Music 220A: the German Postromantic Period

Brandeis University Music 220A: The German Postromantic Period Topic for Spring 2016: Hugo Wolf Lieder Eric Chafe

Class time: Wednesday 2-4:50 Location: Library seminar room

For this course we will study a representative selection of songs from Wolf’s various publications (see the list at the end of this syllabus), usually 2-4 per seminar. Generally each student will be assigned one song per seminar to present to the class, after which we will discuss each song as a group. Each student will be required to complete an analytical/interpretive paper on a topic of their choice. Suggested topics appear at the end of this syllabus; many others are possible, but clear the topic in advance.

Two published books provide contemporary approaches to the analysis and interpretation of Wolf songs (and further bibliographical information):

1) Deborah J. Stein, Hugo Wolf’s Lieder and Extensions of Tonality. Ann Arbor: UMI Research Press,1985. 2) Susan Youens, Hugo Wolf and his Mörike Songs. New York: Cambridge University Press, 2000.

Each student will be expected to have read the discussions of the songs assigned weekly from these two books and be prepared to take a critical approach to the methods, conclusions, etc. of the two authors (not necessarily a pejorative approach).

The following books contain sometimes useful and insightful discussions of Wolf lieder within the context of general introductions to the songs:

1) Elaine Brody and Robert A. Fowkes, The German Lied and its Poetry. New York: New York University Press, 1971 2) Lorraine Gorrell, The Nineteenth-Century German Lied. Pompton Plains, NJ: Amadeus Press, 1993 3) Rufus Hallmark ed., German Lieder in the Nineteenth Century. New York: Routledge, 1996. 4) James Parsons, ed., The Cambridge Companion to the German Lied. New York: Cambridge University Press, 2004 5) Deborah Stein & Robert Spillman, Poetry into Song: Performance and Analysis of Lieder. New York: Oxford University Press, 2010 6) Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf. Cambridge, MA: Harvard University Press, 1971 7) Jürgen Thym, ed., Of Poetry and Song: Approaches to the Nineteenth-Century Lied. Rochester: University of Rochester Press, 2010 Useful translations of the song texts can be found in

1) The Fischer-Dieskau Book of Lieder: The Original Texts of Over Seven Hundred and Fifty Songs. With English Translations by George Bird and Richard Stokes. 2) Richard Stokes, ed. and trans., The Book of Lieder. The original texts of over 1000 songs. London: Faber and Faber, 2005

Many of the Wolf song collections are published by Dover. I recommend, however, that even if you have these editions download and print the original editions from IMSLP. That way we will all be on the same page with regard to original transpositions and page numbers.

There are numerous excellent recordings of Wolf lieder. Fischer-Dieskau, Elizabeth Schwarzkopf and Irmgard Seefried are especially good. One caveat, however, is that these and many other singers are notorious for transposing the songs to suit their voices. There are also recordings that present the songs in the correct order and in the correct keys. The Mörike Lieder were recorded this way by Joan Rodgers (sop.) and Stephan Genz (bar.), acc. By Roger Vignoles (Hyperion, 2 CDs). Stone Records is recording the complete Wolf songs (including very early ones and ones seldom heard), also in the original keys. At least seven CDs have been issued.

Following is a list of songs to be studied for this course: (not necessarily in this order). For the first session (Jan 13, 2016) look at and listen to “In der Frühe” and the two related songs (Der Knabe und das Immlein” and “Ein Stündlein wohl vor Tag” from the Mörike Lieder. When preparing songs for class always check Youens and Stein and read the discussions therein.

Mörike Lieder: Book I

„Der Knabe und das Immlein“ and “Ein Stündlein wohl vor Tag” „Er ist’s“ „Begegnung“ „Das verlassene Mägdlein“ „An eine Aeolsharfe“

Book II

„Im Frühling“ „Der Gärtner“ „Citronenfalter im April“ „Auf eine Christblume“ I and II „Seufzer“ „In der Frühe“

Book III

„Karwoche“ „An den Schlaf“ „Wo find‘ ich Trost“ „Peregrina“ I and II

Book IV

„Bei einer Trauung“

Spanisches Liederbuch

„Mühvoll komm‘ ich und beladen“ „Wunden trägst du, mein Geliebter“ „Dereinst, dereinst Gedanke mein“ „Tief im Herzen trag‘ ich Pein“ „Komm, o Tod, von Nacht umgeben“ Bedeckt mich mit Blumen“ „Geh‘, Geliebter, geh‘ jetzt!“

Italienisches Liederbuch

„Ihr seid die Allerschönste“ „Der Mond hat eine schwere Klag‘ erhoben“ „Wir haben Beide lange Zeit geschwiegen“ „Und steht Ihr früh am Morgen auf“

Goethe Lieder

„Ganymed“ „Anakreons Grab“ „Wanderers Nachtlied“

Eichendorff Lieder

„Verschwiegene Liebe“

Miscellaneous poets

Kerner „Zur Ruh‘, zur Ruh‘!“

Reinick „Morgenstimmung“ Michaelangelo

(3) Michaelangelo Lieder

Possible paper topics (suggestions):

1) Wolf’s deserted maidens: “Ein Stündlein wohl vor Tag“; „Das verlassenen Mädchen“; „Agnes“ 2) Wolf and the augmented-sixth chord 3) Ending on the dominant? 4) Third cycles in Wolf 5) “Mühvoll komm ich, und beladen” 6) Wolf and the augmented triad 7) Wolf, Mörike and nature as ? 8) Wolf and Mörike on sleep and dreams 9) Wolf and Mörike on religious themes 10) Tonal ambiguity in the Mörike Lieder 11) Wolf’s “Peregrina” songs 12) “Christblume” I and II