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Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism

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Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 11/14/11 Document Director: Charles Roe 3 STATEMENT BY AUTHOR This document 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 document 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. SIGNED: Brian Charles Witkowski 4 ACKNOWLEDGEMENTS Special thanks is due to Charles Roe for serving as my primary advisor and committee chair as well as to Faye Robinson and Kristin Dauphinais for serving on my committee and earnestly supporting this project. Additional thanks goes to Jay Rosenblatt and Paula Fan for their expertise in German Romantic music and their assistance in the process. Lastly, thank you Carol Kimball for your inspiration to explore the art song repertory in depth and to bring rare and unknown works to life. 5 DEDICATION First, I would like to dedicate this document to the loving memory of Sister Shirlee A. Hoski (1939–2010), a dedicated Sister of St. Joseph - Third Order of St. Francis since 1958. A woman of many talents, she was a musical and spiritual mentor to many as the minister of music and pastoral associate at Holy Name Parish in Birmingham, Michigan. The undertaking of a project that in part synthesizes music and faith can be credited to her inspiration. Second, I would also like to dedicate this document to my father, Dr. Michael J. Witkowski, Ed.D, who always encouraged me to pursue my dreams. He instilled me with the confidence that anything in life can be achieved with the right amount of dedication, sacrifice, and resilience. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES......................................................................................7 ABSTRACT.........................................................................................................................8 CHAPTER 1: INTRODUCTION AND BIOGRAPHY OF CARL LOEWE.....................9 A. Introduction.................................................................................................................9 B. Biography.................................................................................................................. 10 CHAPTER 2: THE “BALLAD”........................................................................................ 18 A. History....................................................................................................................... 18 B. Ballads and Parlor Music.......................................................................................... 20 C. Loewe and the Ballad................................................................................................ 22 CHAPTER 3: LOEWE’S MUSICAL STYLE.................................................................. 25 A. Influences.................................................................................................................. 25 B. Vocal Lines................................................................................................................29 C. Accompaniments....................................................................................................... 31 D. Motives...................................................................................................................... 33 E. Forms......................................................................................................................... 34 CHAPTER 4: LOEWE AND CYCLES............................................................................ 38 A. Brief History of Song Cycles before Loewe............................................................. 38 B. Loewe’s “Cycles”...................................................................................................... 41 CHAPTER 5: THE TEXT OF GREGOR AUF DEM STEIN............................................ 44 A. Gesta Romanorum and the Legend of Pope Gregory............................................... 44 B. Franz Kugler and his Adaptation...............................................................................52 C. Theological Aspects.................................................................................................. 58 CHAPTER 6: THE MUSIC OF GREGOR AUF DEM STEIN.......................................... 60 A. I. “Herolde ritten von Ort zu Ort”............................................................................. 60 B. II. “Im Schloss, da brennen der Kerzen viel”............................................................ 62 C. III. “Der junge König und sein Gemahl”.................................................................. 69 D. IV. “Ein Klippeneiland liegt im Meer”..................................................................... 85 E. V. “Wie bräutlich glänzt das heilige Rom!”.............................................................. 88 CHAPTER 7: SUMMARY AND CONCLUSION........................................................... 95 CHAPTER 8: PERFORMANCE CONSIDERATIONS.................................................100 REFERENCES.................................................................................................................104 7 LIST OF MUSICAL EXAMPLES MUSICAL EXAMPLE 1: Measures 19-22 of “Herolde ritten von Ort zu Ort”............... 61 MUSICAL EXAMPLE 2: Measures 41-48....................................................................... 62 MUSICAL EXAMPLE 3: Measures 1-12 of “Im Schloss, da brennen der Kerzen viel”...63 MUSICAL EXAMPLE 4: Measures 27-33....................................................................... 64 MUSICAL EXAMPLE 5: Measures 55-73....................................................................... 65 MUSICAL EXAMPLE 6: Measures 77-85....................................................................... 67 MUSICAL EXAMPLE 7: Measures 131-133................................................................... 69 MUSICAL EXAMPLE 8: Measures 1-4 of “Der junge König und sein Gemahl”........... 69 MUSICAL EXAMPLE 9: Measures 5-8........................................................................... 71 MUSICAL EXAMPLE 10: Measures 9-20....................................................................... 71 MUSICAL EXAMPLE 11: Measures 28-37..................................................................... 73 MUSICAL EXAMPLE 12: Measures 63-67..................................................................... 75 MUSICAL EXAMPLE 13: Measures 52-65..................................................................... 75 MUSICAL EXAMPLE 14: Measures 66-82..................................................................... 77 MUSICAL EXAMPLE 15: Measures 83-92..................................................................... 78 MUSICAL EXAMPLE 16: Measures 159-165................................................................. 79 MUSICAL EXAMPLE 17: Measures 166-175................................................................. 80 MUSICAL EXAMPLE 18: Measures 197-204................................................................. 81 MUSICAL EXAMPLE 19: Measures 211-224................................................................. 83 MUSICAL EXAMPLE 20: Measures 225-240................................................................. 84 MUSICAL EXAMPLE 21: Measures 1-6 of “Ein Klippeneiland liegt im Meer”............ 86 MUSICAL EXAMPLE 22: Measures 10-12....................................................................
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    Originalveröffentlichung in: Marburger Jahrbuch für Kunstwissenschaft 32 (2005), S. 7-15 Die Bezüglichkeit der K unst zum Leben Franz Kugler und das erste akademische Lehrprogramm der Kunstgeschichte Kilian Heck Den Beginn der akademischen Kunstgeschichte zu lassen.3 Denn auch Gustav Friedrich Waagens zu bestimmen, hat mehrfach breite Diskussionen außerordentlicher Professur für das „Fach der hervorgerufen. Eine zentrale Frage war die Bewer­ modernen Kunstgeschichte “, auf die er im April tung des Umstandes, daß wenigstens bis zum Ende 1844 an der Berliner Universität berufen wurde des 19. Jahrhunderts der Anteil an der Forschung, und die im allgemeinen mit dem Beginn der akade­ den die nicht akademisch etablierten Kunsthi ­ mischen Kunstgeschichte gleichgesetzt wird, war storiker leisteten, den der universitären Kunstge ­ keine Dauerhaftigkeit beschieden.4 Auch wenn schichte bei weitem überwog. Die Forschungen das Datum der Entstehung der Kunstgeschichte zur Geschichte der Kunstgeschichte von Heinrich als akademischer Disziplin nicht zweifelsfrei ge­ Dilly, Horst Bredekamp, Wolfgang Beyrodt, Hu ­ klärt werden kann, besteht Einvernehmen darin, bert Locher und neuerdings Regine Prange haben daß sich zwischen den Eckdaten 1781, 1844 und ihren Teil dazu beigetragen, Struktur und Abfol­ 1860 die wesentlichen Entwicklungen ankündig­ ge der akademischen Anfänge des Faches neu zu ten, die zur festen und dauerhaften Verankerung beleuchten. 1 Weitgehend unerforscht ist hingegen, der Kunstgeschichte als akademischem Fach ge­ wie sich in der deutschen