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Franz Schubert Eine Sendereihe Von Christine Lemke-Matwey

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Franz Schubert Eine Sendereihe Von Christine Lemke-Matwey Sonntag, 25. Juli 2021 15.03 – 17.00 Uhr Franz Schubert Eine Sendereihe von Christine Lemke-Matwey Goethes Größe: Die Geschichte einer Fernbeziehung (4/21) Junger Komponist schickt einem Großdichter seine Lieder, Lieder auf dessen Texte wohlge- merkt, zweimal tut er das, zwei Hefte bringt er auf den Weg – und es passiert: nichts. Der Dichter schweigt. Hat er die Post überhaupt bekommen? Wird er dermaßen zugeschüttet von Angeboten und Avancen aus aller Welt, dass er die Lieder einfach übersieht? Oder hat er Probleme mit jungen Komponisten und ihrer Musik? Der Dichter heißt Goethe, der Komponist Schubert, zwei, die so grundverschieden sind, dass es eigentlich völlig klar ist, dass sie nicht zueinanderkommen können. Schade ist es trotzdem, irgendwie, bis heute ... „Goethes Größe: die Geschichte einer Fernbeziehung“, das soll heute mein Thema sein. 1 EMI Franz Schubert 3‘28 LC: 00110 „Gretchen am Spinnrade“ D 118 7 63040 2 Elisabeth Schumann, Sopran CD 1, Track 21 Gerald Moore, Klavier (1936) Eine historische Aufnahme, eine Aufnahme aus den Londoner Abbey Road Studios 1936: die Sopranistin Elisabeth Schumann, die Nazi-Deutschland damals schon verlassen hatte, beglei- tet von Gerald Moore am Klavier mit „Gretchen am Spinnrade“. Schuberts erste Goethe-Vertonung, da ist er 17 Jahre alt, gerade vom Stadtkonvikt geflogen, weil er in Mathematik zu schlecht war, er ist also wieder zuhause in Lichtental, bei der Familie – und frisch in Therese Grob verliebt, eine Sängerin. Aus dieser Lebenssituation erklärt sich vielleicht nicht alles, aber doch viel: der hohe Identifikationsgrad des Komponisten mit dem, was er da komponiert, der selbstbewusste Sprung über die Geschlechtergrenzen hinweg und die Fatalität der Liebe, die für Schubert – so wie er sie in Goethes „Faust“ kennenlernt – nicht unvertraut zu sein scheint. Gretchen geht am Ende vor die Hunde, missbraucht und geschän- det von Heinrich Faust; und mit Therese Grob wird es nichts, Schubert kann ihr keine gesi- cherte Existenz bieten. Sie heiratet schließlich einen Bäckermeister, der kann das. Was ist das Besondere an „Gretchen am Spinnrade“? Der unbedingte Ausdruck dieses Lie- des, Schuberts Hingabe an das dichterische Wort, das musikalische Spiel mit Regelmäßigkeit und Unregelmäßigkeit, vor allem im Klavier, die herbe Harmonik und überhaupt das Szeni- sche, das geradezu ganzheitliche Umfangen, Umfassen der Gretchen-Gestalt mit der Musik. Dies alles kommt knapp zwei Monate später noch einmal zum Zug, Goethes „Faust“ lässt den Franz Schubert – 4. Folge Seite 2 von 9 jungen Schubert offenbar nicht los, und er komponiert eine Szene daraus: Gretchen im Dom, „unter vielem Volke“, wie es heißt, der Böse Geist hinter ihr. Es singt Marjana Lipovsek, es spielt Geoffrey Parsons. 2 ARCHIV Franz Schubert 6‘11 ORFEO Szene aus Goethes „Faust“ D 167 LC: 08175 Marjana Lipovsek, Mezzosopran C 159 871 A Geoffrey Parsons, Klavier Track 8 (1988) Mit einem Ruf nach dem „Fläschchen“ der Nachbarin fällt Gretchen in Ohnmacht. „Ihr Antlitz wenden/ Verklärte von dir ab./ Die Hände dir zu reichen,/ [Schauert's] den Reinen“, raunt der Böse Geist ihr zu. Und Schubert vertont diese Szene aus Goethes „Faust“ 1814 mit packender lyrischer Dramatik, im Hintergrund das „Dies Irae“ des Kirchenchors, vorne Gret- chen und der Geist – wie der Erlkönig und das Kind, auf das er es abgesehen hat: was für eine geniale Ausdrucksstudie! Johann Wolfgang von Goethe also, Staatsrat in Weimar, Dichterfürst aller Deutschen: was ist das für eine Passion, die Schubert hier hegt? Eine ziemlich individuelle, muss man sagen. In der Schule liest er zwar Cicero, Vergil, Lessing, Klopstock, Salis, Stolberg, Bürger, Claudius, Hölty, Herder und Voß – Goethe aber nur unter ferner liefen. Bis Herbst 1814 vertont Schu- bert kaum etwas anderes als die genannten, höchstens ein bisschen Metastasio kommt noch dazu, dank seines Lehrers Salieri. Dann aber lernt er über Joseph von Spaun Freunde kennen, junge Wiener Intellektuelle, Dichter, Maler, Musiker, Stürmer und Dränger. Und die lesen anders und anderes: neben den Klassikern vor allem zeitgenössische Literatur nämlich. Und Goethe ist ein Zeitgenosse! Natürlich gehört er mit seinen 65 Jahren einer anderen Genera- tion an, natürlich entstammt er völlig anderen Lebenswelten. Die Jungen aber lesen ihn, suchen verstärkt das „Wahre, Gute, Schöne“ in einer Zeit, die Restauration verspricht und rigorose Herrschaftsformen. Das spüren sie lange vor dem Wiener Kongress. Und Schubert spürt das auch. Goethe ist in Lichtental sein Fenster zur Welt, sein Versprechen, dass man als Künstler etwas gelten kann. Für die nächsten drei Lieder nach dem „Gretchen“ jedenfalls bleibt er ihm treu: „Nachtgesang“, „Trost in Tränen“ und „Schäfers Klagelied“. 3 DG Franz Schubert 10‘17 LC: 00173 „Nachtgesang“, „Trost in Tränen“, „Schäfers Klagelied“ 477 8991 D 119 – 121 CD 2, Track 13 Dietrich Fischer-Dieskau, Bariton – 15 Gerald Moore, Klavier (1966) Dietrich Fischer-Dieskau und Gerald Moore mit drei frühen Goethe-Liedern. Die Schubert-Goethe/Goethe-Schubert-Themen werden schon ganz am Anfang deutlich: Einsamkeit, Liebesverlust, Sehnsucht. Das Inhaltliche ist Schubert wichtiger als das Formale, die Form des jeweiligen Gedichts, und das bleibt bis zum Schluss so (und gilt im Übrigen auch für andere Dichter). Goethe ist der Lyriker, mit dem Schubert sich am längsten von allen © rbbKultur vom Rundfunk Berlin-Brandenburg (rbb) www.rbbKultur.de Franz Schubert – 4. Folge Seite 3 von 9 beschäftigt, von Oktober 1814 nämlich, seinem Durchbruch mit „Gretchen am Spinnrade, bis zu den späten Vertonungen aus „Wilhelm Meister“ im Januar 1826. Ein Lebensbegleiter in der Kunst, wenn man so will, einer, bei dem er sich immer wieder vergewissert. Rein zahlen- mäßig wird Goethe bei den Liedern nur vom Schubert-Freund Johann Baptist Mayrhofer übertroffen, andere, selbst ein Wilhelm Müller, der Dichter der „Schönen Müllerin“ und der „Winterreise“, bleiben hinter ihm zurück. Und, was viel wichtiger ist: Schubert komponiert oft, was ihn gerade reizt; zur Veröffentlichung aber bestimmt er nur, was auch vor den Freun- den Bestand hat. Bei den Goethe-Liedern sind das ausgesprochen viele. Wenn er also Goethe vertont, dann veröffentlicht er das in der Regel auch. Nicht sofort, aber mit einiger Verläss- lichkeit. 4 Sony Franz Schubert 1‘26 LC: 06868 „Rastlose Liebe“ D 138 88875083882 Mauro Peter, Tenor Track 3 Helmut Deutsch, Klavier (2015) Der Schweizer Tenor Mauro Peter, eine der Hoffnungen des zeitgenössischen Liedgesangs, mit „Rastlose Liebe“, einer Komposition vom Mai 1815. Hier kann man sehr schön hören und nachvollziehen, wie Schubert kompositorisch vorgeht. Der Musikwissenschaftler Thrasybu- los Georgiades hat das einmal etwas prosaisch „Gerüstbautechnik“ genannt: der harmoni- sche und der motivische Verlauf des Liedes überlappen sich, sie sind fast nie kongruent – und genau das macht hier den Gestus des Rastlosen, Vorwärtsdrängenden aus. Wo die Me- lodie schließt, setzt die Harmonik auf Spannung, und umgekehrt. Bei Goethe heißt das: „Krone des Lebens/ Glück ohne Ruh/ Liebe bist Du!“ Schubert interpretiert dieses Gedicht also mit musikalischen Mitteln, und das kann man durchaus verallgemeinern, auch jenseits der besagten „Gerüstbautechnik“. Schubert ver- wendet bekannte melodische Gesten, rhythmische Charaktere oder harmonische Wendun- gen und tut dies oft in so ungewohnter Weise, dass sich die Hörer fragen: Was ist hier los, warum macht er das so und nicht anders, warum nicht so, wie man es kennt und erwartet? Er macht es so, weil er über das jeweilige Gedicht etwas ganz Spezifisches aussagen möchte. Und das gelingt, meistens jedenfalls. Außerdem wertet Schubert das Klavier auf. Die Klavier- stimme ist nicht mehr nur Begleitung, harmonische Stütze also und rhythmischer Motor, sondern dem Gesang fast ebenbürtig. Eine Art zweite Person. Der Weimarer Musiktheoreti- ker und Komponist Johann Christian Lobe bezeichnet das gegenüber Goethe als „Mitsprache des Gefühls“. Alles im Lied sollte „mitsprechen“, sollte an der Verwirklichung dieses Ideals beteiligt sein, auch das Klavier. Nur leider ist weder Lobe noch Goethe zu diesem Zeitpunkt bewusst, dass es bereits einen Komponisten gibt, der dieses Ideal verfolgt: Franz Schubert. Zwei weitere Goethe-Lieder: „An Mignon“ und „Nähe des Geliebten“. Der Bariton ist Matthias Goerne, der Pianist Eric Schneider, und hören Sie doch einmal ganz besonders aufs Klavier. © rbbKultur vom Rundfunk Berlin-Brandenburg (rbb) www.rbbKultur.de Franz Schubert – 4. Folge Seite 4 von 9 5 HMC Franz Schubert 5‘35 LC: 07045 „An Mignon“, „Nähe des Geliebten“ 902005 D 160 – 162 Tracks 14 + 19 Matthias Goerne, Bariton Eric Schneider, Klavier (2008) Das war zuletzt „Nähe des Geliebten“, davor hörten wir „An Mignon“, zwei Lieder vom Feb- ruar 1815. Auffällig ist, dass Schubert selten einzelne Gedichte von Goethe vertont, meist sind es mehrere hintereinander. Als würde er sich in die dichterische Sprache regelrecht ver- senken. „Rastlose Liebe“ hingegen steht für sich, ebenso der „Erlkönig“, Schuberts Opus 1. Goethe macht also den Anfang, und die Opuszahl ist Schuberts Siegel, seine Beglaubigung für das Kunstwerk als Kunstwerk. Die ersten drei Opera gehören geschlossen Goethe-Lie- dern, in op. 4 mischt er erstmals Texte, bevor op. 5 wieder reiner Goethe ist – und erst in op. 6 tauchen andere von ihm bevorzugte Dichter wie Mayrhofer oder Matthias Claudius auf. Was bedeutet diese Hinwendung zu Goethe, zum Meisterdichter aller Meisterdichter, zum Klassiker aller Klassiker? Zuallererst formuliert sie eine große Furchtlosigkeit und einen
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