h an d o f S c h u b e r t .

H is s t y l e a n d mood a r e

v e r s a t i l e , r a n g i n g fro m t h e hum orous t o t h e m o st solem n a n d d e e p l y m oving s o n g s . Thompson s a y s h i s v o i c e p a r t s a r e s i m p l e , s i n g a b l e , and m e lo d io u s.

H is a c c o m p a n im e n ts r a n g e fro m s im p le c h o r d s

t o t h e m o s t i n d e p e n d e n t p i a n o p a r t s n e a r l y a lw a y s r e s t i n g on a f u n d a m e n ta l b a s s .

Brahms u s e d i n n e r v o i c e s I n h i s

h a r m o n ie s an d o f t e n d i s p l a y e d h i s c o n t r a p u n t a l a b i l i t y u n o b tru siv e ly .

H is work was a lw a y s r e c h e c k e d an d p o l i s h e d

so t h a t no u n n e c e s s a r y n o t e s w ere t o b e f o u n d . e x c e p tio n o f th e t h e a t r e ,

W ith t h e

t h e r e was no f i e l d o f w ork i n

w h ic h Brahms d i d n o t r e a c h t h e t o p .

He r i g h t f u l l y d e s e r v e s

94

t o b e a m a s t e r o f m u sic .3*^ The f o l l o w i n g i s a n e a r c o m p le te l i s t o f h i s so n g s b y o p u s n u m b e rs : Opus 3 — S i x S ongs f o r S o p ra n o o r T e n o r 6 — S i x S o ng s f o r S o p ra n o o r T en o r 7 — S i x S ongs 1 4 - - S i g h t S o n g s a n d Romances 1 9 — F i v e Songs 20— T h r e e D u e ts f o r S o p ra n o an d A l t o 2 8 —F o u r D u e ts f o r A l t o an d B a r i t o n e 3 2 — N in e S o n g s Book I a n d I I 3 3 — F i f t e e n Romances fro m D. T ieck* s M agelone 43—F our Songs 46—F our Songs 47— F i v e Songs 4 8 — S ev en S ongs 4 9 — F i v e S ongs 5 7 — S i g h t S on gs 5 8 — E i g h t S ongs 59— S ig h t Songs 6 1 — F o u r D u e ts f o r A l t o an d S o p ra n o 63— N in e S ongs 6 6 — F i v e D u e ts f o r A l t o an d S o p ra n o 69— N in e S on gs 7 0 —F o u r Songs 7 1 —- F i v e S on gs 7 2 —F i v e Songs 7 5 — F o u r B a l l a d s a n d Romances f o r two v o i c e s 8 4 — F i v e S ongs a n d Romances f o r one o r two v o i c e s 8 5 — S i x Songs 86—S ix Songs 91— Two S o n g s f o r A l t o w i t h V i o l a o b l i g a t o a n d p i a n o 94— F i v e S o n g s 9 5 — S even Songs 96— F o u r S ongs 9 7 — S i x S ongs 1 0 5 — F i v e S ongs 1 0 6 — F i v e S o ng s 1 0 7 —F i v e S ongs m 121— V i e r E r n s t e G esange A ls o se v e n v o lu m e s o f German F o l k S on gs f o r V o ice and P ia n o .

A

Thompson, 0£. cit.. p. 226

95 A d o lf J e n s e n i s rem em bered f o r h i s c o n t r i b u t i o n i n so n g l i t e r a t u r e .

He was b o rn i n 1837 and l i v e d u n t i l 1 8 7 9 .

H is s h o r t l i f e was f i l l e d w i t h s t r u g g l e a g a i n s t p o v e r t y an d i l l h e a l t h .

D u r in g t h e e a r l y p a r t o f h i 3 l i f e he

a d m ir e d t h e work o f S c h u b e r t a n d Schumann. p a r t o f h i s l i f e was d e v o t e d t o W agner.

The l a t t e r

Many o f h i s so n g s

h a v e d i f f i c u l t p ia n o p a r t s t h a t a r e to o p r o m i n e n t i n r e l a t i o n t o t h e v o i c e , a c c o r d i n g t o some c r i t i c s .

H ow ever,

J e n s e n was d e f i n i t e l y a co m p o ser f o r t h e v o i c e . He i s a n o t h e r co m p o ser who a v o i d e d s t r o p h i c r e p e t i t i o n a n d com posed h i s v e r s e s i n d e t a i l .

H is a d m ir ­

a t i o n f o r R i c h a r d Wagner a n d h i s u n u s u a l h a r m o n ie s seem ed t o s e r v e a s a s t i m u l u s f o r o r i g i n a l w ork r a t h e r t h a n te m p t him t o c o p y th em . Je n sen * s s o n g s num ber a b o u t one h u n d r e d s i x t y . D er IJ n g e n a n n te n , Opus

6

L i e b e s l i e d e r , Opus 13 S p a n i s c h e s L i e d e r b u c h , Opus 4 a n d

21

D o l o r o s a , Opus 30 G audeam us, o p u s 40 L i e d e r u . T a n z e , Opus 33 0

L a s s D ic h H a l t e n , G oldne S t u n d e , Opus 35

G eo rg e H e n s c h e l was a G e r m a n - B r i t i s h b a r i t o n e , c o m p o s e r , a n d c o n d u c t o r o f P o l i s h a n d German d e s c e n t .

He

was b o r n a t B r e s l a u i n 1850 a n d d i e d a t A v ie m o re , S c o t l a n d

96 in 1934. He b e g a n h i s m u s i c a l s t u d i e s a t a n e a r l y a g e a n d a p p e a r e d i n a p ia n o c o n c e r t a t t w e l v e i n B e r l i n .

I n 1867

h e e n t e r e d t h e L e i p z i g C o n s e r v a t o r y a n d began h i s s t u d i e s u n d e r M o s c h e le s , R e i n e c k e , R i c h t e r , a n d o t h e r s .

T h re e

y e a r s l a t e r he e n te r e d th e R oyal C o n s e rv a to ry a t B e r l i n , s tu d y in g c o m p o sitio n w ith K ie l and s in g in g w ith S c h u lz e . F o r t h r e e y e a r s he d i r e c t e d t h e B o s to n Symphony O r c h e s t r a i n A m e r ic a , th e n h e w en t t o London w here h e t a u g h t a t t h e R o y a l C o l l e g e o f M u s ic .

He f o u n d e d t h e

London Symphony C o n c e r t s I n 1886 an d l a t e r w en t t o G lasgow w here he c o n d u c te d t h e S c o t t i s h O r c h e s t r a .

I n 1914 h e was

k n ig h te d . Most o f h i s c o m p o s i t i o n s a r e v o c a l and i n c l u d e ! S e r b i s c h e s L i e d e r s p i e l . 1 a c y c l e o f t e n s o n g s ; °F o u r S o ng s t o Poems o f H a f i z , 0 Opus 3 4 ; oG o n d o l i e r a 0 Opus 3 8 , d u e t f o r soprano and b a r i t o n e ;

1 Ju n g

D ie t r ic h 1 (b a lla d )

o p u s 4 5 ; F i v e R u s s i a n Poems s e t f o r v o c a l q u a r t e t s , Opus 5 1 ; an d a n t h e m s , E n g l i s h s o n g s , b a l l a d s a n d o t h e r songs. A n o th e r German c o m p o s e r, G u s ta v M a h l e r , was b o rn a t K a l i s c h t , B o hem ia, i n 1860 and d i e d a t V ie n n a i n 1 9 1 1 . He s t u d i e d a t t h e u n i v e r s i t y a n d c o n s e r v a t o r y i n V ie n n a . He a c t e d a s K a p e l l m e i s t e r a t L a i b a c h , O lm u tz , an d L e i p z i g , and a s d i r e c t o r o f o p era a t P e s t.

He was a l s o t h e f i r s t

97

K a p e l l m e i s t e r o f o p e r a i n Hamburg fro m 1891 t o 1 8 9 7 .

L a te r,

he a c t e d a s K a p e llm e is te r and d i r e c t o r o f th e c o u r t o p e ra a t V ie n n a , a n d s e r v e d a s c o n d u c t o r a t t h e M e t r o p o l i t a n O pera i n New Y o rk fro m 1907 t o 1 9 0 9 . M a h le r w r o t e many s y m p h o n ie s — among th em Erde*

1L i e d

Per

(Song o f t h e E a r t h ) w i t h t e n o r an d a l t o s o l o , a n d

h i s E i g h t h Symphony, E P l a t M a jo r (Symphony o f t h e T h o u s a n d .) T hese c o m p o s itio n s expand i n t o p o w e rfu l c a n t a t a s , o r g en u in e c h o r a l w orks.

H is m u sic i s n o t e d f o r b e a u t y a n d d i s p l a y o f

to n a l d e v e lo p m e n t.^ Among h i s so n g s a r e ; M itte rn a c h t,

1

1K

in d e rto te n lie d e r.

1 1Um

!B l i c k e M ir N i c h t I n D ie L i e d e r . 1 1L j e b s t

Du Um S c h o n h e l t .

1

and o t h e r s .

The s e t t i n g o f h i s so n g s

i s n o te w o rth y . L ie d e r E in e s F ahrenden G e s e lle n ; fWenn Mein S c h a t z H o c h z e i t M a c h t 1 Heut* Morgen U b e r 1s F e l d f ! I c h H abf E in G lu h e n d M e s s e r 1 *D ie Zwei B la u e n Augen Von Meinem S c h a t z 1 1G ing

F iv e L y ric s ! B l i c k e M ir N i c h t I n D ie L i e d e r 1 1I c h A tm e t 1 E in e n L in d e n D uft* *I c h B in D er W e lt A bhanden Gekommen* 1L i e b s t Du Um S c h o n h e i t 1 !Um M i t t e r n a c h t 1

-1 *2 K a r l N e f , The O u t l i n e o f t h e H i s t o r y o f M usic (New Y ork: C olum bia U n i v e r s i t y P r e s s , 1 9 3 5 ) , p . 31 V.

98

An i n c o m p l e t e l i s t o f M a h l e r 1s s o n g s i 11

L i e d e r u n d G esan g e I F r u h li n g s m o r g e n E r in n © ru n g Hans Und G r e t e S e r e n a d e Aus nDon J u a n ,f P h a n t a s i e Aus nDon J u a n 11 II Um Schlim m e K in d e r A r t i g Zu Machen I c h G ing H i t L u s t D u rc h E in e n G ruenen Wald A usI AusI S ta rk e E in h ild u n g s k ra ft III Zu S t r a s s b u r g A uf D er 3 ch an z A b lo su n g Im Sommer S c h e i d e n Und Meiden N i c h t W ie d e r s e h e n S e lb stg e fu h l The g r e a t e s t r e p r e s e n t a t i v e o f t h e m odern L i e d . Hugo W o l f , was b o r n a t W i n d i s c h g r a z , s o u t h S t y r i a , Germ any, on M arch 1 3 , I860*

At th e age o f f i f t e e n he e n te r e d th e

c o n s e r v a t o r y o f V ie n n a .

I t was a t t h i s t i m e , i n 1 8 75 , t h a t

h e g o t a g lim p s e o f W agner, who was c o n d u c t i n g some o f h i s o p e r a s i n V ie n n a . • E v i d e n t l y young W olf was d e e p l y i m p r e s s e d , in a sm u c h a s he r e m a in e d a t r u e d i s c i p l e o f Wagner t h r o u g h ­ out h is l i f e . B ecause o f h i s d i s r e g a r d f o r r u l e s o f d i s c i p l i n e a n d c o u n t e r p o i n t he was d i s m i s s e d fro m t h e c o n s e r v a t o r y . He t r i e d g i v i n g m u sic l e s s o n s and a c t i n g a s a s s i s t a n t K a p e l l m e i s t e r a t S a l z b u r g , b u t he was soon b a c k i n V ie n n a s t u d y i n g c o m p o s iti o n an d w r i t i n g .

He a l s o s e r v e d a s

m u s i c a l c r i t i c f o r t h e V ie n n a S a l o n b l a t t o v e r a p e r i o d o f fo u r y ears. I n 1888 he to o k a su d d e n c h a n g e a n d b e g a n w r i t i n g songs.

D u rin g a p e r i o d o f f o u r m o n th s h e w r o t e f o r t y -

t h r e e o f h i s M o rik e s o n g s .

From O c to b e r 1888 t o F e b r u a r y

1 8 8 9 , he s e t f i f t y o f G o e t h e 's poems t o m u s i c .

He s l a v e d

w h i l e t h e f i t o f i n s p i r a t i o n l a s t e d an d a s a r e s u l t h i s h e a l t h soon b r o k e a n d h i s y e a r s o f w r i t i n g w ere c u t s h o r t . He d i e d a t t h e a g e o f f o r t y - t h r e e , F e b r u a r y 2 2 , 1 9 0 3 , i n V ie n n a , an d was b u r i e d n e a r B e e th o v e n an d S c h u b e r t . W olf i s known o n l y a s a so n g w r i t e r .

H is so n g s

make one t h i n k t h e poem an d t h e m u sic a r e t h e s i m u l t a n e o u s p r o d u c t o f one b r a i n .

He a b s o r b e d t h e p o e t r y an d r e c r e a t e d

i n te r m s w h ic h was n e i t h e r m e lo d y b y i t s e l f n o r m ere d e c l a m a t i o n , b u t a f u s i o n o f t h e tw o .

He c o n c e i v e d t h e

son g a n d t h e a c c o m p a n im e n t a s a s i n g l e e n t i t y , i n s t e a d o f i n d i v i d u a l l y and l a t e r p u t to g e th e r .

When o n e t u r n s t o

th e t i t l e

p a g e s o f h i s s o n g s t h e p r o o f i s t h e r e , **songs f o r

v o i c e an d

p i a n o , ” i n s t e a d o f Ms o n g s .

W olf was n o t t h e g r e a t e s t o f co m p o se rs b u t t h e r e h a v e b een n o n e who h a v e b e e n m ore o r i g i n a l . w r o te two

W olf a c t u a l l y

h u n d r e d s o n g s fro m 1888 t o 1 8 9 7 , h o w e v e r, f o u r

y e a r s w ere l o s t b e c a u s e o f a

nervous

b re a k d o w n , an d

^ E r n e s t Newman, Hugo W olf (L ondon; M ethnen Company, ----------1907 ), p . 167.

one

100

y e a r was d e v o t e d t o h i s o p e r a ^’C o r r e g i d o r ,*1 t h e r e f o r e , he a c t u a l l y w ro te t h e s e two h u n d r e d s o n g s I n f o u r y e a r s .

H is

c h i e f g i f t was t o c o m p re ss a w e a l t h o f m e a n in g i n t o e v e r y little

space.

So many o f h i s s o n g s a r e s h o r t , v i v i d

p i c t u r e s i n w h ic h men an d women l i v e b e f o r e u s f o r a b r i e f m in u te , t e l l i n g f o r m o st p a r t ,

some d r a m a t i c c r i s e s o f t h e i r l i v e s ; l o v e r s i n many m oods, e s t a t i c , m i s e r a b l e , a n g r y ,

j e a l o u s , s c o r n f u l , q u a r r e l s o m e , s e r e n a d i n g an d b e i n g s e re n a d e d .^ W o lf 1s s t y l e s a r e a s n u m e ro u s a s h i s s u b j e c t s , an d h i s s o n g s a r e f i l l e d w i t h i n t e n s e s i n c e r i t y , a g lo w in g life ,

and a v i v i d im a g in a tio n t h a t d e p i c t s r e a l p e o p le ,

r e a l p a s sio n s, r e a l scen es.

H is u n d e r s t a n d i n g o f human

n a t u r e , r e g a r d l e s s o f t h e mood, i s t o l d so t r u t h f u l l y w i t h h i s s e n s i t i v e and u n d e rs ta n d in g m u sic.

H is s o n g s r e a l l y

h a v e t h e sta m p o f g e n i u s . E r n e s t Newman* s b o o k on Hugo W olf i s r e v e a l i n g an d f u l l o f c o n s i s t e n t f a c t s and r e a s o n i n g . . He d o e s n o t h e s i t a t e t o p l a c e W olf a t t h e t o p o f th e l i s t o f song w rite rs.

Newman c l a i m s t h a t h e s u r p a s s e s them a l l b e c a u s e

o f h is v a s t ran g e o f i n t e r e s t , h i s S hakespearean b r e a d th o f sy m p a th y , t h e i n f i n i t e p l a s t i c i t y o f h i s c o n c e p t i o n s , a n d h i s g i f t f o r s e l e c t i n g su c h a p o i g n a n t m u s i c a l s e t t i n g

14 W a l t e r F o r d , The H e r i t a g e o f M usic (Londons O x fo rd U n i v e r s i t y P r e s s , 1 9 3 4 .) ( T h i s book i s u n a v a i l a b l e a t t h i s tim e .)

101

f o r e a c h poem.

Mr. Newman f e e l s i t i s no d i s g r a c e t o

p l a c e W olf ab o v e S c h u b e r t .

S c h u b e r t h a d some d e f e c t s ,

p a r t i n h e r e n t i n h i m s e l f an d p a r t due t o h i s e p o c h an d e n v iro n m e n t.

He was to o f l u e n t , h i s m u sic came to o e a s y ,

i t so m e tim e s l a c k e d d e p t h .

H is p o e t i c s e n s e was n o t a lw a y s

a s d i s c r i m i n a t i n g a s i t m ig h t h a v e b e e n ; h e d i d n o t a lw a y s t h i n k o u t a poem a s a w h o le , a n d f i n d a f r e s h e x p r e s s i o n f o r e a c h new e m o t i o n a l p o i n t .

He was t o o c o n t e n t w i t h t h e

s t r o p h i c f o rm , e i t h e r r e p e a t i n g h i s m u sic to o o f t e n o r a lte rin g i t

s l i g h t l y a s t h e c a s e d e m a n d e d .3-5

wThe r e l a t i o n o f h i s m u sic w i t h many poems was n o t t h e m a r r i a g e o f e q u a l m in d s ; i t was n o t even a p a s s i o n a t e l i a i s o n , i t was m e r e l y a bow ing a c q u a i n t a n c e fro m a c r o s s th e s t r e e t . T h i s n o t e d c r i t i c g o e s on t o s a y t h a t W o lf shows h i m s e l f t o be t h e d e e p e r a r t i s t o f t h e two i n t h i s r e s p e c t . He h a d , i n f a c t , j u s t t h e g i f t s t h a t S c h u b e r t e i t h e r la c k e d o r d is p la y e d i n t e r m i t t e n t l y . . . . W olf a p p e a l s t o u s a s a p o e t no l e s s th a n a m u s i c i a n . I t i s a m u s i c i a n a l o n e , i n many c a s e s , t h a t S c h u b e r t makes h i s a p p e a l t o u s ; h i s m e l o d i e s a r e o f t e n so d i v i n e i n t h e m s e l v e s t h a t we s c a r c e l y t r o u b l e t o t h i n k o f t h e w o r d s . T hey h a v e t h e b e a u t y o f p u r e d is e m b o d ie d t h i n g s , t h e b e a u t y t h a t c a t c h e s t h e s o u l i n a n e t , how an d why we do n o t know— we a r e s im p l y made c a p t i v e . 17

Newman, o p . c i t *, p . 1 5 5 ., 16

I b i d . , p . 15 5 .

^

Loc. cit.

W o lf1s p a r t i c u l a r pow er i s i n g e t t i n g t o t h e v e r y , h e a r t o f t h e poem i n e v e r y c a se *

H e . s o l v e d t h e p ro b le m

o f k e e p i n g t h e two a r t s o f p o e t r y an d m u sic i n p e r f e c t e q u ip o ise th ro u g h o u t.

He n e v e r f o r g o t t h e p o e t ; he n e v e r

s a c r i f i c e d th e v e r b a l se n se and th e v e r b a l a c c e n t to th e n e e d s o f t h e m e lo d y ; y e t h i s m e lo d ic p h r a s e a lw a y s h a d p e rfe c t n a tu ra ln e ss.

The l i n e s come fro m t h e s i n g e r * s

m outh a s i f t h e p o e t w ere r e c i t i n g th e m . For ran g e o f s u b je c t, co n sta n c y o f i n s p i r a t i o n , d e p t h o f f e e l i n g , an d v a r i e t y o f r e s o u r c e i n fo rm , a n y o t h e r s o n g - w r i t e r w i l l b a r e l y com p are w i t h W o lf.

Hewman

s u g g e s t s t h e c o m p a r is o n o f S c h u b e r t * s f i n e s t s o n g s , s u c h as:

*E r l k o n i g * ( 1 8 1 5 ) , a n d t h e b e s t o f h i s so n g s fro m

*S ch o n e M u l l e r i n .

1 1W

in te rre fs e ,

1

an d

1S c h w a n e n g e s a n g *

c y c l e s , up t o 1 8 2 8 , c o v e r i n g t h e p e r i o d o f h i s s o n g - w r i t i n g n e a r l y f o u r t e e n y e a r s - - a n d h i s w ork b a r e l y c o m p ares w i t h W o lf *s !M6 r i k e ! v o lu m e , com posed i n a b o u t f o u r m o n th s o f one y e a r .

”The F o r s a k e n M a id e n ” fro m h i s M o rik e s o n g s i s

an ex am p le o f a n e a r p e r f e c t s o n g .

H is

1Z n r

Ruh, S u r R uh*

( ,fTo R e s t , To R e s t ” ) fro m h i s S c h e f f e l S o n g s i s a p r o f o u n d u tte ra n c e . L aw rence G ilm an s a y s h i s more t h a n two h u n d r e d s o n g s a re e x tr a o r d in a r y in t h e i r im a g in a tiv e re a c h , t h e i r e x p re s s iv e f i d e l i t y and t h e i r m u sic a l b e a u ty and o r i g i n a l ­ ity ,

t h a t t h e w o r ld h a s n o t y e t b e e n a b l e t o a d j u s t i t s e l f

to th e ta s k o f e v a lu a tin g t h i s

s t a r t l i n g o u tflo w o f g e n iu s ,

a n d t h e r e a r e a s y e t r e l a t i v e l y few who h a v e d a r e d , w i t h W o lf 1s u n r i v a l e d c r i t i c a l c h a m p io n , E r n e s t Newman, t o r a n k t h i s c o m p o ser a t t h e h e a d o f t h e s o n g - w r i t e r s o f t h e w o r l d •3-8 C e s a r S a e r c h i n g e r made an i n t e r e s t i n g s t a t e m e n t ; The two whom t h e w o r ld r e g a r d s a s t h e g r e a t s o n g - w r i t e r s . • • 1 suprem e m a s t e r s o f s o n g ' — S c h u b e r t an d W olf • . . h a d p e r h a p s , t h e m ost t r a g ic e x is te n c e s in th e h is t o r y o f a r t . T hey b o t h l i v e d i n m i s e r y a n d d i e d w o rn o u t b e f o r e t h e i r t i m e . 3-9 W olf c o n t i n u e d d e v e l o p i n g h a r m o n ic c h r o m a t i c i s m a n d f r e e d o m o f fo rm ; p a y i n g p a r t i c u l a r a t t e n t i o n t o t h e n a t u r a l a c c e n t an d p h r a s i n g o f t h e w o r d s . w h at many p e o p l e t h i n k ,

11some

In s p i t e o f

o f W o l f 's s o n g s a r e v i r t u a l l y

s t r o p h i c i n f o rm , w i t h a p ia n o 'a c c o m p a n im e n t' more o r l e s s o f th e t r a d i t i o n a l k in d . t h i s — ' D ie S p i n n e r i n ' K le in e '

(1 8 8 7 ).

. . .“

(1 8 7 8 ),

H is e a r l y s o n g s p r o v e

' M o r g e n th a u ' ( 1 8 7 7 ) ,

' D ie

“B u t t h e g r e a t e s t num ber o f h i s b e s t

L i e d e r a r e n o t * s o n g s w i t h p i a n o a c c o m p a n im e n t' b u t ' so n g s f o r v o i c e an d p i a n o .

'*20

3-® L aw rence G ilm a n , “Hugo W o l f , ” New Y ork H e r a l d T im e s , November 1 9 , 1 9 3 3 . 3*9 C e s a r S a e r c h i n g e r , “Suprem e M a s t e r s o f S o n g , ” M u s i c a l C o u r i e r . F e b r u a r y 23 , 1 9 2 8 . ^

Thompson, op. cit., p. 2066.

104

Thompson s t a t e s t h e f o l l o w i n g a b o u t W o lf1 s works The g r e a t e s t m e r i t o f h i s a c h ie v e m e n t c o n s i s t s n o t in h is R e c la m a tio n 1 b u t in th e s u b t l e t y o f h i s i n t e r f u s i o n o f th e p o e tic and m u sic a l id e a s , t h e o r g a n i c l i f e h e g i v e s t o t h e p a r t i c u l a r fo rm he has i n s t i n c t i v e l y chosen f o r t h i s o r t h a t song, t h e v a s t v a r i e t y o f t h e s e f o r m s , an d t h e S h a k e s ­ p e a r i a n r a n g e o f h i s i m a g i n a t i v e sy m p a th y w i t h t h e s o u l o f man an d w i t h n a t u r e . W olf was a so ng co m p o ser who s p e n t m o s t o f h i s tim e a n d e f f o r t s i n w r i t i n g so n g s an d n o t o t h e r fo rm s o f m u s i c . H is s o n g s t a k e up t h e m a jo r p a r t o f h i s w o rk s a n d i t i s f o r them o n l y t h a t h e i s rem e m b ered .

The f o l l o w i n g i s a

c o m p le te l i s t o f h i s so n g s a s r e c o r d e d b y E r n e s t Newman# L i e d e r Aus D er J u g e n d z e i t An (L enau ) W a n d e r lie d T r a u r i g e Wege (L en au ) N a c h t l i e h e W anderung (L en au ) p a s K in d Am B ru n n en (H e b b e l) U b er N a c h t (S tu rm ) I c h S t a n d I n D u n k eln Traumen (H e in e ) Das 1 s t E in B r a u s e n Und H e u le n (H e in e ) Wo I c h B i n , M ich K in g s U m dunkelt (H e in e ) Aus M einen G ro s s e n S ch m erzen ( H e in e ) Es War E in A l t e r K o n ig (H e in e ) E r n s t 1 s t D er F r u h l i n g ( H e in e )

A p r i l 2 7 , 1877 June 14, Jan u ary 1878 F eb ru ary A p ril May May May June June O c to b e r O c to b e r

L i e d e r N ach V e r s c h i e d e n e n D i c h t e r n ( M i s c e l l a n e o u s S o n gs) A.

S e c h s L i e d e r F u r E in e F ra u e n s tim m e

Morgen t h a u Das V o g le in (H e b b e l) D ie S p i n n e r i n ( R u c k e r t ) W i e g e n l i e d ( im Sommer) ( R e i n i c k ) W i e g e n l i e d ( im ,,W in te r) ( R e i n i c k ) M a u s f a l l e n - S p r u c h l e i n (M o rik e) Thompson, loc. cit#

1877 1878 1882

105

B.

S e c h s G e d i c h t e von S c h e f f e l , M o r ik e , G o e th e und K e r n e r

W a c h t e r l i e d A uf D er W a rtb u rg ( S c h e f f e l ) D e r K on ig B e i D e r K ronung (M o rik e ) B i t e r o l f (S c h e ffe l) B e h e r z ig u n g (G o e th e ) W a n d e re rs N a c h t l i e d (G o e th e ) Z u r Ruh, Z u r Ruh I ( K e r n e r )

1887 1886 1887 1885

G. V i e r G e d io h te Naeh H e in e , S h a k e s p e a r e und L o rd Byron Wo W ird E i n s t ( H e in e ) L i e d Des T r a n s f e r i r t e n Z e t t e l s Sonne D er S c h lu m m e rlo se n (B y ro n ) K e in e G l e i c h t Von A l l e n S ch o n en (B y ro n ) D.

A l t e W eisens S e c h s G e d i c h t e von G o t t f r i e d K e l l e r

T r e t e t E i n , H oh er K r i e g e r S i n g t Mein S c h a t z Wie E in P in k Du M i l c h j u n g e r Knabe W and l1 I c h I n Dem M o rg e n th a u Das K o h le r w e ib 1 s t T ru n k e n Wie G l a n z t D e r H e l l e Mond E.

1888 1889 1896

1890

D r e i G esange Aus I b s e n s uDas P e s t A uf S o l h a u g ff

G esang M a r g i t s Gudmunds E r s t e r G esang Gudmunds Z w e i t e r G esang F.

D r e i G e d ic h te von R o b e r t R e i n i c k

G e se lle n lie d Morgen stiimnung S k o lie G.

1891

1888 1896 1889

D r e i G e d i c h t e von M ic h e la n g e lo

Wohl Denk* I c h O f t A l l e s E n d e t , Was E n t s t e h e t F u h l t M eine S e e l e

1897

106

Poems b y M o rik e. D e r Tambour D e r Knabe Und Das Im m e le in J a g e rlie d E in S t i i n d l e i n Wohl V or T ag D er J a g e r N im m e r s a tte L ie b e A u ftra g Z u r Warnung L ie d Vom Winde B e i E i n e r T ra u u n g Z i t r o n e n f a l t e r Im A p r i l D e r G enesene An D ie H o ffn u n g E lfe n lie d D er G a r t n e r A b seh ied Denk* E s , 0 S e e l e A uf E i n e r W anderung G ebet V e rb o rg e n h e it L ie d E in e s V e r lie b te n S e lb stg e sta n d n is E r s t e s L i e b e s l i e d E i n e s M adchens F u ssre ise R at E in e r A lte n Begegnung Das V e r l a s s e n e M a g d le in S to rc h e n b o tsc h a ft F r a g e Und A n tw o rt L ebe Wohl Heimweh S eu fzer A uf E in A l t e s B i l d An E in e A e o l s h a r f e Um M i t t e r n a c h t A uf E in e C h r i s t b l u m e I* P e re g rin a I . P e re g rin a I I , A gnes E r 1 s t 1s I n D er F r u h e Im F r u h l i n g N ix e B i n s e f u s s D ie G e i s t e r Am Mummelsee An Den S c h l a f Neue L ie b e Z u m Neuen J a h r e S c h la fe n d e s J e s u s k in d

F e b r u a r y 1 6 , 1888 22 22 22

M arch

23 24 24 25 29 1 6 6 7 7 8 10 < 11 13 13 14 17 20 21 22

A p ril

May

O c to b e r

22 24 27 29 31 1 12 14 15 20 21 28 30 3 5 5 8 13 18 4 4 5 6

107

Poems b y M o rik e ( c o n t i n u e d ) Wo Find* I c h T r o s t ? Charw oche G esang W ey las D er p e u e r r e i t e r An D ie G e l i e b t e A uf E i n e C h r i s t b l u m e I I .

O c to b e r

6 , 1888 8 9 10 10 26

Poems b y E i e h e n d o r f f E r w a r tu n g D ie N a c h t D er S o l d a t I I . D er S o l d a t I . D ie Z i g e u n e r i n Das Waldmadchen N ac h tz a u b e r V e r s c h w ie g e n e L ie b e D er G l i i c k s r i t t e r Seem anns A b s c h ie d D er S c h o l a r D er M u s ik a n t D er V e r z w e i f e l t e L i e b h a b e r U n fa ll D er F re u n d L ie b e sg lu c k S ta n d c h e n D er S c h re e k e n b e rg e r Heimweh U eber A lle s

J a n u a r y 2 6 , 1880 F ebruary 3 D ecem ber 1 4 , 1886 M arch 7 , 1887 19 20 A p ril May 24 A u g u st 3 1 , 1888 S e p te m b e r 16 21 22 22 23 25 26 27 28 29 29

(In c lu d e d in th e f i r s t e d i t i o n o f th e E ie h e n d o r f f volum e w ere t h r e e songs*—E r w a r tu n g , D ie N a c h t , a n d W a ld m a d c h e n --w h ic h W olf o m i t t e d fro m t h e s e c o n d e d i t i o n • T hey a r e now p u b l i s h e d s e p a r a t e l y . ) Poems by G o e th e H a rfe n sp ie le r I H a rfe n sp ie le r I I H a rfe n sp ie le r I I I P h ilin e S p o t t l i e d Aus W ilh elm M e i s t e r A n a k re o n s G rab D er S c h a f e r ^ D er R a t t e n f a n g e r G l e i c h Und G l e i c h Dank Des P a r i a

O c to b e r

2 7 , 1888 29 30 30 November 2 4 4 6 6 9

108

Poems b y G o e th e ( c o n t i n u e d ) F r e e h Und F r o h S t* Nepomuks V o ra b e n d Gutraann Und G u tw eib R i t t e r K u rts B r a u t f a h r t D er S a n g e r Mignon ( B a l l a d e ) Mignon I I „ F r u h l i n g U b ers J a h r . Mignon I I I E p ip h a n ia s C o p h t i s c h e s L ie d I I C o p h tis e h e s L ie d I B e h e r z ig u n g B lu ra e n g ru ss P ro m e th e u s K o n ig lic h G ebet G re n ze n D er M e n s c h h e it Was I n D er S c h e n k e Waren H eu te S o l a n g Man N iic h te rn 1 s t Ob D er K oran Von E w i g k e i t S e i S i e Haben Wegen T r u n k e n h e i t T ru n k e n Mussen W ir A l l e S e i n Phanomen E r s e h a f f e n Und B e le b e n • N i c h t G e l e g e n h e i t M acht D ie b e H o c h b e g lu c k t I n D e i n e r L i e b e Wie S o l l t * I c h H e i t e r B l e i b e n A l s I c h A uf Dem E u p h r a t S c h i f f t e D ie s Z u D e u te n B in E r b o t i g Wenn I c h D e in Gedenke Komm, L ie b c h e n , Komm H a t t I c h I r g e n d Wohl B edenken L o c k e n , H a l t e t M ich G efan g en Nimmer W i l l I c h D ic h V e r l i e r e n F r e e h Und F r o h I I D er Neue Amadis G e n ia lis c h T re ib e n Ganymed D ie B e k e h r t e D ie S p r o d e

November D ecem ber

January

F ebru ary January F ebruary O c to b e r

1 4 , 1888 15 28 9 14 17 18 19 21 22 27 28 28 30 31 2 , 1889 7 9 16 16 17 18 18 19 21 21 23 23 24 24 25 25 26 29 30 5 10 11 12 21

109

Poems fro m t h e lfS p a n i s c h e s L i e d e r b u c h 0 o f H eyse an d G e i b e l Wer S e i n H o Id e s L i e b V e r l o r e p O cto b e r I c h F u h r Tiber, M eer, I c h Zog Tiber Land P r e c i o s a s S p r u c h l e i n Gegen Kopfweh Wenn Du Zu Den Blumen G e h s t November A l l e G in g e n , H e r z , Z u r Huh Nuft Wandre M a ria D ie I h r S c h w e b e t Um D i e s e P alm en D ie Du G o tt G e b a r s t , Du H e in e B e d e c k t M ich M it Blumen S e l t s a m 1 s t J u a n a s W eise T r e i b t -M ir M it L ie b e n S p o t t Und S c h l a f s t Du Mein Madchen I n Dem S c h a t t e n M e in e r Locken H e r z , V e rz a g e N i c h t G esch w ind S a g t, S e id I h r E s, F e in e r H err K l i n g e , K l i n g e Mein P a n d e r o H e r r , Was T r a g t D er Boden H i e r B l i n d e s S c h a u e n , D u n k le L e u c h te B i t t * I h n 0 M u t t e r , B i t t e Den Knaben Wer T a t Deinem F u s s l e i n Wehf D ecem ber A uf Dem Grunen B a lk o n S i e B l a se n Zum A bm arsch F u h r M ich, K in d , N ach B e th le h e m Wunden T r a g s t Du, Mein G e l i e b t e r A ch, Wie Lang* D ie L ie b e S ch lu m m ert Ach Des Knaben Augen M u h v o ll Kornm* I c h Und B e la d e n January Nun B in I c h D e in Rau N i c h t D er L i e b e M arch W e in t N i c h t I h r A u g l e i n S c h m e r z l i e h e Wonnen Und W onnige S ch m erzen A ch, Im M aieh War1s B i d e , So D ie L i e b e Schw ur Geh* G e l i e b t e r , Geh* J e t z t A p ril L ie b e H i e r Im H erze n Z u n d e t D e in e M u t t e r , S u s s e s K in d Mogen A l l e B osen Zungen S a g t Ihm , D ass B r Zu M ir Korame D e r e i n s t , D e r e i n s t G edanke Mein T i e f Im H erze n T ra g I c h P e i n Ob Auch F i n s t r e B l i c k e G l i t t e n Da Nur L ie d Und L e i d e n s c h a f t Wehe D e r , D ie M ir V e r s t r i c k t e Kornm* 0 T od, Von N a c h t Umgeben

2 8 , 1889 51 31 1 2 4 5 .5 10 14 15 1717 19 19 20 24 26 26 5 12 13 15 16 19 21 1 0 , 1890 15 28 29 29 30 31 1 2 2 3 4 11 12 16 20 27 14

110

Poems fro m t h e ' nI t a l i e n i s c h . e s L ie d e rb u c h '* o f P a u l H eyse Volume I M ir Ward G e s a g t , Du H e i s e s t ' I n D ie F e r n e - S e p t e m b e r I h r S e i d D ie A l l e r s c h o n s t e O c to b e r G e s e g n e t S e i , D u rc h Den D ie W elt B n s tu n d S e l i g , I h r B lin d e n Wer H i e f D ic h Denn November D e r Mond H at E in e S chw ere K l a g 1 e rh o b e n Nun L a s s Uns P r i e d e n S c h l i e s s e n 'D a s s Doch G em a lt A l l D e in e R e iz e Waren Du D e n k s t M it Binem F a d c h e n M ich Zu P an g en D ecem ber Mein L i e b s t e r 1 s t So K l e i n Und W i l l s t Du D e in e n L i e b s t e n S t e r b e n S ehen Wie L ange Schon War Immer Mein V e r la n g e n G e s e l l e , W o l l f n Uns I n K u t t e n H u l l e n f N e in , J u n g e r H err H o f f a r t i g S e i d I h r , S c h o n e s K in d Auch K l e i n e D in g e Konnen Uns B n tz iic k e n E in S ta n d c h e n E uch Zu B r in g e n I h r Ju n g e n L e u t e Mein L i e b s t e r S i n g t Am Haus Ira M o n d e n sch e in H eb1 A uf D e in B lo n d e s H au p t W ir Haben B e id e Lange Z e i t G eschw ieg en Man S a g t M ir , D e in e M u t t e r W o llt* Es N i c h t Volume I I I c h E s s e Nun Mein B r o t N i c h t T ro c k e n Mehr M arch Mein L i e b s t e r H a t Zu T i s c h e M ich G e la d e n I c h L i e s s M ir S ag en S chon S t r e c k t I c h Aus Im B e t t Du S a g s t M ir , D ass I c h K e in e P i i r s t i n S e i L a s s S i e Nur G ehn, D ie So D ie S t o l z e S p i e l t Wie V i e l e Z e i t V e r l o r I c h A p ril Und S t e h t I h r F r u h Am Morgen A u f Wohl Kenn I c h E u e rn S t a n d Wie S o i l I c h F r o h l i c h S e i n 0 War1 D e in Haus S t e r b 1 I c h , So H i i l l t I n Blumen G e s e g n e t S e i Das Griin Wenn Du M ich M it Den Augen S t r e i f s t Was S o i l D er Z o r n , Mein S c h a t z B e n e d e i t D ie S e l f ge M u t t e r S ch w eig E in m a l S t i l l , Du G a r s t f g e r S c h w a tz e r D o rt N i c h t L a n g e r Kann I c h S in g e n

2 5 , 1890 2 3 4 13 13 14 2 9 , 1891 2 3 4 4 5 7 8 9 10 11 12 12 16 23 2 5 , 1896 26 28 29 30 31 2 3 9 12 12 13 13 19 20 21 23 23

Ill

Poems fro m t h e *rI t a l i e n is c h .e s L i e d e r b u c h n ( c o n tin u e d ) Wenn d u , m ein L i e b s t e r , S t e i g s t Zum Himmel A uf Ich. Hab I n P enna H e u t 1 N a c h t E rh o b I c h M ich Um M i t t e r n a c h t 0 f l u s s t e s t Du, W i e v i e l I c h D e in e tw e g e n V e r s c h l i n g 1 D er A bg ru nd Was F u r E in L i e d S o i l D i r G esungen Werden

A p r i l 2 4 , 1896 25 25 26 29 30

CHAPTER VIII

TWENTIETH CENTURY SONG WRITERS A.

FOLLOWERS IN TRADITIONS OP THE LATE ROMANTIC COMPOSERS

Modern so n g s a r e a l m o s t u n l i m i t e d i n h a r m o n i e s , m o d u la tio n s , and r h y th m ic a l c o m b in a tio n s . p a s s a g e s h a v e r e p l a c e d m e lo d ic p h r a s e s .

D e c la m a to r y Sounds, m u s ic a lly

c h a o t i c , a r e t o l e r a t e d i n o r d e r to e m p h a s iz e t h e d e s i r e d mood o r m e a n in g o f t h e t e x t .

E x p re ssio n , n o t b e a u ty , i s

t h e c o m p o se r1^ i d e a l . I n t h i s new s o n g - f o r m u l a t h e so n g s a r e r i c h f o r i n d i v i d u a l q u a l i t i e s an d i d i o s y n c r a s i e s ;

th e y a r e f a n t a s t i c ,

r e a l i s t i c , and o r i g i n a l . F o l l o w i n g th e r o m a n t i c p e r i o d t h e i n t e r e s t i n t h e A r t Song was n o t so u n i v e r s a l , b u t c o n t a i n e d c e r t a i n names o f p a ra m o u n t i m p o r t a n c e i n t h e w o rld o f s o n g .

T h e se

c o m p o se rs w ere f i l l e d w i t h t h e m e th o d s a n d t e c h n i q u e s o f many g r e a t m a s t e r s , an d a s a r e s u l t h a d t o s e a r c h f o r an in d iv id u a l s ty le of e x p re s sio n . p u n ta lly a r t i s t i c

Some w r o te I n a c o n t r a -

s t y l e w h i l e o t h e r s d e v e l o p e d a - t o n a l an d

n o n -to n a l s ty le s o f w ritin g .

The f i r s t g r o u p o f t w e n t i e t h

c e n t u r y w r i t e r s w ere f o l l o w e r s i n t r a d i t i o n s o f t h e l a t e

1X3

r o m a n t i c c o m p o s e r s , w h i l e t h e c u r r e n t song w r i t e r s a r e known f o r t h e i r m o o d le s s , m e r c i l e s s c o n t r a p u n t a l m u s ic t h a t i s le a d in g to a s t y l e o f u n im a g in a b le song. The e m in e n t c o m p o s e r , c o n d u c t o r , a n d w r i t e r , F e l i x W e i n g a r t n e r was b o r n a t Z a r a , D a l m a t i a , J u n e 2 , 1 8 6 3 , and d ie d in 1942.

He s t u d i e d p h i l o s o p h y a t t h e U n i v e r s i t y

o f L e i p z i g an d c o m p o s i t i o n w i t h W. A. Remy a t G r a z . h e w ent t o Weimar an d s t u d i e d w i t h L i s z t .

L a te r,

W e in g a rtn e r

s e r v e d a s K a p e l l m e i s t e r a t K o n i g s b e r g , D a n z i g , Hamburg, Mannheim, an d B e r l i n . c o n d u c t o r a t V ie n n a .

I n 1907 h e s u c c e e d e d M a h le r a s a The n u m ero u s o t h e r p l a c e s h e c o n d u c te d

h e l p e d him t o e s t a b l i s h an i n t e r n a t i o n a l r e p u t a t i o n a s a c o n d u c to r.

On s e v e r a l o c c a s i o n s h e v i s i t e d E n g la n d an d

A m e ric a a n d made f a v o r a b l e i m p r e s s i o n s a s a c o n d u c t o r . S o m etim es h i s c o m p o s i t i o n s r i s e t o t h e d i s t i n c t i o n w h ic h l i e s b ey o n d t e c h n i c a l a c c o m p l is h m e n t.

C om posers

c l a s s him a s an e c l e c t i c , b e c a u s e h i s m ind i s f i l l e d w i t h t h e m e th o d s a n d t e c h n i q u e s o f many g r e a t m a s t e r s a n d he r e a l l y commands t o o many t o o l s f o r h i s own i n d i v i d u a l w o rk. H is c o m p o s i t i o n s i n c l u d e v o c a l w o rks f o r s t a g e , o r c h e s t r a l c o m p o s i t i o n s , c h a m b er m u s i c , s o n g s , a n d o t h e r v o c a l n u m b e rs .

Some o f h i s s o n g s i n c l u d e :

M o tten Opus 25 P la n d e r w a s c h e Opus 27 H a n d w e r k e r l i e d e r Opus 28

1X4

B l u t e n Aus Dem O s t e n - E i n L i e b e s l i e d e r s p i e l Opus 63 F u n f L i e d e r G esang Opus 70 V i e r L i e d e r Von Carmen S t u d e r Opus 76 D r e i L i e d e r Opus 7 Many p e o p l e t h i n k o f R i c h a r d S t r a u s s a s a m a n u f a c t u r ­ e r o f u g l i n e s s and e c c e n t r i c i t y .

T h is i s n o t t r u e .

K arl

N e f s a y s h i s L i e d e r d a z z l e c h i e f l y b y m eans o f some b r i l l i a n t t o n a l phenom enon.

He i s c o n v in c e d t h a t R i c h a r d S t r a u s s h a s

won t h e g r e a t e s t s u c c e s s among t h e v e r y l a t e s t c o m p o se rs o f German L i e d . ^ S tra u ss* c o m p le te .

e a r l y m u s i c a l e d u c a t i o n was c o n s i s t e n t an d

A t t h e a g e o f s i x h e b eg an h i s s t u d i e s an d

c o n tin u e d f a i t h f u l l y u n t i l th e w o rld began to r e c o g n iz e h i s c o m p o sitio n s.

I n 1880 a M unich o p e r a s i n g e r p e r f o r m e d t h r e e

o f h i s so n g s i n p u b l i c ; S t r a u s s was s i x t e e n a t t h i s t i m e . I n 1886 h i s f i r s t g r o u p o f s o n g s w ere p u b l i s h e d .

T h ese

s o n g s , o p u s 1 7 , c r e a t e d a new i d e a l o f m u sic e x p r e s s i o n i s m . He h a s s e r v e d a s c o n d u c t o r o f t h e B e r l i n P h i l h a r m o n i c o rc h e s tra ,

t h e R o y a l O pera House a t B e r l i n , and h a s b e e n

n o te d a s a t r a v e l i n g c o n d u c to r. H is to n e poems an d o p e r a s a r e p e r f o r m e d e x t e n s i v e l y , h o w e v e r, h i s s o n g s a r e t h e p o i n t o f i n t e r e s t i n t h i s

K a r l N e f , An O u t l i n e o f t h e H i s t o r y o f M usic (New Y o rk ; C olum bia“T I n i v e r s i t y ”F r e s s , 1 9 3 5 ) , p . ^ 9 3 .

115

d isc u ssio n .

S t r a u s s 1 so n g s r e p r e s e n t a g r e a t v a r i e t y o f

m u sic on v a r i o u s l e v e l s o f e x c e l l e n c e .

H is. m u sic d o e s more

t h a n d e s c r i b e o u tw a r d o c c u r r e n c e s ; i t e x p r e s s e s i n n e r s t a t e s Of t h e m ind a n d a r o u s e s i n t h e h e a r e r t h e same e m o tio n s a s th e th in g d e s c r ib e d in th e t e x t . it

The co m p o ser d i d n o t w ant

t o a lw a y s b e b e a u t i f u l . L y r i c a l charm o f m e lo d y , a l o n g w i t h good i n s i g h t i n t o

t h e m e an in g o f t e x t a n d p i c t u r e s q u e ac co m p a n im e n t a r e t h e c h i e f q u a l i t i e s o f su c h so n g s a s :

1Traum D urch D ie

Dammerung. 1 1M o rgen . 1 1Ruhe M eine S e e l e . 1 1I c h S c h w eb e.* 1S e r e n a d e . f and o t h e r s .

He h a s some s o n g s t h a t d e a l w i t h

t h e u g l y s i d e o f t h e w o rld ( o p u s 4 9 ) .

M ost o f h i s t e x t s

a r e from m odern German p o e t r y . S t r a u s s h a s w r i tte n o v e r a hundred so n g s, b u t o n ly a few a r e known an d sun g t o d a y .

The s t r u c t u r a l b a l a n c e o f

h i s m u sic on a s m a ll s c a l e i s n o t a s so u n d a s t h a t i n h i s l a r g e r c o m p o sitio n s.

O l i n D o w n ed s a y s h e p a i n t s g i g a n t i c

p i c t u r e s w i t h an e x a g g e r a t e d t o n a l p e r s p e c t i v e , l a r g e r th a n n a t u r a l s i z e .

Mr. Downes g o e s on t o s a y t h a t S t r a u s s

i s n o t a m i n a t u r i s t , t o whom we h a v e grown a c c u s to m e d i n t h i s a g e f o r t h e d a i n t y an d b e j e w e l e d .

H is' p a l e t t e o v e r ­

whelms o p p o s i t i o n , h i s dynam ism s u b j u g a t e s , e x h a u s t s , an d

^ O lin Downes, ttThe A f t e r m a t h o f S t r a u s s , w New Y ork T im e s . J u n e 8 , 1 9 28 .

116

l i i s r a n k a s a q u a l i f i e d m a s t e r i s "beyond d o u b t .

S tra u ss

comes fro m a w o r l d s a t u r a t e d w i t h i n d u s t r i a l i s m ,

th e n o is e

o f m o to r s an d r a t t l e

o f t r a i n s ; t r u l y h i s m u s ic b e l o n g s t o

t h i s p a r t i c u l a r tim e . In h i s a r t i c l e ,

" S t r a u s s : A Long Time o f C o n t r a ­

d i c t i o n s , 11 O s c a r Thompson s a y s : The w o r l d 1 s m o s t a b u s e d c o m p o s e r - - t h e w o r l d 1s m o st p l a y e d c o m p o s e r. S t r a u s s i s p e r s i s t e n t - i n a m an ner t o j u s t i f y h i s t i t l e t o g e n i u s . T h e r e i s S t r a u s s , a m a s te r o f c o lo r and b u i l d e r o f s o n o r i t i e s ; th e r e i s a l s o th e S tr a u s s o f sim p le , u n a b a sh e d s e n t i m e n t , who h a s l i v e d much among t h e s i n g i n g p e a s a n t s o f G a rm is c h ; t h e S t r a u s s who i s s a t u r a t e d w ith L ie d , th e V o lk s lie d a s w e ll a s th e L ie d o f S c h u b e r t , B rah m s, an d F fo lf; t h e S t r a u s s f o r whom m u s ic i s p r i m a r i l y m e lo d y , an d t h a t m e lo d y t h e e x p r e s s i o n — n o t o f t h e c r u e l t i e s o f an B l e k t r a o r a S alo m e— b u t o f t h e e t e r n a l t e n d e r n e s s o f t h e human h e a r t . S t r a u s s 1S1m e l o d i e s a r e 1 f l e s h l y m e l o d i e s 1, warm, s e n s u o u s , e s s e n t i a l l y G e rm a n ic . They s p r i n g fro m t h e p e o p l e , t h e y r e c a l l t h e b e e r - g a r d e n s ; so m e tim e s t h e y smack t o o . s t r o n g l y o f t h e i r tim e an d p l a c e t o c r e a t e an i l l u s i o n o f t h e a n c i e n t s . H is s o n g s a r e t h e k e y t o t h e t r u e S t r a u s s . T hey c o n t i n u e t o h o l d p l a c e b e s i d e t h e c h o i c e s t L i e d e r o f S c h u b e r t , B rah m s, F r a n z , an d W olf b e c a u s e o f t h e i r e x p r e s s i v e n e s s , t h e i r p o e t i c s u g g e s t i o n , t h e i r a p t n e s s i n communi­ c a t i n g t h e mood o f t h e t e x t a n d t h e f r e s h n e s s a n d c o n v i c t i o n o f t h e i r m e lo d ic s u b s t a n c e . ^ E r n e s t Newman s a y s a c a r e f u l s t u d y o f S t r a u s s 1 so n g s O g iv e s one t h e i m p r e s s i o n t h a t he i s n o t a b o r n so n g w r i t e r , a n d t h a t c o m p a r a t i v e l y few o f h i s L i e d e r h a v e much c h a n c e

^ O s c a r Thom pson, '‘S t r a u s s : A Long Time, o f C o n t r a ­ d i c t i o n , " M u s i c a l A m e r ic a , J u n e , 1 9 3 4 .

117

of su rv iv a l.

. . . As a m a t t e r o f f a c t , one v e r y s m a l l

volum e w i l l c o n t a i n t h e L i e d e r o f S t r a u s s t h a t a r e w o r t h l i v i n g w ith d ay by d ay . 4 The new o r d e r o f song w h ic h S t r a u s s i s s u p p o s e d t o h a v e f o u n d e d i s t h e " s o c i a l l y r i c , w an e x p r e s s i o n o f o u r m odern l i f e .

H is r e m a r k a b l e g i f t f o r m u s i c a l a r c h i t e c t u r e

on a l a r g e s c a l e i s v i s i b l y h a m p e re d when he i s l i m i t e d t o t h e s m a ll so n g f o rm .

"Many o f S t r a u s s 1s m o st a m b i t i o u s s o n g s

a r e a b s o l u t e l y f o r m l e s s , w i t h no more o r g a n i z a t i o n th a n a je lly fis h ;

t h e m u sic s im p ly w a n d e rs on fro m one l i n e t o

a n o t h e r w i t h o u t r e a s o n and w i t h o u t c o n n e c t i o n . " ^ S t r a u s s h a s sh a k e n o f f t h e i n f l u e n c e o f L i s z t b u t h i s g r o w th i n song w r i t i n g i s n o t n o t i c e a b l e . L ik e W o lf, S t r a u s s th r o w s much o f t h e b u r d e n o f e x p r e s s i o n i n h i s so n g s on t o t h e a c c o m p a n im e n t, th o u g h he r a r e l y shows W o lf 1 s a r t o f b l e n d i n g t h e p i a n o p a r t an d t h e v o i c e p a r t i n one i n d i v i s i b l e w h o le . W ith S t r a u s s n o t o n l y i s th e v o i c e p a r t so m e tim e s o v e rsh a d o w e d by t h e a c c o m p a n im e n t, b u t t h e l a t t e r i s o f t e n o v e r - e l a b o r a t e d t i l l i t becom es a m ere h i n d r a n c e i n s t e a d o f a h e l p t o t h e f e e l i n g . ^ S t r a u s s 1s h i g h l y w e l l w o r th s t u d y i n g among o t h e r t h i n g s , p u t a sm a ll le a d in g

e x p r e s s i v e m u s i c , h o w e v e r, i s on i t s own a c c o u n t . I t show s, t o what v a r i e d u s e s h e c o u l d m o tiv e o r t w o . 1?

^ E r n e s t Newman. R i c h a r d S t r a u s s (L ondon: J o h n L a n e . 1 9 2 1 ), p . 89. 5 Ib id .,

p . 93.

6 I b i d . . p . 100. ^ Ibid., p. 103.

118

Opus 3 9 - F i v e S o n g s -1 8 9 7 - 9 8 L e i s e s L ie d Jung H e x e n lie d D er A r b e its m a n n B e fre it L i e d an M einen Sohn Opus 4 1 - F i v e S o n g s -1 8 9 9 - 1 9 0 0 W ie g e n lie d I n D er Campagna Am Uf e r B ruder L ie d e r lic h L e is e L ie d e r Opus 4 1 - T h r e e S o n g s -1 8 9 9 - 1 9 0 0 An S i e M u tte rta n d e le i D ie Ulme Zu H i r s a u Opus 44-Two S o n g s , w i t h O r­ c h e s t r a A ccoznpanim e n t-1 8 9 9 - 1 9 0 0 N o ttu rn o N a c h t l i c h e r Gang Opus 4 6 - F iv e S o n g s -1 8 9 9 - 1 9 0 0 E in O bdach Gegen S tu rm G e s t e r n War I c h A t l a s D ie S ie b e n S i e g e l M o rg e n ro t I c h S e h e Wie In Einem S p ie g e l Opus 4 7 - F i v e S o n g s -1 8 9 9 - 1 9 0 0 A uf E in K in d Des D i c h t e r s A bendgang R u c k le b e n E in k e h r Von Den S ie b e n Z ech b ru d era

Opus 4 8 - F i v e S o n g s -1 9 0 1 F re u n d lic h e V isio n I c h Schwebe K lin g W in te r w e lh a W in te rlie b e Opus 4 9 - B ig h t S o n g s -1 9 0 2 W a ld se lig k e it I n G o ld e n e r F u l l e Wi e g e n 1 i e d c h e n Das L i e d Des S t e i n k lo p fe rs S i e W i s s e n 1s N i c h t Ju ng g e s e 11en schw ur Wer L ie b e n W i l l , Muss L e id e n Ach Was Kummer, Q u a l Und S chm erzen Opus 51-D as T a l- S o n g f o r B a s s V o ic e w i t h O r c h e s t r a 1903 Opus 5 6 - S ix S o n g s -1 9 0 6 Ge fun den B lin d e n k la g e Im S p a t b o o t M it D e in e n B la u e n Augen F ru h lin g sfe ie r D ie H e i l i g e n D r e i K o nige Aus Dem M o rg e n la n d

119

Opus 1 0 - B i g h t S o n g s - 1 8 8 2 - 8 3 B u e ig n u n g N ic h ts D ie N a c h t D ie G e o r g in e G e d u ld D ie V e r s c h w ie g e n e D ie Z e i t l o s e A lle rse e le n Opus 1 5 - F i v e S o n g s -1 8 8 4 M a d rig a l W in te rn a c h t Loh D es L e i d e n s Aus Den L i e d e r n D er T rau er H eim k eh r Opus 1 7 - S i x S o n g s S e itd e m D e in A ug1 S ta n d c h e n G eh e im n is Vom D u n k len S c h l e i e r N ur Mut B a rc a ro le Opus 1 9 - L o t o s b l a t t e r # S i x Songs Wazu n o c h Madchen B r e i t U b er Mein H au p t Schon S i n d Wie S o 1 1 t e n W ir Geheim H o ffe n Mein H e rz 1 s t Stumm Opus 2 1 - S c h l i c h t e W eisens F i v e S o n g s -1 8 8 8 A l l Mein G edanken Du M e in es H e r z e n s Ach L ie b A ch Weh M ir D ie F r a u e n S i n d Fromm

Opus 22-M adchen B leraem F o u r S 9n g s-1 8 8 6 -8 7 K ornblum en Mohnblumen E pheu W asserro se Opus 26-Two S o n g s - 1 8 9 2 - 1 8 9 3 F ru h lin g sg e d ra n g e 0 W a rs t Du Mein Opus 2 7 - F o u r S o n g s - 1 8 9 2 - 1 8 9 3 R u h e , M eine S e e l e C a c ilie H e im lic h e A u f f o r d e r u n g Morgen Opus 2 9 - T h r e e S o n g s -1 8 9 4 - 1 8 9 5 Traum D u rc h D ie Dammerung S c h la g e n d e H erze n N a c h tg a n g Opus 3 1 - F o u r S o n g s 1 8 9 6 -1 8 9 7 B l a u e r Sommer Wenn I W e i s s e r J a s m in S t i l l e r Gang Opus 3 2 - F i v e S o n g s -1 8 9 6 - 1 8 9 7 I c h T r a g e M eine Minne Sehnsucht L ie b e sh y m n u s 0 S u s s e r Mai Himme1 sb o t en Opus 3 3 - F o u r S o n g s w i t h O rc h estra -1 8 9 7 V erfu h ru n g G esang D e r A p o llo p rie s te rin Hymnus F i l g e r s M o r g e n li e d

120

Opus 3 6 - F o u r S o n g s -1 8 9 7 - 1 8 9 8 Dias R o sen b an d F u r 15 P f e n n i g H at G e s a g t A n b etu n g Opus 3 7 - S i x S o n g s -1 8 9 7 - 9 8 G lu c k e s Genug I c b L ie b e D ic h Meinem K in d e Mein iTuge H e r r Lenz H o c h z e its lie d Opus 38-T ennyson* s HE noch A r d e n , M M elodram a f o r V o ic e a n d P ia n o Hans P f i t z n e r f a v o r e d t h e r o m a n t i c i s t s an d r e p r e ­ s e n t e d t h e n a t i o n a l i d e a l s i n German m u s i c . Moscow, .May, 5 , 1 8 6 9 , o f German p a r e n t a g e .

He was b o r n a t H is e a r l y s t u d y

was w i t h h i s f a t h e r , who was M u s i k d i r e k t o r a t th e S ta d tth e a te r o f F ra n k fo rt.

I n 1886 h e e n t e r e d Hoch* s

C o n s e r v a t o r i u m a t F r a n k f o r t , a n d s t u d i e d p i a n o a n d c o m p o s i­ tio n f o r a p e rio d o f fo u r y e a rs .

T h ree y e a r s l a t e r he gave

a c o n c e r t a t B e r l i n w i t h h i s own c o m p o s i t i o n s .

D u r in g t h e

n e x t few y e a r s he o c c u p i e d m in o r p o s i t i o n s a s t e a c h e r an d c o n d u c t o r i n an d a r o u n d B e r l i n .

The y e a r 1908 fo u n d h im

t h e M u s i k d i r e c t o r a t t h e o p e r a and c o n s e r v a t o i r e o f S tra ssb u rg .

I n 1913 t h e U n i v e r s i t y o f S t r a s s b u r g p r e s e n t e d

him w i t h an h o n o r a r y d e g r e e o f D o c to r o f P h i l o s o p h y . P f i t z n e r c o n tin u e d a s co n d u c to r a t S tra s s b u r g u n t i l 1916.

121

By t h i s

tim e h e was w e l l known a s a c o m p o se r o f

cham ber m u s i c , c h o r a l p i e c e s , an d s o n g s .

H is so n g s w ere

r o m a n t i c a n d e s p e c i a l l y s u g g e s t e d Schum ann.

Two o f h i s

e a r l y m u sic d ra m a s w ere 1P e r Arme H e i n r i c h 1 w r i t t e n d u r i n g 1891 a n d 1 8 9 3 , an d 1D ie Rose Von L i e b e s g a r t e n . ' p r o d u c e d i n s e v e r a l German c i t i e s .

(1 90 1)

1P a l e s t r i n a . 1 a d r a m a t i c

l e g e n d , was com posed from 1912 t o 1 9 1 5 , an d p r o d u c e d i n 1917.

Many o f h i s a d m i r e r s c o n s i d e r e d t h i s a s u c c e s s o r t o

'P a r s i f a l , 1

A ro m a n tic c a n t a t a ,

w r i t t e n i n 1922 i s o u t s t a n d i n g .

' Von D e u t s c h e r S e e l e , 1 T h is c a n ta t a i s

s im ila r to

a song c y c l e a n d i s w r i t t e n f o r s o l o v o i c e s , c h o i r , an d o r c h e s t r a , u s i n g a s e t o f E i c h e n d o r f f poems f o r t h e t e x t w i t h an i n t r i c a t e o r c h e s t r a l s c o r e .

I t was p e r f o r m e d i n

Hew York i n 1923 w i t h B o d anzk y c o n d u c t i n g , Ma n d was r e c e i v e d w i t h o n l y p a r t i a l sy m p a th y . He h a s w r i t t e n s e v e r a l s t a g e w o rk s , c o n s i d e r a b l e ch am b er m u s i c , c o m p o s i t i o n s f o r o r c h e s t r a , v o c a l m u sic w i t h a n d w i t h o u t a c c o m p a n im e n ts , and many s o n g s . P f i t z n e r * s S o n g s: Opus 29— V i e r L i e d e r 30— V i e r L i e d e r 32— V i e r L i e d e r 35—S ech s L i e b e s l i e d e r G e d ic h te 4—V ie r L ie d e r 5 —D r e i L i e d e r 40— S echs L ie d e r (1 9 3 3 ) S e c h s J u g e n d l i e d e r ® G eorge G ro v e , D i c t i o n a r y o f M u sic (New Y ork: The M a c m illa n Company, 1 9 2 8 ) , volum e IV , p . 1 3 1 .

122

Max R e g e r was a c o m p o ser who w ro te i n a c o n t r a p u n ta lly a r t i s t i c

s t y l e ' arid e n j o y e d gloom y m oods.

b o r n a t B r a n d , B a v a r i a , M arch 1 9 , 1 8 7 3 , d o n e w i t h L i n d n e r an d R iem ann.

He was

H is s t u d i e s w ere

Soon h e was t e a c h i n g i n

t h e same c o n s e r v a t o r y w i t h h i s t e a c h e r . As e a r l y a s 1898 he w r o t e c o n s i d e r a b l e c o m p o s i t i o n s an d ' soon h i s a r t was a c c e p t e d a n d r e c o g n i z e d .

He t a u g h t

c o m p o s i t i o n a t M unich an d l a t e r a t t h e C o n s e r v a t o r y a t L e ip z ig .

I n 1911 t h e ag e d Duke G eorge i n v i t e d him t o b e

d i r e c t o r o f t h e c o u r t o r c h e s t r a a t M e in in g e n ,

As a

c o n d u c t o r , h e was known f o r h i s s i m p l i c i t y an d i m p r e s s i v e p erfo rm an ces.

Two y e a r s l a t e r t h e Duke d i e d a n d R e g e r

r e s i g n e d h i s p o s i t i o n a s c o n d u c t o r a n d d e v o t e d h i s tim e t o c o m p o sitio n and t e a c h i n g . He d i e d s u d d e n l y i n 1916 a t L e i p z i g o f h e a r t f a i l u r e . K a r l N e f l i s t s h im w i t h t h e m a s t e r s o f t h e German L i e d . ^ R e g e r was a p e r s o n who b e l i e v e d i n i n t e l l e c t f o r i t s own sake.

He h ad an a b u n d a n c e o f t e c h n i c a l a n d c o n t r a p u n t a l

t a l e n t an d ev en v e n t u r e d t o u s e one o f h i s th e m e s b a c k w a r d s . H is r e v e r e n c e f o r t h i n g s t h a t a r e d i v i n e i s s u g g e s t e d i n much o f h i s m u s i c . R e g e r d e v e l o p e d tre m e n d o u s a r c h i t e c t u r a l p r o p o r t i o n s i n h i s l a r g e r w o rk s , an d a c o m p l i c a t e d h a r m o n ic s y s t e m .

® Nef, op. cit.. p. 294.

H is

123

f re e d o m o f m o d u l a t i o n was d i s t u r b i n g .

He i s r e g a r d e d a s a

l i n k b e tw e e n t h e P o s t - c l a s s i c S c h o o l an d t h e T w e n t i e t h C e n tu ry g ro u p .

H is a t t e n t i o n comes more f o r c r a f t s m a n s h i p

t h a n f o r p r o f o u n d e m o tio n .

He w r o te more t h a n two h u n d r e d

f i f t y so n g s an d s e v e r a l c h o r a l w o rk s . F o l l o w i n g i s an i n c o m p l e t e l i s t o f R e g e r 1s s o n g s : L i e d e r Album ( M i t t l e r e Stirame) Volume I I ’’F o l k s o n g ” - Opus 3 7 -Number 2 11T h in e E y e s ’1 - Opus 35-Num ber 1 ’’U n der t h e L i l a c s ” - Opus 35-Number 4 ’’The D ying C h i l d ” - Opus 23-Number 3 ’’From K i s s i n g ” - Opus 23-Number 4 ”A Memory” - Opus 48-Num ber 7 ’’Dream i n t h e T w i l i g h t ” - Opus 35-Num ber 3 ”L o v e - L o n g in g s ” - Opus 31-Number 4 ’’O n ce, i n t h e Woods” - Opus 3 1 -Number 2 ’’N e v e r T e l l ” - Opus 43-Num ber 8 Volume

1

” C r a d l e Bong” ”Ah! J o y S u p r e m e i” ”A P r a y e r ” ”To T h e e , i n D ream s” ”My H e a r t ” ’’A l o n e ”

”A L e a v e - T a k i n g ” ’’F o r s a k e n ” ’’The W illow T r e e ” ’’T e a r s o f P r i c e ” S c h l e c h t e W eisen F u r B in e S in g stim m e Und K l a v i e r , Opus 7 6 . ( I t i s i n t e r e s t i n g t o note* t h a t t h i s opus c o n ta in s a t l e a s t s i x t y s o n g s .) ’’Home” Number 37 ’’The M aiden a n d The S p a r r o w ” Number 38 ’’E v e n in g S o ng ” Number 39 ’’W ish” Number 40 ”To t h e S p r i n g R a i n ” Number 41 ’’The P o s t i l i o n ” Number 42 ’’The F o u n t a i n S o n g ” Number 43

124

“The Q u i e t o f t h e Woods11 Opus 76-Num ber 3 “V ir g in * s S lu m b e r S o n g “ Opus 76-Num ber 52 The n o t e d German c h o r a l c o n d u c t o r an d t e a c h e r , R i c h a r d T ru n k , was b o r n a t T a u b e r b i s c h o f s h e i m , i n 187 9. He s t u d i e d a t Hoch C o n s e r v a t o r y i n F r a n k f u t- a m - M a in an d a t t h e M unich Academy.

B e s i d e s c o n d u c t i n g i n M unich an d

C o lo g n e , he c o n d u c t e d i n New Y o rk .

He w r o te a b o u t one

h u n d r e d s o n g s , s e v e r a l c h o r u s e s f o r women*s v o i c e s , a n d an o p e re tta . F o llo w in g a r e s e v e r a l o f h i s songs; Opus 4 5 —S ie b e n E i c h e n d o r f f L i e d e r 61 —W e ih n a c h te L i e d e r 6 3 --H e ite re L ie d e r 4 7 — S e c h s L i e d e r Nach G e d ic h te n 48—Sechs L ie d e r 49—V ie r L ie d e r 4 — S c h l i c h t e W eisen 4 2 — Z w o lf G esange J o s e p h Marx was b o rn a t G r a z , A u s t r i a , May 1 8 , 1 88 2. T h is p u re r o m a n t i c i s t b e lo n g s to th e t r a n s i t i o n p e r io d b e tw e e n B rah m s, Ytfolf, an d S c h o n b e r g .

H is e d u c a t i o n was a t

th e U n i v e r s i t y o f G raz, and th e t r e a t i s e f o r h i s d o c to r * s d e g r e e was “The F u n c t i o n s o f I n t e r v a l s i n Harmony and M elody f o r t h e C o m p reh en sio n o f T im e -C o m p le x e s. “ A t e i g h t e e n h e com posed h i s f i r s t s o n g s .

T hey w ere

i n f l u e n c e d b y F r a n z an d W o lf, u n t i l he h a d d e v e lo p e d a s t y l e o f h i s own w h ic h d e f i n i t e l y b e g a n p r e p a r a t i o n f o r a new p e r i o d i n son g l i t e r a t u r e .

125

S i n c e W orld War I h e h a s b e e n an i m p o r t a n t m u s i c a l f i g u r e i n V ie n n a , b o t h a s a t e a c h e r an d com poser* H is r i c h c o l o r a n d b o l d h a r m o n ie s a l o n g w i t h c l e a r a r c h i t e c t u r a l s t r u c t u r e , an d f r e s h n e s s o f th o u g h t a r e t h e c h i e f c h a r a c t e r i s t i c s o f h i s m usic*

B e s i d e s o r c h e s t r a l an d

ch am ber m u s ic , he w r o t e c h o r a l w o rk s , ltC horus t o Pan i n A u t u m n , ^ E v e n i n g S o n g , n a n d ltM orning S o n g , n i n a d d i t i o n t o one h u n d r e d t w e n t y s o n g s . B.

REVOLUTIONARY TRENDS AND THE GERMAN SONG

A rn o ld S chonberg i s a c l a s s i c a l f i g u r e in th e m id s t o f m odern c o n t e m p o r a r y co m po sers*

He p o s s e s s e s a keen m in d ,

h a s s o m e th in g t o s a y , an d knows how t o s a y i t . c o n s is te n tly re v o lu tio n a ry .

He i s

H is a d m i r a t i o n f o r W agner,

B rah m s, an d M a h le r p r o v i d e s am ple b a c k g ro u n d f o r a t h o r o u g h u n d e r s t a n d i n g o f h i s w o rk . He was b o r n S e p te m b e r 1 3 , 1874 i n V ie n n a , an d a t t e n d ­ ed t h e R e a l s c h u l e f o r s i x ' y e a r s . h e w a n te d t o b e a m u s i c i a n .

A t s i x t e e n h e was c e r t a i n

Prom £ e m l i n s k y h e r e c e i v e d h i s

o n l y f o r m a l i n s t r u c t i o n i n c o u n t e r p o i n t , o t h e r w i s e , he was s e l f - t a u g h t in th e o r y .

H is a b i l i t y t o p l a y t h e v i o l i n an d

1c e l l o no d o u b t a i d e d him i n h i s c o m p o s i t i o n an d o rc h e s tra tio n • I n 1901 he becam e K a p e l l m e i s t e r o f E r n s t von nl

W o lzo g en Ts U b e r b r e t t l ,

in B e r l i n .

T h a t same y e a r h e m a r r i e d

126

g e m lin sk y * s s i s t e r .

D u r in g t h e n e x t few y e a r s h e h ad a

t e a c h i n g p o s i t i o n a n d s c h o l a r s h i p a t t h e S trern C o n s e r v a t o r y in B e r l in . S u ch s t u d e n t s a s A lb an B e r g , A n to n von Webern and E rw in S t e i n a r e t h e p r o d u c t o f S c h o n b e rg c o u r s e s . On o c c a s i o n s o f f i r s t p e r f o r m a n c e s , p r o t e s t s and h o s t i l e d e m o n s t r a t i o n s w ere n o t -u n u su a l.

ttC h o rd s o f t h e

f o u r th alo n g w ith h o r iz o n ta l p r o g re s s io n s o f th e f o u r th , th e w ho le to n e s c a l e , w h o le t o n c h o r d s — 11 a c c o r d i n g . t o Thompson w ere s l i g h t l y u p s e t t i n g t o t h e a v e r a g e m u sic p u b l i c . TO ^ D u rin g W orld War I , a f t e r h i s r e l e a s e fro m t h e arm y , he founded and d i r e c t e d th e S o c i e t y f o r P r i v a t e M u sic a l P e r f o r m a n c e s , w h ere m odern m u sie was p e r f o r m e d f o r i t s m e m b ers. •The M a h le r f e s t i v a l , h e l d a t A m sterdam i n 1 9 2 0 , g a v e S c h o n b e rg some a t t e n t i o n o f i n t e r n a t i o n a l i m p o r t a n c e , an d made i t p o s s i b l e f o r h im t o do some t e a c h i n g i n t h a t c i t y . By 1924 V ie n n a was b e g i n n i n g t o r e s p e c t h im , b u t w ould n o t a p p o i n t h im on t h e S t a t e Academy o f M usic s t a f f ; i n s t e a d , B e r l i n g a v e him an o p p o r t u n i t y t o t e a c h h i s t h e o r y o f c o m p o s iti o n a t t h e P r u s s i a n Academy o f A r t s , w h ere he ta u g h t u n t i l 1933.

I n A u g u s t o f t h e same y e a r he came t o

t h e U n i t e d S t a t e s , a n d s i n c e t h a t ti m e h e h a s b e e n d e v o t i n g

3*0 O s c a r Thompson, The I n t e r n a t i o n a l C y c lo p e d i a o f M u sic a n d M u s i c i a n s (New Y o rk :""Dodd, Mead an d Company, T 9 3 9 ) , p . 1640.

127

h i s tim e t o c o m p o s i t i o n an d t e a c h i n g .

He h e l d t h e C a r o ly n

A l e h i n c h a i r o f m u s ic a t t h e U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a i n 1936. D u r in g O c to b e r 1937 an A m eric an S c h o n b e r g . F e s t i v a l was h e l d a t D e n v e r, C o lo r a d o .,

T h ree c o n c e r ts w ith th e

K o l i s c h Q u a r t e t an d s o l o i s t s p r e s e n t e d t h e c o m p o se rs w o r k s . Mr. S c h o n b e r g c o n s i d e r s h i s m u s ic n o n - t o n a l , n o t a -to n a l.

He s a y s h e f e e l s t h e u n i t y o f a l l k e y s .

I t is in te re s tin g

to n o t e t h a t t h e c o m p o se r h a s

a r r a n g e d a Loewe b a l l a d f D er N u ck 1 f o r o r c h e s t r a .

H is

i n t e r e s t i n e a r l y German m u s ic h a s b e e n m e n tio n e d p r e v i o u s l y . T h i s c r e a t i v e a r t i s t w ro te some e a r l y so n g s t h a t a r e f i l l e d w i t h r o m a n t i c m e lo d y an d harm ony o f t h e same t y p e , b u t m o s t o f h i s c o m p o s i t i o n s h a v e c h o r d s b u i l t on f o u r t h s i n s t e a d o f t h i r d s , w i t h e v e r w id e r i n t e r v a l s k i p s , w hole t o n e s c a l e s a n d c h o r d s a n d new i d e a s t h a t d e f i n i t e l y p i c t u r e a new d im e n s io n o f m u s i c . C e s a r S a e r c h i n g e r g i v e s an I n t e r e s t i n g e v a l u a t i o n o f some o f t h e w o rk s o f S c h o n b e r g . a rtic le s

The f o l l o w i n g i s fro m h i s

“The t r u t h a b o u t a n y c r e a t i v e p e r s o n a l i t y i s n o t

f u l l y known f o r a ' g e n e r a t i o n o r m ore a f t e r h i s d e a t h ; t h e t r u e v a l u e o f some m en’ s w o rk c a n n o t be ju d g e d f o r c e n t u r -

^ C e s a r S a e r c h i n g e r , “The T r u t h A b ou t S c h o n b e r g , “ M u sica l C o u r i e r , J a n u a r y , 1930.

128

I t i s t r u e t h a t S c h o n b e r g c u l t i v a t e d a new k in d o f c o u n t e r p o i n t , an d n a t u r a l l y had t o d i s c a r d t h e o l d .

To

som e, h i s m u sic i s a s r e m o te a s . a n E i n s t e i n e q u a t i o n . H is S t e f a n G eorge S ongs tfThe H anging G a r d e n s *- make up a c y c l e o f f i f t e e n poem s.

H is m u s ic s u g g e s t s lla l r e a d y

.worn r o m a n t i c e m o t i o n , 11 s e e k i n g t h e ne x t r e m i t i e s o f p a i n f u l ­ n e s s a n d o f p o i g n a n c y t o f i n d a new s e n s a tio n .* * I n 1H e r z g e w a c h s e ,1 o p u s 2 0 , we h a v e t h e c l im a x of th is . H ere t h e s o p r a n o p a r t i s l a i d o u t f o r a v o ic e c a p a b le o f 't h r e e o c ta v e s . H e r e , a l s o , we have a d e l i b e r a t e s e e k in g f o r th e a im o st s a d i s t i c ­ a l l y a c u te j a r r i n g o f th e v o ic e l i n e w ith th e acco m p an im en t E rw in S t e i n s a y s : S c h o n b e r g ’ s m u s ic o p e n s a new w o r l d o f sou nd .to him who h a s e a r s t o h e a r . B u t t o h e a r i t i s n o t s i m p l e . The m a n y -v o ic e d c h o r d s , t h e m e l o d i e s so u n d e d t h r o u g h w id e i n t e r v a l s . . .1 3 a l o n g w i t h o t h e r m u s i c a l s u r p r i s e s r e s u l t s i n m u s ic o f new s o u n d , t h a t n e e d s tim e a n d s t u d y , e s p e c i a l l y i f i t i s t o b e u n d e rsto o d . The f o l l o w i n g i s a t r a n s l a t i o n o f S c h o n b e r g ’ s a p o l o g y ac c o m p a n y in g h i s 11H an g in g G a r d e n 1* S o n g s: The m e l o d i e s o f S t e f a n G eorg e h a v e a l l o w e d me t o r e a c h f o r t h e f i r s t tim e an i d e a l o f fo rm a n d e x p r e s s i o n w h ich I lo n g d e s i r e d . U n t i l t o d a y I h a d n e i t h e r t h e s t r e n g t h o f m ind n o r t h e m a s t e r y

12

Ib id .

E rw in S t e i n , “D ie G l u c k l i c h e H a n d ," M u s i c a l A m e r ic a , F e b r u a r y , 1 9 3 0 .

129

o f my medium t o a c h i e v e i t . B u t I am t h e s l a v e o f an i n t e r n a l pow er s t r o n g e r t h a n my e d u c a t i o n ; i t c o m p e ls me t o o b e y a c o n c e p t i o n w h ic h , i n b o r n , h a s g r e a t e r pow er o v e r me th a n even a n y e l e m e n t a l a r t i s t i c fo rm a tio n . G uido P a n n a i n s a y s S c h o n b e rg was s i n c e r e i n h i s statem ent.**-^ When S c h o n b e r g made h i s f i r s t v i s i t t o A m e ric a h e made some i n t e r e s t i n g

s ta te m e n ts c o n c e rn in g h i s w r i tin g o f

m u sic • I w r i t e m u s ic a s m u sic w i t h o u t a n y r e f e r e n c e o t h e r t h a n t o e x p r e s s my f e e l i n g s i n t o n e . 1 do n o t s h a p e my s c o r e s w i t h a d e f i n i t e i d e a t o e x p r e s s a n y t h i n g b u t m u s i c . A l l s y m b o lic i d e a l s a r e r e a d i n t o i t b y m u s i c o l o g i s t s , f o r I h a v e no i n t e n t i o n when I w r i t e o f s o l v i n g t o n a l p r o b le m s , c r e a t i n g e m o tio n a l re s p o n s e o r b u i l d i n g u n u s u a l p a tte rn s. A c c o r d in g t o D a v id Ewen, S c h o n b e r g i s " f i r s t o f t h e g r e a t r e b e l s o f m odern m u s i c . "

Mr. Ewen g o e s on t o s a y :

S ch o n b erg ’ s r e v o lu ti o n h a s opened a l i m i t l e s s f i e l d o f m u sical i n s p i r a t i o n . The w hole w o rld o f so u n d now b e l o n g s t o . m u s i c . M usic h a s a c q u i r e d more p l a s t i c i t y th a n i t e v e r h a d b e f o r e ; i t s b o u n d a r i e s h a v e b ee n e x t e n d e d i n d e f i n i t e l y ; new p o i g n a n t e f f e c t s , new f a r - r e a c h i n g m e s s a g e s , new m e a n in g s seem t o h a v e b e e n a d d e d to i t s l a n g u a g e . T h e se a r e some o f t h e f r u i t s o f t h e r e v o l t . The w eeds a r e j u s t a s n u m e ro u s . W ith S c h o n b e r g , m u s ic h a s become n a k e d , u g l y , b r i t t l e . I t h a s become a s i n t e l l e c t u a l an d a s m a t t e r - o f - f a c t a s a s y l l o g i s m

-1*4 G uido P a n n a i n , " A r n o ld S c h o n b e r g , " M o n th ly M u s ic a l R e c o r d . J u l y - A u g u s t , ' 1 9 3 2 , L ondon. " A r n o ld S c h o n b e r g , on F i r s t V i s i t , R e c e i v e s t h e A m e ric a n P r e s s , " M u s i c a l C o u r i e r . A u g u s t, 1 9 3 3 .

130

o r a m a t h e m a t i c a l f o r m u l a . And m u s i c , I c o n t i n u e t o f e e l , m u st a lw a y s b e e m o t i o n a l . ^ S cho nb erg * s d e v e lo p m e n t i n t o a new s t y l e h a s b e e n c o n s i s t e n t an d s t e a d y . in g .

H is c o n t r a p u n t a l a b i l i t y i s a s t o u n d ­

L i t t l e r e m a in s o f t h e s y s te m o f B ach a n d B e e th o v e n ;

an d harm o ny i s a b s e n t c o m p l e t e l y . The manf s w ho le e f f o r t seem s t o b e to w a r d e x u b e r a n t , o v e r p o w e r in g c o u n t e r p o i n t , a m ass o f s e p a r a t e v o i c e s m in g le d i n d e l i r i o u s p r o f u s i o n , w i t h i n v e r s i o n s a n d a u g m e n t a t i o n s and d i m i n u t i o n s t h a t make t h e b r a i n d i z z y . Ju d g e d b y e a r s t h a t h a v e a n y t h i n g o f t h e o l d - f a s h i o n e d i n them t h i s m u sic c a n n o t b e b e a u t i f u l . B u t S c h o n b e r g 1s a p p e a l i s t o a d i f f e r e n t f a c u l t y , an d o n l y tim e can d e t e r m i n e w h e th e r t h e a p p e a l i s j u s t i f i e d . - 1-7 The so n g s fro m S c h o n b e r g 1s f i r s t o p e r a s s u g g e s t a S t r a u s s s t y l e an d b e l o n g i n h i s f i r s t p e r i o d .

H is t r a n s i ­

t i o n p e r i o d i s e v i d e n t i n t h e ”E i g h t S o n g s ” o f Opus 6 an d t h e ”S i x O r c h e s t r a l S o n g s ” o f Opus 8 .

T h i s p e r i o d shows

an i n d i v i d u a l s t y l e f a i r l y w e l l d e v e l o p e d , w i t h o c c a s i o n a l w a n d e r in g s t o h i s o l d m e th o d s .

T h e se p a r t i c u l a r s o n g s a r e

e x t r e m e l y d i f f i c u l t a n d demand two t h i n g s , nam ely? a c a p a b l e s i n g e r a n d an a u d i e n c e w i t h h i g h l y t r a i n e d e a r s . S c h o n b e r g 1s a b i l i t y i s c o n v i n c i n g i n h i s s o n g s .

Prom Opus 6

t h e ^ M a id e n 's S o n g ” d e p i c t s a s e n s e o f immense p h y s i c a l

D a v id Ewen, nA r n o ld S c h o n b e r g , 11 M o n th ly M u s i c a l R e c o r d . S e p te m b e r , 193 4, London. -I-7 D a n i e l G re g o ry M ason, The A r t o f M usic (New Y ork: N a t i o n a l S o c i e t y o f M u s ic , 1 9 1 5 ) , v o lu m e 'T , p . 3 4 3 .

v i o l e n c e ; uF o r s a k e n ” h a s a r e p e a t e d c h r o m a t i c f i g u r e i n t h e b a s s t h a t c r e a t e s t h e p r i n c i p a l mood i n th e s o n g .

H is song

wThe W a n d e r e r ,11 w i t h w o rd s b y N i e t z s c h e , i s c o n s i d e r e d one of h is g re a te s t.

T h i s i m p r e s s i v e so n g h a s a d e f i n i t e

m e lo d y w i t h an acco m p a n im e n t t h a t s u g g e s t s i n t e r e s t i n g d e s ig n .

*1 o

The Opus 8 ac c o m p a n im e n t an d

songs a r e a l s o a rra n g e d f o r p ia n o s u g g e s t th e d e s c r i p t i v e an d d r a m a t i c

e le m e n ts r a t h e r th a n th e l y r i c q u a l i t i e s .

”F u l l o f t h a t

S w e e t n e s s ” d i s p l a y s a m a s t e r f u l movement o f c o n t r a p u n t a l v o i c e s i n c l o s e h a rm o n y . a n d i m p r e s s i v e m e lo d y . pow er o f w i l l .

”The C o a t o f Arms” h a s a m ark ed H is c o u n t e r p o i n t seem s t o e x p r e s s

uL o n g in g ” i s one o f h i s e a s i e r s o n g s , w h i l e

”N e v e r Was I , 0 Lady T i r e d ” i s a n o t h e r ex a m p le o f m a s t e r f u l c o u n t e r p o i n t , an d dem ands a w e l l s u s t a i n e d t o n e a n d a slo w tempo • P erhaps i t

i s w e l l t o m a i n t a i n an open m ind an d a l l o w

am ple tim e f o r s t u d y an d c o n s i d e r a t i o n b e f o r e

an o p i n i o n i s

re a c h e d c o n c e rn in g th e m u s ic a l c o n tr ib u tio n o f th e s e m o d e r n i s t s whose w orks a r e so f o r e i g n t o t h e a v e r a g e e a r o f to d a y . S ch on berg * s v o c a l w o rks i n c l u d e t h r e e s t a g e w o rk s , s e v e r a l c h o r u s e s , and t h e f o l l o w i n g so n g s :

18 Ibid.. p. 344

132

Opus 1 - F o r P i a n o an d B a r i t o n e “T h a n k s11 an d “F a r e w e l l 11 Opus 2 - F o u r S o n g s f o r P ia n o a n d V o ic e “ Exp e c t a t i on ” “G ive Me Thy G olden Comb” “E x a l t a t i o n ” “The F o r e s t S u n “ Opus 3 - S i x S o n g s f o r P ia n o a n d V o ic e “ G eo rge von F r u n d s b e r g ” “The E x c i t e d O nes” “The W a rn in g ” “The W edding S o n g “ “An E x p e r i e n c e d H e a r t ” “F r e e an d F a i r ” Opus 6 - E i g h t S ongs f o r P ia n o an d V o ic e “Dream L i f e ” “A l l ” “The M a id e n ’ s S o n g ” “F o r s a k e n ” “G h a s e l ” “By t h e W a y sid e ” “E n t i c e m e n t ” “The W a n d e re r” Opus 8 - S i x S o n g s w i t h O r c h e s t r a ( o r P ia n o ) “The C o a t o f Arms” “ L o n g in g ” “N e v e r Was I , 0 L ad y T i r e d ” “B’u l l o f S w e e t n e s s ” “When L i t t l e B i r d s Make T h e i r P l a i n t ” “N a t u r e ” Opus 12-Two B a l l a d s f o r P i a n o a n d V o ic e “ J a n e G re y ” “The L o s t Crowd” Opus 14-Two S o n g s f o r P ia n o a n d V o ic e “I D a re Not T hank T h e e ” “I n T h ese W i n t e r D ay s”

133

Opus 1 5 - C y c le o f F i f t e e n S ongs fro m S t e f a n G e o rg e * s Poem “The Book o f t h e H an g in g G a rd e n ,r Opus 2 0 - 1H erzgew ach.se1 f o r S o p ra n o w i t h C e l e s t e , Harmonium a n d H arp Opus 2 2 - F o u r Bongs w i t h O r c h e s t r a N S e r a p h i t a 11

WA11 T h a t S e e k T h e e 11 wMake Me Thy G u a r d ia n 11 ^ P r e m o n i t i o n 11 Opus 2 1 - P i e r r o t L u n a i r e , Chamber o r c h e s t r a and s o n g s . The m o d e r n i s t , P a u l H i n d e m i t h . a c c u s e d b y t h e German P ro p a g a n d a M i n i s t e r o f d e s t r o y i n g t h e m u s i c a l e a r o f German y o u t h was b o r n a t H anau, Germany, November 1 6 , 1 8 9 5 .

From

h i s e a r l y i n f a n c y he b r e a t h e d i n t h e m u s i c a l t r a d i t i o n o f c o u n tr y — b r e a t h i n g i t o u t a g a in , th e N azi a u t h o r i t i e s b e l i e v e d , i n t o smoke a n d f l a m e .

H is m u s i c a l f a m i l y was p o o r

a n d e v e r y one w orked h a r d to e a r n a l i v i n g . b eg a n t o s tu d y v i o l i n w i t h h i s f a t h e r .

At fo u r Paul

When h e was f i f t e e n

h e w e n t on a c o n c e r t t o u r w i t h h i s t a l e n t e d s i s t e r .

T h ere­

a f t e r h e g a i n e d e x p e r i e n c e i n n u m e ro u s o r g a n i z a t i o n s s u c h a s? t h e a t e r - o r e h e s t r a s , m u s i c a l c o m e d ie s , m o v ie - h o u s e e n s e m b l e s , an d d a n c e b a n d s .

T h i s p r o v e d t o b e a m o st

v a l u a b l e v a r i e t y o f e x p e r i e n c e s t h a t c o n t r i b u t e d much t o h i s s u c c e s s and to w a r d m a k in g h im one o f t h e m o s t p r o f i c i e n t m u s i c i a n s a l i v e . 19

M axine B l o c k , C u r r e n t The H. W. W ilso n Company^ 1941) ,

>hy (New Y o rk : R l-391.

134

As an I n s t r u m e n t a l i s t , he i s s k i l l e d an d v e r s a t i l e , h o w e v e r, t h e v i o l a i s h i s i n s t r u m e n t f o r p e r f o r m a n c e . H in d e m ith b eg a n h i s s t u d y o f c o m p o s i t i o n d u r i n g h i s l a t e t e e n s when he s t u d i e d w i t h A r n o ld M e n d e lss o h n an d l a t e r w ith B ern ard S e k le s .

A f t e r h i s y e a r o f m i l i t a r y s e r v i c e he

became c o n c e r t m a s t e r o f t h e F r a n k f u r t o r c h e s t r a a n d l a t e r he se rv e d a s c o n d u c to r o f th e g ro u p .

I n 1921 he h e l p e d t o

o r g a n i z e t h e A m ar-H in d e m ith S t r i n g Q u a r t e t .

Two y e a r s

l a t e r t h e y w ere r e a d y t o t o u r E u ro p e w i t h H in d e m ith a s v io list.

He r e m a in e d w i t h t h e q u a r t e t u n t i l 1 929.

H in d e m ith , l i k e many o t h e r m odern c o m p o s e r s , i s e s p e c i a l l y i n t e r e s t e d i n cham ber m u s ic a n d s m a l l e n s e m b le g roups.

He f e e l s t h a t f o r many p u r p o s e s a f u l l o r c h e s t r a

i s u n s u i t a b l e , d i f f i c u l t t o d e a l w i t h , and u n e c o n o m ic a l. Some o f h i s w orks f o r s m a l l g r o u p s h a v e u s e d r a t h e r s t a r t ­ l i n g c o m b in a tio n s o f in s t r u m e n ts . Some o f h i s u n u s u a l s t a g e c o m p o s i t i o n s i n c l u d e ! C a r d i l l a c . 1 a ^N eo-H andelian** o p e r a p r o d u c e d i n D re s d e n i n 1 9 26 ; !H in Und g u r u e c k * a s h o r t cham ber o p e r a w i t h t h e s t o r y t o l d b a c k w a r d s ; an d 1Nues Vom T a g e , ! f e a t u r i n g an a r i a in a b a t h - t u b w ith atm o sp h ere o f c o tto n s u d s , t y p e w r i t e r s c l i c k i n g r h y t h m i c a l l y , r e c i t a t i o n o f a b u s i n e s s l e t t e r by th e c h o ru s , e t c e t e r a , produced a t B e r lin in 1929. H is i n s t r u m e n t a l m u sic c o n s i s t s o f sym phonic s u i t e s , ch am b er m u s i c , s o n a t a s f o r d i f f e r e n t i n s t r u m e n t s w i t h s t r i n g

135

q u a r t e t a c c o m p a n im e n t, an d m u s ic f o r u n u s u a l g r o u p s o f in stru m e n ts, H in d e m ith 1s y e a r s o f p r o d u c t i v e e f f o r t s h a v e b e e n d iv id e d in to

th re e p e r io d s T

The f i r s t was e c l e c t i c and

s e a r c h i n g f o r a n i n d i v i d u a l id io m ,

th e second p e r io d

s u g g e s t e d a t o n a l i t y an d m e c h a n i c a l e f f e c t s , a n d t h e l a t e s t s u g g e s t s a new c l a s s i c a l s t y l e w i t h a t e n d e n c y to r e c o n c i l e l i n e a r c o u n t e r p o i n t w i t h t o n a l harm o n y . H is s o n g s i n c l u d e “S o n g s 1* w i t h p i a n o ; o p u s 1 8 ; *D ie J u n g e M a g d .1 c y c l e f o r c o n t r a l t o w i t h f l u t e , c l a r i n e t a n d s t r i n g q u a r t e t , o p u s 2 3 , num ber 2 ; *Das M a r i e n l e b e n , f c y c le f o r soprano w ith p i a n o f o r t e , opus 27, A t p r e s e n t P a u l H in d e m ith i s a member o f t h e Y a le U n iv e rsity fa c u lty . C o n c e r n in g H in d e m ith 1s O r a t o r i o *Das U n a u f h o e r l i c h e ,* H e r b e r t P . P e y s e r m akes t h e f o l l o w i n g comments* The c h o r u s e s , w h ic h h a v e l e n g t h , b r e a d t h , a n d t h i c k n e s s , r e v e a l H in d e m ith i n th e a c t o f b e i n g “m o n u m e n ta l." L i k e f u l l y 80 p e r c e n t o f t h e s c o r e , th e y a r e m e r c i l e s s l y c o n t r a p u n t a l . T here a r e f u g u e s , d o u b le fu g u e s , i n t r i c a t e can n o n s, v a r i o u s l y e m b r o id e r e d c a n t i f i r m i , e n d l e s s p e d a l p o i n t s , g r o u n d b a s s e s — t h e w h o le h e a v y a r t i l l e r y o f t h e c o n t r a p u n t i s t s a r s e n a l , b ed izen e d w ith a to n a l d a u b s a n d g a r n i t u r e s . The u g l i n e s s , t h e i n e x ­ p r e s s i b l e s t e r i l i t y o f i t a l l i s a p p a l l i n g . Amid th e w e lte r o f dead c o u n te rp o in t th e s p i r i t f a i n t s a n d t h e h e a r t t u r n s s i c k . - ------------------- Once o r tw ic e t h e c o m p o se r seem s d i m l y t o rem em ber M u ss o rg sk y a n d “B o r i s , " b u t t h a t i s a b o u t a s n e a r t o l i v i n g ,

136

b r e a t h i n g m u sic a s a n y t h i n g i n t h i s m o o d le s s , e x p r e s s i o n l e s s , d e h u m a n iz e d maze o f a r i d n o t e s e v e r c o m e s .20 L aw ren ce G ilm an s p e a k s f a v o r a b l y o f H ind em ith* s u s e o f German f o l k - m u s i c .

He s a y s , r e g a r d l e s s o f c r i t i c i s m ,

t h i s e m in e n t German c o m p o se r i s

th e le a d in g m u s ic a l

m o d e rn ist. .F or t h e i r e l e m e n t a r y h a rm o n y .a n d c o u n t e r p o i n t e x e r c i s e s h i s p u p i l s a r e g iv e n o l d German f o l k m e l o d i e s w h ic h h e h a s d i s c o v e r e d , a n d i t i s some o f t h e s e t h a t h i s r e c e n t C o n c e r to f o r v i o l a an d o r c h e s t r a , 1D er S c h w a n d r e h e r , 1 i s f o u n d e d . 2 1 Edmund R ubbra makes t h e f o l l o w i n g s t a t e m e n t s c o n ­ c e r n i n g P a u l H in d e m ith : The b e g i n n i n g o f t h e T w e n t i e t h - C e n t u r y w i t n e s s e d a r e t u r n to c o u n te r p o in t a s th e v i t a l f a c t o r , a c o u n t e r p o i n t t h a t was o f c o u r s e v a s t l y more ex te n d e d in ra n g e th a n t h a t o f th e e a r l y p o ly p h o n ists. ( T h i s new c o u n t e r p o i n t i n c i d e n t a l l y l e d to t h e f o r m a t i o n o f h i t h e r t o u n im a g i n a b l e c h o r d s .) A t t h e t u r n i n g p o i n t i n t h e h i s t o r y o f m u s ic P a u l H in d e m ith was b o r n ( 1 8 9 5 ) . N ot o n l y was he t h e i n h e r i t o r o f t h a t r i c h v e i n o f German m u sic w h ic h h ad c o n t i n u e d u n b r o k e n fro m H e i n r i c h S c h u t z t o S t r a u s s , M a h le r , a n d S c h o n b e r g , b u t f u r t h e r ­ m ore h e was b o r n l a t e en o u g h t o w i t n e s s t h e c u l m i n a t i o n a n d t r i u m p h i n t h e a r t o f D e b u ss y o f t h e r e v o l t a g a i n s t T e u t o n i c d i c t a t o r s h i p in th e realm o f m u sic . 2 2 20 H e r b e r t F . P e y s e r , “H in d e m ith * s *U n a u f h o e r l i c h e , 1n New Y ork T im e s . D ecem ber 1 3 , 1 9 3 1 . 2 1 L aw ren ce G ilm a n , “H in d e m ith * s M usic i n Memory o f a K in g ,* 1 New Y o rk H e r a l d T r i b u n e . May 3 , 1 9 3 6 . 2 2 Edmund R u b b r a , “P a u l H i n d e m i t h , ” The M o n th ly M u s i c a l R e c o r d . S e p te m b e r , 1 9 3 3 , L o ndon.

CHAPTER IX

THE ART SOMG, ITS CHARACTERISTICS AND ASPECTS A. 1.

CHARACTERISTICS

I t i s a song f o r a s o l o v o i c e w i t h i n s t r u m e n t a l

a c c ompan imen t • 2.

I t i s an outco m e o f d e l i g h t fro m a s t a n d p o i n t o f

p o e t r y , m e lo d y , an d a c c o m p a n im e n t. 3.

I t i s w r i t t e n w i t h t h e i n t e n t i o n o f e n h a n c in g

t h e m e a n in g o f t h e w ords i n t h e t e x t . 4.

I t i s p e r s o n a l an d g i v e s much a t t e n t i o n t o

d e ta ile d e x p re ssio n . 5.

I t i s i n t i m a t e , s u b j e c t i v e , an d p r e d o m i n a n t l y

e m o tio n a l. 6.

I t v a r i e s i n e x p r e s s i o n fro m a d e e p an d t o u c h i n g

p a t h o s t o a g o o d - n a t u r e d , an d h o n e s t e x p r e s s i o n . 7.

I t i s r i c h an d v a r i e d i n h a r m o n ic d e v e l o p m e n t s .

8.

I t has a n a tu r a l,

s i n g a b l e m e lo d y o f good v o c a l

l i n e , w i t h no t r a c e o f i n t e r v a l s o r r h y th m s t h a t w ould su g g est in s tru m e n ta l e f f e c t s . 9. 10.

Its > r h y th m s a n d i n t e r v a l s m a tc h t h e t e x t . I t s p ia n o s c o r e fo rm s an u n o b t r u s i v e an d c o l o r ­

f u l b a c k g r o u n d t h a t i s w e l l a d j u s t e d r h y t h m i c a l l y and h a rm o n ic a lly .

138

11*

I t h a s “ s t y l e 11 ( a s u b t l e t h i n g t h a t seem s t o

make t h e song h an g t o g e t h e r ) • 12.

I t s tempo i s n a t u r a l a n d u n a s s u m in g . B.

ASPECTS

The A r t Song fo rm a s c r e a t e d an d d e v e l o p e d t h r o u g h t h e c e n t u r i e s h a s become one o f t h e g r e a t e s t and m o st e x p r e s s i v e o f t h e s m a l l e r fo rm s i n m u s i c .

The r e s u l t o f

t h e s e n u m e ro u s m u s i c i a n s w ork i s a m u s i c a l fo rm t h a t e m b o d ies e m o t i o n a l e f f e c t s o f e n c h a n t i n g b e a u t y .

I t Is

p e r h a p s s a f e t o s a y t h a t t h e A r t Song r e a c h e d i t s g r e a t e s t p o i n t o f d e v e lo p m e n t d u r i n g t h e n i n e t e e n t h c e n t u r y , i n t h e w orks o f S c h u b e r t , Schum ann, B rah m s, an d W o lf. To s a y w here t h i s

song fo rm i s g o in g t o d a y , w i t h o u r

m odern an d r e v o l u t i o n a r y c o m p o se rs i s i m p o s s i b l e .

C o n tra­

p u n t a l s t y l e c a r r i e d t o e x c e s s , w i t h m u s ic t h a t i s m o o d le s s , a n d a l m o s t i m p o s s i b l e t o h e a r i s n o t m ak in g an i m p r e s s i o n w i t h t h e p e o p l e who know o u r n i n e t e e n t h c e n t u r y A r t S o n g . I t I s o n l y f a i r t h a t we s h o u l d g i v e am ple tim e an d s t u d y t o t h i s new t r e n d b e f o r e we condemn t h e p r o d u c t s o f t h i s tw e n tie th c e n tu ry p ro d u c t.

BIBLIOGRAPHY

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PERIODICAL ARTICLES

A d le r ,. G u id o , ”J o h a n n e s B rahm s, H is A c h ie v e m e n t, H is P e r s o n a l i t y an d H is P o s i t i o n , ” M u s i c a l Q u a r t e r l y , A p r i l , 1933. ^ A rn o ld S c h S n b e r g , On F i r s t V i s i t , R e c e i v e s t h e A m eric an P r e s s , ” M u sic a l C o u r i e r , A u g u st, 1933. A t t e r b e r g , “S c h u b e r t h C e n t e n a r y , ” New Y ork T im e s . 1 92 8 . Downes, O l i n , 11The A f t e r m a t h o f S t r a u s s , 1* New Y ork T im e s , June 8 , 1928. E n g e l , C a r l , ”S c h u b e r t * s FameJj) New Y ork T im e s , 1 9 2 8 . & , ”F r a n z S c h u b e r t , ” M u s i c a l Q u a r t e r l y . O c t o b e r , 1 9 2 8 . Ewen, D a v id , ”A r n o l d S c h o n b e r g , ” M o n th ly M u s i c a l R e c o r d . S e p te m b e r , 1934 ( L o n d o n ) . G ilm a n , L a w re n c e , ” Hugo W o l f , 1* New Y ork H e r a l d T r i b u n e . November 1 9 , 1 9 3 3 . , ”New L i g h t on B r a h m s ,” New Y ork H e r a l d T r i b u n e . 1 933-36. ________ , ” H in d e m ith f s M usic in Memory o f a K i n g , ” New Y ork H e r a l d T r i b u n e . May 3 , 1 9 36 .

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