The Ballade of eighteenth and nineteenth-century Germany: A useful but neglected pedagogical tool Item Type text; Dissertation-Reproduction (electronic) Authors Sheranian, Michael Judd, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 08:45:26 Link to Item http://hdl.handle.net/10150/288897 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality^ of this reproduction is dependent upon the quality of the copy submitted. 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Contact UMI directly to order. A Bell Howell bfonnatioa Compaiqr 300 North ZeebRoad^ Ann Aibor MI 4S106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct and/or slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE BALLADE OF EIGHTEENTH AND NINETEENTH-CENTURY GERMANY: AUSEFUL BUT NEGLECTED PEDAGOGICAL TOOL by Michael Judd Sheranian Copyright © Michael Judd Sheranian 1998 ADocument Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH AMAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1998 UMI Niambert 9906526 Copyright 1998 by Sherauxlem., Michael Judd All rights reserved. UMI Microform 9906526 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Michael Judd Sheranian entitled THE BALLADE OF EIGHTEENTH AND NINETEENTH-CENTURY GERMANY: A USEFUL BUT NEGLECTED PEDAGOGICAL TOOL and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor Of Musical Arts pfof. (?Warles»Roe Da'te Date > ^4^ !_ ^/-zo /Vr Prof. Gi^yson Hirst ' Dade / Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements tor an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate ackowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may he granted by the copyright holder. jrl ' ' // / / , SIGNED// > / 4 TABLE OF CONTENTS LIST OF EXAMPLES 6 ABSTRACT 7 INTRODUCTION 8 CHAPTER 1: HISTORY AND DEVELOPMENT 10 Historical Background 10 Ballade Definitions by Theorists 14 The Ballade's Pedagogical Benefits 20 The Berlin Schools of Lied Composition 23 The First Berlin School 24 The Second Berlin School 26 The Lied and Ballade in Vienna 29 The Varied Compositional Styles of the Ballade 30 Strophic Balladen 31 Modified Strophic 31 Through-Composed 32 Balladen in Cantata Form 33 Balladen as Melodramas 33 The Instrumental Ballade 34 Johann Rudolf Zumsteeg 34 The Zumsteeg Ballade 37 Melody 38 Rhythm 40 Declamation 41 Harmony 42 Keyboard Parts 44 Zumsteeg and His Poets 46 Other Ballade Composers 49 CarlLoewe 49 Schubert 54 Felix Mendelssohn 55 Robert Schumann 56 Brahms 56 Liszt 57 Wagner. 58 Hugo Wolf 59 The Decline of the Ballade 59 CHAPTER 2: THE BALLADE AS PEDAGOGICAL TOOL 61 Analysis of Representative Balladen 61 Ritter Toggenburg 62 Text and Translation 63 What should the singer be thinking before the music begins? 64 Musical Examples 65 5 TABLE OF CONTENTS - Continued HerrOluf 72 Text and Translation 73 Translation 74 What should the singer be thinking before the music begins? 74 Musical Examples 75 Belsazar 81 Text and Translation 82 What should the singer be thinking before the music begins? 83 Musical Examples 84 Der Rattenfanger 89 Text and Translation 90 What should the singer be thinking before the music begins? 90 Musical Examples 91 SUMMARY AND CONCLUSION 95 APPENDIX A: Annotated List of Selected Loewe Balladen 99 APPENDIX B: Examples from Schubert's Riiter Toggenburg 102 REFERENCES 108 6 LIST OF EXAMPLES Ritter Toggenburg Example 1 65 Example 2 66 Example 3 67 Example 4 68 Example 5 69 Example 6 70 Example 7 71 Herr Oliif Example I 75 Example 2 76 Example 3 77 Example 4 78 Example 5 79 Example 6 79 Example 7 80 Belsazar Example 1 84 Example 2 85 Example 3 86 Example 4 87 Example 5 88 Der Rattenfdnger Example 1 91 Example 2 92 Example 3 93 Example 4 94 Example I 102 Example 2 102 Example 3 103 Example 4 103 Example 5a 104 Example 5b 104 Example 6 105 Example 7a 105 Example 7b 106 Example 8a 106 Example 8b 107 7 ABSTRACT Asignificant type of art song is the Ballade of eighteenth and nineteenth-century Germany. In this study, the Ballade form first brought to prominence by Johann Rudolf Zumsteeg( 1760-1802) will be examined and related to subsequent composers who expanded upon his model. Franz Schubert's contribution to balladry will be addressed because of Zunnsteeg's distinct influence on the former's musical style; and because of Carl Loewe's (1796-1869) enormous success with the Ballade, his contribution will also be discussed. Then, representative examples of Balladen from other major composers will be studied, dennonstrating how closely their Balladen adhered to or departed from earlier models. This study will also address the pedagogical aspects of the Ballade. Containing elements closely akin to opera (i.e. dialogue, characterization, scene changes, and recitative), the Ballade is a superior vehicle for singers who want to improve their dramatic effectiveness. This study will also include an annotated list of selected Balladen by Loewe, whose efforts represent the pinnacle of achievement in the balladry of the nineteenth century. It is hoped that this study will help stimulate interest in the Ballade as a viable supplement to standard art song repertory. 8 INTRODUCTION The vast body of music literaOire that encompasses art song is multifaceted, ranging from simple strophic folk melodies to complex through-composed Lieder. One significant type of art song is the eighteenth and nineteenth-century German Ballade.' Representing the essence of German art song in a synthesis of music and poetry, the Ballade narrates a story with themes drawn from either history, legend, or the supernatural. Once highly popular, the Ballade fell into obscurity around 1860, when the Lied won over public interest with its greater refinement and sophistication." Germany's greatest Romantic composers and literary figures found expression in the Ballade which was once considered equal in popularity to the Lied and opera. Much of the literature concerning the Ballade is inaccessible to many singers because it is written in German. A benefit of this study, therefore, will be the presentation of a long tradition of German scholarship to non-German speakers. For instance, the work of Florian Sauer, who wrote a lengthy article in Die Musik in Geschichte unci Gegenwart, which provided much historical information about the Ballade.^ In addition, the study by Gunter Maier on Johann Rudolf Zumsteeg (1760-1802), and his musical influence on Schubert contributed the bulk of the information about Zumsteeg.^ In this study, die Ballade form established by Zumsteeg will be examined and related to subsequent composers who expanded, upon his model. Then Franz Schubert's ' The Gennan spelling." Ballade," and its plural. "Balladen" (remaining consistent with "Lied" and "Lieder"), will be used throughout this study to differentiate the German art song Ballade from other forms. - The Lied and Ballade both use a poeuc text foundation and are therefore somewhat interchangeable concepts. For purposes of clariQf in this study, the Lied is differentiated from the Ballade by its use of non- narrative poetry. ^ Florian Sauer, "Vokalballade nach 1700," Die Musik in Geschichte und Gegenwart. E, (Kassel: Barenreiter Verlag, 1949-1985), cols. 1134-1148. ^ Gunter Maier. Die Lieder Johann Rudolf Zumsteeg and ihr Verhaltnis zu Schubert (Goppingen: Verlag Alfred Kitaimerle, 1971). 9 (1796-1827) contribution to balladry will be addressed because of Zumsteeg's distinct influence on Schubert's musical style, and because of Carl Loewe's (1796-1869) enormous success with the Ballade, his contribution will also be discussed.