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Considering Schubert and Nature: a Romantic Ecology

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Considering Schubert and Nature: a Romantic Ecology Considering Schubert and Nature: A Romantic Ecology MICHAEL FRANCIS DONOVAN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO January 2014 © Michael Francis Donovan 2014 ii ABSTRACT Franz Schubert’s preoccupation with the nature-centric poetry of his day yielded a large body of musical landscapes and depictions of the human experience of nature. And while his songs are often associated with the “Volkstümlichkeit” of the 18th century, an aesthetic in which nature occupied a secondary role, this study underlines how Schubert would develop an idiosyncratic musical vocabulary conveying the inherently ecological nature of the texts, casting nature as a central subject in his poetic settings. The discourse of deep-ecology has reassessed the shallowness or quaintness traditionally ascribed to the Romantic view of nature, looking to the holistic view of nature in Romanticism as a template for the formulation of a contemporary deep-ecological worldview. Using experiential models of deep-ecology, namely phenomenology, embodied meaning and indigenous animism, this study revisits the archetypal Romantic wanderer’s experience of nature in Schubert’s poetic settings as an encounter between the individual and the natural world. Citing human-centric interpretations in musicological discourse, this study illustrates the need to reconsider the pivotal role of nature in seminal works of Schubert. Analyses of the choral setting of Gesang der Geister über den Wassern (D714), numerous Lieder, and the song cycle Die Winterreise uncovers the depth of Schubert’s commitment to the most forward-looking ideas on nature reflected in the philosophies of Goethe, Schiller, Schelling and Spinoza, fulfilling Friedrich Schiller’s vision for the formulation and expression of man’s place in nature in art. Deep-seated structural and harmonic characteristics of the Lieder are shown to be inexorably tied to Schubert’s need to express the wanderer’s direct experience of the outer world. Schubert’s extensive use of mediant and submediant tonalities emerges as an innovation partly born out of Schubert’s preoccupation with landscape and nature, constituting a lateral alternative to the Cartesian, mechanistic view of nature reflected in the diatonic musical vocabulary of the 18th century. iii DEDICATION To John Donovan, the musical muse To Bernadette Griffin Donovan, the poetic muse iv TABLE OF CONTENTS Abstract ii Dedication iii Table of Contents iv List of Examples vi List of Figures x Introduction 1 Chapter One: Nature and the Lieder of the Eighteenth Century 8 The Pastoral and the Picturesque 11 Nature in the Foreground 15 Schiller and Music 16 The Sublime in Nature 17 The Second Berlin School and the Lied in the 18th Century 23 “Lieder” and the Second Berlin School 25 Goethe and the “Volkstone” 27 Schubert and the Second Berlin School 29 The Viennese Composer 38 Conditions 43 The Romantic Composer 44 Chapter Two: Song of the Spirits Over the Waters: A Symphony of Place 49 Romanticism and Deep Ecology 50 Ecology and Embodied Meaning 53 Going Forward to Go Back 54 Goethe and Gott Natur 56 Song of the Spirits 61 Conclusion 102 Chapter Three: The Wanderer and the Natural World 106 The Wanderer and Inner/Outer Experience 107 The Alienated “Individual” 113 Relational Experience 116 Relational Experience and Mediants 121 v Chapter Four: Winterreise: Alienation and Nature 157 “Outer” Experience 157 The Wanderer 160 Fantasy and reality 171 The Wanderer’s Dream 179 Between Worlds 186 Conclusion 195 Bibliography 203 Appendix 1: List of Mediants and Nature in Schubert 210 Appendix 2: Further Mediant Explorations 219 vi LIST OF EXAMPLES Example 1-1: Franz Schubert, Strophe aus Die Götter Griechenlands…………………..8 Example 1-2: Joseph Haydn, Die Schöpfung, Opening presentation of chaos…………..20 Example 1-3: Ludwig van Beethoven, An die ferne Geliebte…………………………...24 Example 1-4: Ludwig van Beethoven, An die ferne Geliebte…………………………...24 Example 1-5: Karl Friedrich Zelter, Margarethe………………………………………...29 Example 1-6: Franz Schubert, Erlkönig………………………………………………….31 Example 1-7: Franz Schubert, Adelaide………………………………………………….33 Example 1-8: Wolfgang Amadeus Mozart, Abendempfindung………………………….34 Example 1-9: Ludwig van Beethoven, Adelaide…………………………………………36 Example 1-10a: Franz Schubert, Adelaide……………………………………………….37 Example 1-10b: Franz Schubert, Adelaide……………………………………………….38 Example 2-1: Franz Schubert, Gesang der Geister über den Wassern…………………...63 Example 2-2: Franz Schubert, Gesang der Geister über den Wassern…………………...64 Example 2-3: Franz Schubert, Gesang der Geister über den Wassern…………………...66 Example 2-4: Franz Schubert, Gesang der Geister über den Wassern…………………...67 Example 2-5: Franz Schubert, Gesang der Geister über den Wassern…………………...68 Example 2-6: Franz Schubert, Gesang der Geister über den Wassern…………………...69 Example 2-7: Franz Schubert, Gesang der Geister über den Wassern…………………...71 Example 2-8: Franz Schubert, Gesang der Geister über den Wassern…………………...72 Example 2-9: Franz Schubert, Gesang der Geister über den Wassern…………………...74 Example 2-10: Franz Schubert, Gesang der Geister über den Wassern……………….....77 vii Example 2-11: Franz Schubert, Gesang der Geister über den Wassern………………….78 Example 2-12: Franz Schubert, Gesang der Geister über den Wassern………………….83 Example 2-13: Franz Schubert, Gesang der Geister über den Wassern………………….86 Example 2-14: Franz Schubert, Gesang der Geister über den Wassern………………….87 Example 2-15: Franz Schubert, Gesang der Geister über den Wassern………………….88 Example 2-16: Franz Schubert, Gesang der Geister über den Wassern………………….91 Example 2-17: Franz Schubert, Gesang der Geister über den Wassern………………….92 Example 2-18: Franz Schubert, Gesang der Geister über den Wassern………………….93 Example 2-19: Franz Schubert, Gesang der Geister über den Wassern……………….....94 Example 2-20: Franz Schubert, Gesang der Geister über den Wassern………………….96 Example 2-21: Franz Schubert, Gesang der Geister über den Wassern………………….97 Example 2-22: Franz Schubert, Gesang der Geister über den Wassern………………….97 Example 2-23: Franz Schubert, Gesang der Geister über den Wassern………………….98 Example 2-24: Franz Schubert, Gesang der Geister über den Wassern………………….98 Example 2-25: Franz Schubert, Gesang der Geister über den Wassern………………...100 Example 2-26: Franz Schubert, Gesang der Geister über den Wassern………………...101 Example 3-1: Franz Schubert, Frühlingssehnsucht……………………………………..111 Example 3-2: Franz Schubert, Der Doppelgänger……………………………………...114 Example 3-3: Franz Schubert, Am Meer……………………………………………….119 Example 3-4: Franz Schubert, Am Meer……………………………………………….120 Example 3-5: Franz Schubert, Ihr Bild…………………………………………………121 Example 3-6: Franz Schubert, Die Sterne………………………………………………122 viii Example 3-7: Franz Schubert, Die Sterne………………………………………………126 Example 3-8: Franz Schubert, Liebesbotschaft…………………………………………127 Example 3-9: Franz Schubert, Der Musensohn…………………………………………128 Example 3-10: Franz Schubert, Bei Dir………………………………………………...129 Example 3-11: Franz Schubert, Die Taubenpost………………………………………..130 Example 3-12: Franz Schubert, Der Hirt auf dem Felsen……………………………....131 Example 3-13: Franz Schubert, Alinde…………………………………………………132 Example 3-14: Franz Schubert, Abendbilder…………………………………………...133 Example 3-15: Franz Schubert, Fragment aus Schiller’s Gedicht “Die Götter Griechenlands…………………………………………………………………………..135 Example 3-16: Franz Schubert, Abendbilder…………………………………………...136 Example 3-17: Franz Schubert, Abendbilder…………………………………………...137 Example 3-18: Franz Schubert, Der Pilgrim……………………………………………139 Example 3-19: Franz Schubert, Der Pilgrim……………………………………………141 Example 3-20: Franz Schubert, Der Pilgrim……………………………………………142 Example 3-21: Franz Schubert, Schäfers Klagelied…………………………………….143 Example 3-22: Franz Schubert, Nacht und Träume…………………………………….144 Example 3-23: Franz Schubert, Auf der Donau………………………………………...147 Example 3-24: Franz Schubert, Liebesbotschaft………………………………………..150 Example 3-25: Franz Schubert, Der Neugierige………………………………………..151 Example 3-26: Franz Schubert, Totengräbers Heimweh……………………………….152 Example 3-27: Franz Schubert, Totengräbers Heimweh……………………………….154 ix Example 3-28: Franz Schubert, Die Mainacht………………………………………….156 Example 4-1: Franz Schubert, Winterreise, Gute Nacht……………………………….161 Example 4-2: Franz Schubert, Winterreise, Erstarrung………………………………...166 Example 4-3: Franz Schubert, Winterreise, Erstarrung………………………………...167 Example 4-4: Franz Schubert, Winterreise, Erstarrung………………………………...167 Example 4-5: Franz Schubert, Winterreise, Wasserflut………………………………...173 Example 4-6: Franz Schubert, Winterreise, Wasserflut………………………………...174 Example 4-7: Franz Schubert, Winterreise, Irrlicht…………………………………….176 Example 4-8: Franz Schubert, Winterreise, Irrlicht ……………………………………176 Example 4-9: Franz Schubert, Winterreise, Irrlicht…………………………………….177 Example 4-10: Franz Schubert, Winterreise, Irrlicht…………………………………...178 Example 4-11: Franz Schubert, Winterreise, Wasserflut……………………………….182 Example 4-12: Franz Schubert, Liebesbotschaft………………………………………..182 Example 4-13: Franz Schubert, Frühlingstraum………………………………………..184 Example 4-14: Franz Schubert, Frühlingstraum………………………………………..186 Example 4-15: Franz Schubert, Im Dorfe………………………………………………190 Example 4-16: Franz Schubert, Im Dorfe………………………………………………191 Example 4-17: Franz Schubert, Im Dorfe………………………………………………194 Example 4-18: Franz Schubert, Der Wegweiser………………………………………..195
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