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LIEDER Y SCHUBERT A1D WOLF Tmhess 4 (1 A COMPARATIVE ANALYSIS OF SELECTED GOET'hE- LIEDER Y SCHUBERT A1D WOLF TmHESS Presented to the Graduate Council of the North Texas State University in Partial Fulfllment o' the Reauirements For the Degree of IASTER OF MUSIC By Harry C. Ham, B. M. Denton, Texas January, 1964 TABLE OF CONTENTS LIST, OF ILLUSTA-TTONS iv Chapter I. THE GERMAN LIED: BEGINNINGS . * . The Minnesinger and the Meistersinger The Volkslied II. THE GERMAN LIED: MIDDLE PRIhODho.D w.. 11 The Seventeenth Century Solo Song The Lied in the Eighteenth Century III. THE GERMAN LIED: CULMINATION.. .0. .A.t.. 22 The Romantic Lied IV. GOETHE, SCHUBERT, A0D WOLF . ... .. 30 Goethe:: The Poet Schubert: The ielodist Schube rt s Style Wolf: The Poet's Oomposer V. TI-E GOETHE-LIEDER ' OF SCHUBER T AND WOLF . .5 Wanderers Nachtlied I Harfensileler I Der Rattenf.jer Grenzen der enschheit VI. iH7E EVALUAION. .... .... ...... 173 BIBLIOGC'RAPHY..1.*......... ................. 183 iii LIST OF ILLUSTRATIONS Figure Page 1. Volkslied, Maine liebe Frau Mutter 7 2. Volkslied, Ich will zu Land ausreiten. 7 . ,a ." .a .a 3. Wanderers Nachtlied, Measures 1-2. 59 " a a a . 4, 60 Wanderers Nachtlied, Measures 3-4., . " . Wanderers Nachtlied, "Measures 5-6. 60 " a a a a 6. Wanderers Nachtlied, Measures 7-8. 62 . .a .a .a .a 7. Wanderers Nachtlied, measures 10-11, 62 a .a .a . 8. Wanderers Nachtlied, Measures 1-4. 65 9. Wanderers Nachtlied, Measures 5-8. 66 " .a .a .0 .a 10. Wanderers Nachtlied, Measures 9-10 66 11. Wanderers Nachtlied, Measures 11-12, 6T 12. Wanderers Nachtlied, Measures 13-1.6, 68 " .a .a .a .a 13. Wanderers Nachtlie2 Measures 17-18, 69 14. Wanderers NachtlIed, Measures 19-22, . a .a .a .a 69 15. Wanderers Nachtlied, Measures 22-24, 70 16. Wanderers Nachtlie d, Measures 25-27. 70 17. Wanderers Nachtlied, Measures 27-29. 71 18. Wanderers Nachtlied, Measures 30-2-.) . 71 19. Gesgnie des Harfners, Measures 1-4 . 78 20. G es'1'n-e des Harfners, Measures 5-8 . 78 21. Ge s jng edes Harfners, Messures 9-10. 79 22. Gesage des Jarf ners, Measures 11-13 .0 . 79 IV Figure Page 23. GesYnge_ des Harfners, iMeasures 15 -16 . 80 24. Gestnme des Harfners, Measures 17 -21 . .. 81 25. Gesnfe des Harfners, Measures 22 -25 . 82 26. Gesgnge des Harfners, Measures 26 -31 . 83 27. G-es nge des Harfners, Measures 32 -34 . 84 28. Ges&nse des Harfners, IMeasures 40 -42 . 84 29. GesApe des_ Harfners, Measures 36 -39 . .85 30. Gestnje des Harfners, Measures 44-47 . 85 31. _Harfenspleler I, Measure 1 . 88 32. Harfenspieler I, Measures 2-3. .89 .....a. 33. Harfenspieler I, Measures 4-5. .. ...... 89 34. Harfenspieler I, Measures 6-7. a . 90 35. Harfens 4eler I, Measures 8-12 . 0 . 90 36. Harfensjieler I, Measures 14-15. *. * 92 37. Harfenspieler I, Measures 16-17. * . * * 92 38. Harfensjieler I, Measures 18-19. 0 0 . 0. 93 39. Harfensieler I, Measures 20-26. 0 . .B 0 94 40. Har;fenspieler I, Measures 27-28. 0 . 94 41. Harfensrieler I, Pleasures 29-30. 0 95 42. H ar f ens i e.1e20I, Measures 1-33. *. 95 43. Harfenspieler I, Measures 34-39. 9 . 96 44. Der Rattenfanger, Measures 1-4.. 104 . Der Rattenfnger, Measures 5-8 . .105 46. Der Rattenfgngper, Measures 9-12. 105 47. Der Rattenfnger, Measures 13-17 .0.106 V Figure Page 48. Der RattenfRnger, Measures 1 - 7 . 107 49. Der Rattenf rger, Measures 8 - 15. 9 . 108 50. Der Rattenf 4n er, Measures 16 - 18 109 ... 51. Der Rattenfger, easures 19 - 21. 0 . * . 110 52. Der RattenfcRn1ger, Measures 22 - 24 . 0 . 111 53. Der Rattenfnr, Measures 25 - 28. 111 .. 54. Der Rattenfinger, Measures 37 - 40 . * * 112 55. Der Rattenfnger, measures 41 - 46 * 0 . 115 56. Der Rattenfgner, Measures 53 - 54 * . * . 114 57. Der Lattenf ne r, Measures 55 - 58 . 0 . 0 . 115 . .- . 116 58. Der Rtt enjingf Mea-sures 83 - 90 59. Der RattenfRntr, Measures 92 97 . 9 . 117 60. Der Ratten_:ner, vleasures 124 - 127 . 9 . 118 . * . 118 61. Der Batte'n~f R, Measures 132 - 135 . 62. Der Batte-tiflr, Measures 136 - 159 . 0 . 0 119 . 128 65.) irgam~r~i jge MensnheiI, he a surges I . 64. Erenzen _d-ez MnschheitL, Measures 1 6 . 131 . 132 65. DLnentn der M "natheit,Measures 7 13. 21 . 66. Green der Menschheit, Measures 16 133 - 27 . 133 67. Grenzen der MenshIeit, measures 22 -29 . 134 68. Grenzen de Menschheit, Measures 28 69. Measures 33 - 36 . 135 der; Venschh it, Grenzen -40 . .. 136 70. renzen der Mensciheit, Measures 37 71. Gr Enzen der Menschhei t, Measures 41 - 48 . 136 72. GrenzenGreen der KMenschheit,Nenschheit, Measures 49 - 51 . - - - 137 73. Measures 52 - 59 . 138 vi Fi ur e Pag~e 74. Grenazen der Menschhelnilt, Neasures 60-63 139 75. Grenzen der sensclaelt, measures 64-71 140 76. Grenzen der -enscehheit, Measures 88-89 142 77. Grenzen der Menschhelt, Measures 92 - 9 5 --- 143 78. Grenzen der MaenschheIt, Measurec 97-104 . V145 43 79. Grenzen ae ltienschleIt, Measures 107-112 80. Green der aMenschhe*t, \ea sure 113-118 - . .145 81. Grenzen deGr enscehhe-l, measures 119-130 146 82. GrenzeJn der Menschlalt, measures 147-155 -147 Grenzen der kenschheit, Mawurase 1-6 84. Grenzen der Menscliheit Measures 7-11. - - - 150 85. GrenzeJn der VenchhEit, Measures 12-16 151 86. Grenzen der 11ensLO celhelt measures 17-21 - 152 87. Grenen Jde kenschheit, measures 22-27 . .0 153 88. xrenzer der henschheit , Measures 28-32 - - - 153 89. Grenzen der Menschhel, Measures -38. 154 90. Greunzen der ensclielt, Measures 36-54 - * - 155 91. GrzEn Jar.Ma.derenscIt, Measures 39-43 -. - - 155 92. Grenza der Menselceltet Measures 44-47 156 93. Gren.zen er teTsci alt, Measure 48-51. - - - 157 94., xre-nzen der Menc alt, Measures 55-2)8 S- 158 95. Grenzan dar hensebleiit, Measures 59-65 - 159 96. _Greunzade Menschheit Measures 64-67 - - - 159 97. (renzen der Menschelt, Measures 68-71 - - - 159 98.0 jrns en cdpr Maseiti, Measures 74-77 - 160 vii Figure P "ae 99. Grenzen der henschheit, Measures 78-81 . * 161 100. Grenzenu ter MnschhleIt, Measures 82-85 . 161 101. Grenzen der Menschhet, Measures 78-95 . ., . 162 102. GrenWen der Iens chit, Measures 86-88 . 162 1013. G-re2nzen der e nschheit, Measures 89-91. 163 104. 0renzen der Iensciheit, Measures 92-94 . 164 105. Grenzen der Menschheit, Measures 96-100. 16 106. G-renzen der Mens chleit, Measures 101-106 . 165 107. Grenzen der Menscheit, Measures 107-11.2 . 167 viii CHAPTER I THE GERMAN LIED: BEGINNINGS The Minnesinger and the heistersinger Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this par ticular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they sh ared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis. The development of the German Lied has a long history and had its beginnings in the distant past when song was little different from spee-ch. Not until the appearance of the Minnesinger did the song acquire form either in meter or mewooy. The Minresinger, composed of aristocratic German poet-m musicians who flourished from the twelfth to the four teenth century, were inspired by the French troubadours. The German Minnesang must not be considered a strict copy of troubadour poetry, nor. was it solely dependent upon I 2 French origins, for the actual sources seem many and varied. Among them, the Gregorian element: appears to be the oldest. Another difference occurs in the use of Latin letters and verses of rhythmic form, but it would seem that the most in fluential source from which the Minnesingers derive their art comes from the clergy who popularized the eleventh century erotic songs of the goliards. The dual nature of the Minne sqng manifests itself in the erotic element on the one hand and. Christian spiritualism on the other.1 With Friedrich von Husen (Hausen), the Minnesinger epoch began, and with Walther von der Vogelweide (c.1170 c.1230), it reached its zenith. Lang believes that Walther was a lyrical genius whose importance to German art is com parable only to that of Goethe. 2 As in all evolutionary processes, the perfection of the Minnesang was reached by degrees. At first there were allit erative words which were gradually superseded by regular rhymes. The structure of the verses dictated the form in which the Minnesang melodies were set. The notation was similar to that in use in the Church, the melodies being based on ecclesiastical modes.3 1 Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 118. 2 Ibid., p. 119. 3A. H. Wodehouse, "Song," Groves Dictionary of Music .- _61. and Musicians, Vol. V (New York, 1946); pJ - 35 In performance, the Minnesinger always accompanied his own singing, and expected no remuneration for his services. On the other hand, the fahrenden Snger (wandering minstrel), who formed a link between the nobles and the people, expected to be paid for his efforts. The Gaukler or die Fahrenden were patronized by the courts. They made known the people's songs to the nobles, and transmitted the songs of the Church and Minnesinger to the people.
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