Carl Philipp Emanuel Bach's Neue Lieder-Melodien nebst einer Kantate zum singen beym Klavier (1789) and the development of the German Lied
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Authors Genova, Gina, 1961-
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Link to Item http://hdl.handle.net/10150/558241 CARL PHILIPP EMANUEL BACH'S NEUE LIEDER-MELODIEN
NEBST EINER KANTATE ZUM SINGEN BEYM KLAVIER (1789)
AND THE DEVELOPMENT OF THE GERMAN LIED
by Gina Genova
Copyright © Gina Genova 1995
A Thesis Submitted to the Faculty of the
DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC WITH A MAJOR IN MUSICOLOGY
In the Graduate College
THE UNIVERSITY OF ARIZONA
19 9 5 STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of requirements for 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 thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.
APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: 3
ACKNOWLEDGEMENTS
With the completion of this thesis, I would like to thank my advisor and
committee chairman Dr. John T. Brobeck, for the encouragement and
constructive criticism freely given throughout the course of this investigation, and for his unparalleled attention to details. Very special thanks are also offered to the committee members Dr. J. Timothy Kolosick and Professor Robert Follet. I am also indebted to the staffs of the University of Arizona Library Music
Collection and the Interlibrary Loan Office for supplying most of the source materials for this study—and the School of Music Graduate Studies Director Jocelyn Reiter and Assistant Lyneen Elmore for their kind support. Further, I wish to extend sincere gratitude to Professors John Fitch and Daniel Asia for
their invaluable insights and the encouragement to pursue my varied interests in the vast field of music. Finally, I express my very deepest gratitude to Peggy Genova, without whose faith and love this project would never have been possible. To the loving memory of my father, Mitchell Genova, and my grandmother Annette. 5
TABLE OF CONTENTS
LIST OF TABLES AND FIGURES...... 6
ABSTRACT...... 9
INTRODUCTION...... 10
CHAPTER
1 COMPOSERS AND THEORISTS IN BERLIN 1740-67...... 18
2 LITERARY INFLUENCES UPON C.P.E. BACHS LIEDER...... 36
3 C.P.E BACHS LIEDER AND AESTHETIC...... 49
4 THE NEUE LIEDER-MELODIEN (1789)...... 66
5 CONCLUSION: C.P.E. BACHS INFLUENCE UPON EARLY ROMANTIC LIEDER...... 126
APPENDIX TWELVE SONGS FROM THE NEUE LIEDER-MELODIEN: SCORES AND TRANSLATIONS...... 148
REFERENCES...... 216 I. HISTORY AND BACKGROUND...... 216 II. POETRY AND LITERATURE...... 220 III. MUSICAL ANALYSES AND EDITIONS OF LIEDER...... 223 6
LIST OF TABLES
TABLE 1. Musical Examples and Excerpts of Lieder 1737-1819...... 7
TABLE 2. Sources of Poetry in the Neue Lieder-Melodien...... 69
TABLE 3. Annotated Contents of the Neue Lieder Melodien...... 73
LIST OF FIGURES
FIGURE 1. Kimberger: Consonant and dissonant forms of the diminished triad...... 34
FIGURE 2. Inhalt (Table of Contents) Facsimile reproduction from the Neue Lieder-Melodien...... 72
FIGURE 3. Belise und Thyrsis: Facsimile reproduction from the Neue Lieder-Melodien..^...... 101
FIGURE 4 Neue Lieder-Melodien Facsimile reproduction of the title page...... 149
Arbor. 7
TABLE 1 MUSICAL EXAMPLES AND EXCERPTS OF LIEDER (1737-1819)
MEASURES PAGE EX.# COMPOSER TITLE CITED LOG.
1. Anon. Von einem Detiberanten 1-8 13
2. C H .G raun Abschieds ode an Phyllis 1-8 19
3. Quantz Die Vergotterung 17-32 23 4. F. Benda Die Verleumdung 1-13 24
5. Krause Der Mai 1-8 26
6. Marpurg Die junge Freier 1-12 28
7. J . Agricola Der Wettstreit 1-6 30 8. Nichelmann Die Unwahrheit 13-27 31
9. C.P.E. Bach Schdferlied 1-16 51
10. C.P.E. Bach Wider den Ubermut 1-20 58
11. C.P.E. Bach Die Trennung 10-18 62
12. Bach/ Gluck Vaterlandslied indpits 65 Neefe/ Schubert/ Reichardt
13. C.P.E. Bach An die Natur 1-15 78
14. C.P.E. Bach An Doris 1-53 84 15. yy yy 95-103 91
16. yy Aufden Geburtstag 1-33 95 eines Freundes 8
TABLE 1 CONTINUED
MEASURES PAGE EX.# COMPOSER TITLE CITED LOG.
17. C.P.E. Bach Belise und Thyrsis 1-12 100
18. C.P.E. Bach Freunde Freunde kommt 1-8 104
19. C.P.E. Bach IchhoffaufGott 14-31 108
20. C.P.E. Bach Lied der Schnitterinnen 1-20 113 21. //// 27-32 114
22. C.P.E. Bach Nonnelied 81-92 119
23. C.P.E. Bach Todtengraberlied 1-12 121
24. C.P.E. Bach Trinklied 1-16 123
25. Gluck Die fruhen Graber 1-18 130
26. Neele Der Liebe Schmerzen 1-8 132
27. Reichardt Nur wer die last verse 135 Sehnsucht
28. Reichardt Rastlose Liebe 1-7 137 29. Schubert Rastlose Liebe 1-9 138
30. Reichardt Prometheus 1A 139 31. Schubert Prometheus 1-10 140 9
ABSTRACT
In his Lieder, C.P.E. Bach sought to forge a new relationship between contemporary poetry and keyboard accompaniment. It has been little recognized that many songs in his final collection of Lieder, the Neue Lieder-Melodien (1789) exhibit an innovative approach to text-sensitive melody, eloquent harmony, and an expressive treatment of modulation, dynamics, and form. The songs also evince much of the character and accessibility of German folk music, which was appealing to the burgeoning middle class in the second half of the eighteenth
century. Bach's style, less conservative than that of his Berlin contemporaries, influenced younger Lied composers such as Reichardt and Zelter, both of whom
incorporated some of Bach's ideas into their own works. This study thus suggests that C.P.E. Bach played a much more important role in the emergence of the nascent Romantic Lied than has been previously recognized. 10
INTRODUCTION
During the seventeenth century, scholars in Germany interested in the relationship between poetry and music sought to advance patriotic interests through the cultivation of traditional types of German literature. This resulted in the further development of the Singspiel and the Lied. There was a vigorous effort to polish the rough edges of the German song, to isolate it from the florid excesses of the Italian style, and to raise the level of verse used. The purveyors of this movement, including Heinrich Albert (1604-51) and Adam Krieger (1634-66), sought to synchronize musical and poetic prosody in the secular strophic Gontinuo Lied, a genre which represented the most important flourishing of
German art song since the Renaissance Tenorlied, and flourished until the middle of the eighteenth century. Just after the Thirty Years' War (1618-48) in Germany, the publication of books in Latin outnumbered those in German by about two to one. By the 1680s, however, the trend towards German publications had greatly increased, and eventually surpassed in number those in Latin. The increase in the use of
German for learned discourse coincided with the emergence of a national German literary tradition. The neoclassic rules of restraint and symmetry in poetry, which had been introduced to Germany by Martin Opitz in the 1620s, were gradually softened to allow the cultivation of poetry exhibiting folk elements and humanist themes. After 1750, the Rococo spirit in German literature was characterized by the graceful Anacreontic poetry of such writers as Hagedom and Gleim. The poems were artificial and light—wine, women, and 11
song were favored topics—and the Anacreontic style was less reliant upon the heavy Alexandrine meter, which had dominated German poetry since Opitz. The Singspiel, a spoken comedy with lyrical folk-like songs interspersed, became quite popular in Germany in the mid-eighteenth century with the works
of J.A. Hiller (1728-1804) of Leipzig. In works such as Die Jagd (The Hunt, 1770), the story was as important to creating a characteristically German art form as Hiller's music itself. The librettos of C.F. Weisse featured common life characters and touches of romantic fantasy which glorified the peasantry, criticized the nobility, and generally appealed to the feelings of the people. Because the Singspiel songs were often performed by actors without musical training, they had to be written in a simple style. The German Lied was used as a model,
especially those found in Sperontes's collection Singende Muse an der Pleisse (4 vols., 1736-45). Sperontes used previously composed instrumental dance tunes for settings of his folk-like poems, a process known as Liedparodie by the Germans. Whether original or not, many of Hiller's Singspiel melodies became national folk songs in Germany.2 3 The growth of the Singspiel went hand in hand with the ever-increasing popularity of the Lied. Authors and composers, both professional and amateur, joined in a widespread outpouring of song, thus creating one of the most productive periods in the history of German vocal music.3 Not surprisingly, the most notable composers of the North German
Singspiel, Georg Benda (1722-95), Johann Andr6 (1741-99), and later, C.G. Neefe
2 Charles Burney, The Present State of Music in Germany, vol. 1 (1775; reprint. New York: Broude Brothers, 1969), 84. 3 Donald Jay Grout, A Short History of Opera, 3rd. ed. (New York: Columbia University Press, 1988), 307. (1748-98) and J.F. Reichardt (1752-1814), were also members of a group of Lied composers which came to be known as the Berlin Lieder School. The Berlin Lied composers, most of whom were in the service of Frederick the Great, included performers, conductors, and theorists. Like their predecessors in the Continuo Lied tradition, these composers were concerned with creating a synchronous relationship between poetry and music. Their theoretical and practical writings also yield a historically appropriate rhetoric for discussing harmony, chord function, form, and musical style in the eighteenth- century German Lied. The Berlin Lied composers looked toward many sources
for guidance and inspiration. For example, they examined the traditions of courtly Minnesang, the Protestant chorale, and the Generalbass, or Continuo
Lied. They were also influenced by the north German Singspiel and the French
chanson. Airs from French operas of the late seventeenth and early eighteenth
centuries were collected, given popular texts (parodied), and published as French chansons. These tunes—which were drawn from works by Lully, Rameau,
Campra, and Charpentier, among others—were accessible and appealing to the
Berlin Lied composers.4 Melodies from the parodied works were also found in
the Augspurger Tafelconfect (3 vols., 1733-37), one of the m ost im portant models
for Berlin Lieder composers. The songs in this collection were written for from
one to four voices with keyboard, violin, or cello accompaniment. Von einem
Deliberanten (vol. 3,1737), is an example of this straightforward style and sparse
accompaniment, both of which resemble the Continuo Lied (Ex. 1). Little
4 Leroy Evans Bynum, Jr., The First Berlin Lieder School: The Early Development of German Art Song (Ann Arbor: University Microfilms, 1992), 25. 13
Ex. 1 Anon. Von einem Deliberanten Augspurger Tafelconfect HI (1737)5
i a u Canto solo — ft— ^ p j ^■ U J l * J ^ - • Et- was seyn und nichts auf Er- den, nichts zu seyn und et - was
f • , ♦ n m » r — ^ _m___9 W m ____# w w W m , ------m------L . j. V 1
1---- i . at------^ \ K - __ __ m,__E t Z m ” i ^ f ^ ~ j .. a n ______„ J_* __ r__ 5__1__ 1__ frr\ * ) < J F / * r m ' \5? vz=m i=^)=:'- ^ r — — ------— y.— / — < F
wer- den, ist der Men - schen er - ster Traum, pfleg-en noch in Kin- der
f — M "nn a ...... - ^ r p r n 1 CSS (#> ^ C -L J 10 10 6 6 10 10
Schu- hen. was zu wer - den tag - lich su- chen. ktin- nen es noch nen-nen
10 10
5 Ernst Otto Lindner, Geschichte des deutschen Liedes (1871; reprint, Wiesbaden: Dr. Martin Sandig, 1968), 100. 14 improvisation or addition of inner harmonies was required or expected.6 The importance of the Tafelconfect collection is its influence upon the Berlin composers' cultivation of folk-like songs. For the history of German song, it [the Augspurg Tafelconfect ]is of great interest because it is a collection that presents folk-like melodies and texts. Collections of this kind were especially lacking in the eighteenth century. 7
The parody technique used by Sperontes in Singende Muse an der Pleisse was highly criticized by one of the early Berlin Lied composers, J.F. Grafe (1711-
87), who published four volumes of Lieder written in accordance with an aesthetic rather different from that of Sperontes. Grafe's intention was to give each poem a unique melody and accompaniment that illustrated the meaning of the text. Grafe's collection—which contain the works of Grafe himself, as well as early songs of C.H.Graun—was of particular interest to the Berlin Lieder
! composers, though Grafe himself was especially proud of the later volumes, which contain the earliest known examples of C.P.E. Bach's Lieder.
C.P.E. Bach (1714-88), the court harpsichordist for Frederick from 1740-67, was very active in the literary circles of Berlin. Bach's output of over three hundred sacred and secular songs spans from about 1739 to the end of his life.
Though he was known primarily for his systematization of keyboard technique and early experiments with sonata form, Bach's contribution as a composer of
6 Bynum, 27. 7 "Fur die Geschichte des deutschen Lieder ist das Werk von hoher Wichtigkeit, weil es eine Sammlung volkstumlicher Melodien und Texte darstellt. Gerade an solchen Sammlungen ist aber das achtzehnte Jahrhundert sehr arm." Max Friedlaender, Das deutsche Lied im 18. jahrhundert, vol. 1 (1902; Reprint New York: Georg Olms, 1970), 71. Lieder also was profound. The influence of German literature upon the songs of C.P.E. Bach cannot be over emphasized. Bach, more than his contemporaries, drew from a wide variety of poetry for his musical settings. Some early songs contain pastoral, classical figures from the Anacreontic verses of Hagedorn and Gleim, while others use poems cast in the style of the rationalist philosopher C.F. Gellert. In later collections, Bach set verses by German Enlightenment writers G.E. Lessing and A. von Haller, as well as Klopstock and Holty, poets associated with the
Sturm und Drang movement. Interestingly, Bach's collections also contain songs which are settings of verses by women poets, including J. Charlotte Unzer and Elise von der Recke. In fact, the earliest datable Lied composed by Bach is the setting of Schaferlied (1739), a work by Leipzig poetess M arianne von Ziegler.
In his willingness to set the works of women writers, Bach, like some of his contemporaries, anticipated the liberal approach to literature characteristic of the Romantic period.
The Lieder of C.P.E. Bach show evidence of his sensitivity to the relationship between poetic and musical form, as well as between poetic themes and tonality. Bach used dissonance and modulation in a way previously little developed by Lied composers in northern Germany. He was the first of the
Berlin Lied composers to consciously move away from the pure strophic form, and to find alternative ways for setting poems of multiple verses. Possibly his most important contribution to the German Lied was his written-out keyboard accompaniments, which greatly differed from the figured bass indications of the
Baroque Continuo Lied tradition. 16
In the 1750s, Bach was the first of the Berlin Lied composers to have published a collection consisting entirely of his own songs. In addition, his monumental treatise on keyboard technique, the Versuch fiber die wahre Art das Clavier zu spielen (1753-62) was recognized as the finest of its kind by many well- known composers, including Mozart and Beethoven. Ramler, Gleim, and Sulzer, members of Berlin's artistic community, all recognized a special quality in the works of Emanuel Bach. They cited his musical abilities to illustrate their concept of the term original genius (Origimlgenie) in the 1770s.
The following study attempts to place the secular Lieder of C.P.E. Bach in historical context, with particular emphasis on his final collection of songs, the Neue Lieder-Melodien nebst einer Kantate zum singen beym Klavier (Lubeck: C.G.
Donatius, 1789). It first introduces the major composers and theorists of the Berlin Lieder School, who include C.H. Graun, F.W. Marpurg, C.G. Krause, and J.P. Kirnberger. It then analyzes in detail the music and texts used in the Neue
Lieder-Melodien, which Bach prepared shortly before his death in 1788. Though this collection was advertised for sale in the Hamburger Correspondent, 19
November, 1788, it was not published by C.G. Donatius until the following year.
The anthology is particularly important due to the variety of forms, poetry, and accompaniment styles that it presents. It contains examples of his Lieder from about 1767, w hen he left his position with Frederick II in Berlin, until the end of his life in Hamburg. Several of the mature Lieder in the NLM exhibit an innovative approach to form and harmony, using through-composed structures and frequent changes of tonality within a single strophe of poetry. There are only a few pieces cast in the simple strophic form with tonic-dominant-tonic harmony then popular in Berlin. The study concludes by briefly considering the
Lieder of Bach's younger contemporaries, many of whom were eager to imitate his style. By the last decade of the century, the musicians Schulz, Reichardt,
Neefe, and Zelter were among the composers who studied, admired, imitated, and finally surpassed the level of expression which had been brought to new heights by their predecessor Emanuel Bach. Bach's younger contemporaries are among those who have been credited with the early development of the German
Romantic art song. Chapter 1
COMPOSERS AND THEORISTS IN BERLIN (1740-67)
Although secular German songs had been composed steadily from the late Middle Ages, it was not until the second half of the eighteenth century that
Lieder exhibiting expressive, text-sensitive vocal lines and idiomatic, fully developed keyboard accompaniments began to be widely cultivated. Early attempts to set texts in a speech-like style reflecting the declamation of the
German language resulted in lightly ornamented songs in two-voiced textures. This style is exemplified by Abschieds Ode an Phyllis, a work of C.H. Graun (1704- 59). Graun's setting uses a repeated dotted motive in the melody that supports the syllabic accents, but is not consistently speech-like (Ex. 2). King Frederick the Great of Prussia (1712-86) is famous for his extraordinary military accomplishments, as well as for his equally remarkable role as a philosopher, musician, and patron of the arts. As is well known, Frederick desired to establish a musically brilliant court in Berlin. His efforts brought together in one place some of the finest German musician-composers of
the day, men who not only provided his court with superb chamber music, but
also collectively established an important center for Lied composition in Berlin,
which became known as the First Berlin Lieder School. The character of this
school was heavily colored by the artistic climate at Frederick's court, which seems to have encouraged interchange between the musicians in his service and
other Berlin literary and intellectual leaders. As a result, several collections 19
Ex. 2 C.H. Graun Abschieds-Ode an Phyllis (mm. 1-8) (Gellert) Grafe's Sammlung HI (1741)1
End - lich ich mich ent - schlie - fieri.
3
n ------=f5z= * J i- p n :— —?—/ — 9 -^* ------^ 1 ^ letz te mal zu ku - Gen, weil wir dock. ge - lieb - tes
tv 1— r"------■ m * l ^ ‘ n . f "— i r = f = ----
6
r -G -iif, ^ r # — * ¥______L frr\ ^ 7 1 ______tu / IV
Kind, mor - gen schon ge - schie - den sirid.
r 7 — t------
1 Max Friedlaender, Das deutsche Lied im 18. Jahrhundert, vol. 1 (1902; facsimile reprint Hildesheim: Georg Olms, 1970), 133), 50. 20
containing Lieder composed by members of the Berlin School to contemporary
poems were published within the first decade of Frederick's rule. Christian Gottfried Krause (1719-70), considered the founder of the Berlin School, was a lawyer in the service of Frederick II from 1746. He was also a skilled poet, composer, music theorist, and organist. His treatise Abhandlung von der tnusikalischen Poesie (Berlin 1752) is the theoretical foundation upon which the
first collections produced by the Berlin School, Oden mit Melodien (1753,1755), were based. The main tenets of Krause's ideology were that Lieder should be folklike (Volkstiimlich), easily sung, and should have a simple, yet independent
accompaniment to help express the meaning of the text.2 3 He used French airs a boire and brunettes as models.
Krause's Abhandlung also addressed the meaning of musical "imitation." German writers of the day wanted to define how music should imitate nature, if in fact it could. Krause speculated on the ability of music to portray such ideas as majesty, reverence, happiness, modesty, voluptuousness, pride, and courage. He also felt that it could imitate more concrete entities such as lover's sigh, a sufferer's groan, or complaints of misery.3
Krause's treatise was much discussed by contemporaries. In his Anleitung zur Singkunst (1758), Berlin composer and theorist Friedrich Wilhelm Marpurg
(1718-95) said that Krause had left nothing more to be said about the expression of musical texts. John Brown, on the other hand, greatly disagreed with Krause
2 R. Hinton Thomas, Poetry and Song in the German Baroque (Oxford: At the Clarendon Press, 1963), 109-10. 3 Christian Gottfried Krause, Abhandlung von dermusikalischen Poesie (Berlin: Christian Friedrich Voss, 1752), 68-102. and his supporters, claiming that since musical expression was an imitation of
nature it must be imperfect. The sounds of music, as Brown knew them, were
not in nature; therefore, if music achieves a good imitation it is unmusical and
irrational; if music is not a good imitation, then it is defective, but musical.4
Krause and other Berlin composers, including C.P.E. Bach, made efforts to
discard the learned contrapuntal style of Bach's father even before Sebastian had passed away in 1750. Not surprisingly, Oden mit Melodien contains works in the lighter galant style, with textures that are mostly homophonic, in the style of the
Continue lied. It was the Anacreontic poet K. W. Ramler from Halle, who, along with Krause, published Oden mit Melodien. The collection featured the songs of the Prussian court composers C.H. Graun, Quantz, Franz Benda, Agricola, and
Bach, along with Ramler's instructions on the technique of effective Lied composition. In the preface, Ramler proposed that the melody should be speech like; that the text expression was more important than any purely musical concerns; and that music and text should be fused into a single emotional unit.
Above all, he argued that music should clearly project the overall meaning of a text, and not just the individual words. Along with Nichelmann, Ramler asserted that the accompanying bass line should be so unobtrusive that it could be dispensed with and the song would still convey its purpose and significance.
All of these stipulations made it difficult to treat poems that did not possess metrically balanced phrases. It also encouraged the contributors to the Oden mit Melodien to write settings that were thin-textured and brief.
4 Dr. John Brown, "A Dissertation on the Rise, Union, and Power...and Corruptions of Poetry and Music" (London, 1763), quoted in Paul F. Marks, "The Rhetorical Element in Musical Sturm und Drang," The Music Review 33 (1972):102. JJ. Quantz (1697-1773), was a German flutist and teacher of Frederick the Great. Quantz was handsomely rewarded by the King for his consistent, yet
conservative output of flute and chamber music. Franz Benda (1709-1786) joined
Frederick's court at Ruppin before he became King, in 1733. He was befriended by Quantz, and served Frederick happily for fifty-three years.5 A skilled
violinist, Benda was held in high regard by his contemporaries. Considered the
founder of the North German School of violin playing, Benda's primary fame
rested on his abilities as a violinist and teacher. "Benda's violin works can be
considered a counterpart to C.P.E. Bach's keyboard pieces...(both) provide valuable insight into contemporary techniques, and both are works of art which should be heard for their own sake."6
Quantz and Benda both provided simple settings of Anacreontic poems by Hagedom to the Ramler-Krause publication of 1753. Neither setting is especially expressive or innovative, but they do follow Ramler's guidelines for ! text setting. Quantz's Die Vergotterung (The Idol; Ex. 3) is little more than a flute melody with trills throughout with a relatively unadorned bass line. Benda's Die
Verleumdung (Slander; Ex. 4) uses the form AaB in each of its five stanzas. With
Benda, the melody is unassuming, yet the left hand part is slightly more expressive than that of Quantz.
In spite of the limitations proposed by Ramler, C.P.E. Bach's contribution to Oden mit Melodien is far more adventuresome than were those of Quantz or Benda. Bach's rebellious nature, which was widely recognized by
5 Frederick and Benda died within three months of one another. 6 Eugene E. Helm, Music at the Court of Frederick the Great (Norman: University of Oklahoma Press, 1960), 196. 23
Ex. 3 JJ. Quantz Die Vergotterung (mm. 17-32) (Hagedom) Ramler-Krause Oden mit Melodien I (1753)7
IT__ tr ^ - - f r— F f'" » E r ^ f -4m---4—^ 1 c / .U - i - r r --I Die mit him - mel - blau - en Au - gen, die die —m------*>• I z—%------#_____ p ^ F T F F F F 1 44.... 1 ^4------F------L 1 ■■—- — #------
7 Friedlaender, 227. 24
Ex. 4 F. Benda Die Verleumdung (Hagedom) Ramler-Krause Oden mit Melodien I (1753)8
r N ^ = m— ^— -----J ----- ...... f
End - lich a - her glau - bet man.
# ------# __ • ------T— F = ^ ?— t * ------J L r 1 1 k W 1
1 . »— T krr------5= - ^ - p ------*------i r r f "
dass man sie 8e - win nen kann.
^ — ^ r ------9------J ------4 — ^ * \ 4 strophes to follow
8 Friedlaender, 228. 25
contemporaries, is evident in his Lied Die Kiifie (1753). Inconsistent with Ramler's guidelines, Bach chose to set his poem—which is marked by asymmetrical phrase lengths—with melodic leaps and ornaments that obstruct
the natural declamation of the text. At 105 measures. Die Kiifie is also much longer than the other Lieder in the collection, and it features a three-part form with an unusually active accompaniment line. It is one of the first pieces from the Berlin Lied composers which foreshadows a freer approach to form without sacrificing poetic and musical unity. 9
Soon after the publication of Oden mit Melodien a more comprehensive
collection of songs was produced by the Berlin Lied composers. The Berlinische Oden und Lieder (3 vtils, 1756-63) was one of the most influential Lied collections of its day. Published by Friedrich Wilhelm Marpurg (1718-95), it contains songs by Marpurg himself, Agricola, C.P.E. Bach, C.H. Graun, Kimberger, Quantz, and
Krause. Charles Burney claimed that Krause was highly admired for his work on the subject of German Lyric Poetry, and he also noted that Krause was the author
of several musical compositions that were much esteemed by connoisseurs.9 10
Krause's seven-versed strophic Lied, Der Mai, is written according to the ideals in his Abhandlung. It is a strophic poem (Hagedorn) set predominantly in two-voiced counterpoint, and easily sung with a simple yet independent accompaniment (Ex. 5).. The harmonic plan involves sections of tonic and dominant tonalities, which are embellished by a recurring 10-10-10 linear intervallic pattern (mm. 1,3), in which the outer voices are in parallel motion.
9 A discussion of Bach's setting of Die Kiifie is located in J.W. Smeed, German Song and its Poetry 1740-1900 (London: Croom Helm, 1987), 94. 10 Charles Burney, The Present State of Music in Germany, vol. 1 (1775; reprint N ew York: Broude Brothers, 1969), 337. 26
Ex. 5 CG. Krause Der Mai (mm.1-8) (Hagedom) Berlinische Oden und Lieder II (1759)11
Munter.
Der Nach ti - gall
die frtih- lichnen und lock - en schon wiedie frtih- lichnen sten Stun- den
Stun - den ins
Friedlaender, 98. Marpurg's contribution to the Berlinische Oden und Lieder as a composer includes the strophic Der junge Freier (The Young Suitor), a work which makes little use of passing tones and ornamental figurations. The Lied begins with a tonic pedal, over which the composer successively defines tonic and dominant key areas by means ofal-IV-V-I chord progression (Ex. 6).
Marpurg's Lied exhibits a trend towards adding a simple line of accompaniment to the two-part textures. He employs an inner line, which often moves in parallel motion with the top voice at the interval of a third or sixth. In the second phrase of verse one, "Feind vom menschlichen Geschlechte" (Enemy of the human race), Marpurg uses the thickest textures in the piece. He adds a fourth voice which is a tonic pedal in the center of the texture, and thus creates triads in the right hand, with the bass reinforcing the root or the third. Der junge
Freier is a simple, but effective setting in the context of the early activities of the Berlin Lieder School. Marpurg's contribution to the Berlin Lieder School also included numerous writings about music. His text Handbuch bey dem Generalbass und der Composition (1757-62) was highly praised in Berlin. He also published
Anleitung zum Singcomposition (1758), a lengthy discussion on text-setting in
German, Latin, and Italian. He is remembered for his theoretical writings far more than for his Lieder.
Johann Agricola set the Hagedorn text Der Wettstreit (The Conflict) in
Volume Two of the Berlinische Oden und Lieder (1759). This Lied exhibits a high level of musicianship, creativity, and expression. The minor tonality which opens the piece alternates with sections in the dominant key. Agricola uses the sixth-chord style with raised leading tones to the tonic and dominant scale 28
Ex. 6 F.W. Marpurg Der junge Freier (mm.1-12) (Anon, text) Berlinische Oden und Lieder HI (1763)12
Lebhaft. . 1* f ___ * ______>______r 1______" f------^ ------h------m -+ ------4-— S I (I) (IV) 9 F # 4 f - 4 — - 4 - —$ * -- — 4 r r — LJ der den tol len Wahn er dacht, ------— ------# ------^ ------« ; —J ------= # = 6 N = 3 i (11) (V) 0) (V) V 12 Friedlaender, 90. 29 degrees. He also uses the augmented sixth-chord (Ex. 7, m. 3), little used by other Berlin composers in the context of the Lied. The balanced phrases of Hagedorn's text are set to a recurring pattern of lively dotted rhythms. The melody is embellished with a generous sprinkling of accidentals and seems to dance across the printed page. Perhaps the printed page is Augentnusik, representing the animated conversation of a man with himself, as he struggles between the choice of his maiden or his wine. The Berlinische Oden und Lieder also contains a setting of the C. G. Lieberkuhn text Die Unwahrheit (The Lie), set by Christoph Nichelm ann (1717- 62), who has been described as one of the least inspired composers at Frederick's court. 13 it is in AAB (Bar) form, with an A section that remains in the tonic B flat. After a cadence on the dominant in m. 11, the B section (Ex. 8) proceeds in C minor, the tonicized supertonic, for four measures. The dominant tonality F major returns and there are two deceptive progressions (mm. 17,20) followed by two measures of parallel fauxbourdon and an authentic cadence to the tonic B flat. It would be unfair to judge the work of the Berlin Lieder School based on this Lied, which more closely resembles the earlier Continue Lieder of the Baroque period. Berlin was a fertile ground for theoretical discussions of music. Burney, in an account of his travels to Berlin, claimed that there were more critics than practitioners in the city.13 14 A group of Berlin writers and philosophers were drawn together in the establishment of literary forums for weekly discussions. 13 Helm, 228. 14 Burney, 225. 30 Ex. 7 J. Agricola Der Wettstreit (mm. 1-6) (Hagedom) Berlinische Oden und Lieder II (1759)15 Mein Mad chen und mein Wein, Am: i V wol- lensich ent-zwein. ich den Zwist ent-schei - de. £ r r r r r r r r ^ r - ob ich den Zwist ent-schei-de, wird noch die Fra ge sein. + d + J J J m 6 5 # V 15 Friedlaender, 91. 31 Ex.8 C. Nichelmann Die Umvahrheit (mm. 12-27)16 (Lieberkuhn) Berlinische Oden und Lieder II (1759) 12 B section of AAB <^'8 .N r'T ir 77Pir p r Der Dich - ter ruh - met uns den Wein, ist of - fent- lich des P I r J) r-f M - Bb: p: P P Was - sers Has - set, und trinkt zu Hau- se doch nur Was - ser. Wie r tr r r p sehr doch Men-schen, wie sehr doch Men - schen Wahr - heit scheun! 6 6 6 6 V/V 16 Friedlaender, 92. 32 These writers did not strive to create serious, religious, or conservative poetry, as was popular in the literary circles of Leipzig and Dresden; rather, they were inspired to create lyrical poems that would reflect the images of secular society in the German states. In an effort to expand their efforts, they invited composers and musicians to join their discussion groups. Krause became the convener of the Monday Club (later renamed the Thursday Club), which served as a forum for writers, philosophers, and musicians throughout Berlin, including those at the court of Frederick the Great. This group ultimately included Johann Agricola, C. Nichelmann, the flutist Johann Joachim Quantz, the publishers Nicolai and VoB, Franz and Georg Benda, the court harpsichordist C.P.E. Bach, and philosophers such as Moses Mendelssohn and G.E. Lessing. Emanuel Bach attended several weekly meetings, and actively participated in the continuous flow of activity between the members of Berlin's creative community. In addition to the Monday Club, Bach frequented meetings at J.P. Zack's, J.G. Janitsch's, C.F. Schale's, and a Saturday evening concert at Agricola's hom e.16 Theoretical speculations on music in the Berlin circles included much debate regarding harmonic progression and chord function. Arguably, Johann Philipp Kirnberger (1721-83) was the most important theorist at Frederick's court. He was the first to establish rules for the treatment of dissonance in the pre-classical tradition, rules that conflicted with those of Marpurg, who had been his colleague from the J.S. Bach circle in Leipzig. Marpurg modeled his own theory on that of Jean-Philippe Rameau (1683-1764). One of M arpurg's disputes with Kirnberger dealt with the analysis of harmonic progressions. Following 16 Gudrun Busch, C.Ph.E. Bach und seine Lieder, Kolner Beitrage zur Musikforschung vol. 12, ed. Karl Gustav Fellerer, (Regensburg: Gustav Bosse, 1957), 42. 33 Rameau, Marpurg claimed that suspensions can create implied chords of the thirteenth and even the fifteenth. Kirnberger, in contrast, viewed some suspended dissonances as chord sevenths, and others as temporarily delayed chord tones. Both theorists argued that each was the more authentically 'German' in their viewpoint, and each claimed to follow the tenets of J.S. Bach. G.P.E. Bach attem pted to settle the matter by claiming that he and his father were positively "anti-Rameau."17 It is unclear just which side Emanuel Bach was attempting to defend, since Rameau's theories had already become so pervasive, that most musicians believed them to be related to the German musical tradition. Kirnberger dispensed with Rameau's implied chord theory to explain suspensions. Instead, Kirnberger preferred to explain suspensions as nonharmonic tones that resolve into chord tones without a progression in the fundamental bass. He made the distinction between non-essential (zufallig) dissonance, in which suspension tones resolve into a chord with no other voice motion (such as a 4-3 suspension) and essential (wesentlich) dissonance, in which other voices move and a new harmony results from the resolution. Kirnberger's tendency to identify these as chordal sevenths or ninths proves useful in the analysis of C.P.E. Bach's improvisatory keyboard style. Often, Bach's figurations can express complete seventh chords using only two-part textures. Like Rameau, Marpurg's approach to melody is that it is subordinate to and drawn from the underlying harmony. Rameau maintained that the source of melody was within its harmonic foundation. He also noted that although melody can be as expressive as harmony it is almost impossible to create rules for melody, which is 17 Joel Lester, Compositional Theory in the Eighteenth Century (Cambridge: Harvard University Press, 1992), 232. 34 largely subject to the dictates of good taste.18 Bach's progressive treatment of harmony, which is present in all of his music, is formally explained in his treatise Versuch uber die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments; 1753-62). In it, the composer extols the virtues of the fully diminished seventh chord, whose tones can be inverted and/ or enharmonicized to facilitate smooth modulations to remote key areas. Kirnberger distinguished two forms of the diminished triad: the consonant form within a root progression such as the supertonic chord in a minor key; and a dissonant form representing the upper three notes of a dominant seventh chord, or leading-tone triad. This distinction encouraged composers, accustomed to figured bass notation, to notate the differences carefully, so that an added sixth, appropriate in a leading tone chord as the anticipation of the fifth of the tonic, would not be inadvertently realized in a supertonic chord in minor, though the figured bass indications for both chords would appear to be the same (Fig. 1). In the figured bass works, C.P.E. Bach, in his painstaking attention to harmonic details, notated the distinction between the two forms using an arc shape (at Telemann's suggestion) over a triad with a diminished fifth in order to signify that it is the consonant form—the supertonic triad. Figure 1 Kimberger:Two forms of the diminished triad: consonant form dissonant form : ^7 | f L S \ ■■ {jL=j. J ■— ------H -? - • — T l ------— r r ------■ l i t : - ■ — 6 a ‘a CMaj: (ip6) (V) Amin: (vr 6) (x > 18 Lester, 124, quoting Rameau, Traite de I'harmanie (1726), Chapter 8. 35 Kirnberger's appointment to Frederick's court had provided him with a rationalistic, learned climate where he could pursue his theoretical research. Though the two had their disagreements, Marpurg had a deep respect for his colleague Kirnberger, who considered himself the principal caretaker of the Baroque aesthetic in Berlin. Kirnberger's own music, though saturated with counterpoint, was widely considered to be dry and uninspired. By the second half of the eighteenth century, the Baroque contrapuntal style was no longer popular in Berlin, and Kirnberger's music fell out of favor. One of his most important treatises. Die Kunst des reinen Satzes (The Art of Strict Composition; 1771-79), also received mixed reviews. Though some critics felt it was the first logical treatise on harmony, many realized that his ideas were not original, and that many were derived from the earlier writings of Fux and even Rameau. It is not surprising that Bach openly sided with Kirnberger against the Rameau-Marpurg theories. While Rameau had advocated the use of dissonance to structure phrases and to keep the premature cadence at bay, Kirnberger argued that a well-crafted harmonic progression with proper cadences at structural points was the best method to establish tonal centers. 36 Chapter 2 LITERARY INFLUENCES UPON C.P.E. BACH'S LIEDER Poets in northern Germany during the flourishing of the Continue Lied included Heinrich Albert (1604-51) and Martin Opitz 1597-1639). Opitz, both a leading poet and scholar, created a milestone in the development of German literature with his Buck von der Teutschen Poeterey (1624). In this treatise, Opitz outlined a set of rules to follow in order to create a higher level of German verse that emphasized clarity, consistent diction, meter, and rhyme. He was the first to point out that natural declamation with regular metrical divisions was logical in German verse, which was based on accentuation, rather than syllable counting. Opitz advocated moral and pastoral themes in short, symmetrical, rhyming verses, which was different from what had been produced by other poets in the early seventeenth century. He introduced into German poetry the classical French Alexandrine meter of twelve syllables, which superseded the couplet and bar form of the late medieval poets and subsequently dominated German poetry for the next one hundred and fifty years. Modern scholars have criticized the poetry of Opitz as being stilted and scholarly, due to its reliance upon strict metric and formal conventions.1 Simple folk elements in poetry were not explored by the Opitz followers, whose freedom to experiment was hampered by the then current trend of imitating 1 Werner P. Friedeiich, History of German Literature, 2nd ed. (New York: Barnes and Noble, Inc., 1948; reprint 1970), 49. 37 foreign models, which included French tragedies and Italian epics. The sheer length of many of the odes and narrative epic poems which resulted from the flourishing of Opitz's poetic ideals was a hindrance for composers who sought to compose music that would express the specific meaning of the words. The overall content and strophic form of his poetry did not encourage the composition of expressive music sensitive to textual nuance. Moreover, Opitz's poetry contained a preponderance of specific literary images within the individual verses, leaving little room for interpretations or varied meanings, so vital to the nature of lyrical poetry. By the middle of the eighteenth century, poets began to write verse which employed allusion and metaphor rather than literal imagery. The heaviness of Opitz's verse was gradually replaced by poetry exhibiting characteristics of the Rococo style, whose graceful manner was congenial to the aristocratic courts. There was a movement against the use of crude or erotic elements in literature and a new interest in amorous characters of charming wit. The Anacreontic poets Hagedorn, Uz, Wieland, Ramler, and Gleim were the principal contributors to this literary movement. 2 Their lyrical verses used characters from classical literature and tended towards the use of light and sentimental themes. C.P.E. Bach favored the gentle pastoral poems of Hagedorn and Gleim for at least twelve Lied settings from 1756 through 1780. Two of Gleim's poems which feature Anacreontic themes. A n die Grazien und Musen (To the Graces and Muses)—a moral story with fairies, cherubs, and shepherds—and the bucolic Lied 2 2 An excellent survey of poets in the German Enlightenment appears in Werner P. Friederich's History of German Literature (New York: Barnes & Noble, Inc., 1970), 49-72. More detailed information is available in J.G. Robertson's A History of German Literature, 6th ed. (Edinburgh and London: William Blackwood, 1970), 235-48. der Schnitterinnen (Song of the Women Field Workers) are included in Bach's Neue Lieder-Melodien anthology. Graceful fables, tales, and moralizing comedies were also written by C.F. Gellert (1715-69), a transitional figure between the classicism of the Opitz followers and the sentimentality of pre-Romantic poetry. His dramas followed the style of the French comedies in their treatment of satire, mistaken identities, and light moralistic tone. Gellerf s Geistliche Oden und Lieder (Religious Odes and Songs; 1757) was a popular collection which represented the strong pietism of the German people, despite the emergence of rationalist ideals. C.P.E. Bach provided musical settings for the Gellert texts in an important collection first published in Leipzig in 1758. Its popularity has been attributed to the fully written-out keyboard accompaniments, which greatly contrast with the figured bass of the Continuo Lied. Bach's songs exhibit an early attempt at the sort of expressive keyboard writing commonly associated with German art song in the nineteenth century .3 Foreign influences had a remarkable effect upon German literature in the eighteenth century. In part, it was the wisdom of the French Enlightenment philosophers, who advocated greater political freedom and religious tolerance, that affected Frederick's military decisions. Voltaire (1694-1778), a virtually life long confidant of Frederick II, was frequently summoned as a counsel to the Prussian monarch. Through Frederick's successes in the Seven Years' War (1756-63), Prussians were inspired to unify against the Hapsburg Empire and other foreign powers. Though Frederick the Great seemed to favor the French 3 3 Karl Geiringer, The Bach Family (New York: Oxford University Press, 1954), 371. 39 writers for philosophical inspiration and the Italian composers in his court operas, it was his own military accomplishments through the Seven Years' War which created the conditions for a truer national German literary movement than the Prussian poets could ever have hoped for. Though the rationalist theory of the Enlightenment (Aufldarung) had actually begun with the writings of the German mathematician and philosopher G.W. von Leibnitz (1646-1716), it was the massive and influential French Encyclopedie compiled between 1751 and 1772 by French rationalists led by Denis Diderot that spread the new doctrines of the Enlightenment throughout France, Germany, and England. The Encyclopedists presented the then-radical belief that man could arrive at truth by replacing religious faith with reason. In eighteenth-century Germany, the ideals of rationalism were principally carried out by the philosophers Christian von Wolff (1679-1754), and Moses M endelssohn (1729-86). Rationalism in literature was the focus of the dramatist, writer, and literary critic Gotthold Ephraim Lessing (1729-81). G.E. Lessing migrated from Leipzig to Berlin in 1748 to try his luck as a writer of dramatic works and student of philology and modem literature. He elucidated his pro-Greek classical ideas in his Kritische Briefe, die neueste deutsche Literatur betreffend (Critical Letters on the Most Recent German Literature; 1759). He believed that a poem should describe a succession of actions with occasional climaxes, not merely paint a scene with words.4 C.P.E. Bach included the setting of Lessing's An eine kleine Schone in the Neue Lieder-Melodien. 4 Friederich, 69. 40 It was Lessing, Bach's friend from Berlin, who helped him to meet important writers and scholars after he relocated to Hamburg. With Lessing's help, Bach joined Hamburg's literary circles, which included the poets Matthias Claudius (1740-1815) and J.H. Roding (1732-1800) and the poet-historian C.D. Ebeling (1741-1817). The Neue Lieder-Melodien contains one setting of verse by Professor Ebeling, and four settings by Roding, the Hamburg pedagogue, author, and religious poet. Bach was attracted to the friendly atmosphere of Hamburg and the liberal exchange of ideas which took place weekly at the home of mathematician Johann Georg Busch. It was there that he met Ebeling, who provided Bach the poem A u f den Geburtstag eines Freundes for a Lied setting. It has two verses, each followed by a refrain, which Bach set in through-composed form. Though the two strophes share the same metrical structure, Bach chose to delineate the individual meanings using different music for each verse. It is more than just a birthday wish—it is a heartfelt poetic homage and wishes of good tidings for a special friend. The Swiss physiologist Albrecht von Haller (1708-77) was the first German poet to give expression to the beauty of Alpine scenery. Bach's setting of eight verses from Haller's poem A n Doris is perhaps the most technically advanced Lied in the Neue Lieder-Melodien, as well as the longest (155 measures). The story of a man's ardent passion for Doris and his overwhelming attempt to appeal to her emotions is set in a through-composed unit of music which reflects the journey from sobriety to madness, and moves through lust, anguish, and contempt along the way. Though only one character is speaking, Haller's poem contains a dramatic scene between two people using a succession of moods and thoughts so vivid that they hint of the author's personal experiences. Though An Doris contains passages such as "Die kuhle Nacht streut Schlummerkorner, und trankt die trokne Welt mit Thau" (The cool night casts sleepy dust and saturates the thirsty earth with dew), Haller controls the extravagant use of imagery by relating such images to the scene surrounding the lovers. The protagonist, or main persona in the poem speaks directly to Doris throughout the eight verses. "Ach, Doris! fiihlst du nicht im Herzen" (Oh Doris! Don't you feel it in your heart) and "Was siehst du furchtsam hin und wieder, und schlagst die holden Blicke nieder?" (Why do you look timidly here and there casting down your graceful glance?) are both phrases that indicate interaction between the two characters. The descriptive imagery is abundant, but the poem's foundation is its story line. Johann Adolph Schlegel (1721-93) was a prominent preacher in the Protestant Church in Hannover. In the Neue Lieder-Melodien, C.P.E. Bach uses Schlegel's moralistic fable Bevelise und Lysidor (Der Phonix) in a simple chordal setting. As a poet, Schlegel rarely attained levels of overwhelming imagination, but he was, at times, a witty and clever versifier. The Rococo spirit of Schlegel's mid-century fable would have been outmoded as the leading literary currents in Germany had turned significantly by the 1780s, when Bach set this text. Nevertheless, it does contain the feature of a poetic 'bite' in the last line of text. C.P.E. Bach, as well as Schubert after him, seems to favor this device for musical expression. In the last line of each of the two stanzas, Bach sequences the phrase "nur Schade" (What a shame) twice in succession, for poetic emphasis and a hint of drama, as the repetition postpones the arrival of the last phrases, which contain the striking moral to the story. The story projects the idea that Lysidor was a rare and caring husband, but a good wife just doesn't exist anywhere! During the 1770s, composers increasingly adopted a different aesthetic for their songs, one which viewed the music not as simple amusement or background support to a poetic reading, but rather as an independent artistic creation designed to provide soulful, emotional sustenance. The Sturm und Drang song was a setting of a new poem whose literary and musical dimensions complemented one another in the pursuit of this higher level of expression. The literary movement known as the Sturm und Drang (Storm and Stress) extablished the importance of heightened expression and intensity in the works of contemporary writers. Sturm und Drang became the favored ideal in which a poem and its musical setting were written by contemporaries who shared these aesthetic ideals. Precursors of the Sturm und Drang movement included H.W. von Gerstenberg (1737-1823) and the Saxon poet F.G. Klopstock (1724-1803). Gerstenberg, a Dane by birth, is chiefly remembered for his gruesome tragedy, Ugolino (1768), which presented psychological states of mind, including passion and anguish, separate from the external action of the drama. Considered part of a bardic movement of the 1760s, Gerstenberg contributed two poems to C.P.E. Bach's body of Lieder, Passionslied and Schnitterlied, both from 1770. He also provided the text for Die Grazien (1774), a cantata which is included with the twenty-one songs contained in Bach's Neue Lieder-Melodien (1789). Gerstenberg was an important link from the traditions of Anacreontic poetry to the more esteemed poetry of Klopstock. Klopstock believed that the language of poetry should be different from that of everyday speech, and was in favor of abandoning rigid metrical stress in German verse to create greater expressiveness. Klopstock's poem Vaterlandslied embodied the ideal of Sturm und Drang in German lyric poetry—rich in images glorifying patriotism, religion, friendship, and nature. C.P.E. Bach, along with Gluck, Neefe, and J.F. Reichardt, set Klopstock's patriotic Vaterlandslied in the 1770s. As younger contemporaries, Neefe and Reichardt drew inspiration from the various Lied techniques used by Bach and Gluck. Margaret Stoljar suggests that although Gluck's Klopstock settings contain important solo interludes for keyboard, his songs did not contribute as much to the special relationship between voice and accompaniment as did Bach's songs.5 The Gottinger Musenalmanach appeared nearly three years prior to the founding of the Gottinger Hainbund (Gottingen University Grove League) in 1772. The model for this almanac was a French publication des Muses (1765). Poets most closely related to Gottingen's annual publication included J.H. Vofi (1751-1826), J.M. Miller (1750-1814), and L.C.H. Holty (1748-76). These young writers established public identity through their organization and in the circulation of their works in the Musemlmamchen. They shared ideas with one another and often produced many versions of a single poem, creating difficulty for later scholars seeking to identify texts. Though Vofi did not create the most 5 Margaret Mahony Stoljar, Poetry and Song in Late Eighteenth-Century Germany (London: Groom Helm, 1985), 80. notable poetry for the Musemlmanach, it was remarkable that a man from an extremely deprived background found support and comradeship within the Hainbund. With the notable exception of the Stolberg brothers, Christian and Friedrich Leopold, the Gottinger poets were from the peasant class or lower bourgeoisie. C.P.E. Bach's settings of Vo6 poems appeared in various editions of the Musemlmanach from 1776 to 1782. Both Holty and Miller excelled in the simple lyrics in the style of the Volkslied. Their themes did not deal with ladies, children, or characters from classical antiquity, but rather, with individual professions including huntsmen, fishermen, and the most solemn 'Romantic' figure, the gravedigger.6 Miller's poem Der Bauer (The Farmer), in a setting by Bach, appeared in the 1774 Gottinger Musemlmanach. Bach's only other setting of Miller is Der Friihling, an Roschen, a short strophic song filled with images of nature, which was published only in the Neue Lieder-Melodien. Bach's last collection of Lieder also contains Hcity's folklike Trirddied ("Bin Leben, wie im Paradies") as well as Holly's social commentary (gesellschaftlich) song Todtengrdberlied (Gravedigger's Song), a text which was also set by Franz Schubert early in his career. Johann Wolfgang von Goethe (1749-1832) was profoundly affected by the Sturm und Drang movement, which superseded the Enlightenment in Germany. In 1770, he went to Strassburg to complete his legal studies, met J.G. Herder (1744-1803), and joined the Sturm und Drang movement. It was Herder, a theologian and folklorist, whose philosophy was at the center of the irrational, moody, anti-classical style of the Sturm und Drang. Herder introduced Goethe 6 Alfred Einstein, Schubert (New York: Oxford University Press,1951), 44. to the works of Shakespeare and to the German folksong. Under the influence of Herder, Goethe wrote simple, naive, and tender folk-like poems like Heidenroslein (Hedge-Roses) as well as mysterious, irrational creations like Der Erlkonig (The King of the Elves), and expressions of rebellion and restlessness of the younger generation in such works as Rastlose Liebe and Prometheus. Though C.P.E. Bach did not set any Goethe texts, the influence of this writer upon German art song in the late eighteenth century was profound. Goethe had openly disapproved of setting deep or profound poetry to music. He lavished praise however, on settings of his own texts by J.F. Reichardt and C.F. Zelter. He applauded the Reichardt and Zelter settings for their harmonic simplicity and restrained use of modulation and keyboard passagework. Goethe was not generally in favor of the elaborate accompaniments to his texts set by Franz Schubert.7 While Goethe had advocated the Sturm und Drang movement in his youth, he harbored classical tendencies in his mature period. Similarly, Herder, who was known for his intense displays of mood and emotion, was also attached to classical ideals. Herder's doctrine of Humanitdt as formulated in Letters on the Advancement of Humanism (1793) was fundamental to German classicism. In the treatise, he rejected imitation in literature, considered poetry the fundamental communicator of the human race, and suggested the study of folk songs, ballads, and romances of the Middle Ages as sources for inspiration. As an administrator at the court of Weimar (1775-1832), Goethe began to adopt a more restrained style of writing, and eventually abandoned the 7 Maurice J.E. Brown, The New Grove Schubert (New York: W.W. Norton & Co., 1980), 13. 46 tempestuous style of the Sturm und Drang. During the Weimar years, he denounced the activity of revolution in favor of self-control, scholarly study, and rationalist philosophy. It was Goethe's classicism which brought him into inevitable antagonism with the Romantic movement, which was inaugurated in 1798 by the Athenaum, a treatise edited by the brothers von Schlegel (sons of Johann Adolph). To answer the criticism, Goethe defended the classical ideal of beauty in art in Winckelmann und sein Jahrhundert (1805). Ironically, the young Romantic writers looked up to Goethe as their master. Early Romanticists such as Heinrich von Kleist (1777-1811) did not consider themselves hostile to the Classicism of Weimar. Kleist sincerely sought to fuse the antique and modern poetic styles, and to blend German Classicism with Romanticism, as evidenced by his drama Prim, Friedrich von Hamburg, which combines a firm dramatic structure and sharp character delineation saturated with mystery, dreams, and complex psychological states.8 C.P.E. Bach set a number of poems by women writers, two of which were published in the Neue Lieder-Melodien. Bach's first published Lied, Schdferlied, or Eilt ihr Schafer (Hasten ye shepherds; 1739) is based on a text by Marianne von Ziegler, who had already provided texts for nine of his father's cantatas. As previously noted, this Lied first appeared in Grafe's Sammlung, Volume three (1741). One of the most beautifully balanced songs in the Neue Lieder-Melodien is Ich hoffauf Gott (I Rest My Hope in God). This strong conviction of faith was written by Charlotte Elisabeth Constantia von der Recke (1756-1833), the sister- in-law of Herzogs von Kurland. Recke, a celebrated poet of sacred texts, was 8 Walter Silz, Early German Romanticism (Cambridge: Harvard University Press, 1929), 228-32. associated with J.A. Hiller, who composed music for many of her verses. She spent three weeks of her 1785 travels throughout Germany in Hamburg, where she met the seventy-one year old Kapellmeister Bach. She described her visit as pleasant and noted that Bach played most passionately on the clavichord, and Frau Bach served an enormous amount of food.9 Bach set the three verses of Ich hoffauf Gott in ternary form, with the middle section in a contrasting key. The text declamation which results from Bach's perfectly balanced melody is one of the most expressive and heartfelt presentations in the entire Neue Lieder-Melodien. Johanne Charlotte Unzer, called Unzerinn, provided Bach with the text Freunde, Freunde, kommt soon after he arrived in Hamburg. The same metrical accents throughout its three verses enabled Bach to set effectively this nature poem in simple strophic form. Unzer was known for her treatise Eirdadung zum Vergniigen; Versuch in Scherzgedichten (Invitation to delight; Study of witty poetry; 1753). She was the "Imperial crowned Poetess and honorable member of German society in Gottingen and Helmstedt."10 Bach's tendency towards both emotional expression and formal classicism paralleled the Classic/Romantic dualism presented by Herder, Goethe, and the early Romanticists. Though Bach's connection to these ideals was based on Sturm und Drang/Pre-classical dualism, the results were remarkably similar. His aesthetic move from the Baroque Doctrine of the Affections to 9 "Johann Sebastians zweiter Sohn, damals schon 71 Jahre alt, in seinem Hause, im Hause vornehmer Hamburger und in der Michaeliskirche bot...vor dem Essen spielte er ihnen ein Abschiedsrondeau; Frau Bach aber, eine geschaftige Martha, gab sich alle Mtihe, ihren Gasten so veil Essen einzupfropfen, als nur immer Raum hat." Busch, 194. 10 Gudrun Busch, C.Ph.E. Bach und seine Lieder, Kolner Beitrage zur Musikforschung vol. 12, ed. Karl Gustav Fellerer (Regensburg: Gustav Bosse, 1957), 88. 48 Classic / Romantic ideals ushered in a new relationship between words and music and played an important role in establishing the artistic norms typical of late-eighteenth century Germany. 49 Chapter 3 CP.R BACH'S LIEDER AND AESTHETIC Bach's compositional output at different points in his career seems to have been greatly affected by the conditions of his employment. He served as Frederick the Great's harpsichordist in Ruppin, Berlin, and Potsdam from 1738 to 1767, an appointment requiring a very high level of creativity and technique, though the King never fully appreciated his exceptional abilities.1 During this period the composer kept in contact with his godfather, Georg Philipp Telemann, musical director of the five principal churches in Hamburg since 1721. Soon after his godfather's death in June of 1767, Bach applied for and was appointed to Telemann's position. Hamburg was a city where the middle class exercised a decisive influence on musical life, and Bach found its openness and intellectual climate very appealing. He turned toward new genres which he had previously neglected, primarily the large vocal forms: Passions, oratorios, and cantatas. His work in Hamburg was much more varied and extended than it had been in Berlin, and his reputation as a composer chiefly rests upon the works which he composed there. Gudrun Busch divides the Lieder of Bach into three categories according 1 "One of Emanuel's greatest disappointments was Frederick's failure to appreciate his compositions. Frederick, dedicated to the preservation of the cautious and correct aesthetic of Graun and Quantz, was repelled by the impetuous musical expressions of his cembalist." Eugene Helm, Music at the Court of Frederick the Great (Norman: University of Oklahoma Press, I960), 175. to text content.2 3 Of the 293 songs which she recognizes as Bach's total output of Lieder, 81 are secular solo songs (weltlich Klavierlied), 184 are sacred solo songs (gristlich Klavierlied), and 28 are Chorales (Kirchenlieder) based on liturgical texts. Busch further explains that the secular songs include folksongs (e.g., Nonnelied, c. 1782), folklike songs (e.g.. Holly's Trinklied, 1775), and accompanied solo songs (e.g.. Das mitleidige Mddchen, c. 1782). She divides the sacred songs into those setting texts intended for private or congregational use. Bach's secular songs for solo voice with keyboard accompaniment comprise more than a quarter of his total output of solo vocal literature. His early Lieder include settings of Marianne von Ziegler's Schdferlied (Shepherd's Song) and G.E. Stahl's Der Zufriedne (Satisfaction), both of which were published in Grafe's Sammlung (1741, 1743). Bach's strophic setting of Schdferlied (Ex. 9) contains eight strophes, each of which is divided into two sections. The binary form II: A :ll: B :ll and repeated bass-note pattern of this pastorella suggests the influence of the Musette, or pastoral dance-like piece with a held drone.3 The tonic-dominant-tonic harmonic structure of Schdferlied employs the use of parallel sixth-chords (fauxbourdon) and a secondary diminished leading tone chord (m. 7) serves to tonicize the dominant key for the B section. Both Schdferlied and Der Zufriedne were also set by Haydn in 1782. Bach's earliest Lieder also include Anacreontic works such as Gleim's Dorinde (1754), Hagedom ’s Der Morgen (1756), and Ewald von Kleist's Amint (1753). Songs such 2 Gudnm Busch, C.P.E. Bach und seine Lieder, Kolner Beitrage zur Musikforschung, vol. 12, ed. Karl Gustav Fellerer (Regensburg: Gustav Bosse, 1957), 214. 3 The influence of the instrumentally conceived songs in the Augspurger Tafelconfect (vols. 1-3) was widespread. J.S. Bach's English Suites—Nos. 3 and 6—marked gavotte are also quite similar to this style. 51 Ex. 9 C.P.E. Bach Schdferlied (Marianne von Ziegler) Grafe's Sammlung III (1741)4 Pastorella. (Nicht schnell.) r r rj ui r j r /E ilt , ihr Scha - fer, a us den Grim - den, eilt zu LUnd, sor bald ihr ihn ktinnt fin - den, sagt. dass G: I J J. ^ ¥ r..... ------1 r ¥ "H" mei nem Thyr - sis hin, \ /s a g t , was er mir ich ihm giin - stig bin: J \ Sagt, er soli auch ^pf-.-T r i # r r ir r# (vile/V) FF r mit - ge - nom men, nennt die Frei heit und mein Herz. \ wie - der - kom men, derm man treibt da - mit nicht Scherz.J H p . J f # r j ij r r 7 strophes to follow 4 4 Max Friedlaender, Dos deutsche Lied im 18. Johrhundert, vol. 1 (Stuttgart and Berlin: J.B. Cottasche Buchhandlung Nachfolger, 1902), 49. 52 as these first appeared in the Ramler-Krause edition Oden mit Melodien, and in M arpurg's Berlinische Oden und Lieder. The earliest compositions by Bach to be written in what contemporaries termed the expressive (ausdrucksvoll) style were the Pieces characteristiques for keyboard, the first of which appeared in 1751. In these pieces, he attempted to create stylistically varied musical portraits of his friends in Berlin. In contemporary music journals, these individual keyboard pieces were highly praised for their ability to portray the personalities of several of Bach's female acquaintances, as well as members of the Monday Club, including lawyers, poets, scientists, diplomats, doctors, and musicians.5 Although the pieces contained the instruction 'pour clavecin' or 'per il cembalo,' the varied dynamic markings throughout would have best been served by the clavichord or fortepiano. The musical depiction of emotions within each character's soul was an important aspect of these solo keyboard pieces.6 With the Lied, the portrayal of emotion is inherently easier, as the text itself can describe a character or tell a story. The same principles of expression in the Character Pieces can be found throughout Bach's Lieder—especially the use of the minor mode to express melancholia, and full-voiced, triadic major chords to connote happiness or celebration. For example, the text of Ich hoffauf Gott (App., p. 193; 1785) from the Neue Lieder-Melodien begins with the affirmation of religious faith in C major, moves to C minor for the second verse, which describes the sorrow that 5 Darrell M. Berg, "C.P.E. Bach's Character Pieces and his Friendship Circle" C.P.E. Bach Studies, ed. Stephen L. Clark (Oxford: Clarendon Press, 1988), 2-32. 6 "In denen er sich dem Charakterstuck nahert: der Ausdruck des Seelischen, gebunden an einen bestimmten Affekt im Sinne der herrschenden Affektenlehre, tritt in den Vordergrund." Busch, 276. 53 overtakes the human spirit when there is lack of faith. The harmony returns to the tonic C major for the last verse, which forcefully reaffirms the joy of receiving guidance from the loving God.7 8 Considerable insight into the compositional technique of Bach's maturity may be obtained from consideration of his monumental treatise on the art of keyboard playing, the Versuch tiber die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments), Part One of which was first published in 1753.8 In the Versuch, Bach particularly extolled the expressive possibilities of the free fantasia. He asserted that in fantasias, frequent modulations were possible, but the listener must have the general impression of the central tonality at all times.9 In the revised edition of the Versuch (posthumously published 1797) he further specified the manner in which these modulations should be introduced: Striking modulations should be accompanied by changes in character, use of fermata, rests, different register, different dynamic, diversity of voices, instruments, etc.10 In both keyboard works and Lieder, Bach's use of these devices serves to isolate 7 Ich hoffaufGott and other NLM songs are discussed more fully in Chapter 4. 8 A second printing in 1759, was followed by the addition of Part Two in 1762. As a theorist and pedagogue, Bach was highly acclaimed for the Versuch, one of the most important works of the eighteenth century, along with Quantz's treatise on flute playing and Leopold Mozart's Griindliche Violinschule. The Versuch provided the foundation for modem keyboard technique. Haydn, Mozart, and Beethoven all studied this work attentively, and Weber was also to derive much inspiration from it. Hans-Gunter Ottenberg, C.P.E. Bach (Oxford: Oxford University Press, 1987), 69. 9 William J. Mitchell, ed. and trans.. Essay on the True Art of Playing Keyboard Instruments by Carl Philipp Emanuel Bach (New York: W.W. Norton & Co. 1949), 430-2. 10 C.P.E. Bach, Versuch iiber die wahre Art das Clavier zu spielen (1797) quoted in Richard Kramer, 'The New Modulation of the 1770s: C.P.E. Bach in Theory, Criticism, and Practice" JAMS 38 (1985), 552. This passage was not included in William Mitchell's well received English translation published in 1949. the accentuation and articulation of phrases, resulting in a kind of arioso presentation.11 For example, in the Lied A u f den Geburtstag eines Freundes (c.1767), there is a particularly effective use of rests and syncopation, both of which are used to emphasize important phrases and separate expressive text repetitions (App., pp. 178-9; mm. 30,43). In the Versuch, Bach also described the two keyboard instruments he particularly favored. He asserted that every good keyboardist should have a firm basis in both harpsichord (for finger strength) and clavichord (for touch sensitivity). The clavichord was Bach's choice of keyboard for expressive nuances and delicately graded dynamics. Repeated notes could be slurred and dotted on the clavichord, whereas the harpsichord rendered them fairly constant and unslurred. The clavichord, with its origins in the Middle Ages, was used regularly from the fifteenth through the eighteenth centuries. It had a very soft sound, but variations in pressure upon the keys could produce dynamic effects much the same way as they do on the piano. The most distinctive attribute of the clavichord was its ability to produce a kind of vibrato by varying the pressure with which a key is held down, and by using finger tremolo like a string player. Burney described Bach's delicate and expressive playing upon his favored instrument, the Silbermann clavichord, as follows: In his pathetic and slow movements, whenever he had a long note to express, he absolutely contrived to produce, from his instrument, a cry of sorrow and complaint, such as can only be effected upon the 11 "Diese Pausen und Fermaten zeigen, dafi nicht nur die Betonung, sondem auch die Gliederung innerhalb der Zeile dem sprechenden Ausdruck unterstellt wird, was zur Isolierung von Redeteilen, zu einer Hinneigung zum Ariosen fuhrt." Busch, 290. clavichord, and perhaps (only) by himself.12 Bach's pieces for clavichord included his Lieder, Handstucke, rondos, sonatas, and keyboard fantasias. He was one of the last major figures to write primarily for this instrument. By the end of the eighteenth century, schools of pianoforte playing had become well-established, and the clavichord was considered to be outdated. The Versuch also provides insight into Bach's style of accompaniment. In Part Two, he asserted that a good accompanist, more than a soloist, has to be concerned with the rules for good performance. In the cantabile style, appoggiaturas should be emphasized, while their resolution should be softened. During solos requiring a delicate accompaniment in a slow tempo, the accompanist should carefully omit ornaments if they obscure the melody. The fewer the parts (voices) in a piece, the more refined its accompaniment must be. Bach further advised that a keyboardist who wishes to become a fine accompanist should listen to fine singers. After the publication of the Versuch, Bach produced his first important collection of sacred songs, Herrn Professor Gellerts Geistliche Oden und Lieder mit Melodien (1758). By 1784, this anthology had been reprinted five times. The songs, which were intended for private rather than public use, contain a considerable amount of harmonic interest with dissonance and chromaticism, and show a innovative approach to the treatment of the text. The compositional resources of these sacred songs are not so different from those of his father's work, but the melodic line is more fragmented in response to details in the text. 12 Charles Burney, The Present State of Music in Germany, vol. 1 (1775; reprint. New York: Broude Brothers, 1969), 270. The repetition of individual words and phrases was not typical of contemporaneous works of Marpurg and Krause. Cellert had expected his words to be set to chorale melodies, but the settings by Bach met with his approval—especially after they became widely known.13 14 The decline of the Continuo Lied at mid-century is thought to reflect the increase in amateur performers who were unable to properly realize a figured bass accompaniment. In recognition of the growing market of amateur musicians, Bach carefully composed the Gellert-Lieder in such a way that the songs would not be subjected to the realizations of a keyboardist with limited skills. In the preface to the 1758 collection of Gellert's Lieder he explained that the songs were constructed in such a way that they could also be played as solo clavier pieces. I have added to my melodies the necessary harmonies and embellishments. In this way, I have not abandoned them to the capriciousness of a stiff general bass player; one can also use them as keyboard pieces.!4 The accompaniments of the Gellert songs bear a close resemblance to C.P.E. Bach's own character pieces for keyboard. They are fully written-out (no thoroughbass) with precise dynamic markings, and they contain preludes. 13 Stephen Town "Sechs Lieder von C.F. Gellert as set by C.P.E. Bach and Ludwig van Beethoven: A Comparative Analysis," NATS Bulletin (May/June 1980), 30. 14 "Ich habe meinen Melodien die nothige Harmonic und Manieren beygefuget. Auf diese Art habe ich sie der Willkuhr eines steifen General-Bafi-Spielers nicht uberlafien durfen, und man kann sie also zugleich als Handstucke brauchen..." C. Eisert, Gellerts Geistliche Oden und Lieder fur Singstimme und Klavier (Neuhausen-Stuttgart: Hanssler-Verlag, 1988), 4. interludes and postludes (Ex. 10). Much of the Lieder published prior to Bach's Gellert Lieder (recall Exs. 1-4, pp. 13-24) consisted of diatonic two-voiced accompaniments with one line in the treble voice and a single bass line. The publication of Bach's settings of the fifty-four Gellert texts was significant in several regards. It marked the first time Gellert's poems were published as song texts. Moreover, Bach's musical collection was the first by a member of the Berlin School to be entirely devoted to the works of a single composer. In addition, it was the first collection from the Berlin School to contain the texts of a single poet. The popularity of these poems, which subsequently were set by Quantz, Grafe, and Hiller, reached its highest point in the settings by H aydn (1799), and in Beethoven's Op. 48 (Six Settings of Gellert Lieder, 1803). Finally, by treating the Lied as a solo keyboard piece (Handstiick or Klavierstuck), a practice outlined in the preface of the Gellert Lieder, Bach contributed significantly to the pedagogical literature for keyboard instruments from the mid-eighteenth century. Gudrun Busch credits Bach for creating a rich collection of light to moderately difficult pieces that, with the underlying texts, served to teach accompanists the finer points of articulation and phrasing, and asserts that Bach's songs are still a valuable source of instruction in the art of keyboard accompaniment.15 To the present day, Bach's treatise on the art of keyboard playing and his collection of Gellert Lieder are widely considered to be among his greatest achievements. 15 "1st Bachs Lied heute noch lebensfahig? Wir behaupten: ja!" Busch, 406. 58 Ex. 10 C.P.E. Bach Wider den Ubermut (mm. 1-20) (Gellert) Gellert's Geistliche Oden und Lieder (1758)16 Angenehm und etwas lebhaft. ^ ... P l Q j J. ...fNi: r r ^ s '= j M > - K - > • •/> P=rf=r i ^ = i r p i Was ist mein Stand, mein Gluck und je - de gu - te pr P V 9 ...... ------r « f 9';- m ...... ==&;^=:= l-^- m ^ Herman Roth, ed. 30 Geistliche Lieder von C.Ph.Em. Bach (Leipzig: C.F. Peters, 1921), 20. Following the success of the Gellert songs, Bach added a supplement of twelve additional songs by anonymous poets to the Gellert Lieder collection reprint of 1764. Gudrun Busch subsequently has identified Anna Luise Karschin as the poet of at least three of these pieces.17 Bach also published psalm settings by Herrn Doctor Cramer in 1774, and a compilation of sacred songs by the H am burg pastor Christoph C. Sturm educed three printings from 1780 to 1792. Bach's first collection solely devoted to secular songs, the Oden mit Melodien (1762; reprinted Leipzig: Breitkopf, 1774) appeared in 1762, and comparable works appeared sporadically throughout the years 1760 to 1788. The 1770s saw the production of many secular songs on poems of Vofi, Klopstock, Overbeck, Gleim, and Holty, a number of which were published in the Gottingen Musenalmanachen. Bach's settings of twelve Masonic songs were released by Breitkopf in 1788, and the final anthology of secular songs, the Neue Lieder- Melodien nebst einer Kantate zum singen beym Klavier, became available from C.G. Donatius in 1789. As Gudrun Busch has noted,18 the Gellert Lieder raised important questions regarding Lied composition, one of which is how to create expressive accompaniment in verses other than the first in strophic settings. Though Bach experimented with the modified strophic form as early as 1753 with Giseke's Die Ktisse, all of the Gellert Lieder were purely strophic song settings containing four to twenty-two strophes each. Similar strophic forms were favored by Bach's 17 Busch, Anh., 15. 18 "Hier begegnen uns schon einige der angedeuteten Fragen in der Praxis: Strophenlied, Affektausdruck, Benutzung des liedes als Klavierstuck usw." Gudrun Busch, C.P.E. Bach und seine Lieder (Regensburg:Gustave Bosse Verlag, 1957), 274. 60 Berlin contemporaries, a tendency which led Riemann to characterize the Berlin Lied composers as a whole as Ode manufacturers (Oden-Fabrikanten). 19 Throughout his career, Bach favored the strophic form only when the metric accent of the words was consistent throughout all verses. In poems with freer use of poetic rhyme and meter, Bach chose to modify the strophic form to create melodies that were nearly the same from verse to verse, but contained slight rhythmic variations to better accommodate the natural rhythms of the poetry. In his settings of secular poetry, however, Bach often did not set long poems of multiple strophes, and in the Neue Lieder-Melodien he experimented with different formal structures. During his maturity he used a variety of forms, running the gamut from strophic, to modified strophic, to through-composed. For example, Freunde, Freunde, kommt and A n die Natur, both dated from about 1767, utilize the strophic form. In contrast, the song A u f den Geburtstag eines Freundes (possibly from the late 1760s), features the through-composed structure and harmonic diversity more commonly associated with Bach's later songs. It was not until the 1770s and 1780s, when the ideals of Sturm und Drang swept Germany, that Bach's originality began to be fully appreciated. It was his younger contemporary J.F. Reichardt (the composer who continued the Lieder School tradition at Frederick's court after Bach had departed for Hamburg) who first observed that there was a similarity in style between the free rhythms of the Sturm und Drang poetic language (exemplified by Klopstock) and Bach's improvisatory keyboard style. The term Sturm und Drang (Storm and Stress, taken from Maximilian Klinger's drama of the same name, 1776) has been used 19 19 H. Riemann, Musiklexikon, ed. A. Einstein (Berlin: 1929) quoted in Eduard Reeser, The Sons of Bach (Stockholm: Continental Book Company, 1949), 42. to describe a style of music that is excited and tense, with surprises in dynamics and harmony. Bach used appoggiaturas and modulations to remote keys as early as his Sinfonia in E minor (1756), and he continued to employ these devices in his later keyboard fantasias and Lied accompaniments. Bach's setting of Haller's An Doris (App., pp. 159-73; 1775) provides a representative musical example of the Sturm und Drang aesthetic. 20 Though F major is clearly the home key, the eight verses progress through a series of tonal areas, each of which are chosen to express the prevailing mood of the text. Dynamic contrast is also prominent in An Doris. Verse seven in D minor begins at forte ("Mein Feuer brennt..." m. 104). The dynamics shift abruptly between forte, piano, and pianissimo four times from m. 119 to m. 127 as the words describe fluctuating states of ardent passion, lament, emptiness, and seclusion. The use of such expressive dynamic markings and descriptive headings for lyrical songs and keyboard pieces was not widely practiced by composers in conservative Berlin. Some years later in Hamburg, Bach's friend the philosopher H.W. von Gerstenberg proposed adding actual literary quotes to the headings of Bach's sonata movements. Bach agreed with Gerstenberg's idea to use descriptive headings, but he never went so far as to use the suggested literary quotes. The depiction of the text by the musical accompaniment took many shapes in Bach's Sturm und Drang Lieder. In addition to the use of rests, harmony, and dynamics, expression could be achieved in more subtle ways. Die Trennung (The Separation; c. 1775) contains sonorous octaves in the left hand which imitate bells ringing a farewell (Ex. 11). The character of the song changes as the ringing 20 20 An Doris is discussed more fully in Chapter 4. 62 Ex. 11 C.P.E. Bach Die Trennung (mm. 10-18)21 (Eschenburg) Friedlaender's Das deutsche Lied im 18. Jahrhundert Sehr langsam und traurig i - f O' w—Pr E t f Ein Fremd - ling al ler Freu leb 16 fr m r 7 r"p I:r~ p r f wig ver- giest nun, Daph ne. michi f-. ^ ii (6 strophes to follow) This Lied was unpublished until 1902. Max Friedlaender Das deutsche Lied im 18. Jahrhundert vol. I (1902; reprinted Hildesheim: Georg Olms Verlag, 1970), 133. 63 octaves move from perfect to diminished and augmented intervals. The shifting vocal line of this Eschenburg text is exquisitely supported by a gentle rocking motion in the bass. Walther Wiora has described the eighteenth-century Lieder from the Berlin Lieder Schools as "kunstlose Kunstlieder."22 In doing so, he explained that the Berlin Lieder are not art songs in the manner of Schubert's works, rather, they were more closely linked to the tradition of folksong. Wiora felt that his formula "The Artless Artsongs" could serve to describe the combination of two types of Lieder: the Volkslied (folksong), and the Kunstlied (art song). Wiora also argued that the contributions of the Second Berlin Lieder School, especially those of J.A.P. Schulz, were more natural and therefore more "artless" than those of Krause.23 Citing examples from the awkward (unempfindlich) text declamation of Sperontes and the Augspurger Tafelconfect (settings to previously composed instrumental pieces), Wiora credits the Berlin composers for instigating principles of good declamation. Gudrun Busch notes that songs containing dance rhythms, such as Bach's early Pastorella Schaferlied and Musette Die Biene, employ less effective approaches to declamation. She also suggests that Bach's approach to melody becomes increasingly reflective of the declamatory rhythms of folksong in his later settings of Mmanac-d&nved poetry in the Neue Lieder-Melodien. 22 Walther Wiora, Das Deutsche Lied: Zur Geschichte un Aesthetik einer tnusikalischen Gattung (Wolfenbuttel und Zurich: Moseler Verlag, 1971), 105. 23 "Dergleichen ist kein 'Kunstlied', verglichen mit Werken Schuberts, und ist es doch im Vergleich mit Volksliedem. Die Formel 'Das kunstlose Kunstlied' soli dazu dienen, beide Aspekte zu verbinden. ...der Volkston bei Schulz mehr Naturlichkeit hat also der philanthropische Purismus um Krause." Wiora, 108-9. 64 The varying approaches to text declamation in eighteenth century song can be briefly assessed by comparing the opening incipits of five contemporaneous settings of the Klopstock poem Vaterlandslied (Ex. 12). Bach's setting portrays feelings of patriotism, pride, and majesty by using a downbeat placement of the word "Ich." The rhythm of his declamation provides the song with a triumphant and march-like character. In contrast, Reichardf s setting may be criticized for its awkward upbeat beginning and sing-song rhythm s.24 Schubert's setting also begins on the upbeat and Neefe makes little effort to follow speech-like text declamation. Of the five examples, his rhythmic choices choices are the most contrived. The awkward motive which begins Neefe's Lied: I 3 | opening line. Each time this motive returns throughout Neefe's setting, it upsets the equilibrium of the poetic meter. Finally, although the rhythmic motives in Gluck's Vaterlandslied melody are powerful, the dotted figures do not portray speech-like declamation. Gluck's melody is less folk-like, and more vocally extended in the style of an operatic aria. Thus, comparison of these five settings suggests that Otto Vrieslander was essentially correct when he observed that the particular character of C.P.E. Bach's Lied melodies derived in part from the balanced manner in which the composer drew not only from folksong, but also from the dramatic content of the poetry. Vrieslander asserted that the vocal style of Emanuel Bach lies between that of Handel and Schubert and uses elements of drama as well as folksong to achieve balance in the Lied, 24 24 "It is a little surprising that the 21-year-old composer should have written a ponderous, slow- moving tune employing a somewhat hackneyed upbeat beginning, so that the emphasis falls on verb rather than subject." Margaret Mahony Stoljar, Poetry and Song in Late Eighteenth-Century Germany (London: CroomHelm, 1985), 68. 65 Vrieslander argues that Bach's lyrical works were absolutely grounded in intellect and reason and had a vast (unermefllichen) influence upon such composers as Haydn, Mozart, Beethoven, Chopin, and Brahms.25 Ex. 12 Vaterlandslied (incipits) (Klopstock) C.P.E. Bach 1774 V _ J zj___F »_•______^ ______m— m— r ^ «_\ / \ 1 TV - 1 ' ^ jF » m ^ 1 AH ? /t i 7 n m • T r w m J—LU 1 ^ 4 1 J — n — L 1 ^ Ich bin ein deut- sches Mad - chen! Mein Aug ist blau und sanft mein Blick; Schubert D.287(a) 1815 Massig. fTs $ i . -p Ich bin ein deut- sches Mad - chen! Reichardt 1773 Massig und mit Nachdruck.i ¥ £ j m Ich bin ein deut-sches Mad - chen! Mein Aug is blau und sanft mein Blick; Gluck c.1773 Ich bin ein deut - sches Mad - chen! Mein Aug" ist blau, und sanft mein Blick, N eefe 1776 i K ...... - * ' n , K t e VL > tj 1 n n i ^ i / •/ m T m I h s V __L j __1 | ; c • r f •/ n < z L-5^ ------9— S n* —L— t ' r rri: ______•__e Ich bin ein deut-sches Mad-chen! Mein Aug ist blau und sanft mein Blick 25 Otto Vrieslander, Carl Philipp Emanuel Bach Lieder und Gesdnge (Munchen: Drei Masken Verlag, 1922). 33. 66 Chapter 4 THE NEUE LIEDER-MELODIEN NEBST EINER KANT ATE (1789) Emanuel Bach's final anthology of Lieder, the Neue Lieder-Melodien nebst einer Kantate zum singen beym Klavier, contains twenty-one songs and one cantata, all of which were composed from about 1767 to 1785. C.G. Donatius published the songbook at Lubeck in 1789. One month prior to Bach's death in 1788, the Hamburger Correspondent news journal announced the availability of this anthology in the following words: Which admirers of music would not be thrilled, to see again, from our worthy Music Director Bach a collection of songs and the composition of a Cantata, since he himself has not produced the same (type) of work for a long time. It would be unnecessary to say that these melodies collectively bear the stamp of the musical genius of their great composer, for it is well-known that this esteemed man does not release to the public any works which he has not laboriously studied and examined. (Music) lovers will also find, if they sing these songs at the keyboard, how much the Music Director has taken into consideration the composition of the melody, the tonality, the choice of meter, and the rhythm in the content of each individual song.1 1 "Welcher tiebhaber der Musik wird sich nicht freuen, von unserm wurdigen Herrn Kapellmeister Bach eine Sammlung Lieder und die Composition einer Cantate wieder zu sehen, nachdem er ihnen seit langer Zeit dergleichen Arbeit nicht geliefert hat. Es ware unnothig, zu sagen, dafi diese Melodien sammtlich das Geprage des musikalischen Genies ihres grofiem Componisten tragen, da es bekannt ist, dafi dieser verehrungswurdige Mann keine seiner Arbeiten offentlich herausgiebt, die er nicht sorgfaltig studirt und gepruft hat. Die liebhaber werden es auch finden, wenn sie diese Stucke am Clavier singen, wie sehr der Herr Kapellmeister auf den Inhalt eines jeden Liedes bey der Composition der Melodien, auf die Tonart, auf die Wahl des Tactes, auf den Rhythmus Rucksicht genommen hat." Gudrun Busch, C.P.E.Bach und seine Lieder, (Regensburg: Gustave Bosse Verlag, 1957), 190. 67 Nearly every type of contemporary poetry is represented within the collection. For example. Classical Anacreontic characters are present in Gleim's An die Grazien und Musen, whereas folk-song characteristics abound in the Swiss folk-poem Nonnelied and in Gleim's Lied der Schnitterinnen. Settings of witty poetry—which were extremely popular among the Berlin Lieder composers—also may be found. Bach set Lessing's An eine kleine Schone and Gleim's Mittel, freundlich zu werden, both of which are short, charming, and folklike. "Jesting songs" (Schertzlieder) are atypical of Bach, who usually chose darker or more serious texts. Roding's tribute to nature. A n die Natur, for example, is not merely a description of the beauty in nature, it is a prayer of devotion for the creator's masterpiece (App., pp. 155-8). Preference for folk simplicity or artlessness was shown in the lyrical works of the eighteenth- century German poets. Roding's text suggests that man, obsessed with vanity and pretense, must glorify and conserve nature, the creator's masterpiece. Bach's choice of Haller's An Doris exemplifies the emotional poetry favored by Bach, with its shifting moods that reflect the Sturm und Drang poetic style. The sentimental poetry of the Gottinger Hainbund (Gottingen Grove League) also appears in the Neue Lieder-Melodien. H olty's Todtengrdberlied represents the Gottingen tradition of combining almost childlike naivete with social commentary and depth of emotion (App., pp. 213-15). While contemporary Lied composers in Berlin were setting uncomplicated poems such as Der Wettstreit (Mein Madchen und mein Wein...) and Der erste May (Der erste Tag im Monat May...), Bach was working with more serious and psychologically varied texts. The moralistic fable Bevelise und Lysidor by J.A. 68 Schlegel describes a widow's sorrow and her decision to remarry.2 The story of Belise und Thyrsis also approaches the subject of death, and depicts the anguished parting of lovers. Elise von der Recke's Ich hoff auf Gott is a purely sacred poem of devotion, which Bach sets in a similar formal scheme to the da capo aria. Following Bach, Neefe and Reichardt also set more serious texts, which often required more complex expressive musical accompaniments than had been in fashion with the First Berlin Lied School composers. The poetic texts used in the Neue Lieder-Melodien can be grouped into three categories based on the dates they were first written. The poems written prior to 1767 were the output of Berlin writers, many of whom were members of the Montagsclub (Monday night group). Texts written after 1767 came from the literary circles of Hamburg, which included doctors and professors. Several poems from the 1770s are attributed to the Gottingen poets, most of which became known to Bach through the annual publication of the Musenalmanach. Table two lists the sources of poetry used in the Neue Lieder-Melodien. The musical styles of Lieder in the Neue Lieder-Melodien are also varied. Some pieces resemble works written by members of the First Berlin Lieder School in their simple strophic forms and moderate use of harmonic expressivity. Of greater significance, however, are the songs composed after 1775, which show a higher degree of originality. Bach's audience in Hamburg was different from that in Berlin, since he no longer was composing for a court, but rather, a healthy middle-class audience interested in obtaining both a musical education and 2 Poem texts and translations for twelve songs in the Neue Lieder-Melodien appear with modem score transcriptions in the Appendix of this study, pp. 149-215. TABLE 2 SOURCES OF POETRY IN THE NEUE LIEDER-MELODIEN 3 Pre-1767 Berlin: An Doris Haller, 1730 An eine kleine Schone Lessing, 1751 Belise und Thyrsis Anon Bevelise und Lysidor J.A. Schlegel,1745 1770s Musemlmamchen An die Grazien und Musen Gleim Aus einer Ode zum neuen Jahr Anon. Das mitleidige Mddchen Miller Der Fruhling, an Roschen Miller Lied der Schnitterinnen Gleim Mittel, freundlich zu werden Gleim Nonnelied Anon Todtengrdberlied Holty Trinklied Holty 1767-C.1785 Hamburg: An die Natur J.H. Roding A u f den Geburtstag eines Freundes CD. Ebeling Die Grazien fa cantata) H.W. von Gerstenberg Freunde, Freunde, kommt J.C.Unzer Ich hoffauf Gott 3 E.v.dRecke 3 The dates in this table follow those given in Gudrun Busch, C.P.E.Bach und seine Lieder, 1%. recreational diversion The range of expression in the songs of the NLM suggests that Bach's duties in Hamburg enabled him to experiment more freely in his own style. There are both functional and coloristic uses of harmony throughout Bach's Lieder. Chord progressions in the Neue Lieder-Melodien have a remarkably Romantic character in many cases because of the increased freedom in part writing, incomplete triads of ambiguous mode, and delayed resolutions. Quite often, the composer briefly tonicizes key areas other than the tonic without effecting a full-scale modulation. Bach's treatment of harmony, referred to by German critics as Bimrrerie, 4 was considered unique and innovative. Many of the songs in the Neue Lieder-Melodien exhibit Bach's skill at using harmony to achieve depth of feeling. Chromaticism is more commonly used within passages in the minor mode and for expressing a specifically dark or sad character. Bach also commonly uses chromatic sonorities to intensify a progression from dominant to tonic, or to effect modulatory passages from one tonality to another. The Baroque Doctrine of the Affections (Affektenlehre) embraced by C.P.E. Bach held that the chief purpose of music was to portray specific emotions.5 The ear tires of unrelieved passage-work, sustained chords, or broken chords....they neither stir nor still the passions;...A musician cannot move others unless he too is moved....the revealing of his own humour 4 Margaret Majony Stoljar, Poetry and Song in Late Eighteenth Century Germany: A Study in the Musical Sturm und Drang (London:Croom Helm, 1985), 64. 5 C.P.E. Bach sincerely believed that music should touch the heart, which, as he said, could not be achieved by "running, rattling, drumming, or arpeggios." Rey M. Longyear, Nineteenth Century Romanticism in Music, 3rd. ed.(Englewood Cliffs: Prentice Hall, 1988), 28. will stimulate a like humour in the listener...however, the error of a sluggish, dragging performance caused by an excess of affect and melancholy must be avoided. 6 A reproduction of the original Inhalt (Table of Contents) of the Neue Lieder-Melodien (Fig. 2) is followed by an annotated version (Table 3). In Table three, the songs are listed in the original order of the collection. However, in the following pages of critical analyses as well as in the Appendix of this document, selected songs and poems from the NLM appear in alphabetical order by title. 6 William Mitchell, trims., Essay on the True Art of Playing Keyboard Instruments (New York: W.W. Norton & Co., 1949), 152,438-9. FIGURE 27 . « ■ t- •:■ '..-7: . : • ■ •' . • So SebtensraBeetiefi ", '{■' Seiee % ' ' XII. Ste 3ufrieben^ei6 • i ©eite 2S •■•••■ ./ - ' ' . "HL 8kb ber @4»lttetisneR t $ g XIII. ?dit?He6 - t s . .24 . . 1IL Slsnttcfieb. (Ku6 6ero Cenion ©(^roefg) 4 1 .. XIV. 2fuS efneg 8be jum imzcR 3 66e > s 5 • IV. SMS mlttdbige SRabcfyen t 9 XV. ©erknlieb * Sg ‘ ‘ •. . V. Sn Me ©rajlew nnb SRufere t ' ■ SQ ■ XVI. SDiittel/freunMidj ju werbe« go •' ' VL b$e 9Iatue ■'/■ ss ' . XVII. Huf Bern ©tbnttdtag eineS ^reunbeS 32 ‘ VIL Smltfe imb Sggbet. (See 24 - • XVIII. 3 # faff suf @666 if. r ' 35 . .VIII. meltte Kufagitte « • 2^ . XIX. .greunbe, gceunbe# ?emm{ it. ' 38 ••• • . ' 2X. See grubling, aii St&gcfyeti ? 28 . ! ■ XX. Sn effle Heine @^8»e s 39 X» $5i(ife nnb 5fae(l6 • * ’ SS> • XXI, Kb SetiS . e ' t t 4© • .•'• XI-&*R © - "% . . ^.gebm^ 669 SfmjHet? ©gedoB S 5u6eL ?" • N ■ 1 • • * . * . ‘ »' * - 7 Figure 2 is a reproduction from microfilm sources— courtesy of Books on Demand, University Microfilms, Inc., Ann Arbor. 73 TABLES The Neue Lieder-Melodien nebst einer Kantate zum singen beym Klavier componirt von Karl Philipp Emanuel Bach Twenty-one songs and one cantata for solo voice with keyboard accompaniment, posthumously published by Christian Gottfried Donatius (Lubeck, 1789). Title Incipit Poet Thematic Catalogue Listings Approx. Date of Composition8 M odem Edition (if any) 1. Todtengrdberlied "Grabe, Spaden, grabe!" L.C.H. Holty H.745;W. 200/1 1776-82 2. Lied der Schnitterinnen "Singend gehn wir, frohlich singend" J.W.L. Gleim H.755;W. 200/2 c.1782 3. Nonnelied "'Sist kein verdrufilicher Lebe" (aus dem Canton Schweiz) Anon. H. 756;W. 200/3 c.1782 Mod. edn.: Friedlander 1902 ® Accurate dating of each song in the Neue Lieder-Melodien is, by all accounts, uncertain. Some of the individual manuscripts have been lost or destroyed, causing these pieces to exist only in the copies of the 1789 Donatius anthology. The extant autographs of the individual pieces show that Bach may have edited and transposed some of the songs for the anthology. For example, Der Fruhling, an Roschen appeared with the tonic C minor in the autograph, but is transposed up to E minor in the NLM. Instances of text changes (mostly prepositions and pronouns such as zum and uns) are cited by Gudrun Busch as examples of differences between the autographs and the collected anthology which followed. For additional discussion of discrepancies, see Busch, 203. 74 4. Das mitleidige Madchen "Der fromme Dam on dauert mich" J.M. Miller H. 757;W. 200/4 c.1782 5. An die Grazien und Musen "Ihr Musen, seht den Amor,seht," J.W.L. Gleim H. 748;W. 200/5 1778-82 6. An die Natur "Holde gtitige Natur, milder als Eythere!" J.H. Roding H. 702;W. 200/6 c.1767 7. Bevelise und Lysidor "Der Mann, der nach "Der Phonix" den Flitterwochen" J.A. Schlegel H. 758;W. 200/7 c.1782 Mod. edn.: Riemann 1891-93 Friedlander 1902 8. An meine Ruhestatte "Sey mir gegrtifit, du Ziel von meinen Sorgen" J.A. Roding H. 703;W. 200/8 c.1767 9. Der Fruhling, an Roschen "O seht! die liebe Sonne lacht;" J.M. Miller H. 734;W. 200/9 1773-82 75 10. Belise und Thyrsis "Belise starb, und sprach im Scheiden:" Anon. H. 700;W. 200/10 pre-1767 11. An den Schlaf "Kontm, siiSer Freund der Muden" J.H. Roding H. 704;W. 200/11 c.1767 12. Die Zufriedenheit "Immer auf der Blumenbahn" J.H. Roding H. 705;W. 200/12 c.1767 13. TrirMied "Bin Leben, wie im Paradies" L.C.H. Holly H. 740;W. 200/13 1775 14. Aus einer Ode zum neuen Jahr "Der Weise blickt zur Ewigkeit hinuber;" Anon. H. 747;W. 200/14 1777-82 15. Gartenlied "Es schallt, o Gott, empor zu dir" J.H. Luttkens H. 706;W. 200/15 c.1767 16. Mittel, freundlich zu werden "Mein Vater ktifit die Mutter" J.W.L. Gleim H. 759;W.200/16 c.1782 76 17. Aufden Geburtstag "Holde Freude senke eines Freundes dich von dem Himmel" CD. Ebeling H. 707;W. 200/17 c.1767 18. IchhoffaufGott "IchhoffaufGott mit festem Muth" Elise v.d. Recke H. 760;W. 200/18 1785 19. Freunde, Freunde, kommt "Freunde, Freunde, kommt doch in die nahen Walder" J.Charlotte. Unzer H. 708;W. 200/19 c.1767 20. An eine Heine Schone "Kleine Schone, kusse mich" G. E. Lessing H. 701;W. 200/20 pre-1767 21. An Doris "DesTages Licht hat sich verdunkelt" A. von Haller H. 741;W. 200/21 1775 22. Die Grazien: "Als an einem Fnihlingsabende Eine Kantate sich die drey Grazien" H.W. von Gerstenberg H. 735;W 200/22 1774 Mod.edn.: GA.Walther 1942 Bach's setting of J.H. Roding's lyric poem An die Natur (App., pp. 155-6); c.1767) is strophic in form, similar to his earlier settings of Gellert's poetry. The phrases are short, and each is set to its own musical phrase unit, designed for the clear intelligibility of the words. Syllabic accents from the first verse are retained throughout the poem's six-line strophes. The song exhibits a number of characteristics that have been associated with the Sturm und Drang movement in music (Ex. 13). The first phrase, in E minor, is announced by a passage in octaves (all'unisono) between voice and keyboard and the first chord does not appear until the second half of m. 4. There is a full pause in m. 5, followed by another passage in unison texture. Bach asserted that the omission of harmony for brief passages creates emphasis and beauty through a variety of textures. After the first phrase in E minor, a full pause is followed by the second phrase, an exact musical repeat of the first, with the next line of text (m. 6). The return of the opening music in the expository phrase resembles what German writers called Devise, more commonly known as a motto beginning, found throughout the Italian operatic arias of Steffani, Legrenzi, and Handel, which had been popular at the German courts during the late seventeenth century. A sequence begins in the relative major key at "Alles spricht" (m. 11), then a third lower in the tonic at "Mensch und Thier" (m. 13). The downbeat of m. 14 forms the mediant chord of G Major in first inversion, effecting a smooth (root movement by third) transition back to the tonic E minor. Ex. 13 C.P.E. Bach An die Natur (mm. 1-15) (Roding) Neue Lieder-Melodien (VI.) Etwas munter. 3 tur, als kannt sch6n Wink Nichts stand Fehl 6 I IS Prach schmuckst du Feld und Flur, ful - lest und " d & wird des Kiins - tiers Hand dich ver was wir oh ne Kunst und Schmink in der die die stol ze Kunst er land. man - (her 79 seq. 2 spricht von nem Ruhm, Mensch viel en Gluck, bist Mensch, fers Bild, wird wen nur schmuck 14 Blum, MenschThier SchOp stuck. dei Keim thult sie tur. 80 Bach's revised setting of Haller's poem An Doris (App., pp. 161-73; 1775) is a dramatically unfolding, declamatory recitative in through-composed form.9 Bach selected eight of the original twenty-four verses, and set them in a style which exemplifies the harmonic activity in his keyboard fantasias within the context of the Lied. Haller's poem is full of sentimental imagery with erratic and unsettling moods: An Doris. Doris (A. von Haller.) 1. Des T ages Licht hat sich verdunkelt, The day's light has grown dim. Der Purpur, der in Westen sunkelt, The purple moves lower in the west. Erblasset in ein faides Gran It fades to a pale grey. Der Mond zeigt seine Silberhomer, The moon points its silver horns. Die kiihle Nacht streut Schlummerkorner, The cool night casts sleepy dust. Und trankt die trokne Welt mit Than. And saturates the thirsty earth with dew. 2. Komxn, Doris, komm zu jenen Buchen, Come, Doris, come to those beech trees Lafi tins den stillen Grand besuchen. Let us visit the peaceful landscape Wo nichts sich regt als ich und du. Where nothing stirs but I and you. Nur noch der Ranch verHebter Weste Only the loving west wind Belebt das schwanke Laub der Aeste, Enlivens the supple shrub branches Und winket dir liebkosend zu. And nods to you caressingly. 3. Die grune Nacht belaubter Baume, H ie green, night-covered trees Fuhrt tins in Anmuthsvolle Traume, Lead us to pleasant dreams Worinn der Geist sich selber wiegt. In which the spirit rocks itself. Er zieht die schweifenden Gedanken, He draws the wandering thoughts In angenehm verengte Schranken, Into pleasing narrow bounds. Und lebt mit sich allein vergnugt. And lives for his own pleasure. 9 Bach had previously set the poem as a strophic song of multiple verses in Oden mit Melodien vom Herrn Carl Philipp Emanuel Bach (1762; Berlin: Arnold Wever and Leipzig: Breitkopf, reprint 1774). An Doris continued: 4. Adi, Doris! fiihlst du nicht im Herzen Oh, Doris! Don't you feel it in your heart Die zarte Regung sanfter Schmerzen, The tender impulse of soft sorrow. Die stifier sind, als alle Luft? Which is sweeter than all the air? Strahlt nidit dein holder Blick gelinder? Shines not your graceful gentle glance? Rollt nicht dein Blut sich selbst Flows not your blood more swiftly? geschwinder, Und sdhwellt die Unschuldsvolle Brust? And swells the innocence-filled breast? 5. Du staunst; es regt sich deine Tugend; You are surprised; your virtue is roused; Die holde Farbe keuscher Jugend The lovely complexion of maidenly youth. Deckt dein verschamtes Angesidht. Covers your bashful face. Dein Blut wallt von vermischtem Triebe, Your blood boils with mixed desire. Der strenge Ruhm verwirft die liebe, Rigid reputation rejects love. Allein dein Herz verwirft sie nicht. Yet your heart does not. 6. O konnte dich ein Schatten ruhren Oh, that a shadow could move you Der Wollust, die zwey Herzen spuren. To feel the lust of two hearts. Die sich einander zugedacht! Meant for each other! Du fordertest von dem Geschicke You would demand back from destiny Die langen Stunden selbst zurucke. The long hours which Die dein Herz mtifiig zugebracht. Your heart spent idly. 7. : Mein Feuer brennt nicht nur auf Blattem, My passion bums not only on pages, Ich suche nicht dich zu vergottem. I do not try to idolize you. Die Menschheit ziert dich allzusehr. Your humanity adorns you all too clearly. Ein andrer kan gelehrter klagen. Another can lament in a learned way. Mein Mund weifi weniger zu sagen, My mouth is not able to say much Allein mein Herz empfindet mehr. But my heart feels more. 8. Was siehst du furchtsam hin und wieder, Why do you look timidly here and there Und schlagst die holden Blicke nieder? Casting down your graceful glance? Es ist kein fremder Zeuge nah. There is no outside witness near. Mein Kind! kann ich dich nicht My child! Can I not move you? erweichen? Doch ja, dein Mund giebt zwar But yes, although your mouth gives kein Zeichen, no signal. Allein dein Seufzen sagt mir Ja! Your sigh alone says to me, yes! 82 The music portrays the capricious emotions in the text with changes of harmony from verse to verse, and frequent intermediary tonicizations of both closely related and distant tonal areas. Brief skirmishes to keys other than tonic are used to expand the prevailing harmony, though they do not impede the long- range harmonic goals. This mirrors Bach's aesthetic for the fantasia as expressed in the Versuch, in which he praised the fantasia form, which he claimed is the beauty of variety made evident. He further cautioned that remote modulations are acceptable only in long fantasias, and that the tonic key must be firmly established at the beginning and at the end. Thus, Bach's treatment of harmony in An Doris exemplifies the ideals of the fantasia within the context of the Lied. The Free Fantasia should show the composer- keyboardist's true musical creativity by extended figuration, modulation adjusted to the time-scale, and rational deception.10 Principal key areas of An Doris: Verse 1: (3/4 Etwas Langsam) F maj - (C maj - Bb maj) - F maj Verse 2: F maj - Bb maj Verse 3: Bb maj - Cmin - Bb maj Verse 4: G min Verse 5: (Etwas lebhafter) Eb maj Verse 6 (Im ersten Tempo) C min - Bb maj Verse 7: D min Verse 8: F maj - (2/4 Freudig) F maj An Doris is particularly useful to the study of C.P.E. Bach's musical interpretations of poetic imagery and meaning. The next section of this document will outline the characteristics of Bach's technique from verse to verse 10 Philip Barford, The Keyboard Music of C.P.E. Bach (London:Barrie and Roddifi, 1965), 29-30. 83 as he depicts this sentimental, stormy, and expressive text in m usic (Ex. 14). Gudrun Busch asserts that verses one and two actually are one musical unit, beginning in the tonic, and progressing to the subdominant tonal area.11 Within this structure, Bach uses the diminished-seventh chord to effect temporary tonicizations of both C major (mm. 4-6), and G minor (mm. 10-11). In between these, there is a brief return to F major, using a half-diminished leading tone chord (mm. 7-8). The Eb on the first beat of m.10 exemplifies the "non-essential" dissonance in Kirnberger's theory. As the seventh of a diminished seventh leading tone chord, the Eb is the only chord tone which changes to establish the chord, though there is no change in underlying tonality. An Doris is rich in suspensions. In most cases, they can be functionally analyzed according to the dictates of Rameau. In this particular Lied, however, there is a case for Kirnberger's theory that non-harmonic tones are passing dissonances and are not attached to the prevailing harmony. This is strengthened by Bach's consistent use of linear intervallic patterns. The parallel upward and downward resolving suspensions appear to be extensions of, rather than separate from, the underlying harmony. Streams of sixth-chords (fauxbourdon) appear in the downward flowing gestures of mm. 8-10. The end of the first verse of poetry is accompanied by a solid return to the tonic. The second verse remains in the tonic until its final two measures, where a secondary dominant effects a pivot chord into the new tonic of Bb at m. 27. In the text, Doris has been beckoned by her hopeful lover, to join him among the trees at night, where they can be alone. The persona of the lover tries to convince 11 Busch, 363. 84 Ex. 14 C.P.E. Bach An Doris (mm. 1-53) (Haller) Neue Lieder-Melodien (XXL) Etwas langsam. S... s Js,__L N — =1 ------*?----\ — J )W..Za e1 j) JT £ : J) J) J J J---- u > ^ J 1 £ Des Ta - ges Licht hat sich ver - dun - kelt, der Pur pur derim Westen ^ =F ? = = = r J J J---- ^ ^ J J J --- ■!---J-----J---— ! p - 1 1*------f------P------f f f j i H — ^ 7 6 7 6 7 6 F: (ii) rv'-h-Jr-J) A 5 -•M--# sun-kelt, er - bias - set in ein fal - des Grau; der Mondzeigt sei- ne Sil - ber - 7 P |r p j ‘m f A 8 r 0 r * •j— <___k_____ i ______— ^ ------s __3___ W___ □ E__ ■ a \ r r \ ^__—__ m J__ r R __ E______# « J_____ i \ 7 7 * ____ \J f / r m m ' hOr - ner, die kuh- le Nacht streut Schlum-mer - kOr - ner und tr&nkt r ^ - 1 ______< , 1 w 1 n i « j —* / J — \ frt\ V__ x __# # r # # 7 7 $ —f --) ______E____ A r 7 r —E— r sp < * t ______P ^ f •y •y \J r L ^rl r E E 1 v 1 y - 7 J 7 -1 1—- J r pi c __ 6 6 6 6 6 b7 6 6 I (IV) (ii) V 85 r H 6 = ______K - fcr ___) __4__ ^__ k \ ■ • frt\ a' * -V J.___ ]___ ' J ■ a • , •y7 ‘ h » j P ^ : ^ k— - i J__a1" 'U ? ^ ^ a w Tf t » # I3u - chert, laC uns den still- en Grand be - su - chen, wo nichts sich regt, als ich and i 7 . W____ _1______^ Tn ■ -f/r\ v a Z______# ____ e J 0__ m 1 7 MM l v y ____iLE______0______—__ ___* ___ A___*L TZ • m •T r r i r r ^ * ______» ______%______# ___ r - ^ =3______V zr # e ^ i ____i___^/ __40 ' _J______p pJ rp ^ J r j • ^— L 0------(ii*) (vi) (vii*6) V6 I , » ji -?=? P f! r « p j * J | i ^ r r " i Da. Nar rtoch der Haach ver-lieb-ter We - ste be lebt das schwan-ke Laub der ! [ . , * j| -pn - r ; n i J | n - r j i T J j J h r p l / 4):, ..-SF=^- f — #F :—r------iff- K I' J J] l & ...... ~------f ---- 1-m------pb _.L T -- "*P- L T J T V (ii6) (viiVii) (ii) (vii*) V 86 winkt.Aeste, lieb- ko - sendwin 28 Die gru Nacht be- laub - ter f —Q—------__a___ « ___ ^ ^ ____ ^____ < ----- F ^ R k , pa, _ | ^___n __» \ ____ >__ (viiVV) V (vii*6/V) (ii6) 87 Er zieht die schwei fen- den Ge - dan V (Cm: V i) (Bb: nehxn ver-eng- te Schran - ken. und lebt mit sich al - lein ------> 9—------— . . — ------FT— E— S== ------1 ------; ------W r P P J gnugt 4. Ach Do - ris! fuhlst du nicht im p ...... \ -j— ------Iff f -----f---- .... 4 P- M i * - - P 1 k f # ; p 1 — - .....— > L —J—e—— f n----- 1----- —4 v— 1— 6 5 i) Gm: V i V i 88 v IL6 52 V 89 Doris that the moon and the trees will calm her turbulent thoughts and bring pleasure. The melody through this section relies upon the outline of the tritone in its diminished and augmented forms, as well as upon cross-relations between the bass and treble voices of the keyboard accompaniment (mm. 36-40). Gudrun Busch criticizes this Lied for its melody, and it is true that Bach sacrifices the accessibility of a conjunct melody in deference to the heightened expressivity of Haller's text. The fourth verse proceeds with a significant change in textual character. The impatient lover takes a different approach to the seduction of Doris. He appeals to her emotions by asking direct questions about how she feels towards him. At this point, Bach effects a clear change of emotion as the verse begins with a full pause, followed by an abrupt change of harmony and dynamic. This verse remains in G minor throughout, and contains greater use of chromatic harmonies. The second and third lines of text, "The tender impulse of soft sorrow which is sweeter, sweeter than all the air." (Die zarte Regung sanfter Schmerzen, Die siifier sind, als alle Luft) are set in an expanded dominant- function musical phrase with the Neapolitan chord (mm. 48-49) and the augmented sixth-chord (Italian) (mm. 51-52). The words "sanfter" and "stifier" are further highlighted by the absence of busy accompaniment figures below them The fifth verse is set off by another change in character (App., p. 166). The score indicates Etwas lebhafter (somewhat more lively). The lover has begun to turn sour as his biting comments are intended to insult Doris's bid for innocence. As the suitor sways between whispering sweet nothings and sexual innuendo. 90 the music begins to use dynamics in an even more expressive role. Beginning in forte, the lover accuses Doris of feigning displeasure toward his advances (mm. 66-69). As he reverts to sweet talk of her shy and lovely youthfulness, the dynamic becomes soft, and the melodic rhythms become sm oother (mm. 70-75). The verse concludes at forte dynamic with sharp dotted figures, 32nd-note diminutions and a cadential trill. The loud-soft-loud form of this verse foreshadows the dramatic scena style of Lieder, which was prominent in the ballads of Bach's younger contemporary J.F. Zumsteeg, and later flourished in the hands of Franz Schubert in the early nineteenth century. Verse six begins with the indication Im ersten Tempo which signifies a return to opening material; the music however, is of quite a different character. The verse begins in C minor, and completes a pattern of progressions to the submediant key which began in the third verse with Bb major and continued through verses four through six with G minor, Eb major, and C minor (recall chart, p. 82). The piano dynamic here accompanies the return to a softer approach towards Doris that holds steady through the first half of the verse. The second half of verse six, which begins with "Du fordertest von dem Geschicke" (you demand from destiny) is accompanied by a return to forte, and features a more colorful harmony (Ex. 15). This proceeds in C minor for three measures, but quickly moves toward the subtonic key of Bb major at m. 99. A move to Bb is begun with an E-natural in the bass at m. 98 which creates a cross relation with the Eb in the melody above and acts as a leading tone to the dominant F. The pivot chord Gm7 at m. 104 effects a smooth transition from Bb in verse six to Dm in verse seven. The transition is further smoothed by the forte 91 Ex. 15 C.P.E. Bach An Doris (mm. 96-103) J r r j h • j — > V V J * . ) rs * • n "v J f / T \ v _____rs____rs___ i____n ___ __ —__ 9 - J / n __ 1 ___J 7 / V iy ______*______r r______M____Li t ____L/______w w IV / r — — ^ r r D u f o r - d e r- test von dem Ge - schi - eke die lan-gen Stun - den selbst zu- r ______r— , ^ ______. i______i r n v □ 1 ^ ^ 1 - f - r j y # > « / | 9 J W f/TV R r ' > 9 m ___U______^ m m 1 / m x______iRt i U E j *______» ______T w______g I ' F , / __ , ___ A___ r 7 J l ------—r— - f ^ * « ------F— 6 6 46 4b34397b8 6 Cm: V V6/V V i - ; p r— |» r —p— — i r r r 1 r r * ' riicke, die dein Herz mu - Big zu - ge - brachL U i, ^ ^ j | r~j— 1~^~[ P r r r r ' t): [»• - r ^ ------7 ¥ f r p-----1»------...... « --- 65 64326 6 b7 6 5 4 4 3 5 4 3 2 Bb: V (ii6) I (IV) I 92 dynamic level, which remains in effect from one verse into the next. In verse seven the lover expresses honesty and a more lucid frame of mind. He admits that he wants more from his relationship to Doris than to merely idolize her from a distance. At this point, the tonality remains close to its tonic. Dm, throughout. In the second half of the verse, as the lover admits he has little else to say (Mein Mund weifi weniger zu sagen), Bach used terraced dynamics from forte to piano, and then to pianissimo (m. 123). The reiteration of the words "Mein Herz" abruptly shatters the quietude, and is immediately followed by a hushed conclusion in the final phrase. The final verse of A n Doris contains more eloquent and expressive harmonies, dynamics, rests, and meter changes. From the D minor cadence at the end of verse seven, Bach effects another smooth diatonic pivot chord modulation to F major, the original tonic key (m. 128). The forte dynamic returns as the persona asks Doris the first question since verse four. This time, more sincerely, he asks her what she sees by staring at the ground. Immediately following the question, there is a series of complete pauses in the music, presumably where he would be waiting for an answer. When she fails to answer, he bellows that there is no one else around, and that she need not be so shy. Realizing his crude manner, he restates the words "Mein Kind/' this time as a quiet plea (mm. 140-41). Completely frustrated, he bellows again "kann ich dich nicht erweichen?" (can I not move you?) At this point, there is a hint that Doris may be softening. Her sigh ("dein Seufzen") gives the suitor an enormous amount of encouragement, and the poem ends with his hopeful exclamations. 93 The final lines of text are set in duple meter and conclude with a V-I cadence.12 The theory of Empfindsamkeit holds that the soul's passions have their own system of rhythm, unity, and logic.1?* The appreciation of this aesthetic, along with the expressive capabilities of the clavichord served to nurture the harmonic and dynamic details in songs such as An Doris. Along with his brother Wilhelm Friedemarm Bach, the flutist J. Quantz, and later Georg Benda and J.F. Reichardt, Emanuel Bach established the tenets of the sentimental style, which also included frequent changes of texture, register, and rhythm. Bach's setting of C.D. Ebeling's Aufden Geburtstag eines Freundes (Ex. 16) is an early example of Bach's experiments with through-composed form. Soon after settling in Hamburg, Bach met the historian-poet Ebeling and composed this piece, in which the two strophes coincide with a musical form of two distinct sections. The first stanza of the poem contains sincere wishes of joy for the celebrated friend. The music is a tender (Zdrtlich) prelude in triple meter. It concludes with the line "Warden ein Gesang, ein Chor," which Bach treats with a repetition in unison. A third repetition of just the words "Ein Chor!" (m. 18) effects a euphonious climax in complete chords. The Second verse of Bach's music (Freudig) depicts a choir of congratulants happily offering their wishes for prosperity and good fortune in duple meter. The song has two possibilities for performance. Literally, it could be a solo 12 Bach's revised setting of An Doris, as it appeared in the Neue Lieder-Melodien, was reviewed by the Hamburger Correspondent (18 Nov.1788): "Man wird dieses Lied nach dieser neuen Melodie mit neuem Vergnugen singen, da sie den Worten so anpassend und so ausdrucksvoll ist. Besonders schon ist der SchluC der letzten Strophe ausgedruckt." (One shall sing this Lied with new appreciation because of this new melody, which is so suitable and expressive of the words. Especially beautifully expressed is the conclusion of the last strophe.) Busch, 191. Philip Barford, The Keyboard Music ofC.P.E. Bach (London: Barrie & Rockliff, 1965), 32. 94 prelude followed by a rousing choir for the purpose of a birthday celebration, or it could be performed solo throughout, recognizing the figurative or abstract idea of "choir." The text is written in a way that could be effective in either case; however, only a trained group of singers could properly render the chromatic and somewhat disjunct melodic line. Similar to An Doris, the setting of Ebeling's birthday song features several modulatory passages in closely related keys to the tonic D major. Each strophe contains eight lines of text, which musically divide into two groups of four lines each, in a binary pattern AB. Aufden Geburtstag eines Freundes., For the Birthday of My Friend (C.D. Ebeling) 1. A. Holde Freude, senke dich Sweet delight, you drop down Von dem Himmel heute nieder! from heaven today! Tone Gluck in unsre Lieder: Our songs project happy sounds: Sie erschallen feyerlich. they festively resound. B. Wunsche fur des Freundes Leben I and all my household express Fuhlt mein Haus mit mir, sie heben Wishes for my friend's life Froh vom Herzen sich empor. they burst joyfully from the heart. : Werden ein Gesang, ein Chor: A choir joins in a song: 2 A. Singt dem besten Manne Heil! Sing hail to the best man! Jede Seligkeit der Erden Every bliss on Earth Soil von Him empfunden werden! should be experienced by him! Jede Wonne sey Sein Theil! Each delight may be his! B. Seine segensvollen Tage His days filled with blessings Lacheln heiter, ohne Klage, cheerful smile, without complaint, Sanft, wie seiner Gattin Blick. soft, as his wife's glance. : Beyder Lebenslauf sey Gluck!: May life's path bring good fortune to both of them. 95 Ex. 16 C.P.E. Bach A uf den Geburtstag eines Freundes (mm. 1-33) (Ebeling) Neue Lieder-Melodien (XVII.) Z artlich. i k ^ i :i ' • " f 1— r------< — , - [ J- J f r — u L — / ■ lol - de Freu - cle sen - ke dich von dem C\5 . :j — r O ------J J f = \ r - f y ~ * ~ 1 ■------p - j# -*>s flu -a...- - = •------^ ------ft— \ = - ■- D: I (ii6) (V6/ii) 3 r F # = — y ------0-----—/ ------■— * # 1 Him - mel heu - te nie - der. Tti - ne Gluck in un - sre ■ »♦ — 1 — -1------rmjH k '-- _ 1- ... - • - RJ * s q ---- = i d d J -^-nJ-----j ------/ ----- * i . .- t k p c :p : . ■/ ^ ;u Il _m r i _y_a i j n— r------6 - a 7----- f Z— t=---*— ■ (ii) V6 I V (vii*/V) (V) I Em: V4 2 96 9 -•T O j ^ p 'p i fur des Freun - des Le ben fuhlt mein fiaus mit -af=f==i=:r=- ^ L r ^ I • 1 # — y _ g = = ------r r r r ^ 1 6 4 3 9 8 7 7 6 G: V I i V i ^ '1 1 j ^ $ I nur. sie he - ben froh vom Her - zen sich em - por. w er-den a -Ml--- -j M,- , ..■ - y-fi r j» r , p r=fM '' ' S J ; ^ r u / ' i 7 p L r l v/v 15 — w------f------. ^ ...... j ^ ^P P i rL J r r r -J—J j J-----*---- Bin Ge- sang. Bin Chor, wer-den Bin Ge - sang. Bin -J------J i7" ^ ] J —R J J ^ . ---- J—J- J------■------l ^ ' L i u u [^Hi p *r %: £ , 1------— — vi V/V V V/V 97 h 7 7 J) M - n - i r m J J "" 1 * ■ --* *-J *. Chor, Ein Chor! Singt dem be - sten Man - ne Heil! M=s J T 1 J i -# ■ 7 7 i f a $ » 5 g t a p a ¥ D: I J J) | j- J_t{U -M-P- de Se - lig - keit der Er - den soil von Hun m 0 m i ' y v # f i 7 ii ~ - m l v 6 5 (IV) (ii6) vii'/V A: I [V (I) 0 0 A den wer - den je - de Won - ne sey Sein Theil! ## j ; ^ A f = r L ' - > m # IF r r U / J (ii6) (IV) V (I) (vi) (ii6) V] I 98 27 # r/p r p i Sei - ne se gens - vol - len Ta - ge la - chain hei - ter. gi't.j j ]-J - - i - 7 3 f 11 \> r p p r r -f ------r — f p p- ^ — P (I) v (ii) I (vii) (vi) 30 j , tr r r - H f l - w ------v - r * i - \/ #j ..... -- S------y */ p ■ .... ?** k. r/TX\^u__ '_ r ___ nu __ _^ _r_ „______^i i w a . ^ n 7 w ^ * -P * oh - ne Kla - ge, sanft, wie Sei - ner Gat - tin t\ W______1______|______S5 tr 1/—« 1 v «y - __ __ _J fm ' i m / n « a "1 VvU V m P p______% y 1) * m i r f P • J * ! \ j ^ r i u /• w i #^__ w—ij______p > > rrp y ^ _ f ______3.# * J %f rm _ 1 r 1 W ------L V6/V (V) 5 D: vii* I vii*/vi vi The rhyme scheme of each strophe is as follows: the A section is abba and the B section is ccdd in both verses. The first four lines of text in the tonic key of D progress towards a strong cadence on the dominant at m. 8. The four-bar phrase structure ends however, as the B section of the strophe "Wunsche fur des Freundes Leben" (Wishes for my friend's life), is set in a two measure unit in a tonicized section of E minor, the supertonic. At m. 11, G becomes tonicized for two measures, followed by a return to the tonic through m. 22. The second verse of poetry is highlighted by a change of meter, though the D major tonality continues (m. 19). This new section contains Bach's frequent use of the 8-5-3-1 cadential cliche at various points in the left hand (mm. 19, 20, 22, 26); the reverse pattern occurs at m. 28. Measures 23 through 38 contain a section of prolonged dominant function, followed by a return to the tonic key in conclusion. The complete A section and the beginning of the B section ("Seine segensvollen Tage lacheln heiter") of the second verse both remain in the dominant A major throughout. The last lines of text ("ohne Klage, Sanft, wie seiner Gattin Blick—Beyder Lebenslauf sey Gluck") are treated quite differently. Here, Bach strengthens the effect of the text by repeating words and phrases and even omitting certain words on the repeat. In addition to the manipulation of text, Bach emphasis meaning with the insertion of full pauses (m. 30) and the sustained vocal line on the word "sanft" (mm. 31-32). These devices serve to create dramatic emphasis in the concluding phrases. The dramatic poem Belise und Thyrsis contains a dialogue between two characters, as told by a narrator, who appears only at the beginning of the first verse (Ex. 17). Figure 3 shows the original title page of Belise und Thyrsis. 100 Ex. 17 C.P.E. Bach Belise und Thyrsis (m. 1-11) (Anon.) Neue Lieder Melodien (X.) 4 Schei-den: "Nun, Thyr - sis, nun ver - laG ich dich! Ich tru- ben? Be - h - se, nur dein Tod ist schwer! Kannst Dm: V7 i N6 vii'/V V i r e-T— ^------—-j—i w — — ^-- #^ ------m H ------_XTV ^ m______1 I r wi L-^ - p p ^ 4 ------F------1 stiir - be wil - lie und mit Freu - den, du mich selbst nicnt lang - er lie - ben. tr ^ J ^ : J ¥ k t J - \ L J I J \k p — r -- -- r P ----- —r------tr-k*— - f ------^ £ E z t ^ = 6 E F = ^ ] vii* V 7/iv iv i F: vi6 V i 101 Figure 3 Belise und Thyrsis Original title page *' * 25c(ife tint) Sangfam. G#— J—— •• :i) e< i u . ft f i r t , . enb fpte4 Ira e4 1—. i—J * ' & 1 ^ i-.-y—-B- 'a. L -#—•— -F > - r ~ l- r - r h r" pSr -ZB ■ -— l------r ' r ------— y— _— d " ' * M4! 3 4 (Mr » 6* mIOi; unb mil g m ben / EAc' cl — < — — tic 614 ft ft#>r , 'ell ftver! t*nnH Du mi4 ftli|tnl4c Unger U< i btOy ,6c * barf — — ... 14 Id «net Sic » 6c : C"T=---- gXXflift pert, nnb fp«4 Ira 0 4 tib m t %4! fpre4 cr, mag N4 bet itlrilbcn’ 9)un, l^vrfil, nun ttrlef 14 b!41 nut bdn lob 1(1 f4n)tt! • 3 4 piltbc tsiQtg unb mil gttubm, jtannfl bu o l4 ftlbp ni4( Ijngtt litioi# liebt* etne bi4 ft ft^r ell 14. VDcbetf 14 (ilncc iltbc me^r... : ' e 3 •••-. 102 If this song was composed prior to 1767, as suggested by Gudrun Busch, then C.P.E. Bach was indeed innovative in his choice of this dramatic text.14 Bach's setting of this text was more advanced in its use of expressive harmony than the Lieder of the Bendas, the Grauns, Marpurg, or Quantz, who rarely used the minor mode in their songs, and who set predominantly light and lyrical texts. In the tonic F major, the narrator introduces the dying Belise as she sits up in her bed and speaks. Next, Belise says "Nun Thyrsis, nun verlafi ich dich!" (now I must leave you) accompanied by a harmonic shift to the relative minor. As she continues, "Ich sturbe willig und mit Freuden" (I would die willingly and with joy), the music returns to the tonic. The same pattern of harmony also fits the second verse of text. Thyrsis now speaks to answer her concerns, and the music remains in the tonic. During the tonicization of D minor (mm. 5-10), Thyrsis is beginning to explain to Belise that her death is very difficult for him, and that he needs no other love than her own. The tonality returns to the tonic F ! major as he affirms his love for her. Bach's careful attention to the drama of the text illustrated by precise changes of tonality at particular words and phrases is one of the most important innovations in the development of the accompanied song in the second half of the eighteenth century. In Bach's Lied settings, the music is less subservient to the text than it had been in the works of Marpurg and Krause. The tendency towards dramatic expressive harmony in Bach's music is one reason he is, to this 14 Gudrun Busch notes that the autograph of Belise und Thyrsis appears on the same leaf with J.A. Schlegel's Bevelise und Lysidor (Der Phmix),Busch, 193. In an appendix she suggests that both songs may have been written before 1767 (Anh., 17), but she also points out that Schlegel's text may have been set as late as 1782 (Anh., 37). 103 day, more widely known than his Berlin colleagues. Bach's late setting of the J.M. Miller poem Das mitleidige MMchen (App., pp. 187-89; c. 1782), shows that he never fully abandoned the strophic form. Miller's text is written from a woman's point of view. This Lied (Langsam und traurig) in G minor recalls characters inspired by the Horatian Odes and commonly used by the poet Hagedorn in the early part of the century. Both "Damon" and "Amuntas" are named as suitors for the main character (The compassionate young woman). The woman feels great pity for poor Damon, who is painfully obsessed with love for her. Because her heart beats only for Amuntas, she appeals to Love ("O Liebe!") to ease poor Damon's miserable pain. This poetic theme explores an eighteenth-century philosophical idea explored in the writings of the Freemasons and the Enlightenment philosophers, who advocated extending compassion to all people, regardless of their religion, ethnicity, or social standing. The structure and harmony of Das mitleidige Mddchen is not complex. Though Busch suggests the date of c. 1782, this particular song is more reminiscent of the Lieder written in Berlin in the mid-century. The strophic form suffices for all of the three verses, each of which has similar syllabic accents. The harmony is simple and direct and follows the pattern of i - III - i. The thin textures found in Das mitleidige Mddchen are not uncommon to much of Bach's Lieder. Though he favored expressive harmony, he also composed in just two voices, which he enhanced by melodic figuration and nonharmonic tones such as suspensions, appoggiaturas, retardations, accented passing tones, and delayed resolutions. Philip Barford has acknowledged that Bach's occasional failure to 104 fill out the textures of his keyboard music will always be a hindrance to his wider appreciation. I5 Freunde, Freunde, kommt, to a poem by Johanne Charlotte Unzer containing three verses, also is set strophically (Ex. 18). This Lied of only eight measures recalls the simple, lyrical directness of the mid-century songs of the Augspurger Tafelconfect (see Ex. 1, p. 13). There are neither secondary dominants nor other chromatic chords in this Lied, although Bach manages the time by effectively exploring two closely related tonal areas between the beginning and ending tonic passages. The Lied is in C major, with brief tonicizations of G (mm. 3-4), followed by a section in D minor (m. 4-6) and a return to C major in the last two measures. Each tonal area is delineated by a strong cadence and the cadential cliche pattern (8-5-3-1 or 1-3-5-8) in the left hand. Natural dynam ic changes are effected by the use of varying textures from unison up to four voices. Ex. 18 C.P.E. Bach Freunde Freunde kommt (Unzer) Neue Lieder-Melodien (XIX.) 1 Munter. O g Freun - de, Freun- de, kommt dock in die na- hen Wal - der, und Ei - let! Ei - leti und ver - ban - net aus dem Her - zen un - Scher - zet, scher- zet sin get feu - rig von der Lie - be. Singt 15 Barford, 148. 105 em - pfin des Friih - lings Luft! luft, die ters Ei turn! den al ten, singt den jun -VVein, Singt der die schon ge - schmiick - ten der, und ent - fiihrt gel Heer - e mun - ter zen! Bleibt doch nicht gend freu - den - voll - e be, Singt euch e 106 The song Ich hoff auf Gott mit festem M uth contains three verses set in modified ternary musical form (App., pp. 194-98; 1785).16 Each strophe of poetry contains seven lines. The text and musical structure are given below: Ich hoff auf Gott. My hope rests in God (Elise v.d. Recke) 1. A (CM) Ich hoff auf Gott mit festem Muth, I hope in God with firm fortitude er wird mir Htilfe geben. He will give me help. Wie Gott mich ftihrt, so 1st es gut, If God guides me, so all is good. Sein ist mein gauzes Leben. Then my whole life is his. B(GM) Schickt er mir Leidensstunden zu. In times of sorrow. He sends respite. So schaft er mir auch Trost und Ruh, He provides my comfort and peace und hilft mir uberwinden. And helps me to overcome. 2 C(Cm) Zwar wird es meiner Seele schwer, I will admit my soul becomes heavy. Wenn Leiden mich ergreifen. When sorrow overcomes me. Oft ist mein Herz am Troste leer, My heart is often without Wenn sie zu stark sich haufen. Comfort when sorrow envelops. B(Eb) Doch seufz' ich Gott zu dir hinauf, But, when I sigh to you God above Dann richtest Du mich wieder auf, Then you lift me up once again. Du Troster meiner Seele! You, comforter of my soul! 3. A(CM) Verlassen hab' ich mich auf dich I give myself to you seit frusten Jugend Tagen; Since earliest youthful days. Du treuster Gott, wirst ferner mich You, truer God, you will carry me auf Vater Armen tragen. Far in your Fatherly arms. E(CM) Ich hoff auf Gott, auf Gott allein! I hope in God, in God alone! Diefi soil mein Trost und Labsal seyn This is my comfort and refreshment. im Leiden und im Sterben. In pain and in death. 16 Gudrun Busch asserts that this song is through-composed, but also tripartite (Dreiteiligkeit), 363, citing the third verse as new music from the first two. Although it contains modifications in melody to suit text declamation, the first four lines of text in the third verse are set to the same harmony and figurations as the opening four lines of the first verse. This creates a ternary structure that resembles the da capo form. The verses advance differently, however, as the first begins to modulate at "Schickt er mir Leiden" and the third proceeds to a coda-like section at the return of the opening words "Ich hoff auf Gott". 107 Strophe 1 Strophe 2 Strophe 3 A B € D A E (Coda) CMaj. (GMaj) C Min.. (EbMaj) CMaj With lilting yet noble melodies, strong and uplifting harmonies, and the ease of natural declamation, Ich hoffaufGott possesses perhaps the most refined character of any song in Bach's Neue Lieder-Melodien (Ex. 19). The floating rhythms and light melismas add to its elegance and grace throughout. It is as if the words and music were synchronously conceived. The text "Ich hoff auf Gott" is set with the accent on the verb hoffen, placing "Ich" on the upbeat. Unlike the patriotic declamation in Vaterlandslied, where the emphasis is on the proud "Ich", the opening phrase of faith in Ich hoff auf Gott is better served by placing the accent on "hoff" (hope). To further illustrate the expressive text, Bach changes the mood of the second phrase. The higher range of the opening phrase (I hope in God) is followed by a lower (whisper-like) passage "mit festem Muth" (with firm fortitude). The song is filled with these subtleties, which help to create an expressive melody of supreme delicacy and beauty. Not surprisingly, this is the only piece in the NLM which can be positively dated as one of the last songs composed by Bach before his death. The musical gestures and phrases Bach uses in Ich hoff auf Gott, though perfectly suited for the poetry, are drawn from the late baroque dance forms. The periodic phrase structure of the first eight measures resembles the style of J.S. Bach's two-voice keyboard Bourrees and Courantes. With the exception of Gleim's poem, Mittel, freundlich zu werden, which contains one strophe of nine 108 Ex. 19 C.P.E. Bach Ich hoffaufGott (mm. 14-31) (Recke) Neue Lieder-Melodien (XVIII.) win Zwar es mei le schwer. wenn 20 ------7------»------»— K K 1 >- m ^ 1/ 1/ 1 < IL •V \ f___n r __ # J J # 1 r • # J t —f- — ? — -)— v-U \J 1 w 9 v v v • . ------— r------r I r w ^ Tro - ste leer, wenn sie zu stark sich hau - fen. Doch W0 i. 1, b. KI l l1 r- agi .,-1 v Kn 1 kr\ k r\ . — — - m) N ^7 a T7 n i < f/TV V l______T ____• - i - ___* 1 ______* X r # W T J7 — i ------_x42______m____U-______» r ______It r F F * m i ^ I T qu r P Lf r ' ______1______r ______»— ■ * • j i »< < - / m _ — v — ____3— ______# ______Z______2______J______1------W'UJ ' 1 1 I ^ J 1 109 =^= k J T ] v r & r #-7—\ —V r —\ ------1;------~fo ^ ^ ^ 7 j j • N 1 ' ^ - P T P 1 seufz' ich Gott, zu dir hin- auf dann rich- test du mich 7 k ^ i—, */ ' (» l " 7 ; - r / # Langsam. im ersten Tempo. r ^ 6 - A ------.. ^ _ 1 J ------R n — 1------— r ------K - K - - T - l ,------V5_ ? ,F • m \ w, *1 m J _____J _ y _____* < ______11 j ____ r \___ < ____L / r \ w w ^ m + / fx 1 * f ^ / / ) rs l 4 F - W t r ^ — y — wie - der auf, du Tro - ster, du Tro - ster mei-ner "s_ F k _if_ n i > n r ~ f l 3'------P- I ------P A ^ F , — . -----r- ^ t — 1....- 1 _L -1 ) F ] -vv -•<------1 0- 29 r r O A ------k . b ------: — 0 . ------r P m 1 V 1 T m ' * jv 1 7 # ' m □ 1 1 1 \ ------— 1 \ 1 ^ 7 y * • j r — l ^ J J j ------l - 1 1 1 / = a - V - W See - le! Ver - las- sen hab ich mich auf dich auf dich, seit ------h k , i» ,» w • n * T F = ------^ = t = 3 — = = E=^ r u j M ------J- »■ — 0 —(»- ? a __ e ______, b - v P r - r r = , ^ 7 —J P | : ' = ^ U j - - 1------*— 0- 110 lines, Ich hoff auf Gott is the only poem in the NLM which contains an odd number of lines in each strophe. Curiously, these strophes of seven lines each are set to the most symmetrical and balanced musical phrase units of any song in the entire Neue Lieder-Melodien. The first four measures of music in the tonic C major are balanced by the second four measures in the dominant G. Bach announces the change using one of his favored modulatory devices, the half-diminished seventh, as a pivot chord (m. 4). Another half-diminished seventh signifies the start of a new section at "Schickt er mir Leidens" (m. 9). The final three lines of the verse are set in three 2-bar phrases, which serve to return to the tonic C (mm. 9-14). The second verse is accompanied by a change of key signature to the parallel minor. The abrupt change of mode is followed by a modulation to the relative major (Eb) and the expression of "Seele schwer" (heavy soul) and "Leiden mich ergreifen" (sorrow overwhelms me). The second part of Verse 2 contains brief passages in minor tonal areas. As was the case w ith An Doris, Bach often goes further afield in his tonal excursions when in the minor mode. The parallel minor (Ebm) prevails at m. 23 ("Doch seufz' ich Gott...), as the bass line drops out to express the text "seufz' ich" (I sigh) as in a quiet prayer. The next phrase contrasts in Bbm at m. 24 "zu dir hinauf" (to you above) followed by a return to the tonic C minor at the end of m. 25. The middle verse concludes with a cadence on C minor as the key signature and melody signify a return to the opening material. The A section music in the major mode tonic key accompanies the third and final verse of poetry, and its expression of affirmed trust and devotion. The I ll music, similar to the first verse, accompanies a different text, and the rhythms and melodic contours are subtly changed to suit the poetic meter of the new verse. The second part of the strophe which contains a return of the opening text "Ich hoff auf Gott" is used to highlight a coda-like section at m. 38. Unlike a similar concluding passage in A u f den Geburtstag, Bach does not take liberties with the text. The only deviation from Recke's original verse is one repeat of the words "auf Gott" in mm. 38-39, set to an octave leap up (a joyous interjection) in the melody. Dynamics play an important role in the presentation of Ich hoff auf Gott. The first dynamic indication is in the keyboard part near the end of the first verse ("und hilft mir") which is presented first at piano and repeated at forte. The second verse change of key signature is accompanied by a change to the piano dynamic level. This middle verse shifts frequently between piano and forte. The final verse remains almost entirely at forte until the last phrase "im Leiden und im Sterben" (in pain and in death) concludes the Lied at a hushed level. During the 1770s, the Gottingen University poets (Hainbund) began to widely publish their works in the Musemlmamch. They were fiercely patriotic writers, many of whom sought to depict happiness and prosperity in their homeland through simple folklike verse. In 1782, the composer J.A.P. Schulz published his Lieder im Volkston, a collection of German songs which embodied Schulz's belief in the necessity of natural, artless songs. Bach's setting of Gleim's poem Lied der Schnitterinnen (c. 1782) in the N ew Lieder-Melodien contains both the rationalist tendencies and the folksong style of 112 the im Volkston Lied.17 Although he was widely known as an Anacreontic poet, Gleim's pastoral scene depicting a group of cheerful field workers would have been considered a 'popular' text in the 1780s. Gleim's poem is both rustic and lyrical. Bach expresses a folklike character through diatonic harmonic progressions and the use of pedal points (recall the Schaferlied, Ex. 9, p. 51). In the poem, the "Schnitterinnen" (Women Harvesters) are happily singing along the path they take on their way to the field. Bach sets the poem in through- composed form, using a march-like duple meter throughout (Ex. 20). The range of the melody (F4 to G5) is more demanding than commonly found in the Volkston Lied. In this song, Bach utilizes the melodic line, more than the harmony, for its expressive possibilities. The vocal line is characterized by leaps, registral shifts, and rhythmic motives. The predominant rhythmic figure is a three-note motive which appears in two different arrangements: eh ch J and eh J eh —both of which depict the walking and skipping of the women as they move along the path. The highest point of the melody (G5) leads into the phrase "zum Getummel," as the workers refer to the turmoil they are about to encounter (m. 19). Fragments from the last line of the poem are repeated (Ex. 21) as Bach manipulates the text to further emphasize the song's Volkslied character: "Folk, folk, folk as happy, as happy as us." 17 "All [Schulz, Reichardt, and Neefe] sought the maximum degree of expressiveness...readily singable melodies, free of operatic bravura and artificial ornamentation; undemanding, written- out accompaniments; accessible poetic texts marked by candour and vitality." Margaret Stoljar, Poetry and Song in Late Eighteenth-Century Germany (London: Groom Helm, 1985), 145. Both Schulz and Reichardt, younger contemporaries of C.P.E. Bach, also deliberately sought to maintain a popular style in their contributions to the genre of the German solo song. These composers are discussed further in Chapter 5. 113 Ex. 20 C.P.E. Bach Lied der Schnitterinnen (mm. 1-20) (Gleim) Neue Lieder-Melodien (II.) Lebhaft und hirtenmaBig Sin - gend gehn 5 r M ------S— —— > (fo J? |» d> z_m'--- — 5 = : -p r J - __w— j — un - set be - stes Hir - ten Lied! -fr— ------h | J------V XJ 0 ' N • ' J ■ > j / r \ ^__* J___x______mJ.___ - i P m 1 x ------1------Vst/ % r m x i n r »*------X t J V r P P 1 k ^ r p 4A» v 1 1 > ------^ «------f * =—*------ continued 114 _•/_ ^ i* * -J=— . - fjT• J • J0 r- 17 / 7 -f-i *—«— f dafi uns htirt, wer uns nicht sieht; — j) '2 _h :- *' J * * ^ r i 1 \T f t 7 p L ; j r J J -r -fwh -j------j — ^------f T ? p i # J " P ...... -M Sin - gend gehn wir zum Ge - turn - mel. J L V- r * — “ P"------j ) ^ ^ [ j i fo ^ = 0 —: ------7------~ ^ T ' ) ^ F f r ^ r - = = r ■ -- p ----} —•— - 4 ------• - Ex. 21 Lied der Schnitterinnen (mm.27-32) n 0 i w ------r e ------r V 1 1 n e ^ • /__ s______i \ Vv\> — 4 —V— Z _ U____P__ ___* 17 ^ « F un - ter m Him - mel Volk Volk Volk so froh, so froh wie wir. 1 1 1 7# ______^__a___ ■__ HJ______l 2 # _!ti__ \ ______>_ z 2 * 9 0 0 0 / 1 l vdl — 4 —z— r r m ^ r i E # .E .E F__ f- 0 E__ F____ A____ */»----- W w r _w. S L __11 ^__ e __J a m ------C---tt------L 0 115 In an attempt to musically unify a poem of many verses, Bach became one of the first Lied composers to experiment with forms other than the strophic. His use of through-composed and modified strophic musical structures systematically solved the problem of balance between unity and variety. Nonnelied (App., pp. 205-12; c. 1782) provides an example of Bach's approach to the union of strophic folk poetry and the accompanied song. Based on a Swiss folk poem, Nonnelied exhibits a sensitively composed syllabic vocal line and a carefully realized keyboard accompaniment. The music of the six stanzas is differentiated, and each verse is set with music arranged to fit the declamation and poetic intent. Expansion and variation in the melody and accompaniment from verse to verse removes the strict repetition patterns of strophic form. Gudrun Busch dates Nonnelied as 1782 or slightly earlier.*** Nonnelieder developed as a genre of poetry based on the the plight of young women who were involuntarily placed in convents.*9 They protested the absence of personal freedom, and poems such as Nonnelied convey the languishing mood behind the great convent wall, where the women were unable to enjoy a normal life. Though the Volkslied had been widely considered 'rough' verse for peasants in the first half of the eighteenth century, there was a surge in demand for such natural verses during the 1770s and 80s. Bach's setting of Nonnelied exhibits both a refined treatment of the folk poem, and an increase in technical skill previously reserved for more auspicious texts. This tradition continued into the early nineteenth century when Schubert set a number of 1819 18 Busch, Anil., 37 19 Busch, 330. Nonnelied verses.20 Nonnelied Nun's Song (Anon.) Volkslied aus dem Canton Schweiz (Swiss Folksong) 1. 'Sist kein verdrufilicher Lebe, It is not an unpleasant life Als in das Klosterli gehe. In the convent. Man muB darinne verbliebe, One must remain inside Mufi alle Schatzli miede. To avoid seeing loved ones. Refrain: O Liebe, o Liebe, was hab ich gethan! Oh Love, what have I done? O Liebe, was hab ich gethan! 2. Dort kommet mie Vater und Mutter, My Father and Mother arrive Im Klosterli finde sie mich; And find me in the convent. Hab'n alle hubsche Kleidli an; They wear handsome clothing; Weder ich mufi in dem Ktittli stahn. While I must stay in my habit. O Liebe... ! 3. Wenn ich in die Kirche gehe. When I go to the chapel, Sing ich die Vesper alleine, I sing the Vesper alone. Wenn ich das GloriaBateli sing, When I sing the Gloria, Liegt mir mie Schatzli nur im Sinn. I have only my love in mind. O liebe... 4. Wenn ich dann zum Tischli gehe, Then when go to the table. Steht mir das Tischli alleine; It stands there alone; Ich esse das Fleish und trinke den Wie, I eat the meat and drink the wine. Und denke, o Schatzli, And I think, oh my love. Warst du dabie! Would you be with me! O Liebe... 20 In contrast to his dramatic Lied settings, Schubert also set Volkslied-style verses such as Die Nonne (Holty) D. 208,212 and Diejunge Nonne (Craigher) D. 828. 117 Nonnelied continued: 5. Wenn ich denn auch schlafe gehe, And when I go to sleep. Steht mir das Bettli alleine; The bed stands there alone; Ich liege darrin, dass Gott erbarm! Therein I stay, would God have mercy! Und denke dich, Schatzli, in mine Arm. And think of you, my love, in my Arms O Liebe... 6. In der Nacht, wenn ich erwach. At night, when I awaken, Da greif ich bin und her; I grasp about to and fro Da mag ich greife, wo ich will. I grasp wherever I can. Wo ich greife, ist aller still. But where I reach, is empty. O liebe... As we have seen, innovations in the use of colorful harmony, found throughout Bach's instrumental works, can also be found in his settings of Lieder. Though strictly a folk poem, Nonnelied contains some of the most expressive uses of chromatic harmony in the Neue Lieder-Melodien. Each of the six verses begins in minor, moves to the relative major in the second half of the verse, and returns to the tonic at the end of the refrain (O Liebe). Bach creates a sense of continuous harmonic movement through each successive beat without using chorale hymn textures or contrapuntal devices such as imitation and contrary motion. He does, however, favor the liberal use of suspensions, appogiaturas, echappees, passing tones, and parallel motion. Bach's use of secondary dominants, diminished triads, and the Neapolitan chord succeeds in creating music to express and complement the text. The nun's lament is musically depicted in various ways throughout the piece. As she toils behind the convent walls, Bach expresses her feelings of confinement with an 118 emphatic repetition of the pitch G at the phrase "Man muS darinne verbliebe" (One must remain inside, m. 5). The fourth and fifth verses start on the downbeat, which places emphasis on the nun's pleading. Likewise, the use of a triplet figure at the beginning of the O Liebe refrain in the middle of verse four serves to prolong and intensify the build-up to the fifth stanza. Chromaticism appears more frequently in the final stanza, as the music depicts a mood of growing despair (Ex. 22). Using the last line of the poem's refrain, the piece begins to drive toward its climax with a fully diminished seventh chord in m. 86 and then continues to its dramatic and musical summit two bars later with a Neapolitan sixth-chord at double-forte dynamics (m. 88). A dramatic full stop is followed by a complete change of mood. The last line of text is softly repeated with a contrasting accompanimental pattern at the piano dynamic level. A colorless chordal authentic progression effects a hushed conclusion. Like An Doris, the textures of Nonnelied illustrate a linear concept of harmony, in keeping with Bach and Kirnberger's idea that harmony is a linear phenomenon derived from thoroughbass thinking, and in contrast to the Rameau-Marpurg chordal view of harmony. 119 Ex. 22 C.P.E. Bach Nonnelied (mm. 81-92) (Volkslied from Switzerland) Neue Lieder-Melodien (III.) IT L 1 (. 1 1 1 1 { - 0J ______LL_ . __2____\ ____ \ m : i f S c _J___ j y n L 1 \ I r m i, ) J 1----- V-L7 cl a _____• ___ L2_u e ____« , __^ ' r w * » T w L—. J TT ^ ------r------wo ich will, w o ich grei - fe, ist al - ler still. O A l t ______tr ______r — 1_____ 1______W L? i zr ” b .. % ^------#----- J___ L 1 J' u # • ^ I------fv*\7 tx \ -- o C # Jla___ J ___ ^ *) — m f p - r c \> < u ______# ______I* i 1 b __ y______Z __iL O__ L *J ■ wm ’ ------7------^— ------1------^ ------• G: IV V7/IV IV V I ____v_ hr- »—i—4)- 1 T P p J-J fT4= T g h '7 v 'P7 be, o Lie be, was hab ich ge - than! tr ^3 m r n m W:...1 ^ 2=5 F ^ l V7/V I 3 Em: vii*7 M # 3 2 = 5 P was! O Lie - be, was hab ich ge - than! w = * f #=------*. __7 _ 1 -7 - 5E ---7“ 1T------4^ = 4 V -— J i n i 7 l| 6 ? - r 3 N6 120 Though his life was cut short at the age of only twenty-eight, L.C.H. Holly (1748-76) was widely considered the most gifted poet associated with the Gottingen Hainbund.21 His sentimental, yet ambitious poetry embodied the lightness of the Anacreontic poetry of his own day as well as the seriousness and complexity of the Sturm und Drang literary style. He established the poetic use of the recurring motif, usually melancholy in nature, presented in dreamy, semi conscious images, a tactic later exploited by the young Romantic poets. Holty's poem Todtengrdberlied describes the Romantic persona of the gravedigger. It contains four strophes, the first and last of which are identical. Todtengrdberlied is laced with wit, sarcasm, and and social humor. Todtengrdberlied. (Holty) 1. Grabe, Spaden, grabe! Dig, Spade, dig! Alles, was ich babe. All that I have, Dank ich, Spaden, dir! I thank you. Spade! Reich' und arme Leute Rich and poor people. Werden meine Beute, Become my bounty. Konrunen einst zu mir. They come, someday, to me Z Weiland grofi und edel, Once great and noble. Nickte dieser Schadel Not these skulls Keinem Grufie Dank! No greeting or gratitude! Dieses Beingerippe, These leg bones, Ohne Wang' und Lippe Without cheeks and lips hatte Gold und Rang! Had gold and social status! 3. Jener Kopf mit Haaren That head with hair war vor wenig Jahren Was, a few years ago. Schon, wie Engel sind! Beautiful, as angels are! Tausend junge Fentchen A thousand young men leckten ihm das Handchen, Licking her little hand. Gafften sich halb blind! They stared themselves half-blind! 21 J.G. Robertson, A History of German Literature, 6th ed. (Edinburgh and London: William Blackwood, 1970), 244. 121 Todtengraberlied continued: 4. Grabe, Spaden, grabe! Dig, Spade, dig! Alles, was ich babe, All that I have, Dank ich, Spaden, dir! I thank you. Spade! Reich" und arme Leute Rich and poor people. Werden meine Beute, Become my bounty. Kommen einst zu mir. They come, someday, to me Bach included two Hdlty settings in the Neue Lieder-Melodien anthology. Bach's setting of both Todtengraberlied and Trinklied are strophic in form. Todtengraberlied begins in F major, moves to the subdominant key area (mm. 6- 8), and returns to the tonic for the last line (Ex. 23). The word accents from verse to verse are identical, which creates effective declamation throughout its three verses of text. Ex. 23 C.P.E. Bach Todtengraberlied (Hdlty) Neue Lieder-Melodien 3ig r r f - r % — • m - m'A_____ m m____ _ 1 I fm " i t ■ * '•_____ R______d_____ r u r_____Q__ r— __ *____ l vS 411 :— H ------14 ^ ------Is'— F------1 Gra - be. Spa - den, gra - be! A1 - les, was ich Wei - land grofi und e - del, nick - te dies - er Je - ner Kopf mit Haar - en war vor wen - ig 1 1 0 , . , , S' r-g W* t-.___ , ____ w ; s l __ _ , 5 ¥ L_ « fm ^ 4 • m • x # d L »„•______r _X__ d__ L___= r - f — — : % •f*^ ri% 1 L continued 122 dank ich. Spa dir! Scha - del kein - em Grtifi Dank! SchOn, wie Eng sind! Reich' und den meiwer Dies ne Wang' Tau jun Pent - ten ihmsend 10 Schubert looked back to the eighteenth century when he set Hblty's Todtengraberlied in 1813 (D. 44). Schubert's setting contains interludes between verses and is set in modified strophic form with subtle changes in melody and accompaniment from verse to verse. 123 There are countless songs entitled Trinklied from late-eighteenth century Germany. C.P.E. Bach himself composed a number of songs to Trinklied texts. Holty's song text Ein Leben, wie im Paradies was set by Bach in 1775 (Ex. 24). The setting contains elements of the folklike Lied, which became popular a few years later in the works of Schulz and Reichardt. Trinklied has a predictable triadic melody permeated with simple rhythmic motives. Ex. 24 C.P.E. Bach Trinklied (Holty) Neue Lieder-Melodien (XIII.) 124 ^>PppplP PP ^ ^ J ) = l = ^ bin so frtih - lich, wie cin Reh, das um die Quel - le tanzt, a 4 I M P # s # ^ r .y ft h - ==k===4f =^=^- h \ -K . ■______|E______^ I <§> p ^ — —J; -----J1 «P P—------ich den lie - ben Schenk - tisch seh, und Gla - ser drauf ge pflanzL i rn ___m______w u t r r , - n r J ~^ - 4 strophes to follow The Neue Lieder-Melodien enjoys a special place among C.P.E. Bach's Lieder collections. It is particularly important to the study of formal conventions in the eighteenth-century Lied. In this collection there are well-crafted examples of strophic form, Lieder and various approaches to modified strophic form as well as innovative uses of through-composed form. Moreover, in the later songs of the Neue Lieder-Melodien, Bach's treatment of the Lied often is more expressive than in earlier song collections, and throughout the collection there is much more variety of harmony, form, and poetic type. All of the Lieder composed throughout C.P.E. Bach's long and productive life are summarized in this last collection of songs. The Neue Lieder-Melodien represent Bach's artistic yet popular approach to the genre of secular song in a way that eclipses his previous songs. This collection of fragrant blossoms, which sprout up along the edge of the grave already opened for the aging master— a grave whose somber depth is surrounded as with braids of a blooming wreath—stirs up a more than ordinary interest.22 22 "Diese Sammlung duftiger Bluthen, die an dem Rande des fur den alten Meister schon geoffneten Grabes emporsprossten, dessen dustre Tiefe wie mit einem bluhenden Kranze umflochten, erregt ein mehr als gewohnliches Interesse." C.H. Bitter, Carl Philipp Emanuel und Wilhelm Friedemann Bach (1868;Repr. Kassel: Barenreiter,1973), 78. 126 Chapter 5 CONCLUSION: C.P.E. BACH'S INFLUENCE UPON EARLY ROMANTIC LDEDER Based on the contents of the Neue Lieder-Melodien, it may be argued that C.P.E. Bach transcended the ideals of the Berlin Lieder School to achieve in his Lieder both a higher level of technical sophistication and a better balance between text and music. In the first half of the century most German solo songs were set strophically, with simple keyboard accompaniments that supported the poems without concealing any of their textual details (recall Exs. 2-6, pp. 19-28). Consequently, the songs of the Continuo-Lied composers and their immediate successors, Krause, Marpurg, and C.H. Graun, lack the interesting accompaniment figures and refined harmonic expression commonly found in Bach's Lieder. It may be asserted that Bach's mature songs, and especially those of the Neue Lieder-Melodien, strike a felicitous balance between text and accompaniment, midway between that of the Continuo-Lied and Schubert's songs. Neither text nor music is relegated to a subordinate position in Bach's Lieder. Though his roots in the Berlin Lied tradition gave him great appreciation for the simple musical representations of the lyrical poetry which bloomed in the eighteenth-century, his solid grounding in keyboard technique and harmony enabled him to create more technically sophisticated musical counterparts for the lyrical German poetry of his day. 127 C.P.E. Bach's collection of songs by Gellert in the mid-eighteenth century were of particular importance as respects the growth of amateur performance among the growing middle class. Bach's expectations of the music-loving public were different from those of his father. The Gesangbuch, a collection of songs published by J.S. Bach and G.C. SchemeUi (1736), exclusively used traditional Lutheran melodies with figured bass accompaniments. The written out keyboard accompaniments of Bach's Gellert Lieder were for the benefit of less skilled players. The vocal melody, almost always present in the right hand, enabled performers to use the songs as solo keyboard pieces and the notation on two staves made it easier for the accompanist to sing while playing. The rise of public interest in art and literature, the overall increase in population, and the rise of literacy affected the output of poetry and song in the last decades of the eighteenth century. The middle class saw education and art as a means for gaining respect in society. Young writers of the 1770s, including Vofi and Holty, sought to lower the barriers between the aristocratic and the bourgeois levels of society, an idea which hearkens back to the middle of the century. The poets' self-confidence and sense of renewed purpose in the rising middle class led to the desire to give expression to a broader range of feelings. Many of the newly-empowered artists joined the order of the Freemasons. G.E. Lessing, philosopher and important innovator in drama, literary criticism and religious thought, was part of the Masonic brotherhood which included C.P.E. Bach, Moses Mendelssohn, and Franz Josef Haydn. The Freemasons sought to rise above the ethnic prejudices of their religion and to make ordinary acts of charity and civic responsibility a matter of course. 128 The Enlightenment had produced philosophers who believed that music was an integral part of culture and education. Rousseau had advocated freedom for art and the spirit of the artist. His challenge to artists to strive for simplicity and directness with a higher level of expression was one influence that led to J.A.P. Schulz's Lieder im Volkston concept of the 1770s and 1780s. In poetry, the Lied im Volkston style is portrayed by a strong national (patriotic) folk sentiment. In song, im Volkston referred to the practice of composing melody and accompaniment free from formal operatic singing and figured bass textures. Schulz sought to create a balance between nature, considered to be genuine and good, and art, which was considered to be aristocratic and artificial. A group of young composers who had studied with J.A. Hiller (1728- 1804), the Leipzig Singspiel composer, came to prominence during the 1770s. These men appreciated the folklike character of Singspiel songs and recognized the eagerness of the public to have access to these types of songs for private performance. Many new songs were composed by the Hiller students, who looked toward the Sturm and Drang lyric poetry for their inspiration. The most active of them, J.A.P. Schulz (1747-1800), C.G. Neefe (1748-98), and J.F. Reichardt (1752-1814), along w ith Carl Friedrich Zelter (1758-1832), were representative of their generation in that their musical education had been molded by the innovative styles of both Gluck and C.P.E. Bach. These composers were collectively referred to as the Second Berlin Lieder School. It was Reichardt who had observed that there was a similarity in style between the free rhythms of the Sturm and Drang poetic language (exemplified by Klopstock), and the improvisatory keyboard style of Bach. Though Margaret Stoljar credits Gluck as 129 one of the chief proponents of the Sturm und Drang style, she claims that Neefe surpassed both Bach and Gluck in the depiction of turbulent moods through music.1 The Lieder of Bach's contemporary C.W. Gluck (1714-87), published in Klopstock's Oden und Lieder (1771), exhibit a more constrained use of sectional form and harmonic development. Die Sommermcht and Die Jrtihen Grdber, both Gluck settings of Klopstock verses, feature multiple strophes set to the same music. Die Sommermcht remains in C minor throughout the entire setting. In Die fruhen Grdber, which has strophes of six lines each, Gluck sets the first three lines in the tonic C major, moves to the dominant for the fourth line only, and returns to tonic for the last two lines. This pattern repeats for each strophe (Ex. 25). In Gluck's Lied settings of Klopstock, the modulations, dynamic contrasts, and use of chromaticism are considerably more conservative than those used by Emanuel Bach in songs such as An Doris (Ex. 14; p. 84), and Nonnelied (Ex. 22; p. 119). C.P.E. Bach's contributions to Lied style in the second half of the eighteenth century were imitated and further developed by his younger contemporaries o the Second Berlin School. Neefe, Reichardt, Schulz and Zelter-- composers whose Lieder is thought to have had a direct influence upon the early Romantic songs of Franz Schubert—all drew inspiration from Bach's Lieder. Neefe, widely known as the first important teacher of Beethoven, studied philosophy with Gellert and nurtured a wide spectrum of literary interests including realism in the genre of Singspiel. Neefe sought to adapt the Sturm und Drang style of Bach and Gluck to a higher level of expressiveness. Neefe chose 1 Margaret Mahony Stoljar, Poem and Song in Late Eighteenth-Century Germany (London: Groom Helm, 1985), 64,107. 130 Ex. 25 Gluck Die fruhen Graber2 * (Klopstock) Klopstock's Oden und Lieder (1771) Affetuoso j: PlJ f 0 ft Will - kom- men, o sil-ber-ner Mond, scho-ner. l l 1 — 1 : .... -----> = # = — K - — 2— - g : - 4 - f - 4 - 3 — ^ |jv j ^ 1 sdl - ler Ge- fahrt der Nacht! du ent - fliehst? Ei - le p 5------ ^ J - J * J N: M P f8 *.F# w—t+ nicht, bleib, Ge- dan - ken - freund! Se-het, erbleibt. k. fO |»N / J 12 r r h m f —w das Ge- w6lk’ wall - te nur bin. se- het, er bleibt. l i p i f i ' r - r r ^ r r r A n j rJ # das Ge- wblk' wall te nur bin. ^ n j P ~ - i ll 2 Max Friedlaender, Das deutsche Lied im 18. Jahrhundert, vol. 1 (1902; facsimile reprint Hildesheim: Georg Olms, 1970), 133), 153. turbulent poetic imagery and incorporated both Bach's harmonic language and the dynamic innovations of Bach and the Mannheim School into the small scale solo songs in his six collections of Lieder. Margaret Stoljar asserts that Neefe surpassed both Bach and Gluck as a composer who gave expression to his own personality in the context of art song.2 In his own setting of Diefriihen Graber (c. 1780), Neefe effected a m odulation from A flat major to F minor upon the first direct expression of feeling by the narrator of the poem. Stoljar claims that these techniques show him to be the pupil of C.P.E. Bach in his harmonic language. As illustrated by Bach's use of harmony in Belise und Thyrsis (pre-1767) (cf.. Ex. 17, p. 100), sudden changes of tonality from tonic to its relative m inor were not new in the 1780s. What was more critical to the individuality of Neefe's settings, as evident in the Vaterlandslied incipit (recall Ex. 12, p. 65), was his disregard for the poetic meter. So carefully approached by Bach and the First Berlin Lied composers, poetic texts were subjected to enjambment in the hands of Neefe. Oden von Klopstock (1785), contains an example of Neefe's use of enjambment in the opening lines of Der Liebe Schmerzen, in which musical phrases do not delineate the poetic phrases (Ex. 26). Neefe uses a falling melodic pattern to depict a sighing motif for the phrase "Noch ungeliebten" (still without love), which is interrupted by an awkward leap up on "die Schmerzen nicht" (mm. 5-6). Neefe's independent keyboard parts and complex melodic lines embody a different philosophy of the Lied from that of Gluck or Bach. Neefe was not concerned with the accessibility of the songs for amateur use. His wide-spanned, disjunct 2 Margaret Mahony Stoljar, Poetry and Song in Late Eighteenth Century Germany (London: Groom Helm, 1985), 107. 132 melodies employ operatic vocal ornaments and offer few rests for the singer. His setting of Die Sommernacht, in fact, has a melody which encompasses the span of a minor 13th (middle C up to Ab) in the opening four measures! Not surprisingly, Neefe did not fit into the liberal writer's fraternities, and his anti- Revolution ideals caused him to lose support as a composer of the bourgeois Singspiel. His experiments are an interesting by-path in the development of the Romantic Lied. Ex. 26 Neefe Der Liebe Schmerzen (mm. 1-8)3 (Klopstock) Der Liebe Schmerzen, nicht der erwartenden Noch ungeliebten, die Schmerzen nicht, Denn ich liebe, so liebte... n n l £ ^ bJ"] J- l>«h r f r 'r ¥ ge Lieb - ten, die Schmer - zen nicht; denn ich Lie - be. J. J J J * » - ■■■ • 1 s p f 3 Stoljar, 101. 133 The Gesellschaftslied, which emerged in the late 1770s, was a product of the direct conversational poetic language of such poets as Matthias Claudius and G.A. Burger. The composer Johann Andr6 set several of Burger's love poems in the lyrical Minnesang tradition. Written in this style, J.M. Miller's poem Das mitleidige Mddchen, which was set by C.P.E. Bach in the Neue Lieder-Melodien, embraces the Minnesang theme of love for an unattainable woman. This type of poetry, full of emotional frankness and eroticism, met with a lukewarm reception in the 1780s. With Neefe on the extreme experimental side of Lied development, and Andre on the simple, derivative style of art song, it was Reichardt and Schulz who stood on middle ground and further promoted the development of the Lied into the nineteenth century. Schulz adopted a style which enjoyed popularity through the 1780s and 1790s, which he named Lieder im Volkston. His songs consisted of singable melodies, avoidance of operatic bravura, accessible poetry, and simple written-out keyboard accompaniments. Separate from the volkstiimlich Lied, which was a style closer to traditional German folksong, Schulz's Lieder im Volkston appeared in three volumes (1782-1790) and embraced the Enlightenment ideals of naturalness and artlessness. In the preface to Lieder im Volkston, Schulz praised C.P.E. Bach as well as his own teacher J.P.Kimberger. The preface to Volume 1 contains Schulz's basic plan regarding the text-music relationship: The melody should not deviate from the text. It should mold to the declamation as a dress shapes itself to the body.4 4 Jack M.Stein, Poem and M usic in the German Lied from Gluck to Hugo W olf ( Cambridge:Harvard University Press, 1971), 28. 134 Concordant with Bach's teachings in the Versuch, moreover, Schulz maintained that the primary role of music is to touch the heart: It is the composer's moral responsibility to possess intellectual insight and guide others to a better understanding by appealing to the listener's imagination in a less direct way than the actual poetic text.6 Reichardt worked in the service of Frederick the Great from 1775, after Bach had moved to Hamburg. Always an outspoken member of the court, Reichardt claimed that he and his fellow Berlin colleagues were cultivating serious genres of drama and the Ode, while in Mannheim and Vienna, the musical style was equivalent to the old Anacreontic poetic forms. In the tradition of C.P.E. Bach, Reichardt continued to write lengthy prefaces to his Lied collections, in order to provide insight to the performer. He also championed the use of music in domestic life for the edification of the family and especially, the children. Reichardt had spent a great deal of time during his childhood practicing and performing Bach's keyboard works, and he admitted a lifelong admiration for his elder colleague. Though some of Reichardt's music was considered banal and average by critics, his use of harmony in Nur wer die Sehnsucht kennt from his Wilhelm Meister songs is bold and expressive. The movement from D minor to Eb major at the words "Es schwindelt mir" (It fooled me) appears to reflect the influence of C.P.E. Bach's text-expressive harmony (Ex. 27). Reichardt's use of the Neapolitan chord continues for three measures followed by the final line of text presented in octaves using the harmonic minor scale and a V7 to i conclusion. 6 Stoljar, 148. 135 Ex. 27 J.F. Reichardt Nur wer die Sehnsucht (last verse)6 (Goethe) cresc. ^ ------J — J — i — cJ • ■ U j — ist in der WeT te. Es schwin - delt k N = = n , i- J* ^ y j - y y j i cresc. *?i 1 / . * -——«—« ^ k is ------.— —o ------p ---- J—J ---- J—J— J —J—J— Dm: V V 16 N6 t , / » . _ ^______1_____ V____ ^ r r t h r ~ F / ------f ----- " ------? ----- mir, es brennt mein Ein- ge - wei de. N ur w<2r die J_____ 1______1___ pm p # w y i . - F vAJ ■«» % # # __KE____ SP___SP __ —Sm__ 1 ___ 1 V______^ - * J f » ___ # ___ ^ ____ - m ^ a v/ *__->__ 0 ------^ -----m-----0----- J----- #1----- L---J------4 -----J - — *----L - "----- J ^ « J ■ 6 4 Harmonic minor scale ' 4 U03 in octaves sucht kennt, weiss was ich Id 6 Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo W olf (Cambridge: Harvard University Press, 1971), 38. 136 Like Bach, Reichardt was sensitive to the subtle perception of word- images depicted in musical accompaniment. Reichardt's Lieder contain descriptive figurations which closely resemble the early Lieder of Schubert. For example, the accompanimental pattern throughout his setting of Goethe's Rastlose Liebe (1810) is similar to Schubert's setting (D. 138) of 1815 (Exs. 28, 29). The "restless" motive is depicted by running sixteenth notes in both cases. Reichardt's attention to the control of figuration, harmony, and dynamics to express the text has been well documented, but was certainly not new. Reichardt's importance to the development of the Lied thus primarily derives from his ability to draw out the most innovative techniques of the late eighteenth-century composers, and to project these qualities into the new century, using his own transitional Lieder as the bridge. Reichardt7 s songs had become popular in Vienna after his visit there in 1808-9. Precedents for Schubert's dramatic style can be found in Reichardt's Deklarmtion pieces. His setting of Prometheus alternates between declamatory secco recitative and lyricism. The opening of Schubert's Prometheus (1819) contains the alternation of interludes with recitative sections (Exs. 30,31). As is well-known, the further development of the fortepiano in the early nineteenth century made possible an even greater level of expression in the accompaniment of the Lied than had been possible with the clavichord. 137 Ex. 28 Reichardt Rastlose Liebe (mm. 1-7)7 (Goethe) Lebhaft. 4 Schnee, 6 7 Walter Salmen, ed. Johann F. Reichardt, Goethe's Lieder, Oden, Balladen und Romanzen mit Music (Munchen-Duisburg: G. Henle Verlag, 1964), No. 68. 138 Ex. 29 Franz Schubert Rastlose Liebe (mm. 1-9) (Goethe) Schnell, mit Leidenschaft Schnee, Wind 139 Ex. 30 Reichardt Prometheus (1809) (mm. 1-4)8 (Goethe) i Kraftig deklamiert dunst be, dem Kna - ben gleich, der Di - stein ktipft. 8 Walter Salmen, ed. Johann F. Reichardt, Goethe's Lieder, Oden, Balloden und Romanzen mit Music (Miinchen-Duisburg: G. Henle Verlag, 1964), No. 72. 140 Ex. 31 Schubert Prometheus (1819) (mm. 1-10) (Goethe) Kraftig. : t * i Recit. e dein- en Him-mel, 2^eus, mit Wol- ken dunst In the first two decades of the nineteenth century, after the establishment of the im Volkston Lied, German song continued to be linked to a strong folk tradition. To mix other genres with the folk style was generally frowned upon. Emanuel Bach's protests against overly-rich embellishments are synchronous with Schubert's desire for "absolute melody—free from all frills and florid accessories."9 Maurice Brown cited two factors which helped form Schubert's Lied style: the establishment of keyboard accompaniment as a communicator of picturesque comment, and the outburst of lyric poetry in the late eighteenth century.10 Like Bach before him, Schubert assimilated elements from dramatic scenes, ballads, and mixed-genre Lieder in his early experiments with the art song. Schubert did not respect Goethe's ideas that the best form for the Lied is strophic. Like Emanuel Bach, Schubert experimented with strophic, modified strophic, and through-composed structures in the Lied. Also like Bach, Schubert chose a musical form according to the poetic form and its expressive intentions. Brown also describes the most familiar characteristics of Schubert's harmony using language that could easily be drawn from the critical quotes of C.P.E. Bach's Lieder: The most familiar characteristic of Schubert's harmony is his passing from minor mode to major and, less frequently, from major to minor; the change may be smooth or abrupt, but it always represents an emotional change...(Also) his use of the Neapolitan sixth...This flexible use of harmonic changes had its 9 Hans Gal, Franz Schubert and the Essence of Melody (London: Victor Gollancz Ltd, 1974), 53. 10 Maurice J. E. Brown, The New Grove Schubert (New York: W.W. Norton & Co., 1983), 86. 142 direct influence upon his melody and modulation... He took over from the normal harmony of his day the augmented 6th and the diminished-seventh.11 One exceptional difference in the use of harmony in the songs of Bach and Schubert is in the treatment of the diminished-seventh leading tone chord. Whereas Bach systematically used the chord for the purposes of modulation, Schubert often uses such chromatic chords strictly for color and atmosphere.11 12 Precedents for nearly all of the song types used by Schubert can be found in the Lieder of C.P.E. Bach. The strophic song-form, common in the eighteenth century, was often used by Schubert in his songs (e.g. An Sylvia), and song cycles (e.g.Die schone Mullerin). Schubert also used many varieties of the modified- strophic plan for poems of multiple verses (e.g. Lachen und Weinen). Bach's Nonnelied and Ich hoffaufGott illustrated that this form could proceed in several different ways by varying the melody, the harmony, or merely the figurations (or a combination thereof) from verse to verse. The dramatic song, with characters that speak to one another, as in Schubert's Der Tod und das Mddchen, w as previously explored by Bach in Belise und Thyrsis. The scena Lied such as Schuberf s Der Wanderer, with separate episodes of differing tempos and moods, also had parallels in the eighteenth-century songs of Bach. The character of An Doris (Ex. 14, p. 84) for example, varied considerably from one verse to the next, and the song also exhibits musical devices similar to those used by Schubert later on, including descriptive keyboard figurations as well as shifts of dynamics 11 Brown, 89. 12 There is a discussion on Classical vs. Romantic uses of harmony in Rey M. Longyear, Nineteenth-Century Romanticism in Music 3rd ed. (Englewood Cliffs: Prentice Hall, 1988), 291-5. 143 and tonality. In contrast to Schubert, however, through-composed form was used sparingly by Bach and his contemporaries. Even in cases such as An Doris and A uf den Geburtstag, which do not contain internal repetitions of text or music, Bach was faithful to the tonic overall; both songs begin and end in the same key. Schubert was one of the first to conclude a song in a key other than the tonic. C.F. Zelter, born the same year that C.P.E. Bach's first collection of Gellert Lieder was published, was a violinist, conductor, and composer, as well as the teacher of young Felix Mendelssohn. In 1800, he became the director of the Berlin Singakademie, where many of Emanuel Bach's manuscripts were located in the decades following his death. Zelter held Bach in high regard and claimed that Bach had a great influence upon him from the earliest stages of his development: My models, (C.P.E.) Bach and Hasse, were my idols, I prayed to them, worked and suffered for them, and I consoled myself by them.13 Zelter, much younger than Reichardt, was more conservative in style. His setting of Goethe's Erlkonig, praised by the poet, is largely through-composed, with only small hints of strophic repetition. Goethe praised Zeller's work for its adherence to the form of the poetry and for embodying the poem's own innate musicality. Both Reichardt and Zelter were in contact with Bach's music in Berlin, as Emanuel's keyboard and orchestra works were performed there even after his departure for Hamburg, and his music continued to be widely 13 C.F. Zelter, Darstellungen seines Lebens, ed. J.W.Schottlander (Weimar, 1931), quoted in Hans- Gunter Ottenberg "C.P.E. Bach and C.F. Zelter" C.P.E. Bach Studies, Stephen L. Clark, ed. (Oxford: Oxford University Press, 1988),186. 144 circulated at the end of the eighteenth century in both manuscript and printed collections. Zelter, whose philosophy included the importance of score study to learn about technique, style, and aesthetic, had the reputation as a first rate C.P.E. Bach scholar. During his tenure as music director of C.F. Rellstab's Concert fur Kenner und Liebhaber series in the 1780s, Zelter often perform ed the works of C.P.E. Bach. Zelter also wrote essays to counter the attacks by J.N. Forkel (1749- 1818), the J.S. Bach biographer, who claimed that of the two eldest sons of Bach, it was Wilhelm Friedemann's musical prowess that came the closest to his father's brilliance. Forkel asserted that Philipp Emanuel Bach's style was too popular, due to his efforts to gain a wider audience.14 * Zelter regarded Emanuel as the Bach son who came closest to the greatness of J.S. Bach by virtue of his unparalleled originality. Concordant with the mathematician and philosopher Johann Georg Sulzer (1720-79), Zelter saw a clear connection between C.P.E. Bach and the concept of Originalgeniel5 In 14Hans-Gunter Ottenberg, "C.P.E. Bach and Carl Friedrich Zelter" C.P.E. Bach Studies, ed. Stephen L. Clark (Oxford: Oxford University Press, 1988), 208. J.G. Sulzer established the encyclopedic Allgemeine Theorie der schbnen Kunste (General Theory of the Fine Arts) (1771-74). Many discussions regarding the subject of originality and genius surfaced in the Enlightened atmosphere of Germany. Sulzer himself made significant contributions toward the formation of aesthetic criteria to evaluate the concept of originality. In the Theorie, Sulzer discussed original creation and genius ( Originalgenie), and what he considered the other end of the spectrum, the "servile, miserable imitator." J.A. Sulzer, Allgemeine Theorie der schonen Kunste, 2nd Ed., 4 vols. (Leipzig, 1792-94), 625, quoted in Hans Gunter Ottenberg, C.P.E. Bach (Oxford: Oxford University Press, 1987), 140. Sulzer also asserted that the ability to work creatively without regard to rules and restrictions was the highest goal for writers and composers. For Sulzer, the most important minds are those whose work reaches beyond the hometown, encourages thought, and provides pleasure for the broadest possible public interest. Along with poets J.W.L. Gleim and Ramler, Sulzer formed a circle of support and friendship around C.P.E. Bach. In Volume 2 of the Allgemeine Theorie, Sulzer claimed that Bach was a man of genius, who "sees more than other people do in those things that interest him, and he discovers more easily the securest means of achieving his aim." Pamela Fox, "The Stylistic Anomalies of Bach's Nonconstancy" C.P.E. Bach Studies, ed. Stephen L. Clark (Oxford: Clarendon Press, 1988),116. 145 addition to the Zelter and Sulzer references to Bach's mark of originality, other Bach contemporaries who used the word "original" to describe his music include M arpurg in 1759, Charles Burney in 1773, the Swiss Sturm und Drang writer J.C. Lavater in 1777, poet-composer C.F.D. Schubart in 1785, German writer, publisher, and founder of the Allgemeine Deutsche Bibliothek (1759-1805) Friedrich Nicolai in 1781, and Reichardt, who used the words "ganz original" many times in referring to Bach's music in the 1770s.l6 Despite his great appreciation for Bach's style, Zelter never achieved the success or level of his idol. When Zelter accepted the task of setting Rainier's text Auferstehung und Himmelfahrt Jesu in the early nineteenth century, the Allgemeine Musikalische Zeitung reviewed it as a disappointment when compared with Bach's earlier setting. By 1825, Zeller's opinion of Bach's vocal music had changed. Though Zelter still hailed Bach's declamation and individual moments of harmonic color, he criticized the composer for his instrumental style melodies and excessively high ranges. If Bach's ability to merge styles was viewed as a weakness by Zelter, then let us examine the strengths which arose from the so-called weaknesses. His "popular" style, criticized by Forkel, was a by-product of his desire to write technically artistic music in a natural and accessible manner. Of course he had to compromise every step of the way. He blended the ideals of the Rationalist Enlightenment philosophers with those of the heady young Romantics, such as Holderlin, Kleist, and the Schlegel brothers. Although Bach's first and only 16 16 Hans-Giinter Klein, Er ist Original! (Wiesbaden: Ludwig Reichert Verlag, 1988), 10. 146 composition teacher was the greatest master of the late Baroque,17 and his own music is said to have had a profound effect upon the Classicists Haydn and Mozart, many scholars have considered him a precursor to Romanticism.18 C.P.E. Bach's desire to blend together the best aspects of many different ideals is grounded in his logical, dialectic, and yet ever-rebellious nature. He never indulged in pure Romanticism. Further, Bach combined the unity of the strophic song with the interest and variety of the through-composed form to establish a hybrid form of many possibilities. His accompanimental figurations draw from both the older learned contrapuntal style and the more harmonic approach favored by mid century. With his two-stave solo song melodies and accompaniments, Bach risked sacrificing the intelligibility of the text for the song's ability to stand alone as a keyboard solo. If any criticism of Bach is due, it would be directed toward the large scope of his aesthetic ideals and his unwavering efforts to combine all of them in a natural and artistic way. Bach succinctly defended himself on this matter early in his career: I avoid common uniformity, I draw from many sources.19 17 "In composition and in keyboard playing, I never had any other master than my Father" (In der Composition und im Clavierspielen habe ich nie einen andem Lehrmeister gehabt als meinen Vater), quoted in M.G.G. Vol. 1,924. 18 "Although C.P.E. Bach may be called the first 'Romantic' composer, his influence is most immediately important in its effect on Mozart and Haydn." Rey M. Longyear, Nineteenth-Century Romanticism in Music (Englewood Cliffs: Prentice Hall, 1988), 28. 19 C.P.E. Bach, quoted in Helm, Music at the Court of Frederick the Great, 177. 147 Neither Goethe nor Zelter understood the instincts of composers such as C.P.E. Bach and Franz Schubert. These composers used poetry as raw material from which to shape a new entity. By selecting particular verses, repeating textual elements for emphasis, and careful composition of melody and accompaniment, the most successful Lied composers tried to give each poetic idea a specific musical counterpart, without creating what could easily amount to a keyboard piece with words, if handled improperly. This was a more difficult assignment than merely providing musical background music for a poetry reading, which had become the accepted practice for the mid-eighteenth century Lied composers in northern Germany. Finally, Bach's influence on the role of the keyboard accompanist was considerable. Prior to the Gellert Lieder, the keyboardist had functioned as a continue player. C.P.E. Bach was one of the first composers to elevate the role of the accompanist to the status of an interpreter, with duties comparable to those ; of the singer. This empowered a new intimacy between singer and accompanist that created a more personal delivery of the genre. When Schubert accompanied his friend, the baritone J.M. Vogl, in the early nineteenth century, they became a pair of Lied interpreters in response to the new humanism associated with German art song. In short, C.P.E. Bach significantly contributed to the development of German art song during the second half of the eighteenth century. His composition and teaching helped foster the remarkable parity between poetry and music which characterized the flourishing of the German Lied in the nineteenth century. APPENDIX TWELVE SONGS FROM THE NEUE LIEDER-MELOD1EN (1789): SCORES AND TRANSLATIONS.. 149 FIGURE 4 Neue Lieder-Melodien Facsimile reproduction of the title page... ite&jleine? S : 6 It f t t t . m 0 I e g e b 5 e 9 m I a t) i e.? " oompontfs .. 9.0 n , v I- % il \ p € m a n « g 5 a (§» . '. .;.-£fl6ecf/ i"789z '' .. 9 .C 6 r i (l i a b 0 o U f r f e b. ® on a?*u&. 150 1. An die Grazien und Musen Ihr Musen, seht den Amor, seht/ J.W.L.Gleim H. 748;W. 200/5 1778-82 2. An die Natur Holde giitige Natur" J.H.Roding H. 702;W. 200/6 c.1767 3. An Doris "Des Tages Licht hat sich verdunkelt" A.von Haller H. 741;W.200/ 21 1775 4. Aufden Geburtstag eines Freundes "Holde Freude senke dich" CD. Ebeling H. 707;W. 200/17 c.1767 5. Belise und Thyrsis "Belise starb, und sprach im Scheiden" Anon. H. 700;W. 200/10 pre-1767 6 6. Bevelise und Lvsidor "Der Mann, der nach ("Per Phonix") den Flitterwochen" J.A. Schlegel H. 758;W. 200/7 c.1782 Mod. edns: Riemann 1891-93 Friedlander 1902 151 7. Das mitleidige Madchen "Der frorrane Damon dauert mich" J.M. Miller H. 757;W. 200/4 c.1782 8. Freunde, Freunde, kommt "Freunde, Freunde, koimnt" J.Charlotte Unzer H.708;W. 200/19 c.1767 9. Ich hoffaufGott "Ich hoff auf Gott mit festem Muth" Elise v.d.Recke H. 760;W. 200/18 1785 10. Lied der Schnitterinnen "Singend gehn wir, frohlich singend" J.W.L. Gleim H. 755;W. 200/2 c.1782 11. Nonnelied "'Sist kein verdrufilicher Lebe" Anon. H. 756;W. 200/3 c.1782 Mod. edn: Friedlander 1902 12. Todtengraberlied "Grabe, Spaden, grabe" L.C.H. Holly H.745;W. 200/1 1776-82 No. 1 A n die Grazien und Musen. To the Graces and Muses (J.W.L. Gleim) 1. Ihr Musen, seht den Amor, seht, You Muses, see Amor, see. Ihr Grazien, den Kleinen! You Graces, the one so tiny! Er schwebt so sanft, wie Zefir weht, He floats so gently, as the wind blows. Und ampelt mit den Beinen. And moves around with his legs. 2. Sein Kocher 1st von Pfeilen voll, His quiver is full of arrows Sein Bogen—seht ihn zielen! His bow, see him take aim! Er zielt auf uns, und stort uns wohl He aims at us, and troubles us Bey unsern Kinderspielen. While we are at play. 3. Er flattert in Arkadien He flits in the archway Mit seinen kleinen Schwingen. With his tiny wings. Ein kleines Lied, ihr Grazien, A little song, you Graces, Lafit uns dem Amor singen. Let us sing to Amor. 4. Du Feind von rauhem Menschenhafi, You, enemy of harsh cynicism. Du Freund von sanftenTrieben, You, friend of soft desires. Herrsch' in Arkadien, und lafi Rule in the archway, and let AH' unsre Schafer lieben! Every shepherd love! 5. Uns aber sei kein Wuterich, But to us be not a tyrant Schon' unser aller Busen! Spare all of us! Wir, auf den Knieen, bitten dich, We, on our knees, ask you. Wir Grazien und Musen! We, the Graces and Muses! 153 An die Grazien und Musen. 1778-82 Munter. 2 mor, den len ihn nen Kiel schwebt sanft, zie zielt uns. Schwin kled Lied, 154 Ze stOrt uns gra zi mor 8 tr r p # ■ • 1 ---->---- "----- 'L- * ------M nen. len. ' ' 1 • gen. ? SfS h H f - f r - . - r - i = £ i * " ■L-T J -'"^1 ^ | P -----#------— e------p------f ----- r- 4 ------: — 5 = -W- P 7 1 155 No. 2 An die Natur. To Nature (J.A. Roding) 1. Holde, gutige Natur, Gracious, benevolent nature Milder als Eythere! More gentle than the air! Prachtig schmuckst du Feld und Flur, Splendidly you adorn the fields and flowers. Fullest Erd und Meere. Fills the earth and sea. Alles spricht von deinem Ruhm, Everything speaks of your glory Mensch und Thier und Gras und Blum. Man and beast and grass and bloom. 2. Ueberall bist du bekannt You are known to all In den schonsten Bildern, In the most beautiful images. Und doch wird des Kiinstlers Hand And yet the artist's hand Dich vergebens schildern. Vainly depicts you. Du, so vieler Wesen Gluck, You, the most delightful essence Bist des Schopfers Meisterstuck. Are the creator's masterpiece. 3. Alles mufi auf deinen Wink All must with your nod Aus dem Nichts entstehen. From the void arise. Was wir ohne Kunst und Schmink What we see in creation— In der Schopfung sehen. Without artifice and pretense— Selbst der Mensch, des Schopfers Bild, Mankind, the creator's vision. Wird aus deinem Keim enthullt. Becomes, from your seed, unveiled. 4. Deinem weiten SchooE entstand Your generous womb provides Ohne Fehl und Mangel, Without error and deficiencies. Die die stolze Kunst erfand, That the proud art discovered. Mancher schone Engel: Many beautiful angels: Aber wenig Tage nur But in only a few days Schmuckte sie dein Bild, Natur. You design your vision, nature. 156 An die Natur, continued: 5. Noch ist nicht dein Bild entflohn Still your image has not fled from Aedlen Biedersohnen, The esteemed sons of the bourgeoisie. Und noch hast du deinenThron And yet you have your throne Unter deutschen Schonen. Among German beauties. Ware doch die Zahl nicht klein. Oh, the number was not small. Die dir, o Natur, sich weihn! Of the ones that consecrate themselves to you! 6. O der ubergrofien Zahl, Oh the droves who are driven die dein Bild verscheuchet! To banish your image! Hitler Putz herrscht uberall, Vain finery rules overall, deine Schonheit weichet Your natural beauty Ungekunstelte Natur, Yields Artlessness, Nature, Leite mich auf deiner Spur. Guide me along your path. 157 An die Natur. Etwas munter. 1767-88 nen Schoos ent [ F ^ = ) J j S = s-- >---- D P ^ —J * / f = tur, mil - der als Ey the - re! kannt in den schdn sten Bil - dem, Wink a us dem Nichts ent steh - en, stand oh - ne Fehl und Man - gel. P # J t 6 158 spricht Ruhm, Mensch viel Gluck, bist Mensch, Bild, wird wen nur schmuck No. 3 An Doris. Doris (A. von Haller.) 1. Des Tages Licht hat sich verdunkelt, The day's light has grown dim. Der Purpur, der in Westen sunkelt, The purple moves lower in the west. Erblasset in ein faldes Grau It fades to a pale grey. Der Mond zeigt seine Silberhomer, The moon points its silver horns. Die kiihle Nacht streut Schlummerkorner, The cool night casts sleepy dust. Und trankt die trokne Welt mit Thau. And saturates the thirsty earth with dew. Z Komm, Doris, komm zu jenen Buchen, Come, Doris, come to those beech trees LaC uns den stillen Grund besuchen. Let us visit the peaceful landscape Wo nichts sich regt als ich und du. Where nothing stirs but I and you. Nur noch der Hauch verliebter Weste ~ Only the loving west wind Belebt das schwanke Laub der Aeste, Enlivens the supple shrub branches Und winket dir liebkosend zu. And nods to you caressingly. 3. Die grune Nacht belaubter Baume, The green, night-covered trees Fuhrt uns in Anmuthsvolle Traume, Lead us to pleasant dreams Worinn der Geist sich selber wiegt. In which the spirit rocks itself. Er zieht die schweifenden Gedanken, He draws the wandering thoughts In angenehm verengte Schranken, Into pleasing narrow bounds. Und lebt mit sich allein vergnugt. And lives for his own pleasure. 4. Ach, Doris! fiihlst du nicht im Herzen Oh, Doris! Don't you feel it in your heart Die zarte Regung sanfter Schmerzen, The tender impulse of soft sorrow. Die stifier Sind, als alle Luft? Which is sweeter than all the air? Strahlt nicht dein holder Blick gelinder? Shines not your graceful gentle glance? Rollt nicht dein Blut sich selbst Flows not your blood more swiftly? geschwinder, Und schwellt die Unschuldsvolle Brust? And swells the innocence-filled breast? A n D oris continued: 5. Du staunst; es regt sich deine Tugend; You are surprised; your virtue is roused; Die holde Farbe keuscher Jugend The lovely complexion of maidenly youth. Deckt dein verschamtes Angesicht. Covers your bashful face. Dein Blut wallt von vermischtem Triebe, Your blood boils with mixed desire. Der strenge Ruhm verwirft die Liebe, Rigid reputation rejects love. Allein dein Herz verwirft sie nicht. Yet your heart does not. 6. O konnte dich ein Schatten ruhren Oh, that a shadow could move you Der Wollust, die zwey Herzen spiiren. To feel the lust of two hearts. Die sich einander zugedachti Meant for each other! Du fordertest von dem Geschicke You would demand back from destiny Die langen Stunden selbst zuriicke. The long hours which Die dein Herz xnufiig zugebradit. Your heart spent idly. 7. Mein Feuer brennt nicht nur auf Blattern, My passion bums not only on pages, Ich suche nicht dich zu vergottem. I do not try to idolize you. Die Menschheit ziert dich allzusehr. Your humanity adorns you all too clearly. Ein andrer kan gelehrter klagen. Another can lament in a learned way. Mein Mund weifi weniger zu sagen, My mouth is not able to say much Allein mein Herz empfindet mehr. But my heart feels more. 8. Was siehst du furchtsam hin und wieder, Why do you look timidly here and there Und schlagst die hold en Blicke nieder? Casting down your graceful glance? Es ist kein fremder Zeuge nah. There is no outside witness near. Mein Kind! kann ich dich nicht My child! Can I not move you? erweichen? Doch ja, dein Mund giebt zwar But yes, although your mouth gives kein Zeichen, no signal. Allein dein Seufzen sagt mir Ja! Your sigh alone says to me, yes! 161 An Doris. 1 7 7 5 is langsam. fl p. £ E m , u_<_<_L k \ ___A J L $ ---- ^ ' P---- i 4 ^ Des Ta-ges Licht hat sich ver - dun - kelt, der Pur-pur derim We-sten —Q—---r%------—------yr 7 o — _^_ T - m — p q r i H L f/H ^ x % e1 z i J J W g « 9 * J — l t */•£X« *Jo >v f---- t-----p _Jf___ p_ p__ f___ f____ r — sunkelt, er - bias - set in ein fal - des Grau; der Mond zeigt sei- ne Sil 8 n P ■ M m------X- ---- ■ k yt ^ i e m 1 1 "I F — A IfTSr__ —__m ■ ' r r R ^ J_____ 1 7 ) ___LL 1 w « ^ * h6r - ner, die kiih-le Nacht streut Schlum-mer - kdmer und trankt A ______< , i " r #11 7 - J \ k fm ” * t T m * 7 J X # —7 f _ 9 v-\/ r -M 9 r p * | U P 7 i r p p f , PL/ ^P [ r # *y r 1— 1 j D » » » ^ , / l 7 L e a ------k- — 162 ______/ ______r — ------1— n — nr i r n r Kv F F ^ n ^ I ------J 4 J die brock - ne Welt mit Thau. 2. Komm, Do- ris, komm zu je- nen h f ^ .....k r * r t . - ^ = l- \{J fJU\ ^ 3 3 f *______O: | ^ Rf:— > — y- */ • * ^ - ^ 4 ------^ - 5 = ------*— # L r J j # r r j p - n Y \ K K K L i h r v------= , ------, » L ______5£_ _w .. f'h * m. • J ] L - f/H ^ i V L_eLL«_L« j J __4__ y J_ \______Qk__UK ^ ^ m 1 l ^ L _ H ------= ------T- / *■ # ± ± L * = i , : Bu- chert, laG uns den still-en Grand be - su - chen, wo nichts sich regt, als ich und 0 , .-I- ! ? K ------^ a----: r— U ey • U « —. r_a *. a * --<■■ a1 f * ^ ■ 7 Rff ^ T r - y— B 5^ ^ 9 ;-l- f ■ f " f F w » g: r r---- r- ^ l> pcp==----- 1---- LJ- — C-J 1 J =^=/—"—t - k, I'M m..--1- P B n « ^ J ^ K-z4.2-^:- e r r " ' Du. I'Jur noch der Hauch ver- lieb- ter We - ste be - 1ebt das schwan-ke Laub der j, itj n n i "33 j E= p - J - 1 r p Lr 9= , -^:g _ r1__ #Fn , p -#-—Krr -- F m 163 Aeste, winkt. und win - ket dirund lieb-ko - send 28 h r ] o = m m J-#T J . J j — W-VJ------zu. 3. Die grii - ne Nacht be - laub - ter B3u- me fuhrt l l , J 1 : ( f a 9 0 ------. ^ j ^ z) 5^ y j j j j j - ------J ) TW-&- ^ “ ------•*---sb ------r* d* J ~ * g j ' 32 J *___ S__ \ k____ L __1 <— 6- # p i^J^l » ^ J J tins in an- muths- vol- le Trau-me, wor - ein der Geist sichsel - ber 03 J- M J J JJJ *>i | ;^= = f - V - - S r = f =i M JJ J 1 164 ______J_____ ----^ — k- ^ ^— r—x r i h m J— T M n A -s / J r v ___m IV /# ' \ / V i. "___ / V I T f c wiegt. Er ziehtdie schwei - fen den Ge - dan - k \J rp t e ] . ^ m d n *4 M # b J • J m m _m______9 * vvw------w z — ^ # -i •. # PS j f j , c J w ~r* #____ «/ q p H f ____ y — m ______1 t “j J A J — ------ Do - ris! fuhlst du nicht im zen die 165 0 ' ^ ^ ------yr ___¥/_ / J i r w r Re - gung sanf - tet Schmer- zen, die su - Cer, 1______A , -t - TU __ 1 r 1 1 j j yd 1 i l i ^T * X 7# r ~ Uf J ____ ; r * _ . »____ " i v--- 1 Strahlt nicht dein hoi- der Blick ge - lin - der? rollt nicht dein Blut “f --- 1 lr~- T .^ = «):Z [, ^ J ^— 1 1 r ^ 166 Etwas lebhafter. Brust? 5. Du staunst; es regt sich dei - ne fe ^ 3 = J «j 4 r 1r- ..p y L p. ... Tu gend, die hoi - de Far - be ^===r=r=is: J ; r | J j ^ | — |*— f— % -j.4 ...... '------1--- rJ* -L f r ^>!i.>-rf> ^ 4 __4------=4^ ^ Lp 167 keu - scher Ju - gend deckt dein ver - scham |7 p—v i - —r — J 4 J - - J — : V ^ —7----- H------J— ------?— * b* * = i # " —r ------ / =#= jF fei k rW-7 Ws i 0 1 p P P IT ^—#- tesAn - ge - sicht: Dein Blut wallt von ver- misch - tern Trie - be, der - r - t — ^ m l * ' j j ' r /* 1 m' $ ^ ^ f m r»----»------^------i— - 4 ------^— J— stren-geRuhm ver-wirft die Lie - be, al 168 ^ lm ersten Tempo. -(g) ^ p J— J— --d-‘------ ver- wirft sie nicht. 6. O kOnn - te dich ein — f------*------p • p* ^ — W— c j ■ f i ...... = P f- f- ^ ^ ------) > 0 0 > $ J ' 9— ^ ------*------* f ------^ ^ 88 Schat ruh - ren der die zwey n o 1 * r \r a — ------r— 7,------■?—j-i m n / J 3 ^ rm ^___M ___7 HMh*_ Hr 7 ^ vsiy______i i______'IV 1 Her - zen spu-ren, die sich ein- an - der zu-ge - dachti Du v ------L/p ^ ^ . x — */ he —p # ,p v n frr\ ^___e ___7 Rff__L__1 —. i _j___r Rv(. 7 7“r— 1 Tv i I I 1 r J / fe! t i r i__ j v'__?___f 9 i V 1 1 —I------J------r 1 169 b p'MP p P Pi rl^irr i for- der- test von dem Ge - schi - eke die lan-gen Stun - den selbst zu - ru-cke, L ^**1 r^l " - . I f I/ P - 1 ■ J>3-r-J I i- »--0 £E3 ______a__ -X-12* ■ A ■ - -r n r - '"'NX A . i__- W_____0 f ffT\ ' i r 0 L / r 5. X-V ' w « ____ 1 die dein Herz nu - Big zu - ge - brachL r t[2 0 l ^ r ~ i 1—, i i * ___U__ #□ x0 • F J 0J 0 r frr\ ^ A ^ ___- ___ 9 * Vs\y ' i - * i - n ______* L r t r | 1? 9- X 1F f • 7 # I I 12 i* ^------0 — i ------j ^ r i — e— f — f ------V — r — f t -J ------2= 7. Mein Feu - er brennt nicht nur auf L b * * j f r — I * — (*— V ------r ------F ~ ^ , P U - 5 r ; r .... - ^ *»>: 1 f ^ r r r— - e ------i - g - — ....- : 2- - ^ ------r — f - - 4 170 108 — t —J^ p __J—J—\— Blat - tern. ich su - die nicht dich zu ver got- tern. 1 1 . fi e ^ k ■ »i rinn i- p c JL r UtsU := M = L _ ^n> l^i, r '/C1M —&1------ 7 ^ ^ r rvr i r r -»------v &— rs ------"^T Z j //T> "___ 7 J 7__ ^ i w a r • " ^ \ — J X___X # ~ die Mensch heit ziert dich all - zu - sehr. Ein u ^ 111 /T ,___ ^__ \ ___ J s j i n * # W ^ a i i w • 1 ' k g 6 J 7 r ______r pr j J) #•______•i _ x __?___ '______i # 7 ^J a * ——P------# 1 ID ------u------ft— u — r V — ^ 9 " r ^ 7 j an - drer kann ge - lehr - ter kla - gen, mein ------n i ------n — , ------h-7------^ , f o ^ J / f * ± * ttJ # J J i - / f f 171 120 l» * p s p p i p p \ J) J i Mund weifi we - n i- ger zu sa - gen, ir tr ^ J . . . T ^ i j M— pp t>: 1 -----* ~ n p ~ i $ - r - ' i ^ ? 1 / C ----- — —J— ------e— - ^ 124 / 3 j lein mein Herz, mein Herz em p fin - detw 4^ ^ 7 P r r ^ -#— l ^ ...f -N-f-i. 1 128 P m 7 > P~ P r J * h P I mehr. 8. Was siehst du furcht- sam hin und wieder, und schlagt die hoi i #—» ' b p T / 98L J |! - ■■-fj- ^ 1 ^ J ' - 1^T— .. r i— t ir i 172 132 $ 7 ---- f— ^ •/ Y 0, E__ a N r - ^ F ^ J ] J - ^ * 7 WLp = g = I- / *1 * J J- den Bli - eke nie - der? es ist kein frem- der Zeu - ge \ l [ f ] J ^ - t— t - n r .... B ^ 3 = i = £ d ) 4 - r — " d — i s r = r r J.. ------1— ^-- ^ 1 _ R l -f j o - j ^---- ^ 7 % ^—-- fi—ff- ^ - 5 - - - f 4 — > ---- nah, kein Zeug' ist nah: mein Kind, l l \ . J ^ 1 f S ] j § J p - - - ; — r J f j - - 6^--- l t " / r r r . _ . |F f — 173 Freudig. r j - y - •7 v T-#------T~ L K. ~ < s ______— z r > /C f «/ m */ < W ____ Q___ ^ 1 irr\ P 6 1 7 J 7 i n j __^ i i y _i __ j __ j j ___i _L/______Z __ Dochja, dein Mund giebt zwar kein Zei - chen, al - 0 J 7 — ! ------7 k U o v • ______- _____ r— ~ ______L______Li _j A , /C > * # \ __ _ 9 ' ° T 5 7 T$ J i S . 0 0 _j?___ # ______n C_J l _ t ^ ______S ____ c ____f ► iCV« ' o ______B____# ____ A, ■ ^ T «7V ’’ v7 L/r r 1 17 _ _ _ 0 ■ ------# No. 4 Aufden Geburtstag eines Freundes.c For the Birthday of My Friend (C.D. Ebeling) 1. Holde Freude, senke dich Sweet delight, you drop down Von dem Himmel heute nieder! From heaven today! Tone Gluck in unsre lieder: Our songs project happy sounds: Sie erschallen feyerlich. they festively resound. Wunsche fur des Freundes Leben I and all my household express Fuhlt mein Haus mit mir, sie heben Wishes for my friend's life Froh vom Herzen sich empor. They burst joyfully from the heart. : Werden ein Gesang, ein Chor: A choir joins in a song: 2. Singt dem besten Marine Heil! Sing hail to the best man! Jede Seligkeit der Erden Every bliss on Earth Soil von Ihm empfunden werden! Should be experienced by him! Jede Wonne sey Sein Theil! Each delight may be his! Seine segensvollen T age His days filled with blessings Lacheln heiter, ohne Klage, Cheerful smile, without complaint. Sanft, wie seiner Gattin Blick. Soft, as his wife's glance. : Beyder Lebenslauf sey Gluck!: May life's path bring good fortune To both of them. 175 A uf den Geburtstag eines Freundes. c.l 767-88 Zartlich. «______T =Zj V ff .1 __J ______J ______//T\ t r ______,______# Hoi - de FreuCN5 de sen - ke dich von dem m a . U — ^ a r A M m f I p i l E H E S * ^ 1 j A ^ m Him - mel heu - te nie - der. To - ne Gluck in un - sre i s i i n , j) ...n r_g r J j j^ . ij Lie - der: sie er - schal - len fey er - lich. Wun - sc he ||||pp| j Itjpl #______* - £ ------^ ^ T I ------>------, v r » fm m f i-L j U r— i 7P LJ 176 9 i— —,— , - 0 . . 1.------\ ___M__ " rr» » 2 w j __J_ _j___ n __ 9 r H F m H F frH / l r r r w • ____ m '• u ______. .n r p p ____ i d __ -----— r— — 1 v ^ J w rJ ______J___ __ L___ u ____ u __ fur des Freun - des Le - ben fuhlt mein Haus mil , « r - 1 i— ______1______i— ^ V U —m------2 — i— I I------1 I I W ------L L J M- !— ------* — tr » — m— 2— a 1 1 _i__ 9______.-^qF J 1 A bF fk\ n • x x • w T F yfd? — r r W • # J * ^ ______:______n _ L J L S L - a . e ...... h iTV* f F ___ # ___ r - ______0-______F . _ b J ------J— 12 mir. sie he - ben froh vom Her - zen sich wer- den j j n 15 P n r r r -r-- - f---- r---- ij^ M 1 J l § ^ p LJ -U U .... ^ ^ Bin Ge- sang, Ein Chor, wer- den Ein Ge - sang, Ein f b xT! r i j--]. | J J ^ ^ l_W—J f - M —J - J 1------J ------^ - f— r------ ' *.% #, . r #r---- = ^ p {= - " L ^ ^=f =f =p— '— - # r 1 1 1 ' — ^ 1------r - M l ------K . t . r > ______^ 5 a v L______*7______^ ______U ------___ _L ------J — LX------J - 5 ------f f/T\ A /______z______m______-x v ___ e v ______r ^ ______w ______a ' e _ e ______x __ ^ Chor, Ein Choi ! Singt dem be - sten Man - ne H e il! f l » « r n 1 v B s x x S ______W____) 1 >!— i ______— w i ______li ______# r/n ■ 1 'N # # » Vv # • w • v \ ) — ------) n ______X__ # —- 7 7 M f ______L______—^ " * T » L r i. — ■ ______5Z_5_ •/ .# - ..... - _t t v * J ______Z_ JJ ______/___D ___ « ___« _ ____ 1__ Jt # ------*- L- = B 21 r 0 L K r -h ^ - x _____ 1______*______/r_ ^ i _n X J / J ______Y l X ,1 m • 1• __ # __ rm \ 9 ^ ; * 9 ____- > __- ’ J l* p ____ P_____ n M__^ ______- IV ^ r Je - de Se - lig - keit der Er - den soil von Dun em i - y n ' rs K P 1 \ 1 ^ F rrr\ _ # ___^ [) J' J i f . 9 r i vv p x # n 0 x 1 9______K p r j P r p u * r ______r E P f ! - /u F E • 41; f . \ ______E______1 —' 1 ff X / n A r 1 1 1 l------l x ------r ------j ------^------1 ______e ______mr r u { r t h p~>-> -h J J 1 rn , r 0 il -- J =t= f n J J § *-^r-p ’ ^ ' pfun - den wer - den je - de Won - ne sey Sein TheD! tr 0 a J = p = ^ , r J - d ' - l ------J_ JHJ [J L / p ^ ------P ------^ ------i ------p ------,------— 1------p ------f ------ M — h ------" L L p- P -L L / J 1 178 27 chain hei 30 tr 0 Hn ,...... r- ...... | ..... : i vl " _#___ «___a__ ___ Lh-4»_J ____p5_ fcs V V V U ff ______X ______—______1______1______— , tr /L * f * V7 n« WJ J ' 1 \M7fm r~ m9 V r5 P y % y JJ__m m ^ ^ ni Y ~ 9 S -9 i r P F r , j y r i W__ v__ u______X X r [------^ ^L J 1 ___ J iOr r — 1 e__1 r r t r • ^ W------L 179 36 v - r T — ^ +r ' Ta - ge la cheln hei - ter, sanft wie Lf #* f}-^hd ..J. F - . . .4 d - : : .J..:, § (J U p r 4= r r ^ #r r r r r p _ p - ■ f — -F^T" — ^ =# Sei - ner Cat - tin Blickl der Le - bens tjl J ._J---- J---- -j- ^ n .r; n f=r r ill i * $ m CLLJ ....i i p ^ J #—# m lauf sey Gluck! Bey - der Le - bens - lauf sey Gluck! #» J ^ m ~ ~ r.r - ■ r ------W j ____t 9=8;. " m f 180 No.5 Belise und Thyrsis. (Anon.) 1. Belise starb, und sprach im Scheiden: Belise, dying, and speaking as life fades: Nun, Thyrsis, nun verlafi ich dich! "Now, Thyrsis, now I leave you! Ich sturbe willig und mit Freuden, I would die willingly and with joy. Liebt' eine dich so sehr als ich. Would someone love you as much as I." 1 Ach! sprach er, mag dich das betriiben? " "Oh!" he said, "Does this trouble you? Belise, nur deinTod ist schwer! Belise, only your death is hard for me! Kannst du mich selbst nicht langer lieben, If you can no longer love me. Bedarf ich keiner lieb e mehr. Then I need no more love." 181 Belise und Thyrsis. c.1767 Langsam. r— 1. _ j frt\/r 4,1\ • ' T L l n a ______\J__ r___ 1 ^ ______Be - 11 - sc starb, und "Ach! sprach er mag dich ZLv j • nu 1 - a 6--- - * C.'V* •> X ^)------ft------, T • 7 J. 7 ✓ 7 3 Schei - den: trii - nun dich! Ich nur schwer! Kannst 182 s p p p M r f j stiir den, liebt' du mich selbst nichtm l l&ng - er lie ben. be j 9 = , •, 'P M r . dich so ich, kein- ner mehr. dich so sehr so sehr als ich." kein - er kein er lie - be mehr.' 183 No. 6 Bevelise und Lysidor (J.A.Schlegel) 1. Der Mam, der nach den Flitterwochen The man, after the honeymoon Aus Liebe kiifit und nicht aus Pflicht, Kisses for love and not duty. Der zartlich mit der Braut gesprochen, He tenderly spoke with his bride. Und mit der Frau gleich zartlich spricht, And likewise, his wife sweetly speaks. Der, wenn ihr Herbst schon naher rucket, She, when in her autumn already nearing. Sie wie in ihrem Fruhling kufit, She kisses as in her spring. Der ist ein Phonix, der entzucket; He is a Phoenix, he enchants; Nur Schade, dafi er selten ist. What a shame, that he is so rare. 2. Die Frau, die nach des Mannes Tode The woman, after the man died. In ganzem Ernst die Trauer tragt. Completely in ernest, carried the sorrow. An ihn noch denket, troz der Mode. Still thinking of him, despite the custom. Wenn sie die Trauer abgelegt, When she discards her sorrow. Ja sein Gedachtnifi nicht ersticket, She does not suppress the memory. Wenn sie das zweyte Bundnifi schlieCt, When she married the second time. Die ist ein Phonix, der entzucket; She is a Phoenix, that enchants; Nur Schade, dafi sie nirgends ist. What a shame, that she is nowhere at all. 184 Bevelise und Lysidor. (Der Phonix.) c.1767-82 w nicht aus Pflicht, der z&rt - lich mit der Trau - er tragt. an ihn noch den ket f r f j P 185 Braut und mit der troz wenn sie die Trau wenn ihr Herbst sein Ge - dacht rHS-rt--- r r i — i— ------p « j1— r -1----j1------m 6 i f T\ P f v * m > l ? 1— F------4 — F------L — F— 1 na - her ru - cket, sie wie in ih rem nicht er sti cket, wenn sie das zwey - te 186 kiifit, ist ein Bund schliefit. ist ein nur nur i ^ i $ i n Scha daiE er sel ten ist Scha t: dafi sie nir gends ist 187 No. 7 Das mitleidige Mddchen. The Compassionate Young Woman (J.M. Miller) 1. Der fromme Damon dauert mich I'm sorry for gentle Damon Von ganzen Herzen; With all my heart; Voll innern Harms verzehrt er sich He is consumed with inner grief In Liebes Schmerzen: In the pain of love: Wie Sommer Rosen welkt er bin. Like summer roses he wilts. Doch weinen kann ich nur um ihn. Yet all I can do for him is cry. 2. Er schwankt des Tages zehenmal Ten times a day. Mein Hans voriiber; He passes by my house; Und inuner wird bey seiner Qual When I see his anguish. Mein Auge triiber. My eyes grow dim. Ich blicke traurig nach ihm hin: I glance mournfully toward him Doch weinen kann ich nur um ihn. Yet all I can do for him is cry. 3. Ach dir, Amuntas, schlagt allein Oh for you, Amuntas, Dies Herz im Stillen; This heart beats alone in secret; Du nur kannst seine sufie Pein Only you can, your sweet pain. Durch Liebe stillen! Through love satisfy! O Liebe! denke du sein Herz, O love, think of his heart. Und lindr', o lindre Damons Schmerz. And soothe, oh soften Damon's pain. 188 Das mitleidige Mddchen. c.1782 Langsam und traurig. \? O 1 6 = ^ ------. ------m___ . d _ K | r n fJr r - 7 . — i t 1 ? ___ , m._____ m_____ J / frr\ ' 1 1 J ___ J ___ / ___ / / Lz______ E)er from - i ne 1 Da - mon dau - ert mich von ir schvvankt t es T ag - es zeh - en - mal mein Aich ciir, A - rriun - tas, sellilagt al - loin dies A 1 ______# _____ v [7 *1 J r • ... . J __ ^ m____ r/H ? 6 r ______J______r9 _____ — i j ...... ' ^TXe o____ _ . m£ ______w£ ______r J f 7 V • */ 7 p ip p p p Herz - in - nem Harms ver im - mer wird bey Stil - len; nur kannst sei - ne sich in schmer Qual mein Pein durch P P P P IP .p ip Som - mer ros - en welkt er hin. Doch wein - en blick - e trau - rig nach ihm hin: Doch wein - en Lie - be! den - ke du sein Herz, und lindr', o i 1 p a $ y - ' } }— r y — p------«------K r------I — t — h m P V Li7 fm " Fi ) " Rn Hr n 7 L 1 L m 7 IM — T— j p — ^ ------L kann ich nur um ihn, nur um ihn. kann ich nur um ihn. nur um ihn. lin - dre Da - mons Schmerz. Da - mons Schmerz. Q Ll> ------.— r = ^ — i L / L ? UP 9 J h J ___ ljt fm ^ r • t Hr n 7 L 1 L * 7 —— ------4 — M------190 No. 8 Freunde,Freunde,kommt. Come, My Friend (J. Charlotte Unzer) 1. Freunde, konunt doch in die nahen Walder, Friend, please come to the near woods, Und empfindet da des Fruhlings Luft! and there you will feel fresh air! Zephyr ktifit die schon geschmuckten Felder, The wind kisses the beautiful adorned fields. Und entfuhrt den Kummer aus der Brust. And lifts the sorrow from the breast. 2. Eilet! und verbannet aus dem Herzen Hurry! and banish from the heavy Unluft, die des Winters Eigenthum! Heart, the leftover impressions of Winter! Seht der Vogel Heere munter scherzen! See the flock of birds playing! Bleibt doch nicht bey ihrer Freude stum. You cannnot remain sad when they are near. 3. Scherzet, singet feurig von der Liebe. Play, sing ardently of love. Singt den alten, singt den jungen Wein, Sing of the old, sing of the fresh wine. Singt der Jugend freudenvolle Triebe, Sing of the young pleasurable desires. Singt euch ewig, um vergnugt zu seyn. Sing yourself endlessly, bringing joy around. 191 Freunde, Freunde, kommt. c.l 767-88 Munter. 11=' p ^ -P..— P' Freun de. Freun - de. kommt doch B let! E - let! und ver Scher zet. scher - zet sin - get 9 ' c t 3 des Friih den jun 192 Luft! Ze - phyr kufit die sch6n ge - schmuck- ten turn! Seht der V6 gel Heer - e mun - ter VVein, Singt der Ju gend freu - den - voll - e lljF 3 # M 1 J l = l : § J ...... * . S s t T L u J ’ und ent - fuhrt scher Bleibt doch nicht Singt euch e 193 No. 9 IchhoffaufGott. My Hope Rests in God (Elise v.d. Recke) 1. Ich hoff auf Gott mit festem Muth, I hope in God with firm fortitude Er wird mir Htilfe geben. He will give me help. Wie Gott mich fuhrt, so ist es gut, If God guides me, so all is good. Sein ist mein ganzes Leben. Then my whole life is His. Schickt er mir Leidensstunden zu. In times of sorrow. He sends respite. So schaft er mir auch Trost und Rub, He provides my comfort and peace Und hilft mir uberwinden. And helps me to overcome. 2. Zwar wird es meiner Seele schwer, I will admit my soul becomes heavy. Wenn Leiden mich ergreifen. When sorrow overcomes me. Oft ist mein Herz am Troste leer, My heart is often without Wenn sie zu stark sich haufen. Comfort when sorrow envelops. Doch seufz' ich Gott zu dir hinauf, But, when I sigh to you God above Dann richtest Du mich wieder auf, Then you lift me up once again. Du Troster meiner Seele! You, comforter of my soul! 3. Verlassen hab' ich mich auf dich I give myself to you Seit frusten Jugend Tagen; Since earliest youthful days. Du treuster Gott, wirst ferner mich You, truer God, you Will carry me Auf Vater Armen tragen. Far in your Fatherly arms. Ich hoff auf Gott, auf Gott allein! I hope in God, in God alone! Diefi soil mein Trost und Labsal seyn This is my comfort and refreshment. Im Leiden und im Sterben. In pain and in death. 194 Ich hoff auf Gott. 1785 Entschlossen und etwas lebhaft. Ich hoff mit fe- stem Muth, r r g p ^ 'f r ''S? --^ r-p------r"M ^ J 7^if..-J--.^ wird mirHul fe ge - ben. Wie Gott mich Fuhrt, so A* W _____%__i_m___ -rti... j.. ffT\______r1 __ w e ^1 . # •^ a 7_L _ ^ i' 1 w w 9 u flip I f r— , zx*• f • «y .1TF p|fF Vm Da ^ ^ F —, >Z 7 7 ^J__ 1 #J m J • 7 \ ) 7 6 195 9 Schickt er mir Lei Stun den zu.dens schaf fe er mir rl—6 ------^ >------— ------\ tt4 - JT " m m ~ m # __e ___\ m 17 r\ _/fr\ i *1 ’ r >Lv -_____ n v___ u__ r __ 3__ o V__ r x EH - nU n v f \j m 0 Trost und Ruh, und hilft mir und hilft mir u - her win - den. Zwar _____ k___r — s______l — M 1 » < Jr w ^ • mr m m * n i } • 7 n 9 -P—r \Lv - ______U.__ ___ u n__ r______I___ *___ m 1 * r ^ / jo P 1 £\m v " m i y < • /* > ScvTT L m □ ^ ^______0 1------^ J ' w * l:- s - f - ^ J 1------ 0 ,1, < 1 . Z-' * n 1 P ; K — ^ - N - i — \ ------• r ___1 J ____l______—___ •4 ____ - l '___ 1______i T f /T \ ^ 2 « 7 — /___ ^| 7 VsV — , T7 J v , — w # * ) ^ r r wird es mei n e r See le schwer, wenn Lei den mich er - i r 1 i ^ y 1 ■ 1 1 T ~ i i ^ * ___ V m m J T - . 1 p p m e _ d _____- 1 ff p ___ 0 ____ ^ n i i w — a 1 r " P 1 LT r - ______A m * ! > « j 1 t 1 1 •/» > > J f J • i m x ? x # x * / n 1 l 7 ~ ~ 1 K 196 Oft ist mein Herz am Tro - ste leer. J P i J ) j n V d v*94—d w m r r -*— P------k»—p- 7 21 wermsie zu stark sich hau - fen. Dock seufz' ich Gott, zu J J) _h—is JV — -P------^ 1 P r B L f ; r Jl »—-—# f 1+ + / j r rm. ------*—L —— M ^ — 1 r >-----* p U f ■ pP * s g* i # p u J; — f----— py - p - a - - j ^ j dir hin- auf dann rich- test du mich wie - der auf, du =^=7^ t^r- ^-0--- >---- -1 r-t>r~T^= P* ^ F V F -4------=#=:=^5 J P # ^=9jx j f -#------y-Vr—#- >'—- f ...... 'C j - w J j 1 197 Langsam. Im ersten Tempo. 27 fr / 5 a & m*—w m w m m ster, du TrO ster mei-ner See le! Ver J VT] J , i' a j -j > u - ' ' r r p J J j TMr~ppr~’p^ las- sen hab ich mich auf dich auf dich. seit friih - stenju - gend ill . . P !> J^l #------w—» l a # m . # - i m * 5 w $r F #-----# Ta - gen; Du treu- ster Gott, wirst fer- ner mich auf tr + -d s m -0------#- rn s _ # * . m _ ^ r - ' J / i^^ipSEpUP -#---- al ter Ar-men tra - gen. Ich hoff auf Gott, auf ir ------tr a 5$ = J = 5 $ *u- F X / y / — ^ih = ....i r f : o . t i rC!r J'tf ^ 1 =^=?=>—^=^=— e S7 V fo K ttp ^ Ji7 i t p ^ r r J J a J 3 i P [ _ T ^ Gott auf Gott al - lein; Dies soil mein Trost und Lab - sal seyn, im tr#_____ 0 r * 0 § L^T ".. ^ * 1 . W _ p ^ r j < Q [ -----. iiP^-----^------> Ip v 4 ------' ------T—^ ^ -zr2 — |: 7 J r j ...... 1 ^Lr 7i^' ^ " ....' J ^ __5 # den und im Ster P "I ■ I J J J = # --i: J ■ = 5>: - r 199 No. 10 Lied der Schnitterinnen. Song of the Women Harvesters (J.W.L. Gleim) Singend gehn wir, frohlich singend Singing happily as we go. Unser bestes Hirten-Lied! Our best shepherd-song! Zu der Arbeit gehn wir springend, To our job we skip along, and Dafi uns hort, wer uns nicht sieht; We're heard by those who don't see us; Singend gehn wir zum Getununel, Singing as we go to the bustling workplace. Zu den Heerden gehen wir. To the herds we go. Singend gehn wir; unter'm Himmel Singing along the way, under the sky— 1st kein Volk so froh wie wir. There are no folk as happy as us. 200 Lied der Schnitterinnen. Lebhaft und hirtenmaBig c. 1782 ir — i L % 4V .. 2 r m -pPV- ...... 5 ^ ------5 = -—— / — 5in - gend gehn w ir, fr6h - lich sin - gend i* K-^ = | f a ^ ? J ) M = ...... 3 ‘ ■-p / 15 ——------—------* > • Z * 9 > r y ; T " __ 5 ______ 5 ' £ ------v sr —x v » > 9 0. # _ L « ______J___ # m ' J ^ / l < § 1 ------± un - ser be - stes Hir - ten Lied! H p - r - 1 k 1 l 1 T XJ 0 N ’ , 0-!N 5 J .... >...... f/W " ~ 1 ) d X 7 r * » X x. 1 x^-v x r * g 0 X ' «r p r p -p^ r ^ p r - 4X» v I ______# ------» - ...... - ---e ------ 9 - » "1------m— — f ------• « 1 7 p j /m P |J____ r ______* ' • * F ■' r r \Lv_____ / ______Jr______Cb£ - Zu der Ar - beit gehn wir sprin - gend. V _ n n r 1 j 1 X 5 X X □ □ > « y J J ? J* * m t i 1 r e x fM P__ 1 ____ X______ml_____x ______0 _____ J F J r # , V-L/ 1 i r 0 r 1 r 1 r 1 I ' ,— # ------» ------—# ------* ------0 ------0 ------—# ------0 ------9 ------201 13 f i T p f ] ------f ^r- ^ js —- -5<___ tzzz#. ___m------0 * * f e ^ P ^ J' t: r7 / / P ' - • — J— f — dafi uns 1 itirt, wer uns nicht sieht; ^ 7 ------Sj— - ^J'Hr 1 \ T t P 7 ' Lr zI d 1 j r J . . J - r - " O i # ..... J 21 tr WIT. A J A 202 ------J# ------: Sin- gend gehn wir; un - term Him - mel JM.------# ------# ------m t t ? ------f ------^ ------n 5 = ------1‘!------: b r L r - r ^ : . t m ft ft -►------» ------F F ^ J -i ----- 6>------r L _ ' P------ 29 Volk so so froh wie wir. 203 No. 11 Nonnelied Nun's Song (Anon.) Volkslied aus dem Canton Schweiz (Swiss Folksong) 1. 'Sist kein verdraSlicher Lebe, It is not an unpleasant life Als in das Klosterli gehe. In the convent. Man mufi darinne verbliebe, One must remain inside MuB alle Schatzli miede. To avoid seeing loved ones. Refrain: O liebe, o Liebe, was hab ich gethan! Oh Love, what have I done? O Liebe, was hab ich gethan! 2. Dort kommet mie Vater und Mutter, My Father and Mother arrive Im Klosterh finde sie mich; And find me in the convent. Hab'n alle hubsche Kleidli an; They wear handsome clothing; Weder ich mufi in dem Kuttli stahn. While I must stay in my habit. O liebe... 3. Wenn ich in die Kirche gehe. When I go to the chapel, Sing ich die Vesper alleine, I sing the Vesper alone. Wenn ich das GloriaBateli sing, When I sing the Gloria, Liegt mir mie Schatzli nur im Sinn. I have only my love in mind. O liebe... 4. Wenn ich dann zum Tischli gehe, Then when go to the table. Steht mir das Tischli alleine; It stands there alone; Ich esse das Fleish und trinke den Wie, I eat the meat and drink the wine. Und denke, o Schatzli, warst du dabie! And I think, oh my love, would you be with me! OLiebe... 204 Nonnelied continued: 5. Wenn ich derm auch schlafe gehe, And when I go to sleep. Steht mir das Bettli alleine; The bed stands there alone; Ich liege damn, dass Gott erbarm! Therein I stay, would God have mercy! Und denke dich, Schatzli, in mine Arm. And think of you, my love, in my Arms. O liebe... 6. In der Nacht, wenn ich erwach. At night, when I awaken, Da greif ich hin und her; I grasp about to and fro; Da mag ich greife, wo ich will. I grasp wherever I can. Wo ich greife, ist alter still. But where I reach, is empty. O Liebe... 205 Nonnelied. Volkslied aus dem Canton Schweiz c.1782 Langsam 'Sist kein ver- driiG - li - cher Le als in das Kids ter- li tr - 1-- r ^ - \ V < V r r i P - f — i______l_ 'S V_a . 1 3=3=] 31 Y - r# i —^ t r n ki \ f(T\ L _ ) V-U M a i i jf » ■ 1 UM, ^ n ------* —a ge - he. Ma n mufi dar-in- ne ver - blie al - le Schiitz - H A #______SN___ , tr n r — 1 I v V e ^ /L ^ 7 • # t= / t vtT a ______m j ' Be ---- • —a 3F " ^ » e v j " ^ . ______# # k'l* t J r r — i f / 11 y # __ ^ V __y__y. J >__ r___ FT__ _ V V __”__ 7 , 7 / i 7 * j an------f ------X ' 0 0 - A * i______K k k | k p S 4l > ^ • i1 ^ •______u __n r s i < Inx_____*/L v _____> y1*1 7 *17 R* 1 J y \ w i r ____ nL7J r_____ rr______r m• ^ ^ 7 mie de. O Lie - be, o Lie - be, was hab ich ge - than! O A # tr , . 1 ___ , ^ U 8 1 ______I1 5 « a eflx/L ^ i '7'V V7 * « 1 «• # # m « • ^ 7 1 l 'il/ ) ____ TTrUJ_____ FTU__J r______* • e . F i ei J / | / | t , S*j *1 m — J—— ----L 7 P 1 P ^ P P p P1 Lie - be. was hab ich ge - than! 2. Dort kOm-met mie Va-ter und J — e • r n =-.---- V I f --- J------j - # # f— " U j V=# v v f W 3 # 7 - r t r* TV I"' i)|.f ^ Mut - ter, im Klos-ter- li fin-de sie mich; habn al - le htib - sche #-#—m- m # s r - m 3=± W v i* . Si J’ H i ; - - L->^ry 5 Kleid - li an; we-der ich mufi in dem Ktitt - li stahn. O Lie be, o *5 “ " " " ^ I • 0 * 0 -A S 3 TV i 207 , jf' ± i J : m --J :--=^=k p r J- 1 ' P P p Lie - be, was hab ich ge - than? O Lie - be. $4 f. - j r^ - m J - f ^ - | § r J- ± < 7 # = — A f" J---- s z l z zF— y F-F” t|7 ,|ciicxr L U J’---- 1 ' U J 71 k r n H — t V frS_____# T / i f: n 17 1 . 1 M "T 1 n# / VT/______.i I T ^ yii i _m___ 7 M M r ^ I I I - h , a 1 wa. hab ich ge - than! 3. Wenn ich in die Kir - che ge - he, sing 1 . 0 # 11 1 * iT i k z _ l_ _ k frT\ ... ^ i l l l ___x ______• L W u ^ it J # e ~r ' 7»------r 1 % 9 J ___ r * ^ J *v_ m *4 ■ • * • 7 " _____^ ’ / r T-1 h --- 7— __ v a r W - ^ = W ------1------■ ' 0 $ ------K— K— sr s t - ...... r * i h k z -i------ST S ^ L kr X ^ F » k J / J / ) i 1 \*4 >■ J ) n S s. v n lm r r Q* # * * i / / n ' i 10 ^ y ^ A LL i S 7 L 7 V-V 1 1 “ ^ M ______* i ___u __ / M * ' i) Uej ____ y y y - * ich die Ves-per al - lei - ne, wenn ich das G lo-ri-a - BS - te-li ang liegt ______Lr «v J __ J nzsr fm r H# # J i ~ 7 L J { w ______i r ______9 m * w i - - • m - ' J 0 # ) ^ r i— L J ULT r" “"i m 1 £T%. k i J J - J - J Tk [S r /• , 1 ' '*• m ' *y 0 v v 1 / y ^ i l5 ______p______7 i 7 * il------t r ------r ------1 ------208 >pp p^^N^'-'piTpr pir j mirmie Schatz-li nur im Sinn. O Lie - be, o Lie - be, was habichge- I W F i p ' Q i ...... — g~ . - K K K h - T - ■ ^ # - \ # . . : rrr l i / « ft I f/T\_____ r ' r y □* n F • v^yy_____ L______r __LlJr r r 1 ^ yj n w ■ .-i. # | 4.Wenn ich dann zum Tisch - li ge - he, steht mir das Tisch- li al - lei n<% ich A # , F M Y~ «F ^ ^ ^ . i J IT/ u F ^ T J r tv J r ffS_____ F 1 W J r r r L ” V 1e. r 1H • ^ a a - ) «J 1 ”9 1 1 _ , ______a . i a ' 1 J j __ ^______. i_!___ # " M , W w */ #□ x T 7 7 r ' r —7“ 4 V 4 ------1 — ^ 4 209 it— 5v: v1 ^__ a __ f\i # . ^ ^ h / f g—K1 L n L ) m n R R e m m J U ______tie J ^ U ) j______^ * 1,4 - » 1 "Try # es- se das Fleish und trin- ke den Wie, und den- ke, o Schatz - li, wSrst du da - a b s -zJr dzz T rzrx # ^ ^ T l y ___ ! tie w # m if ______R |# - 1 1 \ 1 * /• , 1 S? »? hv ) ^ 1* 7 1 1 F —™ 7 y1 y1 ~✓ ___ L. W* W ------F------1 e 4 = ^ . . h -V- — =4=^ bie! O Lie - be. o Lie - be. was hab ich ge- t r JP D . «R: * F # 4 = f # = -f-7-74d- i pt -td-k = . * > # ( 3 *4 7 Cr ^ i ■ 4- 210 r -K _— •—K~ - \ s r n H ------F trrr-0------K— 1- 1 / rn m 1 * ■ ______VAj------n / I nLl_L n 1 fl*If __ i__ 1q W _ivn _ nLJ______*__Ts __1_m„ _L_ m __ 0+-M1_ 1 ) S.Wenn ich denn auch schla - fe ge - he, steht mir das Belt - li al - lei ne; ich — —9 . _____C5 ___ [_ i r^ m 9 F ^ J * J V ■ • mr # J _J______L «< J -rko------1------h——— 1r r1____ w _____2* / \ ^ y 1 ^ 1 v----- y P , • f n * . r* 'm' * ^Xe # ' ___^ ___ W ___ I P / _____ ^_ « 5 • ff y e __lr ; s — t r J ______Ifr. ►_ 7 r U 1 lie - ge da - rin, dass Gott er-barml und den - ke dich, Schatz - li, in mi- ne 211 212 P -^—9- -Sf—V 1 Lie - be, was hab ich ge - than! was! * J hi 7 7 -7 - 7 ■ 7 i k|; * ~ T " f i 6 -#— r Todtengraberlied. Gravedigger's Song (Holty) 1. Grabe, Spaden, grabe! Dig, Spade, dig! Alles, was ich babe. All that I have, Dank' ich, Spaden, dir! I thank you. Spade! Reich' und arme Leute Rich and poor people. Werden meine Beute, Become my bounty. Kommen einst zu mir! They come, someday, to me 2 Weiland groC und edel, Once great and noble. Nickte dieser Schadel Not these skulls Keinem Grufie Dank! No greeting or gratitude! Dieses Beingerippe, These leg bones. Ohne Wang' und Lippe Without cheeks and lips Hatte Gold und Rang! Had gold and social status! 3. Jener Kopf mit Haaren That head with hair war vor wenig Jahren Was, a few years ago. Schon, wie Engel sind! Beautiful, as angels are! Tausend junge Fentchen A thousand young men leckten ihm das Handchen, Licking her tittle hand. Gafften sich halb blind! They stared themselves half-blind! 4. Grabe, Spaden, grabe! Dig, Spade, dig! Alles, was ich habe. All that I have, Dank' ich, Spaden, dir! I thank you. Spade! Reich' und arme Leute Rich and poor people. Werden meine Beute, Become my bounty. Kommen einst zu mir! They come, someday, to me 214 Todtengraberlied. MaBig. 1776-82 3 was nick dies war wen dank kein em Grufi Schtin, wie Eng 215 den mei Beu ne Wang' Lip Hand 216 REFERENCES I. HISTORY AND BACKGROUND Bauer, Marion, and Peyser, Ethel R. Music Through the Ages. New York: G.P. Putnam's Sons, 1932. Secular song origins, minnesingers, folksong, and influences of the Protestant church movement upon the Lied; one chapter section about C.P.E. Bach's contribution to the Lied. Bie, Oscar. Das Deutsche Lied. Berlin: S. Fischer Verlag, 1926. Breslauer, Martin. Das deutsche Lied:Geistlich und weltlich bis zum 18. Jahrhundert. Hildesheim: Georg Ohms, 1966. A historical study of the Lied, with separate sections on secular and sacred collections up to the 18th Century. Illustrations and an excellent bibliography are included. Burney, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces. 2 vols. London: T. Becket, 1775; Reprint New York: Broude Brothers, 1969. Bynum, Leroy Evans, Jr. The First Berlin Lieder School: The Early Development of German Art Song. Ann Arbor: University Microfilms, Inc., 1992. A document prepared in connection w ith a series of voice recitals, this has information on the First Berlin Lieder School composers. Chapter six provides information on C.P.E. Bach and the level of sophistication of his Lieder compared to his contemporaries in Berlin. Downs, Philip G. Classical Music. New York: W.W. Norton & Co., 1992. Einstein, Alfred. Schubert. New York: Oxford University Press, 1951. Elson, Louis C. The History of German Song. Boston: New England Conservatory of Music, 1888. German song is intertwined with all Teutonic musical life. Elson adopts the theory that German vocal music has been overshadowed by German instrumental music, and by the achievements of Italian composers. Geiringer, Karl. The Bach Family, Seven Generations of Creative Genius. New York: Oxford University Press, 1954. An excellent overview on the songs of Bach. An anthology of music associated with this study is cited on p.225. Goldschmidt, Harry. Franz Schubert: Bin Lebensbild. Leipzig: VEB Deutscher, 1976. Gorrell, Lorraine. The Nineteenth Century German Lied. Portland, OR: Amadeus Press, 1993. Hall, James Husst. The A rt Song. Norman, OK: University of Oklahoma Press, 1953. Study on Heinrich Albert 1604-51 as the father of the Volkstumliches Lied. Hamburger, Michael. Beethoven: Letters, Journals and Conversations. Garden City, N.Y.: Doubleday & Company, Inc., 1960. Helm, Ernest Eugene. "Bach, Carl Philipp Emanuel." The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie. London: MacMillan Publishers Limited, 1980,1:844-62. Helm's excellent article includes references to the secular songs of Bach, but declines to associate them with nineteenth-century Lieder in style or form. ______. Music at the Court of Frederick the Great. Norm an, Okla: University of Oklahoma Press, 1960. Portraits of members of Frederick's court, including the Grauns, Bach, Quantz, Kirnberger, etc. Chamber music excerpts are included. 218 Landon, H.C. Robbins. Essays on the Viennese Classical Style. London: The Cresset Press, Barrie & Rockcliff, 1970. The "severe" style of C.P.E. Bach's harmonic language and its influence upon the works of Haydn. Landau, Anneliese. The Lied: The Unfolding of its Style. W ashington D.C.: University Press of America, 1980. The contrast between the German Romantic Lied with the Rococo Lied— for example, emotion and ego—and the presentation of false emotions. Longyear, Rey M. Nineteenth-Century Romanticism in Music. 3rd ed. Englewood Cliffs: Prentice Hall, 1988. C.P.E. as a precursor to Romanticism; Expansion of tonality. Romantic harmonic devices of Bach, and his influence upon Mozart and Haydn. Miesner, Heinrich. Philipp Emanuel Bach in Hamburg. Wiesbaden: Dr. Martin Sandig OHG., 1969. Neupert, Hanns. The Clavichord. Translated by Ann P. Feldberg, Kassel: Barenreiter, 1965. Illustrations and commentary regarding C.P.E. Bach's favored instrument. Nohl, Ludwig. Letters of Distinguished Musicians: Gluck, Haydn, P.E. Bach, Weber, Mendelssohn. Translated by Lady Wallace, London: Longmans, Green, and Co., 1867. Contains autobiographical incipits from C.P.E. Bach, his opinion of his critics, and Burney’s account of Bach's Silbermann clavichord. Plamenac, Dragan. "New Light on the Last Years of Carl Philipp Emanuel Bach. "MQ 35 (1949): 565-87. Letters from Bach to Schwickert, his Leipzig publisher. Reeser, Eduard. The Sons of Bach. Translated by W.A.G. Doyle-Davidson, Stockholm: Continental Book Company, 1949. 219 Scheitler, Irmgard. Das Geistliche Lied im deutschen Barock. Berlin: Duncker & Humboldt, 1982. Schmid, Ernst Fritz. "Bach, Carl Philipp Emanuel" Die Musik in Geschichte und Gegenwart, 15 vols.. Edited by Friedrich Blume. Kassel: Barenreiter, 1949- 51,1: 924-42. Stevens, Denis, ed. A History of Song, Revised Edition. New York: W.W. Norton & Co., 1970. Discusses the peak of German song 1500-1550 with Hofhaimer, Isaac, and Senfl. Suchalla, Ernst, ed. Briefe von Carl Philipp Emanuel Bach an Johann Gottlob Immanuel Breitkopf und Johann Nikolaus Forkel. Tutzing: Hans Schneider, 1985. Letters & commentary regarding works sent by Emanuel Bach to his Leipzig publishers. Terry, Miriam. "C.P.E. Bach and J.J.H. W estphal-A Clarification." JAMS 22 (1969):106-15. Letters between Bach and his contemporary, the Schwerin organist Westphal, who helped to assemble many of his collections, and provided the first catalogue of Bach's works. Wade, Rachel, ed.. The Catalog of Carl Philipp Emanuel Bach's Estate. New York Garland Publishing, Inc., 1981. Weiss, Piero, ed. Letters of Composers through Six Centuries. Philadelphia: Chilton Publications, 1967. Wiora, Walther. Das Deutsche Lied:: Zur Geschichte un d Aesthetik einer musikalischen Gattung. Wolfenbuttel und Zurich: Moseler Verlag, 1971. 220 n. THE POETRY Allison, Henry E. Lessing and the Enlightenment; His Philosophy of Religion and its Relation to Eighteenth-Century Thought. Ann Arbor: University of Michigan Press, 1966. Excellent information on Lessing, the 18th Century poet, intellectual,scholar, and religious philosopher. Anger, Alfred, ed. Versuch in scherzhaften Liedern und Lieder (von Johann Wilhelm Ludwig Gleim). Tubingen: M. Niemeyer, 1964. Batts, Michael S., ed. Essays on German Literature in Honour ofG. Joyce Hallamore. Toronto: University of British Columbia by University of Toronto Press, 1968. Brody, Elaine, and Fowkes, Robert A. The German Lied and its Poetry. New York: New York University Press, 1971. Discusses the overlapping and synthesis of the two disciplines of poetry and music, and the difficulty for the composer to capture the poet's original meaning. Carlyle, Thomas (1795-1881). Essays on the Greater German Poets and Writers. London: Walter Scott Ltd., 1893. Friederich, Werner P. History of German Literature . 1948. Reprint, New York: Barnes & Noble, Inc., 1970. Graham, Use. Goethe and Lessing: The Wellsprings of Creation. London: Elek, 1973. Helm, Eugene E. "The Hamlet Fantasy and the Literary Element in C.P.E. Bach's Music." MQ 58 (1972): 277-96. Conversations between Bach and Heinrich Wilhelm von Gerstenberg. Hochdoerfer, Margarete. Conflict between Religious and Scientific Views of Albrecht von Haller (1708-1777). Lincoln: University of Nebraska Press, 1932. Kaufmann, Walter, ed. and trans. Twenty-five German Poets. N ew York: W.W. Norton, Inc., 1975. Kliefi, Werner. Sturm und Drang. Hanover: Friedrich, 1966. The poetry of Gerstenberg and Muller. Krause, C.G. Abhandlung von der Musikalischen Poesie. Berlin: Christian Fr. VoB, 1752. Marks, Paul F. "Aesthetics of Music in the Philosophy of Sturm und Drang: Gerstenburg, Hamann, and Herder", The Music Review 35 (1974): 247-59. ______"The Rhetorical Element in Musical Sturm und Drang", The Music Review 33 (1972): 93-107. Nisbet, Hugh Barr, Ed. German Aesthetic and Literary Criticism. New York: Cambridge University Press, 1985. Pascal, Roy. German Literature in the 16th and 17th Centuries. London: The Cresset Press, 1968. Folksong, Meistersong, and secular Baroque lyrics. Prawer, S.S., ed. and trans. The Penguin Book of Lieder. Baltimore: Penguin Books, 1964. Robertson, J.G. A History of German Literature, Sixth Edition by Dorothy Reich. Edinburgh and London: William Blackwood, 1970. Rutledge, Joyce S. Johann Adolph Schlegel. Bern: Herbert Lang, 1974. Schumann, Elisabeth. German Song. Translated by Millar Craig. London: Max Parrish & Co. Ltd., 1948. Study of German lyric poetry and how German song is built upon it. Not an in-depth study, but good general overview. Smeed, J.W. German Song and its Poetry 1740-1900. London: Groom Helm, 1987. 222 Stein, Jack M. Poem and Music in the German Lied from Gluck to Hugo Wolf. Cambridge: Harvard University Press, 1971. Stein suggests that the poem written expressly for a purpose suffers the least in the transformation into song. He further asserts that the Lied of the late nineteenth-early twentieth centuries has developed into a form in which the message is more important that the music; the music is a vehicle for the projection of personal, social, or cosmic significance. Stewart, Gordon McNett. The Literary Contributions of Christoph Daniel Ebeling. Amsterdam: Rodopi, 1978. Stoljar, Margaret Majony. Poetry and Song in Late Eighteenth-Century Germany: A Study in the Musical Sturm und Drang. London: Croom Helm, 1985. Study of styles, melodic and harmonic techniques; Neefe, Schulz, Gluck, Reichardt, and C.P.E. Bach, and their treatment of Klopstock texts. Sulzer, J.A. Allgemeine Theorie der Schonen Kunst, 2nd Ed., 4 Vols. Leipzig: 1792-94. Taylor, Bayard. Studies in German Literature. New York: G.P. Putnam 's Sons, 1879. Poetry of Lessing, Klopstock, Schiller is discussed in the evolution of the German tradition from Gothic through Medieval, Reformation, and the seventeenth century. Thomas, R. Hinton. Poetry and Song in the German Baroque: Study of the Continuo Lied. Oxford: At the Clarendon Press, 1963. Volker, Ludwig. Muse Melancholic, Therapeutikum Poesie: Studien zum Melancholie- Problem in d. dt. Lyrik von Holty bis Benn. Munchen: Fink, 1978. Zagajewski, Karl. Albrecht von Hallers Dichtersprache. Strassburg: K.J. Trubner, 1909. 223 m . MUSICAL STYLE ANALYSES AND EDITIONS OF LIEDER Arnold, Frank Thomas. The Art of Accompaniment from a Thorough-bass, as Practiced in the XVIlth and XVIIIth Centuries. London: Oxford University Press, 1931; London: Holland Press, 1961. Bach, Carl Philipp Emanuel, 1714-1788. Neue Lieder-Melodien nebst einer Kantate zum Singen beym Klavier componirt von Karl Philipp Emanuel Bach. ed. Christian Gottfried Donatius. Lubeck: Christian Gottfried Donatius, 1789. Ann Arbor: University Microfilms, Inc. The collection assembled by Bach himself, and published posthumously one year after Bach's death. It contains 22 pieces for voice and keyboard,with written out accompaniments. Texts by late eighteenth-century German poets.Strophic, modified strophic, and through-composed forms are used. ______o Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell. New York: W.W. Norton & Company, Inc., 1949. The theory and performance practices for the 18th Century style of keyboard playing, keyboard accompaniment, embellishments and improvisation. Bitter, Carl Hermann. Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Bruder, 2 vols. 1868. Reprint, Kassel: Barenreiter, 1973. Vol.l contains theory of keyboard and church music. Vol. 2 is related to this study, with information on Oratorios, Cantatas, and Lieder. Bucken, Ernst (1884-1949). Das deutsche Lied: Probleme und Gestalten. Hamburg; Hanseatische V erlagsanstalt, 1949. Busch, Gudrun. C. Ph. E. Bach und seine Lieder. Kolner Beitrage zur Musikforschung, ed. Karl Gustav Fellerer, vol. 12. Regensburg: Gustav Bosse Verlag, 1957. The most thorough source of information on the Lieder of Emanuel Bach. One of very few sources which specifically discusses the Neue Lieder-Melodien . Busch discusses Bach's place in the Berlin Lieder School, as well as his influence upon later composers of the genre. 224 Busch, Gudrun, and Anthony J. Harper, eds. Studien zum deutschen weltlichen Kunstlied des 17. und 18. Jahrhunderts. Amsterdam: Rodopi Editions, 1992. Chamblee, James Monroe. "The Vocal Music of Carl Philipp Emanuel Bach." American Music Teacher 28.5 (1979):24-7. Musical analysis of Gellert's "Bitten" and Sturm's "Der Weltgerichts". Also includes a list of Emanuel's published song collections, Wotquenne 194-201. Clark, Stephen L., ed. C.P.E. Bach Studies. Oxford: Clarendon Press, 1988. Essays include Berg's "C.P.E. Bach’s Character Pieces and his Friendship Circle," Ottenbergs's "C.P.E. Bach and Carl Zelter," and Clark's "C.P.E. Bach in Literature: A Bibliography." Cone, Edward T. The Composer's Voice. Berkeley: University of California Press, 1974. The composer's role in the creation of accompanied vocal music. The song becomes a triad of personas, the instrument, the voice, and the combination of the two together. Cone says one begets another like the Holy Trinity. ______. 'Words into Music’ in Sound and Poetry, English Institute Essays o f1956. Edited by Northrop Frye. New York: Columbia University Press, 1957. Presentation of the theory that a composer sets or uses only one reading of infinite possibilities of the poem. Dittbemer, Johannes, ed. Philipp Emanuel Bach: Ausgewdhlte Geistliche Gesdngefur eine Singstimme und Klavier. Leipzig: C.F. Kahnt, 1918. A collection of 25 sacred songs edited, with some transposed, usually lowered a third, from their original keys—little commentary. Eisert, Christian, ed. Gellerts Geistliche Oden und Lieder mit Melodien von Carl Philipp Emanuel Bach. Neuhausen-Stuttgart: Hanssler-Verlag, 1988. There is a brief preface with critical commentary on the text notes and embellishment types. The editor has preserved the harmonic and accompanimental integrity of the original pieces. They are sparse in texture and in original keys. There is an appendix of 12 additional texts largely by anonymous poets. Friedlaender, Max. Das deutsche Lied im 18. Jahrhundert. Vol. 1, Part 1 and 2. Berlin: J.C. Cotta'schen Buchhandlung, 1902. Facsimile Reprint, New York: Georg Olms Verlag, 1970. The first part of vol. 1 has a substantial introduction with commentary. There is a chronological list of Lieder and composition events from 1689- 1799. A bibliography is included. Part 2 is an anthology of Lieder with the Lieder of Grafe, Graun, Telemann, Agricola, Schulz, Zumsteeg, Schubart, and C.P.E. Bach, among others. Gal, Hans. Franz Schubert and the Essence of Melody. London: Victor Gollancz Ltd., 1974. Geiringer, Karl. Music of the Bach Family: An Anthology. Cambridge: Harvard University Press, 1955. Brief list of works, with one example of Bach's Lieder, Die Trennung. Helm, Eugene E., ed. Thematic Catalogue of the Works of Carl Philipp Emanuel Bach. New Haven: Yale University Press, 1989. This catalogue provides historical commentary and background, manuscript sources and locations, dates and places of composition, classification of authenticity, titles, poets, first lines of text/music, early print information, modem editions, if any, and sources of detailed information on each individual work. The corresponding Wotquenne numbers are also given. Each source in the comprehensive bibliography has detailed information and Helm number listings of works that are relevant to the catalogue. 226 Hirsch, Marjorie Wing. Schubert's Dramatic Lieder. Cambridge: Cambridge University Press, 1993. Explores how Schubert transformed folk styles into art song by combining lyric and dramatic vocal styles. No discussion of Emanuel Bach, but does discuss the works of J.E. Bach, Reichardt, Krause, and Marpurg. Kramer, Richard. "The New Modulation of the 1770s: C.P.E. Bach in Theoiy, Criticism, and Practice," JAMS 3 (1985): 551-92. Kretzschmar, Hermann. Geschichte des neuen deutschen Liedes. Wiesbaden: Breitkopf & Hartel, 1911. Reprint, Hildesheim: Georg Olms, 1966. Le Masena, C.E., and Merx, Hans. The Songs of Schubert. New York: G. Schirmer, Inc., 1928. Lester, Joel. Compositional Theory in the Eighteenth Century. Cambridge: Harvard University Press, 1992. Thoroughbass traditions, Rameau, Counterpoint, Harmonic Perspectives,and C.P.E. Bach's attitude toward the Marpurg-Kimberger disputes. Lindner, Ernst Otto. Geschichte des deutschen Liedes im 18. Jahrhundert. Leipzig: Breitkopf und Hartel, 1871. Reprinted, Wiesbaden: Dr. Martin Sandig OHG, 1968. The second section contains music of the Berlin Lieder Schools including Marpurg, Graun, and Emanuel Bach with a supplement of scores of the Lieder. Norton, Michael Lee. The Sacred Song Arrangements ofC.P.E. Bach. M.A. Thesis. Ohio State University, 1976. Excellent treatment of the sacred songs and the choral/ instrumental arrangements by Bach for the Lutheran Church. Musical analysis is discussed, with an appendix of three works. Ottenberg, Hans-Gunter. Carl Philipp Emanuel Bach. Translated by Philip J. Whitmore. Oxford: Oxford University Press, 1987. Lied composition in 18th Century Berlin. Also has supplements and tables of events and a complete works list. Rosen, Charles. The Classical Style. New York: W.W. Norton and Co., 1972. C.P.E.'s influence on Haydn, and on the treatment of tonal key centers. The use of sonata form in Emanuel's keyboard works of the 1780s. Roth, Herman. 30 Geistliche Liederfur eine Singstimme und Klavier von C. Ph. Em. Bach. Leipzig: C.F. Peters, 1921. Contains 15 Gellert Oden, 8 Sturm Lieder, and 7 Cramer Psalms. Salmen, Walter, ed. Johann F. Reichardt: Goethe's Lieder, Oden, Balladen und Romanzen mit Music (Munchen-Duisburg: G. Henle Verlag, 1964). Salop, Arnold. "The Narrative Element and the Study of Musical Style," Studies on the Histoiy of Musical Style. Detroit: Wayne State University Press, 1971. Schulenberg, David. The Instrumental Music of Carl Philipp Emanuel Bach. Ann Arbor: U.M.I. Research Press, 1984. Town, Stephen. "Sechs Lieder von Christian Furchtegott Gellert (1715-1769) set by Carl Philipp Emanuel Bach and Ludwig van Beethoven: A Comparative Analysis" NATS Bulletin 36.5 (1980): 30-6. Tutzing, Hans Schneider. Das deutsche Lied seit Mozart. Munich: 1968. Covers the theory of song cycles. Lied in Vienna of Haydn, Mozart, Beethoven. Also Karl Loewe, Weber, and Mendelssohn. 228 Vrieslander, Otto, ed, Carl Philipp Emanuel Bach Lieder und Gesdnge. Munchen: Drei Masken Verlag, 1922. An appendix of 28 selected songs, including both sacred and secular texts, many by Sturm. Some of the songs have both figured bass symbols and their realizations. Vrieslander's version of "Am neuen Jahre" is very similar to Eisert's edition. Wotquenne, Alfred, ed. Thematische Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714-1788). 1905. Reprint, Wiesbaden: Breitkopf und Hartel, 1964. The Wotquenne catalogue contains no information about sources, modern editions, or early prints. Wotquenne groups all of the pieces in the Neue Lieder-Melodien into one thematic number though hey do not appear in chronological order in this collection.