/N8/ ,No4s 3 8C GOETHE'S "KENNST DU DAS LAND": EIGHT MUSICAL ETTINGS, 1795-1838 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degr e of MASTER OF ARTS By Jennifer A. McCro Iy, B. A. Denton, Tex; August, 197'7 McCrory, Jennifer A., Goethe's "Kennst du das Land": Eight Musical Settings, 1795-1888. Master of Arts (Music), August, 1977, 90 pp., 30 illustrations, bibliography, 48 titles. This thesis studies the problem of combining a poem with music in nineteenth-century Lieder so that the music enhances the poetry rather than detracting from it. Eight settings of Goethe's poem "Kennst du das Land," from his novel Wilhelm Meisters Lehrjahr, are compared. Settings by Johann Friedrich Reichardt, Beethoven, Schubert, Schumann, Liszt, Tchaikowsky, and Wolf are analyzed, after initial treatment of the literary aspects of the poem. The degree of musico-poetic synthesis varies in these settings, and it becomes evident that total fusion of poetry and music is not possible. However, the settings by Schumann and Wolf achieve strong balance of word and tone. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS... .. ... iv Chapter I. INTRODUCTION . .. .... .. 1 II. LITERARY ASPECTS . 3 Goethe's Poem, "Kennst du das Land" The Poem in the Context of Wilhelm Meisters Lehrj ahr III. THE POEM IN EIGHT MUSICAL SETTINGS . 14 Reichardt, Johann Friedrich (1795) Beethoven, Ludwig van (1810) Schubert, Franz (1815) Schumann, Robert (1849) Liszt, Franz (1841, 1860) Tchaikovsky, Peter Ilyich (1874) Wolf, Hugo (1888) Conclusion BIBLIOGRAPHY. ................................... 82 iii LIST OF ILLUSTRATION Figure Page 1. Reichardt, "Mignon," mm. 15-17 a .s . "a . .18. 2. Reichardt, "Mignon," mm. 1-4 . " . r. a 19 3. Reichardt, "Mignon," mm. 20-21 - * # . ". 20 4. Reichardt, "Mignon," mm. 8-10 r. s. r . 21 5. Reichardt, "Mignon," mm. 4-7 " " . r. ". 22 6. Beethoven, "Mignon," mm. 20-22 - s . .s . a. ". 25 7. Beethoven, "Mignon," mm. 67-69 " .r . s. .26. Beethoven, 8. "Mignon," mm. 18-19 . .....28. 9. Beethoven, "Mignon," mm. 32-34 " . .r . 29 10. Beethoven, "Mignon," mm. 1-2 r ..." a. ..34 11. Schubert, "Mignon," mm. 1-2.-8 -" - . 35 12. Beethoven, "Mignon," mm. 6-8 - # -" -r . ". a. 35 13. Schubert, "Mignon," mm. 6-9. - -r -a . 36 14. Beethoven, "Mignon," mm. 16-17 " - . 37 15. Schubert, "Mignon," mm. 17-18. s - " . 37 16. Schumann, "Mignon," mm. 1-4.- - r " a . 43 17. Schumann, "Mignon," mm. 6-9.- - - .- a- ". i.. 45 18. Liszt, "Mignons Lied" (1841), m m. 1-3. 49 19. Liszt, "Mignons Lied" (1841), m . 25. 52 20. Liszt, "Mignons Lied" (1841), mm. 31-33.... 53 21. Liszt, "Mignons Lied" (1841), m . 66...........54 22. Liszt, "Mignons Lied" (1860), mm. 1-4. 57 iv Figure Page 23. Liszt, "Mignons Lied" (1860), mm. 31-32 . 57 24. Liszt, "Mignons Lied" (1860), mm. 46-48 . 59 25. Liszt, "Mignons Lied" (1860), mm. 68-69 . 59 26. Liszt, "Mignons Lied" (1860), m. 77 .1.. 60 27. Tchaikovsky, "Mignon's Lied," mm. 13-15 . 63 28. Wolf, "Mignon," mm. 5-12. 68 29. Wolf, "Mignon," mm. 1-8 . ... 70 30. Wolf, "Mignon," mm.. 32-34 . 72 V CHAPTER I INTRODUCTION The ultimate problem of Lied composition in the nine- teenth century is the combining of a poem with music in a way that the music enhances the poetry rather than detracts from it. A poem is an independent, complete work in itself with poetic-musical elements of its own. Once set to music, the integral lyrical and structural aspects of a poem are endangered by the naturally more dominant pLace of the music. The extent to which the poetry is jeopardized by musical demands can be seen by comparing settings of Johann Wolfgang von Goethe's poem "Kennst du das Land" by composers of the late eighteenth and nineteenth centuries. Although there were numerable settings of "Kennst du das Land" (approximately eighty-four) by nineteenth-century composers, the following list of major composers of the song suits the purposes of this paper. The composers are all of major status, and their settings of the Goethe poem span a period of time of sufficient length (1795-1888) to represent nearly a century of Lied composition: Willi Schuh, Goethe-Vertonungen: Ein Verzeichnis (Zurich, 1952), cited in Jack M. Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf (Cambridge, Mass., 1971), p. 35. 1 2 Johann Friedrich Reichardt 1795 Ludwig van Beethoven 1810 Franz Peter Schubert 1815 Robert Schumann 1849 Franz Liszt 1841, 1860 Peter ~Ilyich Tchaikovsky 1874 Hugo Wolf 1888 Each setting is a reflection of the composer's indivi- dual reading of the poem, and of his conception of the character Mignon. However, considering the span of time over which these settings were selected, each composer is repre- sentative of the predominant musical style of his particular era. Thus, these settings of "Kennst du das Land" reflect not only individual interpretations, but also the development of the Lied in light of a more general evolution of music in the nineteenth century. These specific composers indicate the shifting balance of the relationship of words and music in the nineteenth-century Lied in the context of the style of their particular generations. CHAPTER II LITERARY ASPECTS Goethe's Poem "Kennst du das Land" Goethe's poem "Mignon" ("Kennst du das Land") was written in 1783 or 1784, and appeared originally at the beginning of the fourth book of his autobiographically oriented novel Wilhelm Meisters theatralische Sendung (Wilhelm Meister's Theatrical Mission). This first version was completed in 1785 before Goethe's journey to Italy (1786-1788), but was not published until 1911. After his return from Italy, Goethe thoroughly revised and expanded the earlier version and published it under the title of Wilhelm Meisters Lehrjahr (Wilhelm Meister's Apprenticeship) in 1795.1 The poem stands at the head of the third book in this novel, and it is from this version that the poem in this paper is taken. Before determining the effectiveness of a musical setting of a poem, the poem must first be isolated as an independent structure. Following is the text of the poem with the English translation by Edith Braun and Waldo Lyman: Edwin1 H. Zeydel, editor, Goethe, The Lyrist, 2nd ed., No. 16 of University of North Carolina Studies in the Germanic Languages and Literatures(Chapel Hill, North Carolina, 1955), P. "1 3 4 Kennst du das Land, wo die Zitronen blihn, Im dunkeln Laub die Gold-Orangen glihn, Ein Sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht, Kennst du es wohl? Dahin! Dahin Mocht' ich mit dir, o mein Geliebter, ziehn! Kennst du das Haus, auf Saulen ruht sein Dach, Es glanzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: Was hat man dir, du armes Kind, getan? Dahin! Dahin Macht' ich mit dir, o mein Beschitzer, ziehn. Kennst du den Berg und seinen Wolkensteg? Das Maultier sucht im Nebel seinen Weg, In H6hlen wohnt der Drachen alte Brut, Es stiirzt der Fels und ciber ihn die Flut: Kennst du ihn wohl? Dahin! Dahin Geht unser Weg, o Vater, lass uns ziehn! Knowest thou the land where the lemons bloom; In the dark foliage the gold oranges glow, A gentle wind wafts from the azure sky, The myrtle grows still, the laurel high, Doest thou know it well? Yonder! Yonder I want to go with thee, oh my beloved. Knowest thou the house? On columns rests its roof, The hall is shining and the chamber gleams, And marble statues stand and look at me: What have they done, poor child, to thee? Doest thou know it well? Yonder! Yonder I want to go with thee, oh my protector. Knowest thou the mountain and its cloudy path? The mule seeks in the fog its road; In caverns sleeps the dragons' ancient brood, The rock is falling, and over it the torrent, Doest thou know it well? Yonder! Yonder Leads our road! Oh father, let us go!2: 2 Robert Schumann, 85 Songs (New York, n.d.), p. XXIII. The line "Doest thou know it well?" has been altered by the author. Braun and Lyman's translation is "Doest thou know it perchance?" 5 This translation by Edith Braun and Waldo Lyman was chosen because the English is as literal as possible without being pedantic. In order to maintain the clarity of the text in a language other than the original, the metric rhythm and rhyme of a poem are naturally sacrificed. The result, however, is that the words and their context remain those of the poet. Henry Drinker's attempts to translate the iambic pentameter and rhyme of the poem result in the creation of new words which do not appear in the original poem; he verbalizes images created in his own mind, not in Goethe's. For example, Drinker translates the first two lines of the second stanza in the following manner: Kennst du das Haus, auf Sulen ruht sein Dach, Know you the house, the columns at the door, Es glanzt der Saal, es schimmert das Gemach, The sparkling hall, the brightly polished floor, 3 In an effort to produce a corresponding rhyme scheme, Drinker inserts such words as "door" and "polished floor" which do not appear in the poem. These words may be part of the image created in the mind of the reader, but they are not Goethe's words. Other translators such as Robert Randolph Garran and Anthony Hecht produce rhyming lyric lines, but, again, their 3Henry S. Drinker, Texts of the Solo Songs of Franz Schubert in English Translation7(New York, 1951),~pp.