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The Musical Sturm Und Drang Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 12-1984 The Musical Sturm und Drang Linn VanMeter-Drew Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Music Commons Recommended Citation VanMeter-Drew, Linn, "The Musical Sturm und Drang" (1984). Master's Theses. 1541. https://scholarworks.wmich.edu/masters_theses/1541 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE MUSICAL STURM UND DRANG by Linn VanMeter-Drew A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Music School of Music Western Michigan University Kalamazoo, Michigan December 1984 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE MUSICAL STURM UND DRANG Linn VanMeter-Drew, M.M. Western Michigan University, 1984 This paper presents information regarding the validity of applying the term Sturm und Drang to music. In it, opinions of English- speaking musicological authorities regarding various aspects of the musical Sturm und Drang are discussed and compared. Each aspect of the musical Sturm und Drang is discussed in a separate chapter, along with parallel information on the literary Sturm und Drang. Then the various aspects of the musical Sturm und Drang are systematically compared with those of its literary namesake. This comparison makes it possible to reach certain conclusions regarding the validity of applying the term Sturm und Drang to music. The basic conclusion reached in this paper is that few connections exist between the literary and musical Sturm und Drang. As a result, the application of the term Sturm und Drang to music is valid only within a certain restricted definition of the term. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I offer my sincere thanks to the following people: Dr. David Sheldon, whose kindness and patient assistance made this project possible under somewhat unusual circumstances; Albert Gillis, whose high standards and integrity continue to be an inspiration; and Dennis Drew, Lisa V. Laichtman, and Jean Siemens, whose support and encouragement were endless. Linn VanMeter-Drew ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation o f techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University MicrcSilms International 300N.Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1324815 VAN METER-DREW, LINN THE MUSICAL 'STURM UND DRANG' WESTERN MICHIGAN UNIVERSITY M.M. 1984 University Microfiims International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1984 by VAN METER-DREW, LINN All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Linn VanMeter-Drew 1984 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................. ii LIST OF EXAMPLES.............................................. iv LIST OF T A B L E S ................................................. v Chapter I. INTRODUCTION .......................................... 1 II. THE HISTORY OF THE STURM UND D R A N G ....................... 3 The Literary Sturm und Drang........................... 3 The Musical Sturm und Drang ......................... 6 III. THE TIME OF THE STURM UND DRANG.......................... 11 The Literary Sturm und Drang.......................... 11 The Musical Sturm und D r a n g .......................... 12 IV. STURM UND DRANG CHARACTERISTICS.......................... 16 The Literary Sturm und Drang.......................... 16 The Musical Sturm und D r a n g .......................... 20 V. STURM UND DRANG PERSONAGES ............................. 39 The Literary Sturm und Drang...........................39 The Musical Sturm und D r a n g .......................... 50 VI. INFLUENCES ON STURM UND DRANG PERSONAGES ............... 62 The Literary Sturm und Drang.......................... 62 The Musical Sturm und D r a n g .......................... 66 VII. CONCLUSIONS............................................. 74 APPENDIX...................................... 78 BIBLIOGRAPHY............................ .................... 86 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OP EXAMPLES 1. Haydn Symphony No. 45, Allegro assal, mm. 29-33........ ........................................... ... 2. Haydn Symphony No. 45, Adagio, mm. 83-87 ..................... 79 3. Haydn Symphony No. 45, Finale, mm. 25-30 ..................... 80 4. Haydn Symphony No. 45, Finale, mm. 175-178 ................... 80 5. Haydn Symphony No. 45, Allegro assai, mm. 1-5........................................................ 84 6. Haydn Symphony No. 45, Adagio, mm. 4 - 6 ......................... 84 7. Haydn Symphony No. 45, Menuet, mm. 15-23....................... 85 8. Haydn Symphony No. 45, Allegro assal, nun. 1 - 1 1 .............. ..................................... ... iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES 1. Table 1 .....................................................12 2. Table 2 ........................................ 15 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I INTRODUCTION The purpose of this paper is to present information concerning the validity of applying the term Sturm und Drang to music. To investigate this matter/ a survey was made of musicological sources in English which mention the Sturm und Drang. Included were general histories, period histories, works on particular composers, and articles relating to the subject. Opinions were collected from these sources on various aspects of the musical Sturm und Drang, and grouped together for comparison. Each chapter of this paper deals with a different aspect of the Sturm und Drang. Information on the literary movement is presented first, followed by parallel information on the musical Sturm und Drang. In this way, the aspects of the musical Sturm und Drang can be systematically compared with those of its literary namesake. This comparison should make it possible to reach some meaningful conclusions on the validity of applying the term Sturm und Drang to music. The first aspect of the Sturm und Drang to be discussed is the term itself. The origin of the term, the history of its application to music, and modern opinions regarding this application are all covered in Chapter II. Chapter III presents information useful in establishing the specific dates of both the literary and musical Sturm und Drang. The various characteristics of both the literary and musical Sturm und Drang are discussed and compared in Chapter IV. 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2 (The Appendix contains further discussion of
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