Kenneth S. Whitton - Goethe and Schubert: the unseen bond
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All music excerpts from Schubert: Lieder (ed. M. Friedlaender), reproduced by kind permission of Peters Edition, London.
Copyright 1999 by Kenneth S. Whitton All rights reserved.
ISBN 1-57467-050-6
Printed in Hong Kong
Published in 1999 by Amadeus Press (an imprint of Timber Press, Inc.) The Haseltine Building 133 S.W. Second Avenue, Suite 450 Portland, Oregon 97204, U.S.A.
Library of Congress Cataloging-in-Publication Data
Whitton, Kenneth S. Goethe and Schubert: the unseen bond / Kenneth S. Whitton. p. cm. Includes bibliographical references and index. ISBN 1-57467-050-6 1. Schubert, Franz, 17971828. Songs. 2. Goethe, Johann Wolfgang von, 17491832. 3. Songs, German19th centuryHistory and criticism. 4. Songs with piano19th centuryHistory and criticism. 5. Music and literature. I. Title. ML410.S3W36 1999 782.42168'092dc21 98-32274 CIP MN
Page 5
For Dietrich Fischer-Dieskau, In grateful thanks for fifty years of friendship, joy, and inspiration
Page 6
Goethe and Schubert! O happy bond, To Germany's eternal fame!
Heinrich Panofka
Page 7
CONTENTS
Foreword,
9
Acknowledgments,
13
About the Text,
15
Introduction,
17
Part One
Chapter One The German Lied before Franz Schubert,
23
Chapter Two Goethe, Music, and Musicians,
41
Chapter Three Schubert, Poetry, and Poets,
87
Chapter Four Why Did Schubert Never Meet Goethe?
131
Part Two
Chapter Five The Goethe Lieder of Franz Schubert,
151
Notes,
257
Bibliography,
272
Index of Names,
281
Index of Goethe's Poems and Other Works,
291
Index of Schubert's Lieder and Other Works,
294
Photos follow page 48
48
Page 9
FOREWORD
In October 1814, as the great European powers met in Vienna to discuss peace for a war-torn continent, a seventeen-year-old genius began the transformation of an entire musical genre with his setting of a poem from Goethe's Faust. Gretchen am Spinnrade marks Schubert's first monumental contribution to the German Lied as well as the beginning of his spiritual relationship with another genius of the eraone of the world's great writersJohann Wolfgang von Goethe.
Schubert had earlier begun to express his musical gifts in several dozen songs, piano pieces, chamber works, opera, symphonies, and a Mass, but it is in Gretchen am Spinnrade that he unleashed the full measure of his powers. The musicality of Goethe's words unlocked Schubert's unique voice, and continued to inspire Schubert for the rest of his life, resulting in some eighty musical settings of Goethe texts. Yet, his most intense relationship with Goethe's works came early in Schubert's compositional life. Between 1814 and 1815, he wrote more than one-third of his Goethe songs, which then became the foundation for his exploration of other poets' words.
Although Goethe never publicly acknowledged Schubert's music, Schubert clearly felt the importance of Goethe's poetry. In a diary entry for June 1816, Schubert mentioned performing Rastlose Liebe to an enthusiastic audience and commented that "Goethe's musical poet's genius contributed much to the success." Goethe's poetry was also partly responsible for Schubert's fame after his death. Erlknig became Schubert's most popular song in the nineteenth century and inspired other composers to use it as the basis for their creative efforts. Franz Liszt, for example, made a brilliant piano transcription of Erlknig, which he and other performers such as Clara Schumann played to enthusiastic audiences all over Europe. Singer Adolphe Nourrit, the leading tenor at the Paris Opra, heard Liszt play Erlknig and instantly became a proselytizer for Schubert's music. He even made his own "translations" of Schubert's songs into French, although he did not speak any German!
Schubert composed hundreds of songs during his short life of thirty-
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one years, songs of profound originality and inspiration. The nineteenth-century German Lied became a major genre in his hands as he probed the mysteries of form and harmony, partners to his effortless, exquisite melodies. A seemingly simple strophic song from 1815,
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