Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) (2 Volumes) Volume 1 Cathal Mullan Thesis Submitted to Maynooth University for the Degree of Doctor of Philosophy Department of Music Maynooth University Maynooth, Co. Kildare October 2018 Head of Department: Professor Christopher Morris Supervisor: Professor Lorraine Byrne Bodley i Abstract Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) Despite being a pre-eminent figure of German literature, Goethe remains misunderstood in musicology and the extent of his influence on the formation of the German Lied remains largely uncharted. This is true of Faust I where research into musical settings of Goethe's Faust has traditionally centred around canonical musical realisations of Faust confined to those by Schumann (Szenen aus Faust, 1844–1853), Liszt (Faust Symphony, 1857) and Mahler (Symphony No. 8, 1906). There is an urgent need to trace the influence of Goethe's Faust in musicology and in particular, uncover influential Faust settings which fall beyond the rubric of eminent literature. The settings selected in this dissertation address an important lacuna in the nineteenth-century Lied, namely settings composed or published between 1832 – the year of both Goethe's death and the posthumous publication of Faust II – and 1840, Schumann's first Liederjahr. This study aims to challenge the perception that the 1830s was a lull period in the Lied by illustrating the significance of Faust in the development of the Lied with regard to text-music associations, text setting practice and the emancipation of musical rhythm from poetic rhythm. This will be achieved through close examination of the relationship between text and music evident in Wagner's Sieben Kompositionen zu Goethes Faust (1832) and an array of underappreciated Faust songs composed and published throughout the decade. A secondary concern of this dissertation is to consider to what extent Goethe's attitudes towards the declamation of the text were reflected in and reflective of compositional practices of the time and to assess the influence of the poet on Wagner's formative endeavours in music and song composers of the intervening period between Schubert and Schumann. ii Table of Contents Abbreviations vii Acknowledgements viii List of Examples ix List of Tables xiii Introduction I Background to this research xiv II Rationale for this research xv III Aims of this research xvi IV Research questions and related questions posed by this dissertation xvii V Delimitations of this research xviii VI Methodology xviii VII Literature overview xxii VIII Challenges encountered during this research xxv IX Dissertation audience xxvii Volume 1 Part 1: Delineating the significance of Goethe's Faust in literature and music Chapter 1: Faust in the Central European tradition 1.1 Introduction 1 1.2 The Christian origins of the Faust myth 2 1.3 Doctor Faustus and the elaboration of the myth in sixteenth-century Germany 6 1.4 Marlowe's Doctor Faustus and its influence on German literature 9 1.5 Lessing's transformation of Faust into German literary subject 14 1.6 Goethe's Urfaust and Faust. Ein Fragment 18 1.7 Goethe's Faust I 24 1.8 Goethe's Faust II 30 1.9 Conclusion: The progression of Faust across the centuries 32 Chapter 2: Goethe's Faust and music: A survey of Faust realisations by canonical composers 2.1 Introduction 35 2.2 Early Faust settings of the Second Berlin Liederschule 36 2.3 Beethoven's comic song: 'Aus Goethes Faust' 43 2.4 The evolution of Gretchen and the Lied in Schubert's Faust settings (1814–17) 46 2.5.1 An unconventional Faust: Schumann's Szenen aus Goethes Faust (1844–53) 60 2.5.2 Schumann's two Faust Lieder 62 2.6 Hugo Wolf's neglected Faust Lied: 'Gretchen's Bitte' (1878) 66 2.7 A symphonic Faust: Mahler, Symphony No. 8 (1906) 78 2.8 Faust in translation: Berlioz's Faust settings (1829, 1846) 84 2.9 Faust in Weimar: Liszt's Faust settings (1843, 1854–57) 87 2.10 Faust and Opera 90 2.11 Conclusion: Faust as musical text: charting the influence of Goethe and Faust on nineteenth-century music and the development of the Lied 99 iii Part 2: An exploration of the associations which exist between text and music in Faust Lieder of the 1830s Chapter 3: The perception of Goethe as musical poet and the application of theories on text setting to song 3.1 Introduction 103 3.2.1 Reception of Goethe's musicality 104 3.2.2 Goethe's musical experience 106 3.2.3 Goethe's perception of his own musicality 107 3.3 Establishing Goethe's approach to text setting 110 3.4 Cone's perspective on word-music relations 112 3.5 Kramer's definition of song 116 3.6 Agawu's proposed analytical models 119 3.7 Lewin's philosophy on text setting 123 3.8 Hatten's musings on poetic meaning 126 3.9 Stein and Spillman's perspective on poetry, rhythm, metre and form 128 3.10 Kreb's theory of basic rhythm of declamation 130 3.11 Conclusion: An approach to word-music relations in Faust settings by Wagner and his contemporaries 133 Chapter 4: Wagner's Faust: Sieben Kompositionen zu Goethes Faust 4.1 Introduction 136 4.2 The influence of Goethe on Wagner's formative works 137 4.3 Wagner's early engagement with Goethe's Faust 140 4.4 Wagner's association of Goethe's Faust and Beethoven's Ninth 142 4.5 Wagner's conceptualisation of Goethe's Faust 145 4.6 Goethe's Gretchen: The first Wagnerian heroine 148 4.7.1 'Lied der Soldaten', op. 5 no. 1: poetic source 150 4.7.2 'Lied der Soldaten', op. 5 no. 1: musical setting 154 4.8.1 'Bauern unter der Linden', op. 5 no. 2: poetic source 159 4.8.2 'Bauern unter der Linden', op. 5 no. 2: musical setting 163 4.9.1 'Branders Lied', op. 5 no. 3: poetic source 170 4.9.2 'Branders Lied', op. 5 no. 3: musical setting 174 4.10.1 'Lied der Mephistopheles I', op. 5 no. 4: poetic source 180 4.10.2 'Lied der Mephistopheles I', op. 5 no. 4: musical setting 183 4.11.1 'Lied der Mephistopheles II', op. 5 no. 5: poetic source 189 4.11.2 'Lied der Mephistopheles II', op. 5 no. 5: musical setting 192 4.12.1 'Meine Ruh ist hin', op. 5 no. 6: poetic source 196 4.12.2 'Meine Ruh ist hin', op. 5 no. 6: musical setting 200 4.13.1 'Melodram Gretchens', op. 5 no. 7: poetic source 205 4.13.2 'Melodram Gretchens', op. 5 no. 7: musical setting 208 4.14 The reception history of Sieben Kompositionen zu Goethes Faust 212 4.15 Sieben Kompositionen zu Goethes Faust: An unpublished Faust song set 214 4.16 Wagner's Eine Faust Ouvertüre 218 4.17 Conclusion: Wagner's engagement with Goethe's Faust and the relationship between text and music in Wagner's Faust songs 225 iv Chapter 5: Underappreciated Faust Settings of the 1830s; Prince Anton Radziwill (1775–1833), Conradin Kreutzer (1780–1849), Carl Loewe (1796–1869), Leopold Lenz (1804–1862), Justus Amadeus Lecerf (1789–1868), Peter Josef von Lindpaintner (1791– 1856), Carl Banck (1771–1842), Friedrich Grimmer (1798–1850), Friedrich Curschmann (1805–1841), Giuseppe Verdi (1813–1901) 5.1 Introduction 230 5.2 Anton Radziwill's Compositionen zu Goethes Faust 232 5.3.1 Radziwill's 'Beschwörung': poetic source 234 5.3.2 Radziwill's 'Beschwörung': musical setting 236 5.4.1 Radziwill's 'Wenn ich empfinde': poetic source 239 5.4.2 Radziwill's 'Wenn ich empfinde': musical setting 241 5.5 Conradin Kreutzer's Gesänge aus Goethes Faust 245 5.6.1 Kreutzer's 'In Marthens Garten': poetic source 248 5.6.2 Kreutzer's 'In Marthens Garten': musical setting 251 5.7 Kreutzer's 'Recitativo': musical setting 254 5.8 Kreutzer's 'Recitando und Romanze': musical setting 258 5.9 Loewe's 'Szene aus Faust': musical setting 262 5.10.1 Loewe's 'Lynceus, der Thürmer, auf Faust's Sternwarte singend': poetic source 267 5.10.2 Loewe's 'Lynceus, der Thürmer, auf Faust's Sternwarte singend': musical setting 268 5.11 Leopold Lenz's Gesänge und Lieder aus der Tragödie Faust von Goethe 272 5.12.1 Lenz's 'Der König in Thule': poetic source 273 5.12.2 Lenz's 'Der König in Thule' (first version): musical setting 275 5.12.3 Lenz's 'Der König in Thule' (second version): musical setting 278 5.13 Lenz's 'Ständchen des Mephistopheles': musical setting 281 5.14 Justus Amadeus Lecerf's Neun Gesänge zu Goethes Faust 284 5.15.1 Lecerf's 'Zueignung': poetic source 286 5.15.2 Lecerf's 'Zueignung': musical setting 288 5.16.1 Lecerf's 'Faust im Studierzimmer': poetic source 291 5.16.2 Lecerf's 'Faust im Studierzimmer': musical setting 292 5.17 Peter Josef von Lindpaintner's Sechs Lieder zu Göthe's Faust 295 5.18.1 Lindpaintner's 'Meine Mutter, die Brut': poetic source 297 5.18.2 Lindpaintner's 'Meine Mutter, die Brut': musical setting 298 5.19 Carl Banck's 'Tanzreigen aus Faust': musical setting 301 5.20 Friedrich Grimmer's 'Der König in Thule': musical setting 306 5.21 Karl Friedrich Curschmann's 'Meine Ruh ist hin': musical setting 308 5.22 Verdi's 'Perduta ho la Pace': musical setting 312 5.23 Conclusion: A reappraisal of Faust settings in the 1830s in respect of text setting practice 316 Conclusion and research findings 6.1 Conclusion 325 6.2 Pathways for future research 329 Bibliography 331 Discography 350 Music Scores 352 Appendices 354 v Volume 2 Wolf's 'Gretchen vor dem Andachtsbild der Mater Dolorosa' (1878) 1 Wagner's Sieben Kompositionen zu Goethes Faust (1831–32) I.