NOT TO BE TAKEN
FROM THE LIBRARY
GOETHE AND MUSIC
GOETHE and MUSIC
A List of Parodies
and
Goethe's Relationship to Music
A List of References By FREDERICK W. STERNFELD
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New York
The New York Public Library
1954
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314120
MUSic Libr<5MrY
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REPRINT FROM
THE NEW YORK PUBLIC LIBRARY BULLETIN
1950. 1952
POINTED AT THE NEW YORK PUBLIC LIBRARY
formp624 [iii-31-54 4c]
TABLE OF CONTENTS
Introduction 7
A List of Parodies:
Preface 23
British Parodies 25
Ballads 39
Sacred Song Parodies 83
Miscellaneous Parodies 96
Goethe's Relationship to Music:
Preface 131
List of Abbreviations 136
The List of References 137
General Index 171
TO MY FATHER
INTRODUCTION1
WAS Goethe musical? Why did Goethe not appreciate Beethoven and Schubert? Such oft-repeated queries have resulted in a notion on tin- part of the general public that the poet's musicianship was of dubious quality; why, otherwise, would there be so much skepticism? Goethe, the poet-philoso- pher-statesman, received widespread acclaim in the memorial years of h) and 1949. Even so, the voluminous letters, diaries, and conversations of this great man have, by and large, stood unmolested on library shelves, and tin- actual documents of his existence are little known. True, the work of Goet : . his poems, and the lyrics from the great dramas, such as Faust and Iphi continues to cast its spell over those with sensitive ears, including comp of all lands. But in the bulk of the literature that deals with the poet's relati« un- ship to the art of tones the role of music as a concrete source in the creation of Goethe's poems has not been given the consideration it deserves.
The majority of the speculations as to Goethe's musical competence lack historical perspective. The work of Beethoven and Schubert was the subject of great controversy in their time, and it was not until Goethe was past sixty that he had an opportunity to hear compositions by these considerably younger men. To evaluate properly the poet's understanding of music one must examine his attitude towards Mozart and Bach, towards folk song and church hymn, towards the opera house and the concert hall. A survey of this nature would bring into focus the phenomenal auditory sensitivity and the discriminating taste of the sage of Weimar, but such an approach, dealing with the man rather than his poems, would be circuitous, involving lengthy biographical and sociological ramifications. A more direct path would lie by way of Goethe's workshop: to show the integral function that the art of tones played in the creation of his oeuvre and thus to uncover the musical roots of his lyrics, which are his most distinguished contribution to world literature.
The method by which actual melodies gave birth to many of Goethe's poems is known to the music historian as parody, a term of disparate mean- ings according to whether it is used in musical or in literary circiunstaiu A rendering of Gluck's aria, J'ai perdu mon Eurydice, which changes the words to J'ai trouve mon Eurydice but retains the original tune, is an obvious instance of parody in terms of travesty — the commonly accepted use of the word. But the wider meaning to which musical scholars are accustomed is
1 This essay appeared as "Musical Springs of Goethe's Poetry" in The Musical Quarterly, vol no. 4, p. 511-27, October, 1949; reprinted by permission of G. Schirmer, Inc., publishes and copyright owners, with minor revisions.
[7]
8 The New York Public Library
semantically clear when one considers the Greek roots para 2 and oide. In that sense the term is well known in discussions of music where the, Parody Masses of Palestrina, Lassus, and Victoria and the extensive transplantations of choral music from one text to another by Bach, Handel, and Mozart are subsumed under the category of parody. Goethe and his contemporaries as well as his forebears wrote parodies by creating new texts to older tunes and rhythms, without any implication of irony. This more inclusive use of the term is likely to startle the modern philologist, as witness von der Hellen's commentary to one of the poems in the most complete annotated edition of Goethe's works.3 The editor refers to a letter written by the poet to his wife on April 21, 1813, which recounts that he had heard, during the performance of a professional reciter, "The most miserable of all doleful German songs,
Teh habe geliebet, nun lieb' ich nicht mehr' ..." and that he had written a parody (schrieben daselbsteirie Parodie) of the song beginning
"Ich habe geliebet, nun lieb' ich erst recht." "But the poem," comments von der Hellen, "should not be regarded as a parody in the usual sense, because it definitely possesses independent, positive value." Here the editor unwittingly divulges the negative aspects of the "usual sense" in contrast to the productivity of the broader concept that was still alive for Goethe. It is precisely the "positive value" that has been the proud aim of poets throughout the ages. Without it the parody technique as a cre- ative practice would have been useless for Goethe and its rediscovery a moot point for recent scholarship.
In 1803-04 Goethe and the older Weimar poet Wieland jointly edited an almanac which served as a gathering place for quite a number of Goethe's parodies. It was published by Cotta under the title Taschenbuch auf das Jahr 1804. The musical character of the lyrics or, more specifically, the fact that they were based on popular tunes, was given full play in a letter that Goethe's friend and intermediary Schiller addressed to the publisher in May, 1802:
Goethe wants to edit an almanac of songs which he has fashioned to well-known popular melodies. I have heard some of these lyrics, they are excellent, and one can say that they elevate the melodies and fit them even better than the original texts for which the tunes were invented. The intrinsic value of such a song almanac, Goethe's prestige, and the fact that everybody can sing the songs right away because the melodies are already established and current, raises a secure expectation of a large sale . . .
2 The prefix para means "beside" in two senses: outside of, and therefore distorting the original, as in paradox; and alongside of, and therefore in sympathy with the original, as in paraphrase. Par-ody in musical terms means "alongside a song," "to a song," using the prefix para in the second sense.
ZGoethes Samtliche Werke, ed. by Eduard von der Hellen, Stuttgart, 1909-1912, 41 vols., Vol. i, p. xvii, 79, 330.
Goethe and Music 9
Since poems as such are customarily published without music, the tunes to which Goethe's text and other sources refer, have, for the most part, been lost to posterity, however well known the folk songs (or art songs in the mam of folksongs ) may have been in their own time. It is fortunate, therefore, tl Cotta brought out two editions of Goethe's parodies concurrently, one for t! literary public as the Almanac for the Year 1804 and one for music lovers as Songs with Accompaniment of the Guitar,4 edited and arranged under Goethe's guidance by one of Weimar's musicians and actors, Wilhelm Khlers. For in the latter edition we are permitted to see the actual tunes in print, whereas with many earlier poems we can only guess at the melodies that in- spired Goethe.
In the early nineteenth century, texts and tunes wandered freelv, borrow- ing a line here, a melodic fragment there, with no thought of copyright restrictions. Da drohen auf jenem Berge, published both in the 1804 Almanac and in Ehlers' Songs, furnishes an apt illustration of the age-old parodv tech- nique. On February 22, 1802, Caroline Schlegel sent Goethe's parodv to her husband with a note that indicates its spontaneous, improvisatory character: "... a little song Goethe made after a folk-melody which comes from the Rhine and which he has recently heard here." The report of F. K. J. Schiitz, who taught at the University of Jena, is more explicit and also touches on the underlying principles of the practice:
At a party a Rhenish folksong was sung, of which the poetry was common but the music exceedingly attractive. The latter, naturally, had a deep effect upon Goethe. The poet promised to write a piece of his own to fit the existing melody, and by the next day we received Da drohen auf jenem Berge. The poet has promised to enrich several such old folk-melodies with new poetrv. However, if that be the case, all his future songs, like this one, will have to be sung to the accompaniment of music. Then the relationship between poetry and music expresses itself in a more heartfelt way than could otherwise be the case. If you hear this poem sung, you must fa 1 how the music has really produced the poetry. You have such a lovely lady in Gotha who plu\ i the guitar. Give her this song, and the enclosed music.
The folk-song model is extant in several versions, including one published with the melody in J. F. Reichardt's Musikalisches Kunst-magazin of 1782. The text alone is also printed in Des Knaben Wunderhorn of 1805, that great German folk-song collection which its editors dedicated to Goethe. In his friendly review of the Wunderhorn Goethe singled out Da drohen auf jenem Berge as ". . .very apt except that the first stanza requires emendation." The word "emendation" betrays the attitude of the parodist with his indifference to our modern reverence for originality and confirms Schutz's report "that the poetry was common, the music exceedingly attractive." For a poet's ambition
4 Gesange mit Begleitung der Chitarra, eingerichtet von Wilhelm Ehlers, Tubingen, Cotta. 1 SO 1.
10
The New York Public Library
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Goethe and Music
11
has ever been to improve upon his models, to sing new songs, with no concern for a faithful preservation of the past. His thought is for today, not yestttdfl and even his own creations are not safe from emendation or adaptation to Hi circumstances. In this spirit Goethe celebrated a visit to an old castle near Jena by writing a poem, Bergschloss (Castle on the Mountain), to die tune that had already served to accompany both the original and the parody of Da droben auf jenem Berge. In fact the lyric, which also appeared in t Almanac for 1804, has the same opening line, thus deliberately announcing itself as a parody of a parody.
In the following music example the upper staves reproduce the folk song as it is printed in Erk-Bohme's Deutscher Liederhort.5 This variant is as good a reconstruction of the version Goethe probably heard in Jena in 1802 as one can find in the literature, and certainly close, both melodically and textuallw to the version Reichardt printed in 1782. The two texts here reproduced under the folk-song tune are respectively the original popular text and Goethe's first parody, which he called Schdfers Klagelied. The second staff gives the tune as it appears in Elders' Songs, published in 1804, with the texts of Goethe's first parody (Schdfers Klagelied) and his second parody (Bergschloss) below.
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Ehlers' melody is a combination of old and new material. Though clearly related to the folk tune in its rhythm, the first line varies in pitch. (This variation inspired another composer, Friedrich Gliick, in 1814, to set to music a poem of EichendorfFs that was in the same rhythm: In cincm kiihlcn Grunde, Da geht ein Muhlenrad. ) The remainder of Ehlers' tune differs con- siderably from the folk melody at first but ends almost identically. The changed portion resembles rather closely a fragment from another folk song.
5 Leipzig, 3 vols., 1893-94, n, 234.
12 The New York Public Library
Es ritten drei Reiter zum Tore hinaus,6 of which there are also several eighteenth-century versions extant. There is, to be sure, np evidence that Ehlers was conscious of this similarity, though we may be certain that both he and Goethe would have acknowledged it proudly. C. M. v. Weber, on the other hand, explicitly acknowledged the use of Ehlers* melody in a purely instrumental composition, the Trio for flute, 'cello, and piano, Op. 63, in which he entitled the andante movement Schafers Klage, in order to identify it with the setting of Goethe's first parody. So accurate a labelling was rare in the early nineteenth century. Moreover, it would have been extremely difficult, what with all the ramifications the histories of such songs display. But it seems both impracticable and unnecessary to draw clear lines of demarcation be- tween the two folk-song melodies that influenced Ehlers, Ehlers' own tune, and, finally, the song by Gliick.
Poems wandered as freely as melodies and by 1802 both the model and Goethe's parody were being widely circulated in the Rhineland through Goethe's friends in Jena as well as through K. F. Zelter in Berlin. Of the follow- ing three Romantic parodies those by Heine and Uhland were probably in- fluenced by Goethe, though that by Brentano seems to derive more directly from the folk song, since it was written before Goethe's parody was published.
Folksong
Dra droben auf jenem Berge Da steht ein goldnes Haus, Da schauen alle Friihmorgen Drei schone Jungfrauen heraus.
Goethe — Parody
Da droben auf jenem Berge Da steh ich tausendmal An meinem Stabe gebogen Und schaue hinab in das Tal.
Goethe — Parody of Parody
Da droben auf jenem Berge Da steht ein altes Schloss, Wo hinter Toren und Turen Sonst lauerten Bitter und Ross.
Heine
Da droben auf jenem Berge Da steht ein feines Schloss, Da wohnen drei schone Fraulein, Von denen ich Liebe genoss.
Up high on yonder mountain There stands a golden house, Each early morn therefrom Look forth three beauteous maidens.
Up high on yonder mountain Stand I a thousand times, Reclining on my staff I look to the valley below.
Up high on yonder mountain There stands an old castle, Where once lurked knights and steeds Behind its doors and gates. ,
Up high on yonder mountain There stands a handsome castle, Three beauteous maidens live there Whose love I have enjoyed.
6 Erk-B6hme, op. cit., n, 560.
Goethe and Music
Uhland
Da droben auf dem Hiigel Da steht ein kleines Haus, Man sieht von seiner Schwelle Ins schone Land hinaus.
Brentano
Es stehet im Abendglanze
Ein hochgeweihtes Haus,
Da sehen mit schixnmernden Augen
Viel Knaben und Jungfrauen heraus.
Up high on yonder lull-top There stands a little house, One looks out from its door-step Far into the beauteous land.
There stands in even's splendor
A consecrated house.
With shining eyes therefrom
Look forth many youths and maidens.
The meetings of a small club on Wednesday evenings at Goethe's house inspired many of the parodies that were later to find a place in the Almanac for 1804. At these gatherings the ladies provided food, the gentlemen brought wine, and thus Goethe and his friend Schiller hoped to create some merriment and sociability in the somber atmosphere of Weimar in the early 1800s. This little "court of love" — Goethe called it cour $ amour to revive the chivalry and the song of the troubadours — was especially devoted to group singing. Selecting simple and well-known melodies, the poets supplied texts that could be sung at sight to popular tunes. Schiller, too, made his contributions, for Goethe was by no means the only parodist among the members of the cour d amour or, for that matter among the German poets of his time.
There was, for instance, the melody that Johann Andre, a Frankfurt com- poser and friend of Goethe's boyhood, had written to accompany a poem by Matthias Claudius. Almost from its inception in 1776 the song became a national favorite and the Suabian poet C. F. D. Schubart, director of drama and German opera at Stuttgart, exclaimed that the song was more an ex- pression of nature than a work of art, and that a single hearing was sufficient to establish the tune in one's memory. As late as the 1850s Ludwig Spohr in his Op. 143 and Robert Schumann in his Op. 123 quoted the tune. Thus the ditty readily fitted the requirements of the cour d'amour, and Schiller lost no opportunity to improvise a parody upon it when the occasion arose. The first text below is the original poem by Matthias Claudius of 1775, the second Schiller's parody of 1802.
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For the same meeting Goethe contributed a parody that was later to appear in the Almanac. Centuries before, an anonymous Latin poet had written a
14 The New York Public Library
lyric in the popular rhythm of the wandering scholars of the Middle Ages. One of its stanzas, beginning Mihi est propositum in taberna mori, soon be- came popular and survives, severed from the remainder of the poem, in several manuscripts. In the eighteenth century this Goliardic song was gen- erally, though erroneously, attributed to Walter Map and it was parodied by the German poet G. A. Burger and set to music by J. A. P. Schultz. Schultz's popular Songs in the Folk-Tone (Lieder im Volkston) 7 was a standby in many a German home, and deservedly so, for the poems were chosen with good and progressive taste. Moreover, the music, in its warmth and simplicity, and its aversion to clever mannerisms, exercised a real influence on later com- posers of Lieder. Der Mond ist auf gegangen and several others of Schultz's songs have actually become folk songs, and his correspondence with the poets whose works he set to music sheds much light on the close union between music and verse in Germany in the late eighteenth century. In an interchange of letters that touched on Mihi est propositum, for example, the poet J. H. Voss commented on the propriety of the harmonic digression on the words angelorum choril 8 Schultz published his setting, reproduced below, both with the Latin text and with Burger's parody. Goethe's parody of 1802, Mich ergreift, ich weiss nicht wie, is also included in the music example that follows.
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7 First ed., Berlin, 1782; 2nd ed., 1785.
8 C. J. Klunger, /. A. P. Schultz in seinen volkstiimlichen Liedern, Leipzig, 1909, p. 42.
Goethe and Music
15
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Actually, Goethe wrote three more parodies of the song between 1802 and 1830 and some fifty poems in the same rhythm. But not only did melodies wander from poem to poem; as a text became popular, the poem also wan- dered from tune to tune. Within Goethe's lifetime his parody received four more settings — by Zelter, Reichardt, Eberwein, and Schubert, and even these do not complete the musical history of the lyric. Like so many drinking songs, Mich ergreift has had a marked vogue in student songbooks, called Kommersbucher in Germany, and there the poem has been combined with a variety of melodies including the ever-popular Gaudeamus igitur. This inter- change was easily effected since Gaudeamus igitur, Mihi est proposition , and Mich ergreift, ich weiss nicht tote were all in the same rhythm, the trochaic stanza of the wandering scholars,
Mozart, too, was among those who stood godfather to some of the parodies written for the cour d' amour and later published in the 1804 Almanac. In 1791 Die Zauberfldte had its premiere in Vienna and within three years it wis firmly established as a favorite of the German-speaking public in Prague, Frankfurt, Weimar, and Berlin. Today we are inclined to be aware more o! the lofty influence that the opera had on Goethe and Beethoven 9 than oi the vogue that Papageno's lyrics enjoyed in their day, standing somewhere be- tween folk song and "hit song" and partaking of the popularity of both genres, Papageno's air, Ein Madchen oder Weibchen, with its catchy, folksong-like simplicity, soon won all hearts and ears. Its rhythm is an alternation ot lour
9C/. E. Dent, Mozart's Operas, 2nd ed., London, 1947, p. 255-59; and O. Jahn-H. Abort, W. X
Mozart, Leipzig, 1919-21, n, 836 ff.
16 The New York Public Library
and three stresses, a meter prominently associated with the English ballads and their German imitations. In the eighteenth century much of English literature entered the German world of letters by way of Gottingen, then under the rule of the House of Hanover, and among the Gottingen poets who successfully used the ballad rhythm was L. H. Holty. His Willkommen, lieber, schoner Mai is well known in the musical setting that Schultz contributed in his Songs in the Folk-Tone.10 But even greater was (and still is) the popu- larity of Ueb imrher Treu und Redlichkeit bis an dein kiihles Grab ( Always practice faith and honesty until thy cold grave ) . This virtuous piece was sung to Papageno's tune. It is true that Holty wrote his poem in 1775, and died the following year, fifteen years before the premiere of Die Zauberflote. But an age that was free from copyright restrictions found no difficulty in adapting a new tune to an old poem, as long as the rhythm fitted. In any case, it was this old-new variant of Mozart's song that inspired Goethe's parody of 1801, for when he sent "Was gehst du schone Nachbarin" to his partner in the cour d' amour he wrote: "May you receive the enclosed attempt kindly, in which I have endeavored to get the better of the cold grave* by way of the humor of life."
In the following music example the upper staves reproduce Papageno's tune and text, the lower the folk-song variant of Mozart's music with Holty 's Cold Grave and Goethe's parody.
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Internal evidence suggests that another of the parodies from the 1804 Almanac was derived from that famous and much-disputed English round, Sumer is icumen in. English letters reasserted their influence on the folklore collections and the new poetry of Germany in the early 1800s. The then rising generation of poets and writers, among them Achim von Arnim and Clemens
10 Reprinted in G. Adler, Handbuch der Musikgeschichte, 2nd ed., 1930, n, 700.
Goethe and Music 17
Brentano, editors of the Wunderhorn, and the brothers Grimm, who were later to publish their famous tales, were all affected by the Romanticism of Walter Scott and his generation. Particularly Arnim, who, as a student at Gottingen and during a subsequent tour of the British Isles, became thor- oughly imbued with the new movement across the channel. Scott's Minstrelsie of the Scottish Border inspired him to perform a similar service for his native Germany, and the now famous folk-song collection, Des Knaben Wunder- horn, was the happy result. It was Thomas Warton's History of English Poetry that provided the title, title page, and introductory poem, for the magic horn is therein described in a poetic excerpt on which Arnim and Brentano wrote a parody for their opening poem.
Of course, the horn has long been recognized as the magic instrument of musical Romanticism. Its velvety sonority is intrinsic to the world of Frei- schiitz and Oberon and of Schubert's C major Symphony. But the enchant- ment with sound, of a dreamlike hue that transports us to fairyland, appeared decades earlier in the sister art of poetry, in the "magic horn" of Thomas Warton and of the Wunderhorn, "... where were hanging an hundred little bells ... If anyone gently struck the horn with his finger, the hundred bells sounded so sweetly that neither harp nor viol nor the sports of a virgin, nor the sirens of the sea, could ever give such music." It is this Romantic and irrational joy in sonority that connects the "cuccu, cuccu" refrain from Sumer is icumen in in Warton's History11 with the "coucou, coucou" refrain of Goethe's Du prophetscher Vogel du. This refrain and the fact that Goethe uses the form "coucou" instead of the German Kuckuck first suggested the old English song as a possible model,12 although the general atmosphere of spring with its cuckoo calls and the prosodic similarities in the two poems must ultimately weigh stronger. In the final analysis the test of a parody lies in humming the text to an older melody and in sensing an intimate relationship between the two. Max Friedlander, the foremost authority on Goethe's mu- sical sources, has given a challenging example of detecting, on merely internal evidence, a tune of J. V. Gorner as the model of Goethe's Erwache, Fric- derike.13
11 Three sources of Sumer were available to Goethe: Thomas Warton's History of English Poetry, Vol. n, of 1778; Charles Burney's General History of Music, Vol. n, of 1782; and Anselm Elwert's German translations from English and other old poetry, published at Marburg and Giessen in 1784.
12 Friedrich Lohre, Von Percy zum Wunderhorn, in Palaestra, xxn ( 1902), 82f. Lohre is helpful as to the general importance of Warton and his German translator, Elwert. Cf. also Zeitschrift fiir vergleichende Literaturgeschichte, xi (1897), 481ff. for a detailed comparison between the opening poem of Des Knaben Wunderhorn and its sources.
!3 Cf. Schriften der Goethe Gesellschaft, xi (Weimar, 1896), p. 4 and 131.
18 The New York Public Library
Of course, neither Warton's original nor the German translation offered a tune, but Goethe would have had no difficulty in perceiving the basic rhythm: four stresses per line or three stresses followed by a rest, the scansion falling. The text with the original musical notation had been printed by Burney, and Goethe counted among his friends several who would have been qualified to decipher this simple notation for a single voice. In the example below, the melody, given in the Wooldridge transcription,14 is accompanied by the original and by Goethe's text. In the four-stress lines, such as "Sumer is icu- men in," the German parody follows the original so closely that the attribution of individual syllables to individual notes is simple. In the three-stress lines ending with a rest, such as "lhude sing cucu," Goethe fills in the rest with an accented syllable, and in the music example the note of the third stress is
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cJ [<ff J
xs:
xaz:
Cu, wel sia-ges thu cu - cu, ne cease tku ne-ver mi. Dein. Cou-cou, im-mermehr Cou-cou, Cou- Cou.
repeated. This is by no means the only way of adjusting and adapting a tune in the parody tradition, but of the alternatives available it is the simplest
14 H. E. Wooldridge's transcription is reprinted in the second edition of the Oxford History of Music, 1 (1929), 185ff. This transcription, in ternary rhythm, represents the tune that any culti- vated amateur would have derived from a perusal of the manuscript as reproduced by Burney. For the original form of the notation, indicating duple rhythm, was not realized until the twentieth century. Recently, M. F. Bukofzer has re-examined the probable date and offered a transcription of the famous song from its original state of notation in his pamphlet "Sumer is icumen in," Uni- versity of California Publications in Music, 1944. Cf. also N. Pirrotta in Musica Disciplina, 11 (1948), 205-16. Whether the approximate date of the original is 1240 or 1310 is irrelevant to the present question. Whether the melody is transcribed in triple rhythm ( Wooldridge ) or duple rhythm ( Bukofzer ) , the number of accents remains the same. In Wooldridge's transcription the four accented syllables in the first line are "Su," "is," "cu," and "in." Bukofzer (p. Ill) scans identically, except that the syllables "is" and "in" occur on the third beat of common time.
Goethe and Music 19
device. The filling in of rests with another foot of verse, without changing the length or meter of a tune, occurs frequently in wandering melodies at the turn of the century, the technique being particularly pronounced in the parodies of English models, by Goethe and other German poets.
A clear allusion to Mozart's Zauberflote in the fourth line of the third stanza, where "Pa-pa-papas" is reminiscent of Mozart's "Pa-Pa-Papagena," is in- dicative of the general musical atmosphere of the 1804 Almanac. At the end of the poem, Goethe had printed in parentheses the remark Mit Grazie in infinitum, a phrase that points to the technique of a round or "rota," as the Sumer canon is called.
It is obvious from these few examples which are, in fact, quite typical of Goethe's parodies, that his musical models invariably bear two characteristics : their style aims at folk song, not art-song; and they are strophic, not durch- komponiert. (The German term durchkomponiert, often translated as "through-composed," signifies that the music proceeds in continuous fashion with different music for successive stanzas, whereas in strophic song the same tune is repeated for each stanza. ) Goethe's choice was anything but hap- hazard. He deliberately used a type of Lied in which the best poets and com- posers of his generation believed. In 1802, when so many of the lyrics for the 1804 Almanac were written, Weimar was the Parnassus of German letters, for it was in that small town that the finest sampling of Goethe's generation found a haven: Wieland (born 1733), Herder (1744), Goethe himself, and Schiller (1759). All of these men demonstrated their ideal of song in their creative efforts and expressed themselves in no uncertain terms in their esthetic writings. To use the terminology of the second Berlin Song School, they strove for the simplicity and the poignancy of the volkstiimliche Lied and not for the ambitious Kunstlied with its demand for professional singers and accompanists. Of course, such a creed was as much in accord with the European cultural tendencies that followed in the wake of Rousseau's philoso- phy as it was with the considered opinion of the foremost German song composers of that day: J. A. P. Schultz (born 1747), Reichardt (1752), Mozart, Zelter (1758), and even the young Beethoven. Perhaps Die Zauber- flote, still in the current repertory, is the best example of both popular and art song of the late German eighteenth century, since it encompasses Papa- geno's simple ditties as well as the complex speech and song of Tamino and Pamina (not to mention the coloratura arias of the Queen of the Night). It is significant that the simpler portions of the score continue to outshine the remainder in public favor. Of Papageno's tune which was used for Holty's
20 The New York Public Library
"cold grave" as well as for Goethe's parody, Georges de Saint-Foix15 says aptly:
The motif of the latter . . . has remained the most popular of all of the themes of The Magic Flute. . .In contradistinction, the second part of the Lied, in a decidedly more accelerated rhythm (6/8), no longer seems to us of the same truly popular character.
It is the deliberately folk-song-like first portion, not the 6/8 section with its distinctly Mozartean flavor, that has continued to exercise its charm upon the poets as well as the people.
Once we realize the basic characteristics of the music that inspired Goethe's poetry we begin to understand his attitude towards new musical settings of his verse. Wieland, Herder, Goethe, and Schiller were as one opposed to non- strophic musical composition where the structure of a poem was strophic. They demanded settings of their lyrics, not music so elaborately conceived as to distort the original form of the text. The prevailing tone of a poem mattered more than the descriptive detail of any stanza. And whereas such details could and should be expressed by modifications of tempo and dynam- ics, the framework of the stanza must never be completely obscured, since it was the tone of the strophe that was foremost in the poet's mind at the in- ception of his lyric. Likewise, for the audience, ballad quatrains evoked the murmurs of Northern forests, the stanza of the wandering scholars the sparkle of conviviality; that inner music must never be destroyed.
Wilhelm Ehlers, who provided the arrangement for Da droben auf jenem Berge, was often obliged to work with Goethe until far into the night, tire- lessly rehearsing the same song until all nuances were most scrupulously rendered and the most varied meanings of different stanzas brought into relief to the same melody. Goethe convinced him "how objectionable was all so-called durchkomponieren of songs which annihilates the general char- acter of the poem and postulates as well as excites a wrong interest in detail." Naturally, the union of poetry and music that Goethe envisaged could not endure a sacrifice of the structure that was basic to the poet's accomplishment. Another Weimar actor and singer, E. F. Genast, has furnished a vivid report of the poet's coaching. Genast attempted to sing Goethe's Im Felde schleich ich still und wild in a setting by Reichardt, without giving heed, in his rendi- tion, to the wild passion that stanzas 1 and 3 evoked in contrast to the quiet calm of stanzas 2 and 4. Goethe sang the song for him, marking the rhythm pointedly and emphasizing at the same time the tempo changes from stanza to stanza by the motion of his arms. He made it clear that his main concern
15 W. A. Mozart, Vol. v, Bruges, 1948, p. 236.
Goethe and Music 21
was not with the particular lyric of that evening but rather with the ruling tradition: ". . .by and by it will become clear to you how such strophic songs should be rendered."
We must not overlook the fact that the principle of the stanza, which looms so large in Goethe's theory and practice, was both historically and structurally the very core of the Lied. The versatile Benjamin Franklin showed the same insight when he cautioned his brother from across the Atlantic against the artifice of the salon-song and extolled the greatness of the simple strophic form of psalm and ballad tunes which expressed the text and did not obscure it:
I think, too, that if you had given it to some country girl in the heart of the Massachusetts, who has never heard any other than psalm tunes, or Chevy Chace, the Children in the Wood, the Spanish Lady, and such old simple ditties, but has naturally a good ear, who might more probably have made a pleasing popular tune for you, than any of our masters here, and more proper for your purpose, which would best be answered, if every word could as it is sung be understood by all that hear it, and if the emphasis you intend for particular words could be given by the singer . . . 16
There were, to be sure, occasions when Goethe used free and rhapsodic forms, but when he wrote a Lied, called it so, and published it as such, he minced no words when the poet's form and esthetics were ignored by the composer. It was incomprehensible to him that Beethoven and Spohr should mistake Mignon's song Kennst du das Land wo die Zitronen blilhn so com- pletely by making it durchkomponiert. "I should have thought the same marks which recur in each of the three stanzas at the same place would have been sufficient to indicate to the composer that I expected from him nothing but a Lied. Mignon, according to her character, can sing a Lied but not an aria." In Wilhelm Meister, the novel from which the lyric was taken, Goethe had made it abundantly clear that Mignon's spontaneity would express itself in simple, strophic Lieder. Complex and sophisticated art-songs or operatic arias were alien to the perceptions of this simple being. The context of prose that surrounds Mignon's song is as explicit (and lengthy) as the coaching of Ehlers or Genast. Beethoven had written beautiful music but not in the required folk- tone, and the poet naturally resented this departure. The strophic structure and simplicity are exploded in the very first stanza of Beethoven's setting, where fifteen measures of voice for the first four and a half lines of the text are set off against another fifteen measures for the remain- ing line and a half. This lack of proportion forces Beethoven to sing the word
16 The Writings of Benjamin Franklin, ed. A. H. Smith, New York, 1905-07, v, 529.
22 The New York Public Library
Dahin six times, though it is repeated only once in Goethe's text, an amount of repetition more in keeping with the general style.
Even the music critic Rochlitz voiced his objections in the Allgemeine Musikalische Zeitung of 1811, deploring these second fifteen measures, the emphasis on Dahin, and "the style of the Italian ariette" With the form of the stanza destroyed in the beginning of the composition, it mattered little that the second and third stanzas repeated the voiee-part in strophic fashion, reserving variations for the piano accompaniment. For the tone and the basic proportions were contrary to the inner music of Goethe's lyric and to the explicit character of Mignon and her song. Such minor composers as Zelter and Reichardt, who had the advantage of belonging to Goethe's generation, were happy to write their compositions in keeping with the esthetics and the published instructions of the Weimar poet which were, after all, the very tenets of the Berlin Song School. But Beethoven and later composers, by progressing in purely musical terms beyond that school, removed themselves from a position that could be acceptable to Goethe.
We must not quarrel with either the poet or the composer. Each had a higher destiny to follow than mere mutual compatibility, and the Egmont score proves that Beethoven could fulfill Goethe's hopes and that the poet, in turn, could amply comprehend and magnificently praise the composer's achievement. But a scrutiny of the sources of Goethe's parodies and, derived therefrom, an understanding of his ideal of song, will, perhaps, lead us to drop the old and sterile question, "Was Goethe musical?" with the realization that the term "musical" has different meanings in different cultural contexts. Who are we to impose later concepts on a poet whose work sprang from music and demanded music as its complement? The sonority and rhythmic beauty of his verse have inspired composers both of his time and of ours.
r
A LIST OF PARODIES
PREFACE
In the following list of parodies, the abbreviations conform to those used in the Bibliography.17 Whenever possible, reference is made to the editions of the poems in J A, FA, and DA. The best and fullest edition of Goethe's work is J A, with an extensive commentary; its forty volumes (plus an index vol- ume) are indispensable. FA is less complete, but its footnotes, published in 1926, are the most recent compilation in Goethe scholarship. DA contains all of Goethe's lyrics, but without footnotes. They are arranged in chronological order, and the editor, H. G. Graf, is considered an important authority on the chronology of Goethe's works.
Whenever necessary, reference has also been made to WA, the most com- plete but also the most cumbersome edition of Goethe's works. It contains the poetic works in fifty-five volumes (1887-1918) and, in addition, thirteen volumes of scientific writings, fifteen volumes of diaries and fifty volumes of letters. Moreover, some of the volumes are subdivided so that the alphabetical list of Goethe's poems is contained in volume 5, part n, p. 427-591. In WA, footnotes and explanatory material gain entrance only by the back door, namely, in the critical apparatus of variants (Lesarten), sometimes buried in still another volume. Thus, while the scholarly value of WA rests on the fact that it offers a complete array of textual variants, it supplies few if any ex- planatory notes. Therefore, it is rarely relevant to the present study of parodies, and it has been found practical to refer to WA only when the information in J A and FA is insufficient for our purposes. Unless otherwise indicated, all references are to the fifty-five volumes of the first division (1. Abteilung).
The origin and character of Goethe's poems are usually suggested by the collective title of the "group" in which a poem is printed, such as Lieder, Gesellige Lieder, Balladen, and so forth. For this reason the "group" in which Goethe included a poem is one of the important considerations in the list of parodies which follows, since it is a clue to the poem's melodic and rhythmic antecedents. When the lyric is part of a larger work, the particular
!7 For the abbreviations, see the Key to Symbols which appears at the beginning of the Bib- liography, p. 136.
[23]
24 The New York Public Library
drama, novel or autobiography in which it appears is designated under
the heading, "Group"; for instance, Faust, Wilhelm Meister, Dichtung und
Wahrheit.
The next rubric, "Classification," characterizes the nature of Goethe's model. If the poem was derived from a folk song or a sacred song the heading given is "Folk Song Parody" or "Sacred Song Parody." If the source is clearly musical but fails to fall within either of these two categories, the classification simply reads "Musical Parody." In many instances Goethe parodied another poem by retaining the rhythm, meter and other speech-musical effects of the original, while its content was also clearly related to the model. The classi- fication then reads "Rhythmical Parody," since the kinship of atmosphere, thought and content is reflected in the rhythmic similarity, in contra- distinction to the "Musical Parodies" where the same melody serves both poems.
The sources for a study of Goethe's parodies are so widely scattered that this first attempt at compilation must needs be incomplete and risk error. I can only trust that students of the subject will be kind enough to write to me, pointing out desirable corrections as well as any addenda that may come their way.
Finally, it is a pleasant duty to acknowledge my indebtedness to several institutions and persons who have assisted me in preparing this manuscript. At Vienna, I had at my disposal the resources of the Universitatsbibliothek and of the Nationalbibliothek, and the prolonged encouragement of Robert Lach of Vienna University. At Yale University, where I concluded my work as a graduate student, Leo Schrade, of the Department of Music, and Carl F. Schreiber, curator of the distinguished Speck Collection of Goetheana, pro- vided me with new and valuable material; in 1943' I completed my doctoral dissertation there, entitled "Goethe and Music." Since then I have been fortunate enough to discover many new parodies while searching through material at the Library of Congress and The New York Public Library. This research was made possible by grants-in-aid from Wesleyan University in 1945 and Dartmouth College in 1949. Finally, the Oberlaender Trust gen- erously contributed toward printing this work, and the Musical Quarterly released material, previously printed in its pages. To all of them, and especially to the staff of The New York Public Library, I offer my heartfelt thanks.
Goethe and Music 25
BRITISH PARODIES
(Arranged Alphabetically by First Line)
Du prophetscher Vogel du Ihr lieben Christen allgemein
Erst singen wir with music example
Erwache, Friederike Kennst du das Land
with music example Matt und beschwerlich
Es ist doch meine Nachbarin TT , r..„
with music example Und morgen faUt
t- • xr r f r. with music example
Es war ein Knabe trecn genung r
Hab oft einen dumpfen, dustern Sinn Was Sehst du> sch5ne Nachbarin
with music example Was machst du mir vor Liebchens Tiir
Herein, o du Guter with music example
Herzlich und freudevoll Wie jung ich war
with music example with music example
1. Du prophetscher Vogel du.
Title: Fruhlingsorakel. Probable date: 1802.
Texts: JA i, 72 and 327; FA i, 59 and 360; DA xrv, 331.
Group: Gesellige Lieder.
Printed sources: Sumer is icumen in, published in Thomas Warton, History of English Poetry, vol. n, 2nd ed., unpaged emendations and additions at end of volume, London, 1778. German translation, Anselm Elwert, Ungedruckte Reste alten Gesanges, Giessen and Marburg, 1784. For supplementary sources, which were probably used by Goethe's friends, cf . also John Hawkins' reprint of 1776 (A General History of Music, n, 92-100) and Charles Burney's of 1782 (A General History of Music, n, 405-412).
Classification: Folk Song Parody.
Comment: The English model was first suggested, tentatively, by Friedrich Lohre in 1902 (Palaestra xxn, 82f.). The evidence is internal only: (1) the general character of the Gesellige Lieder as parodies of popular texts and tunes ( B I 318, SchGG xi, 149, Bode i 288 ) ; ( 2 ) the close correspondence of the metrical structure, combined in both instances with the same musical and acoustical effect, the cou-cou refrain. Goethe does not use the German form "Kuckuck"; ( 3 ) the remark printed at the end of Goethe's poem "to repeat ad infinitum," which points in the direction of the round. The Summer Canon is a "rota" or round.
A full discussion of this parody appears in the Introduction.!8 There the melody is given with English and German texts, the differences in transcription between H. E. Wooldridge and M. F. Bukofzer taken into account, and consideration is also given to the general importance of Warton for German Romanticism.
2. Erst singen wir der Hirsch so frei.
Title: none. Date: 1822.
Texts: JA iv, 55 and 279; FA n, 210 and 455; DA xv, 272.
Group: ZahmeXenien.
Printed Sources: (1) Shakespeare, Love's Labour Lost, Act rv, Scene 2: "The preyful prin- cess pierc'd and prick'd a pretty pleasing pricket."
(2) A parody of Shakespeare's lines by J. M. R. Lenz ( 1751-1792), "Die schone Prinzessin schoss und traf eines jungen Hirschleins Leben." This piece was quoted by Goethe in the 11th book of his autobiography, Dichtung und Wahrheit, (FA xvi, 49 and 551 ).
Classification: Rhythmical Parody.
Comment: Like most parodies based on English models and like all based on Shakespeare, this one is in ballad rhythm. Both Lenz' and Goethe's lyrics are in the spirit of improvisation and
18 P. 17 f.
26 The New York Public Library
belong to the variety of experiments by which the Germans attempted to assimilate English tones and of which only a few have survived in print. In Dichtung und Wahrheit, Goethe follows the Lenz quotation with another improvisation in ballad rhythm. Shakespeare, ,Lenz and Goethe all play on the double function of "L" as a letter and as a Roman numeral:
Sh. If sore be sore, then L to sore makes fifty sores one sorel!
G. Wird aus dem Hirsch ein HirscheL, Hat viel mehr Enden zu tragen!
The original model was probably sung on both English and German stages; however, I have found no likely tune thus far.
3. Erwache, Friederike. Title: none. Date: 1771.
Texts: JA m, 62; DA xrv, 91; DJG n, 57, and vi, 158; WA rv, 355, and v, part n, 221.
Group: none.
Printed Sources: (1) "Uns lockt die Morgenrote" (Der Morgen) from Sammlung neuer Oden und Lieder, with words by Hagedorn and music by Gorner, fully described s. v. "Hab oft einen dumpfen, diistern Sinn," another parody based on the same collection. Gorner's tune with Hagedorn's poem and also with Goethe's parody are conveniently reprinted in SchGG xi, 131.
( 2 ) "Let Beauty with the Sun Arise" from David Garrick's The Jubilee of 1769. Garrick's manuscript, formerly in the Kemble-Devonshire collection, and now in the Huntington Library, has been published by Elizabeth P. Stein in Three Plays by David Garrick, New York, 1926; the poem occurs on p. 72.
( 3 ) "Mignonne, levez-vous" from "Les Amours de Marie," by Pierre de Ronsard. A reprint, with modern spelling, can be found in the second volume of La Fleur des poesies de P. de Ronsard . . . recueille par Henri Longnon, Paris 1923, where the poem occurs on p. 51f.
Classification: Musical Parody.
Comment: This is also a poem in the rhythm of the English ballads, as the music makes clear; there are four accents ( syllables in italic ) each to the odd lines of the stanza as —
"Uns lockt die Mor-gen-ro-te," in Hagedorn's poem, or "Er-tua-che Frie-de-ri-ke in Goethe's poem.
The poetic and musical relationship between Hagedorn's poem in Gorner's setting and Goethe's parody was first discovered by Friedlander and presented in SchGG xi. Goethe has told us in his autobiography that in 1771 he wrote poems for Friederike to well-known melodies (FA xvt, 22 and 548 ) and, indeed, the tunes of Gorner were popular and much reprinted in the Germany of the eighteenth century. Goethe's text fits Gorner's music perfectly, and though his poem towers over that of Hagedorn, the "dawn of morn" testifies to a common atmosphere and vocabulary.
But Garrick's poem where "beauty arises with the sun" and where "her sparkling eyes give lustre to the day" seems even more closely related to Goethe's serenade to Friederike who is "to awake" and whose "glances transform night into day." Since Garrick's poem was couched in the rhythm of the English ballads, it was easy for Goethe to fit the tune, originally intended for Hage- dorn's serenade to dawn, either to Garrick's Shakespeare serenade or to his own Friederike serenade: all three poems sang of beauty, morning and daybreak, and sang in the same measure. Thus, Hagedorn's leanings toward the style and rhythm of the English ballads explain the con- fluence of English and German models in Goethe's mind and ears. Ernst Beutler ( SchGG l), who offered much valuable material on the influence of English letters on Germany in the eighteenth century, was the first scholar to demonstrate the importance of Garrick as a source for Goethe.
Whether or not the strains of Ronsard also rang in the poet's ears when he wrote this charm- ing poem for Friederike is rather difficult to prove, though much secondary evidence has been gathered by William A. Nitze, Publications of the Modern Language Association, ux ( 1944 ) 486- 490. Certainly the rising of the beloved and the soft song of the birds offer striking poetic parallels, and the rhythm fits Gorner's tune, too, though less easily than do the German and English poems. The possibility of Ronsard's lyric functioning as a contributing influence is too intriguing to be ignored, even though it is Garrick's Shakespeare serenade that appears as the main poetic force.
The account of the Shakespeare Jubilee at Stratf ord-on-Avon, published in the Mercure de France of 1769, made such a deep impression on the young Goethe that he had this report of the festivities copied and bound with the first volume of his personal copy of Shakespeare's works. David Garrick had exclaimed, "Shakespeare is above all others the poet of nature and, therefore,
Goethe and Music — British Parodies
27
as an author he stands highest in the highest class. The beings, exhibited by the poet of nature, are men: partakers of the same nature with ourselves." When Goethe celebrated a Schakespear's Tag at Frankfurt in 1771, his clarion call was clearly related: "And I exclaim: Nature! Nature! Nothing so much nature as Shakespeare's men ..." ( For further references for both Garrick and Goethe, cf. JA xxxvi, 6 and 306; also SchGG l throughout. )
In Garrick's Jubilee of 1769, "Let Beauty with the Sun Arise" was rendered by musicians and singers, and two years later Father Goethe's expense account testifies that music also played its deserved role at Frankfurt's Schakespears Tag: "Dies onomasticus Schackspear fl[orins] 6, 24. Musicis in die onom. Schacksp. 3 fl." Thus, the joint practice of poetry and music connects two historic jubilees across the channel and accounts for the rather surprising ancestry of Goethe's serenade for Friederike. In the music example following Gorner's tune is given with the texts by Hagedorn, Ronsard, Garrick 19 and Goethe.
>L S
Hticfedorn. RonSdrd
0oethe.
£
i i i m ^
% V I V
te in Bu
\±
TJhS lockt die Mor-gen- ro - te in Busch und
Mi- grion-ne le- vez vouS; vous e- tes par-es
Let bean-ty with the gun a- rise, to Shake-speare tri-bute
Er- wa.-che Frie-de- ri- ke, ver- treib die
t
^
P1P==P
3=
£
Wo schon des Scha- £ers Flo - te
Ja la g*^ie a- lou- et - te au
"With heav'n - ly Smiles and Spark-ling" eyes g-ive
Die ei - ner dei - ner Bli - eke
JHi JJ i
ins Land er-
ciel a fre - don- grace and Lustre to the zum Ta- §*e
i m m-
k
Schallt . ne, day. macht.
Jfc
Die Ler-che Steig*t und
Et J-a le ros- sig—
Each Smile she gives pro- Der Vo - g"el
sanf t tie -
m J p \j i J- I ij:
s
Schwir-' ret von Lust er- regt,
nol douce- ment Jar- g*on- ne,
tects his name, what face shall dare to frown?
£lii - Ster ruft lie- be- volL,
5
£
j> i 1 1> j i > t $ a a
Die Des- Kot Dass
£
P
4.
Tau-he lacht und glr- ret, die Wach- tel schl'ag-t.
Sug I'e'-pine as- sis, sa com-pl&inte a- mou-reu- se.
en- vy's self can blast the fame,wHch beau-ty deig-ns to crown.
anein ge-liebt <3e- schwi - ster er- we.- chen Soil.
Es ist doch meine Nachbarin.
Title: Der Goldschmiedsgesell. Date: September 12, 1806.
Texts: JA i, 23 and 310; FA i, 17 and 355; DA xiv, 552.
Group: Lieder.
Printed Sources: (1) Carey's "Sally in Our Alley" (first line: "Of all the girls that are so smart,,), available in numerous eighteenth-century collections.
( 2 ) J. W. L. Gleim's poem, "Die Nachbarin" which begins "Es ist doch meine Nachbarin // Ein niedlich muntres Weib;" cf. Gleim's Poetische Werke, Strassburg 1765 (Library of Congress: PT 1888. A 1 ) p. 134ff. and the standard edition of Gleim's Werke ( ed. Korte), vol. i, 1811, p. 137f.
Classification: Folk Song Parody.
19 This read Shakespeare in the Bulletin presentation, unfortunately the plate above cannot be changed. For Shakespeare, read Garrick. — Editor.
28
The New York Public Library
Comment: The rhythmic form of the ballad quatrain reached Goethe directly through "Sally in Our Alley" and indirectly through Gleim. Three German poets were primarily responsible for introducing the ballad stanza (or "Chevy Chase Strophe," as it is usually called in Germany) into German literature. They are Hagedorn (Sammlung neuer Oden und Lieder, 1742-1752, with melodies by Gorner), Klopstock (Kriegslied zur Nachahmung des alten Liedes von der Chevy- Chase-Jagd, 1749) and Gleim (Preussische Kriegslieder von einem Grenadier, 1756-57). Of these, the parodies of Gleim were, both numerically and in popularity, the most important. But the primary influence was the English model, as Gleim merely contributed the first line ( cf . GJB x 239). Goethe's assistant, Riemer, noted in his diary for September 12, 1806: "Goethe made this evening a song a propos of the English one, which Frau v. Fliess gave me." ( cf . GJB rx, 328 and Modern Language Notes n, May 1887, p. 206-11 ). Since the second half of the eighteenth century Carey's poem has not been sung to its original melody but to a ballad tune called "The Country Lasse" (cf. William Chappell, Old English Popular Music, ed. H. E. Wooldridge, London 1893, 2 vols., i, 299f. and n, 117f.), and since 1760 the "Country Lasse" tune has generally been associated with "Sally in Our Alley." Beethoven used this tune in his arrangement of the song (opus 108, no. 25), and it was undoubtedly the one Goethe heard in 1808. Thus, Carey's poem wandered from tune to tune while the later melody wandered from poem to poem. In the following music example "The Country Lasse" tune is given with Carey's and Goethe's texts.
Ml' f ' '' '
E
J. J> J
Of all the girls that are so smart, Therefc
1&8 ist doch mei- ne N&ch-ba- rin Ein
£=£
SEEEES
e£
^EE
hi h i J j> k
none like pret- ty Sal-ly; al- ler- lieb- stes M&d-chen!
g B J M i 1 ^
is the d&r- ling £ riih ich in der
£
^m
of my heart, And lives in our Werk-statt bin, Blick ich n&chih-
~—r
al- ley: There
rem Lad-chen. Zu
^m
imk
£
1
&
E>
5
I
S
is no la- dy Ring- und Ket - te
m
Efefc
the land poch idh dann
Is half So S"w-eet as Die £ei- jxen g'old- xxen
fe=§
Sal- ly; Draht-chen.
J J "' P
m
She is the dar- ling* o£ my heart, And Ath? dent ich,wann,und wie-der, Tvann 1st
E
f» H~7 ] 1 J> EEEJ
^=^
al- ley. Kath-chen?
lives in our Solch ein Ring £iir
5. Es war ein Knabe frech genung. Originally: Es war ein Buhle frech genung. Title: Der untreue Knabe. Date: 1774.
Texts: As a single poem, JA i, 103 and 337; FA i, 87 and 363; DA xrv, 135. As a lyrical insertion in the musical play, Claudine von Villa Bella, DJG v, 167, and vi, 469; DA vn, 484; revised version of play, FA vni, 161; DA vm, 236.
Goethe and Music — British Parodies 29
Group: Balladen.
Printed Sources: (1) "Childe Waters in his stable stood," printed in Percy's Reliques of Ancient English Poetry, and translated by Burger as "Graf Walter rief am Marschallstor."
(2) "Es war einmal ein edler Herr," one of the German folk songs in the collection which Goethe gathered for Herder in Alsace in 1771. Goethe's manuscript is still extant and reprinted DJGn,67,cf.DJGvi,172.
( 3 ) Burger's famous poem "Lenore fuhr urns Morgenrot," written in 1773. Classification: Folk Song Parody.
Comment: Obviously a confluence of English and German models, all fundamentally of the same rhythm. In Claudine von Villa Bella, Goethe himself makes it clear that the parody is both a wandering melody and a satire:
"Gonzalo: The old songs, the love songs, the murder stories, the ghost stories . . . today one laughs at them.
Crugantino: . . .it is again the very newest tone to sing such songs. . . All ballads, romances and minstrel songs are now searched for diligently and translated from all languages . . .
Gonzalo: . . . You must know many a beautiful song by heart?
Crugantino: Innumerable ones.
Gonzalo: Just one, I pray you. I am very much in the mood; we are all in the mood, I think . . . our minds are moved.
Crugantino: At once. . . (he tunes his zither) . . .Extinguish one candle and put the other far away.
Gonzalo: Right! right! Thus it becomes more close and more spooky. Crugantino sings 'Es war ein Buhle frech genung . . . ' "
No more did Walter Scott disdain to follow in the train of the times, for he parodied "Es war ein Knabe frech genung" ". . .with such alterations and additions that it may almost be called original," to quote from the introductory remarks to Scott's poem, "Frederick and Alice," in Monk Lewis's Tales of Wonder.
The similarity between sources ( 1 ) and ( 2 ) is not restricted to the rhythm, for the cor- respondence in content is very close: the girl's plight, her announcement to her lover, his attempt to escape marriage, even details describing the girl's dress, and so forth. Equally similar in both songs is the poetic technique which follows the oral tradition in its repetition throughout of words and even entire phrases (cf. Germanic Review xx [1945], p. 244 and 253f. ). Goethe's parody has in common with sources (2) and (3) the tragic ending which had already appeared in "Sweet William's Ghost," the English model for ( 3 ) . The composite influence of all three sources is as undeniable as it is impossible and unnecessary to determine where one begins and the other leaves on0.
6. Hab oft einen dumpfen diistern Sinn.
Title: Christel. Date: 1774.
Texts: JA i, 13 and 306; FA i, 9 and 354; DA xrv, 132.
Group: Lieder. Printed Sources: (1) Sammlung neuer Oden und Lieder (Words by Friedrich von Hage- dorn. Music by Johann Valentin Gorner), Hamburg, 3 vols. Vol. i, 1742, Vol. n, 1744, Vol. m, 1752. The song "Riihmt mir des Schulzen Tochter nicht," ( entitled "Der verliebte Bauer" ) occurs in Vol. n. I have checked the tune in an edition of 1756 in N.Y.P.L. ( Vol. n, p. 10 ) .
(2) Reprint of 1917: Denkmaler deutscher Tonkunst, Lvn, 73 (with figured bass arranged by Kromolicki ) .
(3) Reprint of 1930: Organum, Reihe 2, Nr. 15, p. 8-9 (with figured bass arranged by Seiffert).
(4) Friedrich von Hagedorn, Samtliche Poetische Werke, 3 vols. Karlsruhe, 1775. N.Y.P.L.: NFV. The poem occurs in Vol. m, p. 69ff. Hagedorn's preface to Vol. m is important for his
30
The New York Public Library
attitude toward foreign poetry, the improvisatori of Venice ( p. vi-vii ) and particularly the English ballads ( p. xii-xiv ) .
Classification: Musical Parody.
Comment: For another parody by Goethe that takes its model from the same collection, cf. s. v. "Erwache Friederike." In the preface to Source (4) Hagedorn praises the old ballads of the English as ". . .incomparable. Among them that one printed in the Spectator is most beautiful [namely, "Chevy Chase"]. Ben Jonson used to say that he would have rather written this than all of his works. And, indeed, the French with all their wit have nothing to show that could be more poetic, more vigorous and more ennobled in its natural simplicity." Cf. Bertha Reed Coffmann," "The Influence of English Literature on Friedrich von Hagedorn," Modern Philology xn (1914-1915). Hagedorn's interest in English matters and his connection with them were both personal and professional. He married Miss Butler, daughter of an English tailor resident in Hamburg, served in London as secretary to the Danish ambassador, and later at Hamburg as secretary to the English court. There can be no doubt that his ballad "Der verliebte Bauer," in the rhythm of "Chevy Chase," was influenced by English models. Cf. Karl Nessler, "Geschichte der Ballade Chevy Chase," Palaestra cxn ( 1911 ), 178. For an evaluation of Gbrner's melodies, their importance for J. A. P. Schultz in the eighteenth century and so for the Lied of the nineteenth century, cf. Wilhelm Krabbe's preface to printed source (2). The following music example gives Gbrner's tune with Hagedorn's and Goethe's texts.
Ruiant mir cleg ScKul- zens Hab o£t einen dump- fen
LJ1 ' P t
Tocli- ter nicht. Neint diis tern3inn,Ein
^
w u
i
#—
tzi
^s
m
Sag* nur,jSie ist
g*ar /so sckwe-res
reich. Im g»an- zen Dor£ ist Blu.t. Wenn ich bei mei-..ner
I^P
^
kein Ge- sicnl Der flin-ken Han- CLris-tel "bin, Ist al- les wie -
u m
rie der
gleich. g-ut.
Das Ich
fr-^H
^^2
f=^
^^
m
^^
ftlensch gie-fallt auch un-c^e-putzt;Ich sa^ es ok- ne ScLeu,Trotz Seh Sie dort, ich Seh sie kier UadTmSSrachtaufder— Welt, Und
j >nniJ. ji j. Ff f i ,.r-j_ j i
man-cherdie in wie unci wo und
Flit-tern st utzt,Sie Seiauch, wer sie Sei.
wannsie mir, War-urn Sie mir <»e- £allt.
7. Herein, o du Guter, du alter herein. Title: Ballade. Date: 1813. ( The last two stanzas were not written until 1816. )
Texts: JA n, 196 and 335-39; FA n, 81 and 434; DA xrv, 639. Group: Lyrisches.
Source: "It was a blind beggar, had long lost his sight" ( The Beggars Daughter of Bednall Green), printed in Percy's Reliques of Ancient English Poetry. Classification: Rhythmical Parody.
Comment: Goethe published an exegesis of this ballad which concludes with the comment ( JA n, 338) : "I want to note that an old English ballad has motivated (veranlasst) this work. . ."
Goethe and Music — British Parodies 31
"Herein, o du Guter" is part of an operatic fragment, Der Lowenstuhl, on which Goethe worked off and on from 1803 until 1816. The opera text as a whole, though, was never completed. But even in its fragmentary shape four distinct rhythmical influences are clearly evident: Percy's ballads, the alliterations of the Edda, Calderon's trochees, and the iambic trimeters of Greek antiquity. The meaning of this ballad of 1813 for Goethe's poetic development and the growth of the libretto-fragment as a whole have many ramifications which it is my hope eventually to present in greater detail. Very valuable is Max Morris's study, SchGG xxxi, 85-116 (for Percv, cf. par- ticularly p. 95 and 104). In content, Goethe's Ballade is also influenced by the tale of Count Gautier of Angers from Boccaccio's Decameron, though the Italian model did not influence Goethe's form.
8. Herzlich und freudevoll.
Title: (Chorlied) Zum 30. Januar 1806. Date: January 30, 1806.
Texts: JA rx, 322; DA vin, 847; cf. also FA xvni, 386 and 643.
Group: none.
Printed Source: "God Save the King," available in countless contemporary editions.
Classification: Folk Song Parody.
Comment: In this parody, two ingredients of the oral technique are at work, namely, im- provisation for a special occasion and the use of an old tune, rather than a new one, because it was "unsurpassed." Goethe's parody was written for the birthday of the Duchess of Weimar. Its performance was "accompanied by a corps of regimental trumpeters." The poet tells us that "the generally known melody, dedicated to an island monarch, and by no means surpassed by a patriotic continent, completely achieved its elevating effect for the occasion."
The tune is an old and noble one, but its history is full of pitfalls for the scholar. A pre- liminary account has been offered by Percy A. Scholes in his essay, 'God Save the King!' Its History and its Romance, London, 1942. The following historical data are based on that pamphlet. The first printed version of the melody with its famous text appeared in 1744 in the Thesaurus Musicus and, from 1745 on, it was frequently and publicly performed as a patriotic ovation for King George n of the Protestant house of Hanover, which was then threatened by Charles Edward, Pretender, of the Catholic house of Stuart and his Jacobite followers. However, the testimony of Dr. Burney and much other evidence show that the anthem for King George was really a parody of a Stuart anthem first addressed to James n and used by the Jacobites throughout the eighteenth century. Ironically, then, at the first public performance at the Drury Lane Theatre on September 28, 1745, the Hanoverians were praying for the safety of their king against the Jacobite menace to the tune of a Jacobite song.
In a keyboard piece written by John Bull in 1619, a tune occurs which is remarkably close to the anthem, and, indeed, some of its musical motives can be traced back even earlier, as can the general rhythm which is that of the Elizabethan galliard. The same is true of the words, for the phrase, "God save the Kynge," occurs as early as 1535 in Coverdale's Bible translation (i Samuel, 10, 24; et passim). Thus, at the performance under Thomas Arne at Drury Lane in 1745, both text and tune were parodies in the widest sense of this word. So were, of course, the Prussian anthem of 1794, "Heil Dir im Siegerkranz," and the American national song of 1831, "My Country, 'Tis of Thee." But this was by no means all. The French Revolution produced parodies extolling the guillotine which brought freedom from despotic monarchs, and there were counter-parodies which sang, "Hail British Liberty; from French Equality, Bloodshed and Anarchy, May us [sic] be Free."
During Goethe's lifetime the son of Henry Carey asserted that his father was the author of the British anthem, but modern research has tended to disprove this claim. It is interesting, though, that Carey did provide Goethe with "Sally in Our Alley" as the model for "Es ist doch meine Nachbarin" ( q. v. ) .
In the following music example the melody appears in Beethoven's arrangement ( op. posth., Werke, xxrv, 109-10). The six texts are: (1) a version of the Jacobite anthem written between 1688 and 1701; (2) Thomas Arne's version of 1745; (3) the Prussian anthem of 1794; (4) a parody by Sheridan, the playwright and manager of Drury Lane, improvised on May 15, 1800, after an attempted assassination of George in in the theatre; (5) Goethe's parody of 1806; and
The New York Public Library
32
finally ( 6 ) America's national song by the Reverend Samuel Francis Smith, a Baptist clergyman and native of Boston.
Jacobite yCa.l7oo
A me , i745
Prussian, i19i
Sheridan., 1800
Qoethe, 1Q0&
Rer.S.EJSnulhldX
£od save the
Ood bless our
Heil dir im
From ev'- ry
Herz-lich und
My count- ry,
king-,
no -
£ie-
u-
freu- 'tis
m
i
Jacobite
Arne
Prussian
Sheridan
(joethe
Smith
£
£
4
1
^
I pray, God bless the
ble king, God Save great
ger- kran-z, Herr-scher des
tent foe, From the as-
de - voll Brin- ge d.er
o£ thee, Sweet land o£
£
i
£
king-, I pray, Ood save
George, our king; Ood Save
Va - ter- lands, Heil Kb -
sa- sin's blow, Qod save
Treu- e Zoll Sin- gen-
li- ber-ty, Of thee
the
the nig the
des
I
ki
ing! kin<g! dir! king. Chor!
sing.
i
Jacobite Arne
Prussian
Sheridan Qoethe Smith
S
1
^
Send him vie- to- ri- ous, Hap- py and
Send him vie- to- ri- ous, Hap-py and
Fiikl in des Thro- nes^lans, Die "ho- he
CTer him thine arm ex- tend; For Bri- tain's
Rasch wie der Han- de-klang To- ne des
Land,where my Fa- thers died; Land o£ the
glo- ri- ous glo - ri - ous
Won-ne ganz, Sake de-fend Lie- des Drang, pil- grim's pride;
¥=+
W
£
i
s
P^
Boon to reign Long to reign Lieb-ling des Our fa- ther, &tei-ge der From ev- ry
o- ver us, God o - ver us. Cod Volks zusein. Heil prince,and friend. (Sod Fe6t- ge-sang Zu moun-tain-side, Let
save Save Kb- save
,dir
free -
the the
nig
the em-
olom
king, king, dir! king, por !
ring.
9. Ihr lieben Christen allgemein. Title : ( Lied des Bankelsangers ) . Date: 1774.
Texts: FA iv, 307 and 442-44; DA vn, 306, DA vn, 665.
Group: (lyric from the drama) Das Jahrmarktsfest zu Plundersweilen.
Printed Sources : ( 1 ) "Nun freut euch, lieben Christen g'mein," printed in the Lutheran hymnal.
( 2 ) German secular folk songs, such as "Es war einmal ein edler Herr," which served "Es war ein Knabe frech genung," q. v. ( s. v. Source ( 2 ) and Comment ) .
(3) The Jew's Daughter ("The rain runs down through Mirryland town"), printed in Percy's Reliques.
Classification: Sacred Song Parody (Luther) and Folk Song Parody (German and British ballads ) .
Goethe and Music — British Parodies
33
Comment: Cf. remarks s. v. "Es war ein Knabe frech genung," where the confluence of various models, British and German, secular and sacred, all modifications of ballad rhythm, is very similar. I should say that (1) is the main source for the first stanza and (3) for the fifth stanza. In the latter stanza the motives of the deep well and the knife in the heart are definitely reminiscent of Percy's ballad, which Goethe knew both in the original and in the translation of Herder's Volkslieder. . . For sources (1) and (2) cf. GJB xrv, 273; DJG vi, 299; J A vn, 351. The printed version of the drama from which Goethe's parody is taken (Das Jahrmarktsfest zu Plunderstveilen) contains only the first stanza. However, seven more stanzas were discovered in the musical score which the Duchess Anna Amalia of Weimar made for a local performance in 1778. In the following music example the first and third staves give the traditional melody of the hymnal; the second and fourth staves, Anna Amalia's melody used at the 1778 performance.
Nun
freut euch lie- ben
1
Chris- ten- g'Vnein, Und
^m
^
Ihr lie- ben Chris- ten all- g*e- me in, "We nn
m
i
3C
lasst uns frbh- lich
inii
Sprin- g"en, Daflfl
m
wir g*e- trost und
t
§
*
*
wollt ihr euch ver bes- Sern? Ihr konnt nkhtan-ders
i
all
in ein Hit
Lust und Lie- be
Sin- gen; Was
mm
ifegE
^^
S
ru- hie* sein Und eu- er Gliiek ver- grog- Sera. Das
^
Pi
J j 4 j.
m
Oott «a.n ung g*e-
wen-det hat, Und
Sei- ne Sus- se
m
r p r u
s
cjf r p
Las-ter weh. dem. JMen-seHen tub, Die Tix-gendist sein
i
Wun-dei*- tat, Oar
*
i
teu'r hat er's er-
a i n h
wor-
9 hen.
5
E
b-och-sles <5rut, UndL lieg't euch vor den Fiis-
Sen.
34 The New York Public Library
10. Kennst du das Land. Title: Mignon.
Date: before November, 1783.
Texts: JA n, 85 and 300, FA i, 85 and 362f., DA xiv, 252; also JA xvh, 165, FA x, 175, FA xi, 153, DA i, 290, DA n, 141.
Group: Balladen ( cf. JA i, 336f. ) ; also Wilhelm Meister.
Printed Sources: James Thomson's "Summer," final edition of 1746, lines 663ff.; reprinted in The Complete Poetical Works of James Thomson, ed. J. L. Robertson, Oxford University Press, London, 1908, p. 78.
Classification: Rhythmical Parody.
Comment: The striking similarity, in rhythm and content, between Thomson's and Goethe's lines has often been pointed out, e. g., FA i, 363; but never more completely and conclusively than by Charles A. Williams in the Journal of English and Germanic Philology, xlvh ( 1948 ) 1-13. The relevant six lines from Thomson's "Summer" and the first stanza of Goethe's "Mignon," placed side by side, are more illuminating than any further comment could be.
Bear me, Pomona! to thy citron groves; Kennst Du das Land, wo die Zitronen bliihn,
To where the lemon and the piercing lime, Im dunkeln Laub die Goldorangen gliihn,
With the deep orange, glowing through the Ein sanfter Wind vom blauen Himmel weht,
green, Die Myrte still und lioch der Lorbeer steht,
Their lighter glories blend. Lay me, reclin'd, Kennst du es wohl?
Beneath the spreading tamarind, that shakes, Dahin! Dahin
Fann'd by the breeze, its fever-cooling fruit. Mocht' ich mit dir, o mein Geliebter, ziehn.
Concerning the simple, strophic character of Mignon's song, cf. Goethe's remarks, quoted in the Introduction.20
11. Matt und beschwerlich.
Title: "Hochlandisch" or "Der Wanderer" ( cf . JA m, 382 ) . Date: 1827.
Texts: JA in, 278 and 382, DA xi, 589, Z n, 528, WA rv, 335 and v, part n, 211.
Group: none.
Printed Sources: The Mountaineers; a Play . . . by George Colman; (The Younger) and first performed at the Theatre Royal, Haymarket . . . August 3, 1793. London, 1795.
Classification: Rhythmical Parody.
Comment: The manuscript of the poem which contains both the English original and Goethe's poem was reproduced in facsimile in 1900 ( cf. WA v part n, 211 ). Goethe's re-creation hovers between an outright translation and a parody proper. The provenance of the English original remained obscure until 1936, when L. L. MackalTs "The Authorship of the Original of Goethe's 'Hochlandisch,'" Modern Language Notes, li (1936), 94-97, established a printed source. Below are the first stanzas of the English and German poems:
Faint and wearily, Matt und beschwerlich,
the way-worn traveller Wandernd ermudigt,
Plods, uncheerily, Klimmt er gefahrlich,
afraid to stop! Nimmer befriedigt;
Wand'ring, drearily, Felsen ersteigt er,
a sad unraveller Wie es die Kraft erlaubt,
Of the mazes, tow'rd Endlich erreicht er
the mountain's top! Gipfel und Bergeshaupt.
12. Und morgen fallt St. Martins Fest.
Title : Gutmann und Gutweib. Altschottisch. - Date: 1827.
Texts: JA m, 279 and 382; DA xi, 590; Z n, 542.
Group: none. During Goethe's lifetime, the poem was published singly in the periodical Kunst und Altertum ( 1828 ) with the title "Altschottisch." However, in his correspondence with
20 p. 21.
Goethe and Music — British Parodies
35
Zelter he called it "Gutmann und Gutweib"; in the conversations with Eckermann, "good man and good wife," and in the correspondence with Carlyle "The barring of the door."
Printed Sources: ( 1 ) Title: "Get up and bar the door." First line: "It fell upon the Martinmas time;" printed in Ancient and Modern Scottish Songs and Heroic Ballads, edited by David Herd, Edinburgh, 1791, vol. u, p. 63. We do not know whether Goethe used the edition of 1776 or this one of 1791; the text is the same in both and has been variously reprinted (English and Scottish Popular Ballads, ed. Child, vol. vii; Oxford Book of Ballads; etc. ).
(2) "There liv'd a man in yonder glen," printed in the Scots Musical Museum, 1792, no. 365, and reprinted in James C. Dick, The Songs of Robert Burns. Now first Printed with the Melodies for which They were Written; a Study in Tone Poetry, London, 1903 p 318 (com- mentary p. 488-499 ) .
(3) "It fell upon the Martmastime," reprinted by John Greig (editor and arranger) in his 6-volume collection Scots Minstrelsie, a National Monument of Scottish Song, Edinburgh, 1893[-951, ry, 31-32 (commentary, p. in-iv, establishes the connection between Burns's "There lived a man," Herd's "It fell upon," and Goethe's "Und morgen f allt" ) .
Classification: Folk Song Parody.
Comment: The oldest Scottish version of the folk song is source (2), which Bums con- tributed to the Scots Musical Museum and of which a manuscript in his handwriting is extant at the British Museum. The story is very old, as the line, "He bears a wondrous fame, O," implies, and occurs in the folklore of France, Italy, Turkey and Arabia. Goethe read the more modern version of ( 1 ) in Herd's collection. Whether he hummed it to the tune from source ( 2 ) or ( 3 ) or to any other ballad tune which fitted the text, we do not know. I have also examined a third tune, printed to Herd's text (Gems of Scottish Songs, Boston, Ditson, cop. 1894, p. 192-93) and finally decided to print the melody from (2) with the texts of Burns, Herd and Goethe. Goethe was particularly fond of the song and compared it twice (B rv 63 and 90) with a Dutch painting by Ostade, emphasizing, however, that its peculiar expressiveness could not be obtained by the medium of painting, but only by the rhythmical means of poetry and music. Commenting upon "Good man and good wife" and upon another parody after a non-German model, "Cupido, loser, eigensinniger Knabe," Goethe remarked to Eckermann regarding rhythm: "Such matters cannot be intellectualized. The measure springs subconsciously from the poetic mood. Were one to think about it, in the process of making a poem, one could not bring forth anything sensible."
Up to the seventh stanza, Goethe's parody follows the original rather closely, then it deviates from the content, though not from the rhythm of the model. In Herd's song the intruders attempt to kiss goodman's wife, in Goethe's lyric they try to drink his liquor. Whether this change repre- sents a poetic improvement is open to question. However, that Goethe otherwise succeeded in
^
£
i
£
s
Burns Herd 0oeihe
There lived. It fell
mor-
a
g-en
man
pon
fallt
in yon- der g\Len the Martin- mas time 6ankt Mar-
And And a tins Fest, Out-
P U P I J- r gji P B
^
John Blunt was gay time it weib lieVt ih-
his name, o, He makes g*ood malt and he was then, o,*When our g*oodwife had
ren Mann. Da kne- tet £ie ihm
,V£j } } b^£f
■ ■
m
"brews good ale^ And he bears a
pudding's to raake^Audshe "boiled them
Pud- dings em Und backt Sie
won-
in
in
drous fame , o , the pan, o. der Pfann .
re-creating rather than merely translating the English text, most editors rightly agree. His objective (JA m, 383) was not to copy the externals but to create with a kindred spirit, from within, a kindred shape.
36 The New York Public Library
13. Was gehst du schone Nachbarin. Title: Stiftungslied.
Date: November 2, 1801.
Texts: JA i, 70 and 327, FA i, 58 and 360, DA xiv, 493.
Group: Gesellige Lieder.
Printed Sources: Papageno's song, "Ein Madchen oder Weibchen," from Mozart's Zauber- flote of 1791, and Ludwig Heinrich Holty's "tJb immer Treu und Redlichkeit" of 1775.
Classification: Folk Song Parody.
Comment: The background of this parody has been sketched in the Introduction,21 where a music example is also given. For the influence of the English ballads on Holty, cf . the chapter, "Die Begriindung der ernsten Ballade durch Holty," in Wolfgang Kayser's Geschichte der deutschen Ballade, Berlin, 1936, particularly p. 81ff and 86ff.
14. Was machst du mir vor Liebchens Tur. Title: none.
Date: before 1806. (Faust i was completed in 1806 and published in 1808.)
Texts: Any edition of Faust. For commentaries cf . JA xm, 324f. and FA v, 659.
Group: Faust, Der Tragodie Erster Teil. Lines 3682-3697. ( Mephistopheles sings this serenade, accompanying himself on the zither, during the scene entitled, "Nacht. Strasse vor Gretchens Tiire.")
Printed Sources: (1) "Tomorrow is Saint Valentine's Day." The main source is Shake- speare's St. Valentine's Day Song, which Ophelia sings in Hamlet, rv, 5.
(2) The reprint of the song in William Chappell, Popular Music of the Olden Times, London, 1859, 2 vols. (vol. i, p. 227) is important because it gives the text with the traditional tune.
( 3 ) Lord Thomas and Fair Elinor ( "Lord Thomas he was a bold forester" ) printed in Percy's Reliques; also in Chappell, op. cit, i, 145 ( with tune ) .
(4) The Shakespeare translatitin by the German Romanticist, A. W. Schlegel. Goethe was thoroughly familiar with Schlegel's translation of Hamlet; cf. the testimony of the actor, H. Schmidt of 1801 (B i, 302).
Classification: Folk Song Parody.
Comment: It is difficult to speak of a song that connects Hamlet and Faust without feeling a keen sense of excitement over such a distinguished relationship. In one of the most articulate defenses of the parody technique that has ever been recorded, Goethe exclaimed to Eckermann ( B m, 156 ) : "My Mephistopheles sings a song from Shakespeare, and why not? Why should I take the trouble to invent one of my own, if that by Shakespeare was just right and said just that which it should?" To read in its original context the entire conversation from which this passage is taken is a rewarding experience, for it offers not only a supreme justification of the Hamlet-parody but, more than this, of artistic borrowing altogether. In his remarks to Eckermann, Goethe ranged over a wide field: he praised Walter Scott's appropriation from Egmont but condemned his use of Meister. For Byron's use of Faust in The Deformed Transformed he had the highest praise. But when Byron expressed resentment over Goethe's detection of traces of Faust in Man- fred, retaliating that Faust too had borrowed liberally from one source or another, Goethe had no patience with the young Briton: " 'Whatever there is in my work, it is mine,' Byron should have said, 'and whether I have taken it from life or from a book is all the same; it only matters that I made the right use of it.' "
One must also remember that the lyrics from Shakespeare were considered by Herder and Goethe to be folk songs. Herder had published them in translation in his Volkslieder, and both poets found in them the simple greatness, the musical poetry, and the creative productiveness that were characteristic of folk art. The nineteenth-century notion tha't a folk song connoted anonymity and, that once an author's name was affixed, it became an art song was quite alien to Herder and Goethe. A comparison of sources (2) and (3) will show that Shakespeare made use of the same oral technique, with its give-and-take of wandering melodies and wandering poems. And so, the bard's "St. Valentine's Day Song" becomes a parody of the old and popular ballad, "Lord Thomas
21 P. 15 f.
Goethe and Music — British Parodies
37
and Fair Elinor/' Schlegel's translation, in turn, introduces St. Catherine (source (4) ). This establishes Schlegel's lyric as another parody. His "Sankt Katherin" leads to Goethe's "Kath- rinchen," and Mephisto's serenade is consequently a parody of both ( 1 ) and ( 4 ) .
In the following music example the tune from (2) is accompanied by the old ballad as well as by the parodies of Shakespeare, Schlegel (third stanza) and Goethe. The stage directions of all three poets indicated that the lyric should be sung, not spoken, but whether they had in mind this particular ballad tune, we shall never know. The oral tradition of this tune merits respect. In his Popular Music of the Olden Times, Chappell shows that it appeared frequently as "Tomorrow Is St. Valentine's Day" in the ballad operas of the early eighteenth century. Goethe's metrical scheme is identical in the odd lines with that of Shakespeare, but the even lines are longer. I think he would have approved of singing these even lines faster to accommodate them to the existing tune, as suggested by the following music example. He would have approved equally of substituting another tune (wandering poems). His parody of the hymn, 'Teh hab
i
Elixaheih&n Shakespeare Sch leg-el (joelhe
¥
t
■ ■
Lord Tho- mas he
(Jood mor- row
Bei uns - rer
Was machst du
was a bold fo- res-terAnda
tig Saint Valen-tines day, AH Frau und Sankt Kath-r in, 0
mir vor Lieb-chens Tur, Rath-
^
$
^
cha - ser o£ the king's deer,
in the mor- ning* be- time,
prui, was Soil daa Sein?
rin- Chen, hier beim £rii- hen Ta- ges-blicke? Lass,
Fair And
Ein
|
E- |
li- |
nor |
"was |
|
I |
a |
maid |
|
|
jun- |
g»er |
Mann |
|
|
lasg |
es |
sein ! |
a wo- man fine And Lord
at your win- dow, To
tuts wenn er kann, Beim
Er lasst dich ein, Als
5^
F=£
^
Tho- mas he loved her dear,
be your Va- len- tine.
Him- mel, sHSt nicht £ein.
Mad-chen ein, als Mad- chen nicht
zu- riicke.
mein Sach Gott heimgestellt," which began "Ich hab mein Sach auf nichts gestellt" ( q. v. ) is a case in point. When a certain singer discovered that Goethe's text admirably fitted the folk song, "Es ritten drei Bursche zum Tore hinaus," he was delighted to use that tune in place of the original melody.
38
The New York Public Library
15. Wie jung ich war und lebt und liebt.
Title: none.
Date: before 1831, when Faust n was completed.
Texts: Any edition of Faust; for commentaries cf. FA v, 699, and JA xrv, 395.
Group: Faust. Der Tragodie zweiter Teil. Lines 11531-11538. (Choral song of the "Le- muren" who dig Faust's grave in the final act of the second part of the tragedy. )
Printed Sources: (1) "In youth when I did love, did love," the grave-digger's song from Hamlet v, 1.
( 2 ) Percy's reprint of ( 1 ) in the Reliques, 1765. Goethe probably used this version. Shakespeare has "age . . . in his clutch;" Percy "crowche," Goethe "Kriicke."
(3) Dover Wilson's reprint of ( 1), Hamlet ( 1934) in the "New Cambridge Edition" with commentary concerning this song p. 233-35.
( 4 ) "I loathe that I did love," by Thomas, Lord Vaux, first published in Tottell's Miscellany of 1557. A comparison of this song with Shakespeare's ballad (1 ) will be found in ( 3 ) , also in ( 5 ) .
(5) ChappelTs reprint of (4), 1859, with a "first tune" and a "second tune." (William Chappell, Popular Music of the Olden Times, 2 vols., London, 1859, i, 216-17. )
Classification: Folk Song Parody.
Comment: The situation is almost identical with that of Goethe's' other parody from Hamlet, "Was machst du mir," q. v. Cf. particularly the Comment there which takes up in detail the importance of wandering melodies and wandering poems for both Shakespeare and Goethe; also the authenticity of the runes printed by Chappell. It is obvious that Goethe parodies Shakespeare by way of Percy. Shakespeare, in turn, parodies Lord Vaux. The rhythms and tunes of the ballads are so easily interchangeable and were actually interchanged so frequently that it is impossible to ascertain which melody was the one most popularly sung to this song on the Elizabethan stage. The post-Shakespearean theater used the versatile ballad tune, "The Children in the Wood," which also served at one time or other "Chevy Chase," "The Battle of Agincourt," and others (cf. Chappell i, 200-201).
In the following music example the first tune to ( 5 ) as printed in ( 2 ) is given with the texts of Lord Vaux, Shakespeare and Goethe.
P
E I J I .1
3E
^
V<2UX
Shakespesre (joethe
I
In
Wie
I
loathe
youtk,
jung' ich war
that I did love, In
when I did love, Me-
■und lebt -und liebt, MicK
i
£
youth. that I thought sweet,
thought it -was ve- r'y sweet,
deucht, das war -wohl Suis-
se,
±E=±
^=±=4
As To
Wo's
m
s
|
time |
re- |
quires for |
my |
be-hove, He - |
|
Con-tract, O, |
the |
time, for-a |
xay |
be-hove, o, Me- |
|
frtih- |
lich |
klang* und |
lu- |
stig-ging-,Da |
p
£
^m
|
thinks |
it |
i3 |
not |
meet |
|
|
thought |
there -was |
no- |
thing |
meet. |
|
|
riihr- |
ten |
sich |
mex— |
ne |
Fiis- |
se.
Goethe and Music 39
BALLADS
The following pages describe Goethe's poems in ballad meter, with the exception of those that have been dealt with previously in the section on "British Parodies." The rhythmic and melodic framework of the ballad tra- dition, its simplicity and flexibility which encouraged improvisation and spon- taneous creation, was an inspiration to Goethe from his adolescence to old age. Here was a stanza familiar to him from the songs of the German country- side, identical in meter with the hymns of the church, remembered and be- loved from the lyrics in Shakespeare's plays, and explored by his predecessors in the realm of German poetry ( Hagedorn, Gleim, Klopstock, Gunther, Holty, Herder, Lenz). It forms one of the mainsprings of Goethe's creative work; the tone was great, yet simple, understandable but not trite, functional though never hackneyed. Benjamin Franklin 22 summed up the requirements and advantages of balladry with admirable perspicacity: above all, a naturally good ear; there was ample leeway for the interpretation ( and improvisation ) of the reciter; and the poet might rest assured that each word would be under- stood by all who listened.
Goethe wrote about 160 poems in ballad rhythm, but, unhappily, only some twenty of these can be ascribed to specific models. For the present, the re- mainder represents improvisations and creations in a tried and tested tone, though it may be assumed that quite a number of them are concrete parodies as yet not identified. In the following descriptions the rubrics "Printed Sources" and "Classification" are omitted whenever the model is unknown.
* * *
16. Absurder Pfaff e! warst du nicht.
Title: none. Date: 1820-1822.
Text: JA rv, 154 and 325; DA xv, 289.
Group: Invektiven.
Comment: One of a group of about fifty poems published posthumously under the col- lective heading "Invektiven" ( cf. JA rv, 312f . ) . These sharp, bitter thrusts at the mediocrities of German life and letters, and frequently at Goethe's personal detractors, were invectives written for their day, not for immortality. One must understand their topical references in order to appreci- ate them as Goethe's circle in Weimar did, for these angry verses were known there long before their publication. They are the deep, spontaneous sighs that relieved the poet's mind before he resumed his more positive responsibilities. The "Invektiven," then, partake of the improvisatory oral character that marks so many of the poems Goethe wrote for special occasions. The German
22 Cf. p. 21.
40 The New York Public Library
term for lyrics written ad hoc and ad diem is "Gelegenheitsgedichte" ( occasional poems ) . Since Goethe's notions of poetry and music implied direct and live communication and a spontaneous reaction, this concept of occasional poetry looms large in his work, and the lyrics written "for the day" range from invective thrusts at a particular circumstance to all manner of improvisations 23 and even to some of his most moving love lyrics. It is characteristic of the intimate relationship between ballad rhythm and improvisation that many of these occasional invectives are cast in the popular meter. The present two ballad quatrains castigate Professor C. H. Pfaff of Kiel, a critic of Goethe's optical theories.
17. Ach, dass die innre Schopfungskraft.
Title: Kiinstlers Abendlied. Date: 1774.
Text: JA n, 102 and 303; FA n, 18 and 422; DA xrv, 156.
Group: Kunst.
Comment: The artistic creed of the young Goethe, expressed in ballad quatrains. Probably improvisatory. In the winter of 1774/75 the poet included the song in letters to Merck and Lavater, two friends of his youth, and Lavater published it in his Physiognomische Fragmente as "Lied eines physiognomischen Zeichners." For other expressions of Goethe's creed, improvised in ballad quatrains and also associated with Lavater, cf . "Hoch auf dem alten Turme stent" and "Und frische Nahrung, neues Brut."
18. Als Gottes Spiirhund hat er frei. Title: Christoph Kaufmann. Date: 1779.
Text: JA rv, 136 and 313; DA xrv, 213.
Group: Invektiven.
Comment: Another personal invective (cf. No. 16). C. Kaufmann, a friend of Lavater, had visited Goethe in Weimar, but his swagger soon made him intolerable to the poet. Distinctly occasional.
19. Aus Kotschaus Toren reichet euch.
Title: none. Date: 1780.
Text: JA m, 91 and 321; DA xiv, 221; cf . WA v, part n, 130.
Group: An Personen.
Comment: Many of Goethe's occasional poems (cf. No. 16 above) were published post- humously under the collective heading "An Personen," since they were addressed to various persons. These are, indeed, occasional poems per se, dashed off spontaneously in the shortest space of time. The present ballad improvisation was sent to Charlotte von Stein on December 11, 1780, together with a basket of refreshments for a trip to near-by Jena.
20. Befindet sich einer heiter und gut.
Title: none. Date: 1815.
Text: JA v, 45 and 358; FA m, 59 and 310; DA xv, 80.
Group: West-ostlicher Divan; Buch des Unmuts.
Comment: In his later life Goethe expressed his thoughts largely in the medium of gnomic poetry. These sententious epigrams and proverbial sayings found their way into his "Zahme Xenien" as well as the "Buch der Spriiche" of the West-ostlicher Divan and under such collective
23 For such a variety of occasions as state events, as in No. 8 above, a piece for a souvenir album, or for the Wednesday Club ( cf . p. 13 ) .
Goethe and Music — Ballads 41
headings as "Epigrammatisch," "Sprichwortlich," "Parabolisch," etc. Burdach (JA) and Richter (FA) agree that the present three ballad quatrains belong, in tone and content, to Goethe's gnomic poetry. For many of these rhymed thoughts Goethe turned again to the rhythm of the ballads which had served him so well in the spontaneous expression of his youth (cf. No. 17). And, indeed, their mere quantity, well over 3,000 lines, stamps the majority of these sayings as im- provisations. For a fuller description of gnomic poetry cf. No. 22.
21. Befrei uns Gott von s und ung.
Title: Kein Vergleich! Date: 1818.
Text: JA n, 180 and 328; FA n, 158 and 445; DA xv, 360.
Group: Epigrammatisch.
Comment: A spontaneous reaction to Jean Paul's essay "Briefe iiber die deutschen Doppel- worter" which appeared in 1818 in the periodical Morgenblatt. Goethe's antipathy to the simplifi- cation of the German language by the elimination of such suffixes as s and ung was based on his appreciation and mastery of the nuances of language. He was supported in his position bv Jacob Grimm (JA n, 329). The entire group of poems, headed "Epigrammatisch," is obviously both occasional and gnomic (cf. Nos. 16 and 20).
22. Bei einer grossen Wassersnot.
Title: none. Date: 1823-1828.
Text: JA rv, 127 and 309; DA xv, 399.
Group: Zahme Xenien, Buch rx.
Comment: The major portion of Goethe's gnomic poetry (cf. No. 20) is embodied in his "Zahme Xenien," of which he published six books between 1820 and 1827. Volumes vn through rx appeared posthumously. The records of the Weimar library and Goethe's diaries show that in 1809 the sixty-year-old poet read Johann Agricola's Deutsche Spriichworter of 1529 and the Adagia of Erasmus. Between 1807 and 1815 he absorbed, besides, a variety of other collections of old proverbs and sayings, some of them German (e. g. J. W. Zincgref's Teutsche Apophtheg- mata), some Oriental (the poems of wisdom of Persia and Arabia that inspired portions of the West-ostlicher Divan). Goethe's reaction to these treasures of the past was characteristically productive, for he parodied the works by creating his own gnomic poetry. His diaries speak of these verses either as "Gnomen" or as "Tagesreime" (rhymes of the day). And, indeed, they are lines of the day and for the day, truly "occasional" (cf. No. 16), in that they reflect the poet's thoughts on topical discussions, whether of aesthetics or politics, in a shape that was frequently wrought on the spur of the moment.
By 1815 Goethe had already collected a considerable portion of these gnomic sayings under such headings as "Sprichwortlich" (proverbial), "Epigrammatisch," "Parabolisch." But when, a few years later, he had ready for publication another two thousand lines of rhymed thoughts, an appropriate title became necessary, and he chose the term "Zahme Xenien." The Greek word "xenion," signifying a present exchanged between host and guest, had been adopted by Goethe and Schiller when they published their joint Xenien in 1796. These sharp and satirical couplets, greatly influenced by Martial, had been so pugnacious and negative that, with poetic irony, they could be called "Xenien" (presents of hospitality) only by a considerable stretch of die imagina- tion. But it was appropriate that the older Goethe should name the lyrics which expressed his mellow wisdom "zahm" ( tame ) and that he should term the collecton "Zahme Xenien" as opposed to the earlier, virulent "Xenien." The "Xenien" of 1796 had been cast in the rhythm of the elegiac distich, a measure well suited to the classical leanings of the poet in 1796. However, tins later gnomic poetry is deeply influenced by the folk poetry of the old German proverbs rather than the rhythms of Hellas or Rome, and once more the ballad meter plays a prominent role.
The present ballad quatrains with their topical references to Napoleon's defeat and die Con- gress of Vienna are representative of the political cast of many of the Zahme Xenien,
42 The New York Public Library
23. Bekenntnis heisst nach altem Brauch.
Title: none. Date: 1817.
Text: JA iv, 112 and 303; DA xv, 179.
Group: Zahme Xenien, Buch vm.
Comment: Cf. No. 22 concerning the character and scope of the "Zahme Xenien.'* The present quatrain was improvised in 1817 for the celebration of the tercentenary of the Reforma- tion. Two other occasional poems ( cf . No. 16 ) dedicated to this event and also in ballad rhythm are "Dreihundert Jahre hat sich schon" (No. 53) and "Dreihundert Jahre sind vorbei" (No. 54), the latter from the "Zahme Xenien," Book m.
24. Bewahrt den Forscher der Natur.
Title: Katzenpastete. Date: April 18, 1810.
Text: JA n, 132 and 311; FA n, 27 and 424; DA xrv, 560.
Group: Parabolisch.
Comment: The original title was "Newton als Physiker." The poem makes occasional, topical references (cf. No. 16) to Newton's optical theories. These ballad* quatrains were written on April 18, 1810, two days before Goethe completed his Farbenlehre (Theory of Colors) with its extensive polemics against Newton. For another occasional poem in ballad rhythm in connection with the poet's optical theories cf . No. 16. The group "Parabolisch," to which the present quatrains belong, is a subdivision of Goethe's gnomic poetry ( cf . Nos. 20 and 22 ) .
25. [Clavigo, Final Scene.] Date: Spring, 1774.
Texts: JA xi, 136 and xx; FA vi, 329 and 615; DA vn, 448.
Printed sources: (1) The ballad "Of Leinster, fam'd for maidens fair," entitled "Lucy and Colin," from Percy's Reliques of Ancient English Poetry.
(2) One of the twelve Alsatian folk songs collected by Goethe in 1771 (DJG n, 67), the German folk ballad "Es war einmal ein edler Herr," entitled "Das Lied vom Herrn und der Magd."
Classification — Folk Song Parody.
Comment: One of the most important results of Goethe's fascination with balladry stands not among his lyrical poems but in the final scene of his drama Clavigo. True, this scene is cast in prose and is a parody in content only, but it is illuminating for this study because Goethe publicly acknowledges his borrowings and stresses the improvisatory character of Clavigo. The scene also demonstrates the ease and artistic success with which he blended French, English and German sources. To the first two of these he bows in his autobiography: "Feeling justified by the example of Shakespeare, our great precursor, I did not hesitate a moment to translate the main scene [that between Clavigo and Beaumarchais in Act n] literally [that is, from Beaumarchais' Fragment de mon voyage en Espagne] . . . and to conclude the drama I borrowed the final scene from an English ballad" (entlehnt ich den Schluss einer englischen Ballade, FA xvi, 206 and 569). A young couples' club of Frankfurt, similar to the cour d' amour of Weimar,24 provided Goethe with the occasion and incentive to dash off all five acts of Clavigo in a mere week. He used the general outline of action of Beaumarchais' Fragment. . .and, at times, his very words. In the great scene of Act n, for instance, the correspondence between the French and German texts is close and prolonged, and it is instructive to read these texts side by side in a modern reprint ( Georg Schmidt, Clavigo, Gotha, 1893, p. 4f . ) .
However, when Goethe referred to Shakespeare as his artistic ancestor, he had in mind not only the sovereign appropriation of sources but also the depth and beauty which the bard imparts to his models by his significant changes. At such results the young German poet aimed when he grafted upon Beaumarchais' plot the balladesque conclusion where the lover meets the funeral procession of the deserted, broken-hearted girl. A capricious fate arranged for a curious footnote
24 R 13.
Goethe and Music — Ballads 43
to this alteration: Beaumarchais himself attended a performance of Goethe's Clavigo in 1774 and objected to "additions qui montraient plus de vide de tete que de talent" (FA vi, 277, 285, 608, 609; with full bibliographical references). There has been much controversy in the scholarly literature as to whether Goethe was primarily indebted to source ( 1 ) , as his autobiography suggests, or to source (2). The advocates of the latter theory claim that by the time Goethe wrote his autobiography, almost forty years after Clavigo was produced, he had read source ( 1 ) in several German translations and now confused it with source (2) because of the similarity of content.
It would seem, however, that as in Parody Nos. 5 and 9 it is neither necessary nor desirable to distinguish neatly between Percy's Reliques and the Alsatian "Volkslieder." Goethe most cer- tainly could and, in fact, did read Shakespeare and Percy in English and did not have to depend on any of the German translations (by Eschenburg in the Almanack. . ., 1774; by Herder in the Volkslieder, 1778; and by Haug, with music by Zumsteeg. in the latter's Kleine Balladen . . . n. Heft, 1800). Rather, he appropriated an idea from Percy's original which does not appear in either Eschenburg's or Herder's translations, namely, that the unfaithful lover meets the deserted girl's funeral cortege unexpectedly. "Then, bear my corse, ye comrades, bear the bridegroom blithe to meet." Goethe further adds a Shakespearean touch by having the faithless man die in a duel with the girl's brother, whereas in source ( 1 ) he succumbs to a broken heart, and in source ( 2 ) commits suicide. The grappling of Laertes and Hamlet at Ophelia's burial and the final scene of Hamlet obviously stood godfather to Goethe's thought, as Hermann Hettner so sensitively recognized. (Cf. E. Schmidt, Charakteristiken, 2 vols., Berlin 1901-1902, vol. n, p. 115.) Small wonder that Beaumarchais objected to the strains of Percy and Shakespeare which needs must have appeared alien to him: ". . .l'Allemand avait gate l'anecdote de mon memoir e en la sur- chargeant d'un combat et d'un enterrement. . ." But in his capacity to graft, to combine, to select and to improve — in short, to practice parody creatively — Goethe transcended the tastes of his models and at times eluded the search of his commentators.
26. Das Blatt, wo seine Hand geruht.
Title: Zu einer Handschrift Friedrichs des Grossen. Date: August 24, 1822.
Text: JA n, 192 and 334; DA xv, 297; GJB vm, 166; WA rv, 175 and v, part n, 117. Group: Epigrarnmatisch.
Comment: Occasional quatrain (cf. No. 16) written to accompany an autograph of Fred- erick the Great. Published posthumously in the group "Epigrarnmatisch" (cf. No. 21 ).
27. Das Leben ist ein Gansespiel.
Title: none.
Date: December 15, 1814.
Text: JA v, 39 and 353f.; FA ni, 54 and 308; DA xv, 67.
Group: West-ostlicher Divan, Buch der Betrachtungen.
Comment: Another instance of gnomic poetry (cf. Nos. 20 and 22) from the W est-bsthchcr Divan, as is No. 20. Goethe compares life with a popular parlor game to which he often and easily referred ( cf . Marianne 160 and Z in, 353f . ) . Moliere and Byron also mention the ubiquitous game (JAv,353f.).
28. Das Segel steigt! das Segel schwillt! Title: Dem Herzog Bernhard. Date: September, 1826.
Text: JA n, 237 and 348f.; DA xv, 348.
Group: Loge.
Comment: Occasional poem (cf. No. 16). Goethe's son August recited the piece on the occasion of a celebration on September 15, 1826, of the return of Duke Bernhard of Weimar from America. The first line is obviously a parody of Goethe's own "Das Wasser rauscht, das Wasser schwoll," No. 29.
44 The New York Public Library
29. Das Wasser rauscht^ das Wasser schwoll. Title: Der Fischer.
Date: 1777.
Texts: JA i, 106 and 338f.; FA i, 90 and 363; DA xiv, 206.
Group: Balladen.
Comment: No model for this ballad is known, but it describes a folk tradition in a folk tone with such perfection that Herder printed it as the first lyric in his Volkslieder with the remark that if German poetry were to return to the springs of folk poetry it would have to follow in the path shown by this poem ( JA i, 339 ) . It concerns the age-old belief that the nature spirits demand a sacrifice from man as a tribute to the power they once held and had relinquished to man (cf. J. A. Schmitz, "Zu Goethes Fischer," Zeitschrift fur deutschen Unterricht, rx [1895] 453-60). When the earth reached the peak of her fertility, at the time of the summer solstice (St. John's Day), river, lake and ocean alike exacted their traditional toll. Later the superstition grew that seemingly accidental drownings were actually sacrifices to the river, and the doomed man was said to see the water nymphs before their elfish song and dance finally enmeshed him. This is obviously the stuff of which the British and German folk ballads are made, and Monk Lewis presented in his Tales of Wonder an English translation of Goethe's "Fischer" as "The Fisherman," also in ballad meter. Goethe parodied his own poem almost half a century later in a ballad improvisation of 1826 (No. 28). Another folk tradition, also concerned with the summer solstice, is discussed in connection with the ballad improvisation "Johannisfeuer sei unverwehrt."
30. Dass Araber an ihrerh Teil. Title: VierGnaden. Date: February 6, 1815.
Texts: JA v, 7 and 327; FA m, 24 and 295; DA xv, 79.
Group: West-bstlicher Divan, Buch des Sangers.
Comment: The whole of Goethe's West-ostlicher Divan is a Western parody of the Eastern (Oriental) Divan of the Persian poet Hafiz. Goethe had been groping for models of Eastern poetry in which he hoped to find the rejuvenating springs of poetic song: nearness to a folk tradition and simple greatness. During the Napoleonic wars of 1813 he baffled his contemporaries by steeping himself "deliberately" ( eigensinnig ) in Marco Polo's description of the Orient. When, in the summer of 1814, he received a German translation of Hafiz's Divan, the artistic model emerged, and his poetry flowed with a new abundance, reactivated by the folk tone and the parody technique. How necessary such a mode of reaction was for the poet's personality, he himself has stated in his autobiography: "The complete poems of Hafiz in the translation of Ham- mer-Purgstall . . . made the most vivid impact upon me, and I had to react against them pro- ductively, for that was my only mode of self-preservation against so powerful a phenomenon." (FAxvm, 456 and 658).
Twelve of the Divan poems have been identified as concrete parodies of Hammer-Purgstall's translation of Hafiz. They are parodies in the full sense of the word, that is, they parody rhythm as well as content. Many others echo the content but ignore the rhythm of the model, being cast, instead, in some of the favorite meters of the old Goethe, such as the rhythms of the German and English ballads and the Spanish trochees of Calderon. Still others, as in the case of the present poem, parody the content of other Oriental models ( Jean Chardin's Voyage en Perse .... Amster- dam, 1735, cf. FA m, 295). But whereas the major portion of the Divan offers Eastern thought in Western guise, a goodly number of lyrics merely express Goethe's thought in the fashion of his gnomic poetry ( e. g. Nos. 20 and 27), without any reference to the Orient. In either case, whether East-Western or Western, ballad meters abound.
31. Dass du die gute Sache liebst. Title: none.
Date: 1814.
Text: JA rv, 135 and 312; DA xv, 11.
Group: Zahme Xenien, Buch rx.
Comment: Gnomic poetry of the "Zahme Xenien," cf. Nos. 20, 22.
Goethe and Music — Ballads 45
32. Dem Arzt verzeiht! Denn doch einmal.
Title: none. Date: 1823-1827.
Text: JA iv, 80; FA n, 233; DA xv, 368.
Group: Zahme Xenien, Buch v.
Comment: Gnomic poetry of the "Zahme Xenien," cf. Nos. 20, 22.
33. Dem Herren in der Wuste bracht. Title: An Schiller.
Date: June 13, 1797.
Text: JA m, 106 and 326; FA n, 406 and 490; DA xrv, 438. Group: An Personen.
Comment: An occasional and personal poem ( cf. Nos. 16 and 19 ), improvised to accompany a mineralogical specimen.
34. Dem Schutzen, doch dem alten nicht.
Title: Novemberlied,. Date: November, 1783.
Text: JA i, 36 and 313; FA i, 28 and 355; DA xrv, 251. Group: Lieder.
Comment: An occasional poem (cf. No. 16), written for several members of the Weimar court whose birthdays fell in the month of November.
35. Den hochbestandnen Fohrenwald.
Title: none. Date: 1814-1815.
Text: JA rv, 35; FA n, 192 and 451; DA xv, 103.
Group: Zahme Xenien, Buch I.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. Nos. 20, 22).
36. Der Dichter freut sich am Talent. Title: none.
Date: 1823-1828.
Text: JA rv, 103 and 299; DA xv, 385.
Group: Zahme Xenien, Buch vn.
Comment: Gnomic poetry of the "Zahme Xenien" ( cf. Nos. 20 and 22 ).
37. Der freudige Werther, Stella dann.
Title: none. Date: 1820-1822.
Texts: JA rv, 150 and 321; DA xv, 259.
Group: Invektiven.
Comment: Invective poem (cf. No. 16) against C. F. Nicolai who had written a travesty of Goethe's novel, Die Leiden des jungen Werther under the title, Die Freuden des jungen Werther. The poem is also directed against other authors who had similarly mistreated works of Goethe.
46 The New York Public Library
38. Der Kuckuck wie die Nachtigall.
Title: none. Date: 1827.
Texts: JA n, 265 and 361; DA xv, 409.
Group: Chinesisch-Deutsche Jahres- und Tageszeiten.
Comment: The heading under which these ballad quatrains are grouped indicates by its very name the poet's intention to parody Chinese thought and poetry in German forms. As in the case of the West-Eastern Divan earlier ( cf . No. 30 ) , Oriental tones and motives become trans- formed into German verse. Two of the fourteen poems are in ballad meter. In the same year Goethe wrote a short essay on Chinese literature which he opened with his own translation, in ballad meter, of a Chinese poem ( probably from a German prose version, cf . DA xi, 627 and xm, 303; also WA v part i, 50 and xlh, part i, 230). These free parodies of Eastern models were deliberate and conscious advances, on Goethe's part, in the direction of world literature. "I have been particularly absorbed by a Chinese novel," he exclaimed to Eckermann in 1827 ( B m, 337f . ) . After some remarks on the French lyrics of Beranger, he continued: "Poetry is a common treasure of humanity ... If we Germans do not look beyond the narrow confines of our particular environ- ment, we shall fall prey much too easily to pedantic conceit. That is why I like to look around among the foreign nations, and I advise everyone to do likewise. National literature does not mean much now, this is the time for an epoch of world literature, and everyone must contribute to the speedy coming of this epoch."
39. Der Storch, der sich yon Frosch und Wurm.
Title: Beruf des Storchs. Date: 1818-1819.
Texts : JA n, 152 and 316; DA xv, 207.
Group: Parabolisch.
Comment: The group "Parabolisch" was another heading under which Goethe filed away the gnomic and occasional poems of his old age (cf. Nos. 16 and 22). The present occasional poem was published posthumously.
40. Der Tempel ist euch auf gebaut.
Title: Kiinstlers Morgenlied. Date: 1772-1773.
Texts: JA n, 97 and 303; FA n, 13 and 421; DA xrv, 128. Group: Kunst.
Comment: A youthful expression of Goethe's artistic creed (cf. FA n, 421; also No. 17) in unrhymed ballad quatrains.
41. Der Teufel! sie ist nicht gering.
Title: none. Date: 1823-1827.
Texts: JA rv, 70 and 286; FA n, 224 and 458; DA xv, 323. Group: Zahme Xenien, Buch rv.
Comment: An occasional poem (cf. No. 16) from the "Zahme Xenien" (cf. No. 22). The person to whom these ballad quatrains refer has not been identified so far.
42. Der Turmer, der schaut zu mitten der Nacht. Title: Der Totentanz.
Date: April 18, 1813.
Texts: JA i, 135 and 344; FA i, 115 and 365; DA xrv, 628.
Group: Balladen.
Comment: One of the six poems in ballad meter which Goethe wrote in 1813 when he was sixty-four years of age. The renewed emphasis on the folk tone and folklore of balladry was significant in the poet's development.
Goethe and Music — Ballads 47
In the 1770s he had eagerly embraced the rhythm which he found in German and English secular and sacred models. This had been for him, above all, the tone for the supernatural world of the ballads and also for songs of worship. Most of the ballads of the young Goethe are in the traditional four-line stanza, where four and three stresses alternate, but several of them are cast in a seven-line stanza which is an extension of this basic form, as the folk-song parodv No. 5 and the sacred-song parody No. 9 show. This extended stanza consists of the usual ballad quatrain to which a three-line variation (4 stresses plus 4 stresses plus 3 stresses) was added. This modi- fication had for Goethe a distinctly German and popular character. He was familiar with it from the Lutheran hymnal where it occurs frequently ( cf . source ( 1 ) for parody No. 9 ) . And it was somewhat anticipated by the secular poems of Gunther and Burger who had added to the standard quatrain of the ballads a four-line extension (4 stresses plus 4 stresses plus 3 stresses plus 3 stresses). (Cf. DJG vi, 469; GJB xrv, 273; J. C. Gunther, Werke, ed. W. Kramer, i, 209; G. A. Burger, Gedichte, ed. A. Sauer, p. 170; E. Schmidt, Charakteristiken, 2 vols., Berlin 1901-1902, i, 219; Quellen und Forschungen, v. 97, Strasburg, 1905, p. 22 et passim.) But whatever the derivation of Goethe's rhythmic forms — and there can be little doubt that several models of similar sound patterns converged in his mind — the ubiquitous ballad quatrain and, to a lesser extent, its extension to seven lines, are metrical telltales of the young poet's enthusiasm for the folk songs of Germany and Britain. It is characteristic, therefore, that when Goethe, in the middle of his career, turned from his emulation of Northern ballads and hymns to the poise and symmetry of ancient Greece and Rome and of the French classicists, the ballad meter became rare among his forms of expression and the seven-line pattern disappeared almost completely. Out of some 160 poems in ballad rhythm, only a dozen were written between 1783 and 1813. The return, then, to balladry in 1813 heralds a return from the rationalism and classicism of his middle years to the irrationalism and romanticism of his youth.
The present poem is a good example of this new attitude in tone and content, since it employs once more the seven-line stanza and uses two folk motives: the dance of death and the lost shroud. Once Goethe had recovered his liking for and mastery of the ballads, it was not to leave him until his death. In the drama Des Epimenides Erwachen of 1814, a symbol of Goethe's rejuvena- tion, the final chorus proceeds in the popular quatrains; the rhythm looms large in the West- Eastern Divan (written largely, 1814-1815; cf. No. 30) and even more so in the Zahme Xenien (begun in 1815; cf. No. 22) as well as in the shorter collections of Goethe's gnomic and occasional poetry ( Nos. 16 and 20 ) .
43. Der Vorhang schwebet hin und her.
Title: Selbstbetrug. Date: 1802.
Texts: JA i, 20 and 309; FA i, 14 and 354; DA xrv, 495.
Group: Lieder.
Comment: Probably occasional (cf. No. 16), for the paintress Luise Seidler (FA i, 354).
44. Der Weihrauch, der euch Gottern gluht.
Title: none. Date: 1820-1822.
Texts: JA iv, 150 and 321; DA xiv, 260. Group: Invektiven.
Comment: Invective poem (cf. No. 16) against Nicolai and other detractors of the poet (cf. No. 37).
45. Die gate Sache kommt mir vor.
Title: none. Date: 1823-1828.
Texts: JA rv, 135 and 312; DA xv, 404.
Group: Zahme Xenien, Buch ix.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22), the ninth and last book of which was published posthumously. It concludes with four quatrains in ballad meter, and the emphasis which the editors have thus accorded the ubiquitous rhythm seems quite Goethean. The present poem is one of these four ballad quatrains, and its first line parodies No. 31.
48 The New York Public Library
46. Die Konigin steht im hohen Saal. Title: Wirkung in die Feme. Date: 1808.
Texts: JA i, 131 and 344; FA i, 111 and 364; DA xrv, 547.
Group: Balladen.
Comment: An occasional poem (cf. No. 16), directed ironically against the beliefs and speculations of Romanticism. One would expect to find it among the various collections of gnomic poetry (cf. No. 20) rather than with the "Balladen," which are, on the whole, more epic than reflective, more popular than satirical.
47. Die Nachtigall, sie war entfernt. Title: Landlich.
Date: 1825.
Texts: JA u, 123 and 308, m, 261 and 378; FA n, 149 and 443, 189 and 449, 450; DA xi, 249.
Group: Kunst.
Comment: A free re-creation from C. Fauriel's Chants populaires de la Grece moderne, Paris, 1824-1825, which offered modern Greek folk songs in the original, as well as in a French prose translation. Cf. Nos. 30 and 38, dealing with Goethe's Persian and Chinese parodies, for a discussion of the poet's interest in the folk literature of non-German peoples as part of world literature; cf. also Germanic Review xx, 1945, p. 257, for Slavonic parodies; further references FA n, 449.
48. Die Perle, die der Muschel entrann. Title: none.
Date: 1814.
Texts: JA v, 108 and 408; FA m, 116 and 331; DA xv, 23.
Group: West-ostlicher Divan, Buch der Parabeln.
Comment: Gnomic poetry from ihe West-ostlicher Divan ( cf . Nos. 20, 30 ) .
49. Die reitenden Helden vom festen Land. Title: none.
Date: 1823-1828.
Texts: JA rv, 128 and 309; DA xv, 400.
Group: Zahme Xenien, Buch rx.
Comment: Gnomic poetry of the "Zahme Xenien," cf. No. 22.
50. Die Wachter sind gebandiget. Title: none.
Date: 1819.
Texts: JA v, 227; FA m, 211 and 347; DA xv, 209; WA vn, 125 and 273.
Group : West-ostlicher Divan, Noten und Abhandlungen.
Comment: Improvisation in ballad meter which serves to frame ( 14 lines plus 4 lines ) another poem derived from J. v. Hammer's Fundgruben des Orients. For the West-eastern charac- ter of the Divan, cf. No. 30. For the present context cf . GJB x, 242-250.
51 . Dies f essle deine rechte Hand. Title: An Jane Carry le. Date: 1827.
Texts: JA in, 164 and 350; DA xv, 415.
Group: An Personen.
Comment: Occasional quatrain, sent together with a bracelet, to Thomas Carlyle's wife (cf. No. 19).
Goethe and Music — Ballads 49
52. Dies wird die letzte Tran nicht sein.
Cf. also: O Vater alles wahren Sinns. Title: Sehnsucht. Date: 1772-1775.
Texts: JA in, 228 and 366; FA n, 368 and 485; DA xiv, 159; WA iv, 95 and v, part n, 71. Cf. also JA m, 229 and 367; DA xrv, 123; WA rv, 164 and v, part n, 113.
Group: none.
Printed sources: (1) "O Vater der Barmherzigkeit " text by David Denicke ( 1603-1680), melody in Praxis pietatis melica. . . 1676 (and later editions). Text and melody are reprinted in Johannes Zahn's Die Melodien der deutschen evangelischen Kirchenlieder, Giitersloh, Bertels- mann, 1888-1893, 6 v., vol. rv, p. 158, no. 4698.
(2) "Aus tiefer Not schrei ich zu dir," text by Martin Luther, melody in TeutscJi Kirche- nampt. . . ., Strasburg, 1525 (reprinted, Zahn, op. cit., Vol. rv, p. 74, no. 4438a; cf. also vol. vi, p. 5, no. 14 ) .
(3) Johann Gottfried Schicht (1753-1823), Allgemeines Choralbuch. . ., Leipzig, Breit- kopf und Hartel, 1819. The melody of source ( 1 ) will be found on p. 45, no. 129; another melody for the text of source ( 2 ) on p. 175, no. 402.
(4) Allgemeines evangelisches Gesangbuch. Berlin, 1910 (Library of Congress: M 2138. A 43 ) . The text of source ( 2 ) is given to the melody of "War Gott nicht mit uns diese Zeit" on p. 202, no. 170 and to the melody of "Nun freut euch lieben Christen gmein" on p. 512, no. 402.
Classification: Sacred Song Parody.
Comment: There was an intermingling of sacred and secular tunes and rhythms for centuries before Goethe's time, with the result that the sacred song parody is apt to have a very mixed origin. Indeed, it becomes difficult to draw the line between the influence of a ballad and that of a hymn, and where both models have the same metrical pattern, as is the case in "Ihr lieben Christen allgemein" ( No. 9), the inseparableness of the "common meter" of sacred hymns and the rhythm of "spooky" ballads is obvious. The rhythmic identity of the alternating four and three stresses, which Protestant hymn books, both German and English, express by the numerals 8.7.8.7. (or such extensions as 8.7.8.7.8.8.7.), is one reason for this intimate relationship. In the basic four-line stanza eight syllables, four stressed and four unstressed, as in "O Va - ter der Barm - her - zig - keif ( stressed syllables are in italics as in Parody No. 3 ) alternate with seven syllables, three stressed and four unstressed, as in "Ich fal - le dir zu Fus - se."
Sometimes the second and fourth lines of a ballad or hymn quatrain do not contain an unaccented syllable after the third accent. In that case, the metrical scheme could be summarized as 8.6.8.6. An example of this rhythm will be found in Goethe's parody "Was gehst du schone Nachbarin." 25 Also, it is still proper to speak of ballad rhythm if the number of unaccented syl- lables between two stresses is more than one, as long as the basic alternation of four and three stresses is observed. For instance, in Parody No. 42, there are usually two unstressed syllables between every two stresses. In some ways, then, the syllabic count obscures the main rhythmic outline of a poem but since it is in general use in hymnals and is widely understood, it seems practical to employ it for this sacred song parody.
The 8.7.8.7. pattern fits the first four fines of Luther's "Aus tie - fer Not schrei ich zu dir" Source ( 2), as well as his "Nun freut euch lie - ben Christ - ten gmein" quoted under Source (4). Indeed, the very term "common meter" to describe the formula for so many sacred hymns in iambic rhythm signifies the widespread use to which it is put in the average hymnal. The preva- lence of the 8.7.8.7. quatrain and its extensions, in English and German folk ballads as well as in sacred song, makes well-nigh impossible a clear distinction between the two models. This is so because, in their simplicity and popularity, they did not present as heterogeneous a picture to Goethe and his fellow-poets at the end of the eighteenth century as they do by present-day criteria. In Parody No. 9, there are obvious echoes, in content and rhythm, of Percy's ballads and German folk songs, and, at the same time, the beginning of the song clearly harks back to the strains ( and words ) of Luther's hymn.
25 Cf . p. 16.
50 The New York Public Library
Of the two parodies under discussion here "O Vater alles wahren Sinns" follows a seven- line pattern which appends an additional three lines, 8.8.7., to the standard quatrain, 8.7.8.7. Its content and tone clearly suggest a sacred-song origin, and it is one of the very few poems in ballad meter that can be expressly cited as a hymn parody. The best modern editions of the lyric give the Lutheran hymnal as its source by printing above the parody the note "Melodie: O Vater der Barmherzigkeit." This latter poem, by the seventeenth-century poet Denicke, has proved to be popular up to the present time. According to A. F. W. Fischer's Kirchenlieder- Lexikon, Gotha, 1878, most major German Protestant hymnals contain this song, and a spot-check of some ten nineteenth- and twentieth-century collections in the Library of Congress shows that it is well represented, e. g. in sources ( 3 ) and ( 4 ) . In deference to the changing tastes of nearly three centuries it has been fitted to a multitude of tunes in the 8.7.8.7.8.8.7. pattern, of which the old and beautiful melody from Source ( 2 ) seems to be the most popular and also the most fitting musical counterpart. In the accompanying music example the upper staves reproduce the tune from Source (2) to which Denicke's text was adapted in the eighteenth and nineteenth centuries, while the lower staves give the melody to which it was sung in the seventeenth century. Both tunes are offered in the rather squarish rhythmic arrangement characteristic of hymn-singing in Goethe's time with occasional passing notes filling in melodic gaps. The arrangement of the tunes in Source ( 4 ) is rather typical in this respect.
The last line of Goethe's parody stanza (Fur Heuchlern und.fur Huren) is a typical ex- pression of the strong and unrefined language for which the young rebel poets of the 1770s were striving. Perhaps the archaic use of "fur" for the modern "vor" harks back to Luther's last line, "Wer kann, Herr, fiir dir bleiben?" Still, Goethe's line, with its aggressive lack of concern for convention, is more secular than sacred in character. Parody No. 9 demonstrates that a poem may represent a confluence of these seemingly divergent models. To start out in a sacred mood in the universal quatrain formula of 8.7.8.7. and to stray into bloody murder stories (the "Moritaten" of popular German literature) was in keeping with an old tradition. In the drama from which it is taken, Das Jahrmarktsfest zu Plundersweilen, Parody No. 9 is sung by a "Bankelsanger" (literally, the singer who stands on a small bench). The "Bankelsanger," hawking his broadsides, pointing with his staff at a large-scale illustration and, most important of all, singing the song from the broadside — this versatile .salesman of the eighteenth century was the successor of the Zeitungssinger, hawker of the rhymed sheets of the Renaissance, which blossomed forth abun- dantly after the invention of printing. From these early days on sacred songs and ballads were propagated through the same channels, and the melodies of the sheet songs were not infrequently borrowed from the hymnal. ( Wolfgang Kayser discusses the sacred components of the broadside ballads and supplies bibliographical references in his Geschichte der Deutschen Ballade, Berlin, 1936, p. 61 et passim. Cf. particularly the song "Es ist ge - wiss - lich an der Zeit," quoted by Kayser in conjunction with the sacred song of the same first line, reprinted Zahn, op. cit., Vol. m, p. 97.).
Against such an unrestrained background, then, Goethe inserted the colorful last fine in "O Vater alles wahren Sinn," but in deference to conventional taste withheld publication during his lifetime. The edition of Goethe's works brought out in Berlin by the publisher Hempel about 1870 was the first to include the poem.
No such break in tone occurs in the other parody of the same sacred model, "Dies wird die letzte Tran nicht sein," published with Goethe's approval, in 1793 by a friend of his youth, Clergyman Ewald of Frankfurt. Above the title of the parody Ewald printed the caption "Melodie: O Vater der Barmherzigkeit." The parody always remained one of Goethe's favorites. When the Princess Gallitzin quoted two lines from the third stanza with understanding and insight he wrote to F. H. Jacobi that he was "particularly pleased that this enigmatic poem had not missed its mark and had been first understood by a woman." ( GJB m, 282. )
In the accompanying music example, "Dies wird die letzte Tran nicht sein" appears as the second text under the lower staves. It is the only one of the four texts given that ignores the longer seven-line pattern. Therefore, it is necessary to return ta the beginning of the melody after the fourth line for the second and succeeding stanzas. Actually, the simple quatrain, 8.7.8.7. is the very core of both ballad and hymn tradition in Germany and England and by far outnumbers its seven-fine cousin. If we are correct in assuming that the melody for "O Vater der Barmherzigkeit" meant for Goethe and Ewald the same melody as that for Source (2), the music example offers
Goethe and Music — Ballads
51
four texts, all sung at different periods, to the tune of the upper staves, namely, the seven-line stanzas of Luther, Denicke and Goethe, and Goethe's second parody in quatrains.
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53. Dreihundert Jahre hat sich schon. Title: Dem 31. Oktober 1817. Date: 1817.
Texts: JA n, 172 and 326; FA n, 151 and 444; DA xv, 181. Group: Epigrammatisch.
Comment: Topical poem written for the tercentenary of the Reformation. Cf . No. 23, penned for the same occasion. Concerning the heading "Epigrammatisch," cf. No. 21.
52 The New York Public Library
54. Dreihundert Jahre sind vorbei.
Title: none. Date: 1821-1822.
Texts: JA rv, 57 and 280; FA n, 213 and 455; DA xv, 274. Group: Zahme Xenien, Buch m.
Comment: An echo of the tercentenary of the Reformation and a somewhat mellowed parody of No. 53. For the heading "Zahme Xenien," cf. No. 22.
55. Du gehst so freien Angesichts.
Title: none. Date: 1823-1827.
Texts: JA rv, 69; FA n, 223 and 458; DA xv, 322.
Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry of the "Zahme Xenien," cf. No. 22.
56. Du zierlicher Knabe du komm herein. Title: Dem Schenken.
Date: 1814-1815.
Texts: JA v, 98 and 404; FA m, 106 and 329; DA xv, 41.
Group: West-bstlicher Divan, Schenkenbuch.
Comment: The "Schenkenbuch" (book of the waiter) of the West-ostlicher Divan (cf. No. 30) blends elements of the Persian poetry of Hafiz and the concept of Eros from Plato's Sym- posium. The book as a whole has a distinctly personal flavor, since the young waiter of these poems was fashioned in part after an actual waiter whom Goethe encountered near Wiesbaden and in part after the charming young son of an orientalist and theologian from Heidelberg. The "Schen- kenbuch," then, is a group of occasional poems, cf. No. 16.
57. Ein guter Geist ist schon.genug. Title: An Julien. Zur Dresdner Reise. Date: April 21-22, 1820.
Text: JA m, 22 and 294; FA n, 269 and 468; DA xv, 228.
Group: Inschriften, Denk- und Sende-Blatter.
Comment: This group of inscriptions and souvenir poems was published by Goethe, with his own commentary, in 1827. It is clearly, like the group "An Personen" ( cf. No. 19 ), a collection of occasional lyrics with a distinctly improvisatory flavor. The present poem was a farewell gift to accompany Julie von Egloffstein on her journey to Dresden.
58. Ein Kavalier von Kopf und Herz. Title: Totalitat.
Date: 1814-1815.
Text: JA n, 158 and 319; FA n, 66 and 531; DA xv, 91.
Group: Epigrammatisch.
Comment: An occasional and sharply personal "epigram," cf. No. 21.
59. Ein Liebchen ist der Zeitvertreib.
Title: none.
Date: July 28, 1814.
Text: JA m, 134 and 335; DA xv, 54; WA v, part n, 362.
Group: An Personen.
Comment: From the same posthumous collection of occasional poems as No. 19. Taken from a letter to his wife in which Goethe called this improvisation "Lob der Gemiise" ( In praise of vegetables ) .
Goethe and Music — Ballads 53
60. Ein Madchen und ein Glaschen Wein.
Title: none. Date: 1779.
Text: JA vm, 48 and 333; DA vii, 730; WA xh, 12. Group: (lyric from the drama) Jery und Bateli.
Printed Source: A lyric from a song collection, popular in the eighteenth century (Sieben lustige Weltliche Lieder, No. 6 ) , reprinted by G. Ellinger ( GJB x, 238 ) :
Ein Madchen und ein Glaschen Wein, Das ist recht excellent! Doch muss ein Praktikus es seyn, Der gleich die Sorte kennt.
Classification: Rhythmical Parody.
Comment: For another borrowing from popular song to be found in the musical play Jery und Bateli, cf. the quatrain:
Ein Quodlibet, wer hort es gem, Der komme flugs herbei; Der Autor, der ist Holofern, Es ist noch nagelneu.26 and the couplet:
Pardonnez-moi! Ihr sehet mich Fur einen andern an.2?
Both the quatrain and the couplet are outright quotations from a popular ditty which occurs in a manuscript, dating from the middle of the eighteenth century ( GJB x, 237 ) . When the line "Ein Quodlibet, wer hort es gem" reappears towards the end of the play, other lines in ballad meter are grafted upon it so that this second ballad represents a parody. Similarly, the present ballad copies the first line of its model literally. This model occurs in another manuscript of the eighteenth century, and G. Ellinger ( GJB x, 238 ) quotes only the text of the older song. Whether or not a tune is extant I do not know.
Such quotations and parody appropriations of well-known material were a deliberate procedure on Goethe's part. He wished to enrich his singspiel by three kinds of song: the familiar, the expressive, and the dramatic dialogue. In a letter to the composer Kayser (December 29, 1779), describing these three genres in detail, Goethe remarked of the first: ". . .three kinds of song occur [in Jery und Bateli]. First, songs where one supposes that the singer has learned them by heart somewhere and now makes use of them in one situation or another ..."
61. Ein Mann, der Tranen streng entwohnt.
Title: none. Date: 1820-1822.
Text: JA rv, 58 and 280; FA h, 213 and 455; DA xv, 275.
Group: Zahme Xenien, Buch m.
Comment: Gnomic poetry of the "Zahme Xenien/> cf. No. 22. The ancient belief that tears, the expression of grief, functioned as a potent liberation from grief, was dear to Goethe's heart. In the famous poem "Die Leidenschaft bringt Leiden," written for the pianist Maria Szymanovska, he praises "Den Gotterwert der Tone wie der Tranen" (the divine value of tones and tears). For other prominent appearances of this thought in Goethe's work, cf. the commentaries to the present lyric in JA and FA.
Ein Quodlibet, wer hort es gern. Cf . No. 60.
26 JA vm, 54, and DA vn, 735; the first line is repeated in JA vm, 67, and DA vn, 745.
27 JA vm, 54, and DA vn, 735.
54 The New York Public Library
62. Ein Ritter wohnt in diesem Haus.
Title: none. Date: 1771.
Text: JA xxiv, 59; FA xvi, 50; DA m, 527; WA xxvm, 78.
Group: (lyric from) Dichtung undWahrheit.
Comment: Another improvisation in ballad meter in honor of Shakespeare, quoted by Goethe in his autobiography, cf. No. 2. Goethe and his fellow-poet Lenz were attracted by the whimsical humor of the bard's clowns' songs, their extravagance and, above all, their puns. In the present poem, the play upon the word "Rittmeister" and its two component parts "Ritt" and "Meister" represents an attempt to pay tribute to Shakespeare by creating new and original puns ("Wir suchten auch durch Originalspasse unsern grossen Meister zu feiern"), whereas Lenz's free translation from Loves Labour Lost, in the same rhythm (the second source of Parody No. 2 ) , was more directly derived from its model.
63. Ein Schnippchen schlagst du doch im Sack.
Title: none. Date: 1823-1827.
Text: JA rv, 86 and 291; FA n, 239 and 461; DA xv, 373.
Group: Zahme Xenien, Buch v.
Comment: Gnomic poetry of the "Zahme Xenien," cf. No. 22.
64. Ein strenger Mann, von Stirne kraus.
Title: Mullner. Date: 1818-1819.
Text: JA rv, 148 and 320; DA xv, 206.
Group: Invektiven.
Comment: Invective poem (cf. No. 16) against Adolf Mullner, editor of the Liter aturblatt.
65. Ein Veilchen auf der Wiese stand. Title: Das Veilchen.
Date: 1773.
Text: As a single poem, JA i, 102 and 337; FA i, 87 and 363; DA xrv, 125. As a lyrical insertion in the musical play, Erwin und Elmire, DJG v, 48, and vi, 455; JA vm, 158 and 347, also xi, 13; FA vm, 87 and 565; DA vn, 375, also vm, 182.
Group: Balladen.
Comment: First published, with Johann Andre's music, in 1775. For reprints of the musical settings by Andre, Kayser, Reichardt and Mozart, cf. SchGG xi, 12-19 and 133-135; xxxi, 20 and 228. The basic rhythm of this ballad is the three-line extension described in Nos. 42 and 52. This extension ( 4 stresses, plus 4 stresses, plus 3 stresses ) may be syllabically indicated in the manner of the hymnals as 8.8.7. or 8.8.6. (cf. No. 52). Or, in focusing upon the stresses rather than on the number of syllables, its scheme may be summarized as 4-4-3. ( A period indicates the count of syllables, e. g., 8.8.7., and a dash indicates the count of stresses, e. g., 4 4 3.) The basic stanza of the present ballad is 4-4-3-4-4-3, a doubling of the popular 4-4-3 pattern. But with typical eighteenth-century sentiment (or, shall we say, sentimentality? ) this scheme of six lines is interrupted by a short ejaculation before the last line. The stanza thus becomes 4-4-3-4-4 [-2]-3.
Texts that mix lines of 4 and 3 stresses may be fitted to tunes originally intended for lines of 4 stresses only, and vice versa. On purely rhythmic and musical grounds, the difference between an iambic poem which inserts 3-stress lines between 4-stress lines and an iambic poem which proceeds exclusively in lines of 4 stresses is slight. Prosodically, the line of 3 stresses in the pattern 4-4-3 lasts as long as the other lines when spoken, because it is followed by a rest. In musical settings, the last unaccented syllable after the third stress often receives an accent so that a line such as "Es war ein her-zigs VeiZ-chen" becomes transformed into "Es war ein her- zigs Veil-chen" (italics indicate stresses, cf. No. 3). This is true of Mozart's famous composition
Goethe and Music — Ballads 55
as well as of those of Andre and Kayser. Now, such musical considerations constitute more than a mere footnote to the nature of the underlying rhythmical structure. Goethe's "Lieder," "Gesellige Lieder," "Balladen" — in fact, the bulk of his purely lyrical poetry, in contrast to his more con- templative verse — was intended to be sung, not spoken. He expressed himself in no uncertain terms on this score, and the contemporary records prove that his famous phrase "Nur nicht lesen, immer singen," is more than a fagon de parler. It follows that, in scanning " Veil-chen" not "Veil- chen," the composers of Goethe's generation, sharing his aesthetics on poetry-and-music, re- vealed in their music what the letterpress concealed; namely, the basic rhythmic structure. Of course, "Das Veilchen" is merely one instance of many. Goethe's and Holty's parodies of Pa- pageno's air 28 scan "Red-hch-keit" and "Nach-ba.-rin" where Papageno's text reads "Weifc-chen," which is musically, and, therefore, actually "Weib-chen." Or, in Parody No. 52, the appendix 4-4-3 is musically 4-4-4, and Luther's text is scanned "blei-ben."
Such interchanges and adjustments among "wandering melodies" occur with frequency both in secular and in sacred practice. In popular hymns and ballads the basic units of time are of about equal length. They may be approximately defined as two full measures of music in average tempo. (In writing music, expedience sometimes determines the use of longer or shorter note values. In consequence, the number of measures per unit must be modified accordingly.) In the popular tradition these basic musical ( or rhythmic ) units are filled with lines of text of either 4 or 3 stresses. In the latter case, the remaining fraction of time is either filled in with a rest ( as in Reichardt's "Veilchen" ) or the last syllable of the line receives an additional stress ( the more frequent procedure, followed in Mozart's, Kayser's and Andre's "Veilchen"). The flexi- bility of this practice allows free interchange of popular texts and tunes and is one of the main springs of the parody tradition.-
The plot of the Singspiel in which "Das Veilchen" occurs is an elaboration and modification of an English ballad in the traditional ballad rhythm, 4-3-4-3. Goethe found the source in one of his favorite novels, Goldsmith's The Vicar of Wakefield, where the story of Edwin and Angelina in the eighth chapter is told in ballad quatrains ( cf . DJG vi, 452 ) . The immediate sources for the lyric, however, are German rather than English. This lyrical scene with its soft sentiments is reminiscent of Goethe's famous "Heidenroslein," itself a parody of a German folk song. But whereas the heather-rose is plucked by a boy, it is a girl who destroys the violet which longs to die for her and near her, as does her sentimental lover. It has been plausibly suggested ( DJG vi, 455) that this curious shift of sex and attitude was derived from another German lyric, v. Bismarck's "Lalage," published in the Leipziger Musenalmanach of 1772. The rhythm of this piece, a succession of 4-stress lines, comes close to the ballad variant 4-4-3.
In summary, "Das Veilchen" may be classified as a parody (in rhythm and content) of "Lalage," from the 1772 Almanac. It is also a parody (in content) of Goethe's own "Heiden- roslein." And, finally, it is a lyric from a play which developed out of an English ballad.
66. Erinnr' ich mich doch spat und fruh. Title: Landlich.
Date: 1821.
Text: JA n, 124 and 308; FA n, 150 and 444; DA xv, 259. Group: Kunst.
Comment: An occasional quatrain (cf. No. 16), probably written for Marianne von Willemer.
Erst singen wir "Der Hirsch so frei." Cf. No. 2.
67. Es geht eins nach dem andern hin.
Title: none. Date: 1815-1818.
Text: JA v, 38 and 353; FA ra, 53 and 307; DA xv, 156; WA vi, 79 and 390. Group: West-ostlicher Divan, Buch der Betrachtungen.
Comment: This parody will be discussed in connection with the Sacred Song Parody, "Ich hab mein Sach auf Nichts gestellt."
28 Cf. p. 16.
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68. Es hatt* ein Knar/ eine Taube zart. Title : Dilettant und Kritiker. Date: 1773.
Text: JA n, 135 and 312; FA n, 29 and 424; DA xiv, 126.
Group: Parabolisch.
Comment: An occasional and gnomic poem from the same group of parabolical lyrics as Nos. 24 and 39. FA suggests Herder's criticism of Goethe's Gctz as the occasion for this discussion of the critic as the enemy of the naive creator. Rhythmically, the poem begins in the conventional ballad meter 4-3-4-3 and continues in 4-4 lines ( cf . No. 65 ) . While both of these meters fit the traditional ballad tunes ( cf . No. 65 ) , irregular scansion interrupts the traditional tone in the dramatic section of the poem where the fox kills the doe ( lines 15-22 ) .
Es ist doch meine Nachbarin. Cf. No. 4.
69. Es lehrt ein grosser Physikus.
Title: none. Date: 1823-1828.
Text: JA rv, 102 and 299; DA xv, 384. Group: Zahme Xenien, Buch vn.
Comment: A gnomic quatrain of the "Zahme Xenien" (cf. No. 22), directed against Newton's optical theories ( cf . No. 24 ) .
70. Es stent ein junger Feigenstock.
Title : Erklarung einer antiken Gemme, Date: 1814-1815.
Text: JA n, 132 and 310; FA n, 26 and 424; DA xv, 84.
Group: Parabolisch.
Comment: A parabolical poem of gnomic character, cf. No. 68.
71. Es war ein Kind, das wollte nie.
Title: Die wandelnde Glocke. Date: May 22, 1813.
Text: JA i, 132 and 344; FA i, 112 and 364; DA xv, 630.
Group: Balladen.
Comment: Another of the six poems written in ballad meter in 1813. For a discussion of the significance which the return to the tone and content of balladry held for the poet's development, cf. the comment on "Der Totentanz" (No. 42). "Die wandelnde Glocke" is an improvisation employing the traditional ballad quatrain 4-3-4-3 (cf. No. 65), the simplicity of the tone being admirably suited to the content of the ballad which partakes both of the fantastic and the jocular.
Es war ein Knabe frech genung. Cf. No. 5.
72. Es war einmal ein Hagestolz. Title: Pygmalion, eine Romanze. Date: 1766-1767.
Text: JA m, 200 and 361; FA n 348 and 483; DA xrv, 40; DJG i, 230 and vi, 36.
Group: (Liederbuch) Annette.
Comment: One of Goethe's earliest poems in ballad meter, written at the age of seventeen, while a student in Leipzig (about four years before his meeting with Herder). The clever and polished lines of those early days have none of the sweep and depth that He in the Strasbourg
Goethe and Music — Ballads 57
lyrics. Under Herder's leadership Goethe re-created the ballads of Shakespeare, of Percv, and of German folk song, retaining the folk tone, while the works of his adolescence were produced in the shadow of the German Anacreontic poets, of Wieland and Gleim. This, then, is an Anacre- ontic ballad, akin to Glenn's "Nachbarin" (the second source for No. 4). It is neat, gracious, polished — and a trifle shallow.
73. Freund, wer ein Lump ist, bleibt ein Lump. Title: Axiom.
Date: 1779.
Text: JA rv, 111 and 303; DA xrv, 214. Group: Zahme Xenien, Buch vni.
Comment: Occasional and gnomic poetry of the "Zahme Xenien," cf. No. 22. Probably directed against C. Kaufmann, cf. No. 18.
74. Gar manches artig ist geschehn. Title: Landlich.
Date: 1821.
Text: JA n, 124 and 308; FA n, 150 and 444; DA xv, 281.
Group: Kunst.
Comment: From a group of quatrains (cf. Nos. 47 and 66), occasional in character (cf. No. 16), published under the title, "Landlich." The present lines, containing a reference to the summer residence of the Willemer family, were mailed to Marianne von Willemer on October 31, 1821.
75. Geht einer mit dem andern hin.
Title: Gleichgewinn. Date: March 18, 1821.
Text: JA n, 182 and 329; FA n, 159 and 445; DA xv, 262. Group: Epigrammatisch.
Comment: This parody will be discussed in connection with the Sacred Song Parody, "Ich hab mein Sach auf Nichts gestellt."
76. Geld und Gewalt, Gewalt und Geld. Title: none.
Date: 1823-1828.
Text: JA rv, 135 and 312; DA xv, 404.
Group: Zahme Xenien, Buch ix.
Comment: One of the four ballad quatrains (cf. No. 45) with which the ninth and last book of the "Zahme Xenien" concludes. These lines on despotism are characteristic of the gnomic tone of the entire collection, cf . No. 22.
77. Gern war ich Uberliefrung los. Title: none.
Date: 1823-1827.
Text: JA rv, 98 and 296; FA n, 250 and 463; DA xv, 382.
Group: Zahme Xenien, Buch vi.
Comment: Book vi of the "Zahme Xenien" (cf. No. 22) was the last of the group that Goethe himself had published. It appeared in 1827, five years before his death, profiting from the poet's own editing, whereas the posthumously published Books vn through rx contain much material that was not sufficiently refined for publication. With Book vi, then, Goethe concluded the bulk of his gnomic poetry insofar as it could be considered ready for print. The body of the book deals with the individual's grasp of the external world, with various scientific theories on optics, geology, and meteorology, which Goethe hoped might offer an answer to the eternal riddle
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of the universe. But its conclusion (lines 1800-1843 in JA, FA, and WA) returns to the human center of these scientific explorations. What was the essence of individuality, of originality? Following a lifelong practice in which Goethe saved for the conclusion' of a work the gold nugget of his thought, the last strains of his "poems of wisdom" suggest an answer to these questions. In the case of the "Zahme Xenien" trie poet's ultimate message reasserts the unique synthesis of the individual, a single and unified microcosm molded from a multitude of inherited and acquired traits. This thought is expressed in four lyrics (lines 1800-1815, 1816-1823, 1824- 1835, 1836-1843) of which numbers two and three are in ballad quatrains, framed by numbers one and four (lines 1800-1815, 1836-1843) in lines of four stresses. Goethe's discussion of originality and its implications is actually an uncanny self-analysis and contains some of his most oft-quoted lines. His ironical complaint that he finds it difficult to rid Tiimself of tradition and to be completely original (lines 1816-1819) concludes (1832-1835) with the rhetorical question: if none of the inherited elements can be isolated, is there anything original about the whole fellow? These ballad quatrains express a problem which pre-occupied Goethe with in- creasing concern as he grew older. In the year of his death he said to a French visitor ( B rv, 431 ) :
"J'ai recueille souvent la moisson que d'autres avaient semee, mon ceuvre est celle d'un etre collectif et elle porte le nom de Goethe."
He analyzes this etre collectif in the famous lines:
Vom Vater hab ich die Statur, From father have I stature,
Des Lebens ernstes Fuhren, The earnest conduct of life,
Vom Mutterchen die Frohnatur From mother my merry nature,
Und Lust zu fabulieren. This love for telling tales.
In his perspicacious discussion of these quatrains Eduard Sievers ( cf . Oskar Walzel, Gehalt und Gestalt, Berlin, 1923, p. 103 ) shows how Goethe's word-musio first imitates his father's, then his mother's, diction. That he should use the rhythm of the ballads for these distinguished strains indicates the attraction which the traditional measure held for him, not to mention its all-embracing usefulness. Finally, we must not lose sight of the fact that Goethe's definition of himself and his ancestors applies equally well, and even more significantly, to his work. His poetry is an itre collectif which, in content and rhythm, harbors all kinds of models, widely scattered in nationality and epoch. "Is there anything original about the whole fellow?" About his parodies? The answer to this question lies in our own esthetic judgment. When Goethe felt that a Rhenish folk song "required emendation," 29 did he improve upon his model? Do "Heidenroslein" and "Erlkonig" represent poetic gains over the older versions? Has world literature profited from the passionate emulation of Shakespeare and of Percy's ballads on the part of the German Sturm und Drang? Or, to focus upon the raison d'etre of this study: was it worth while for Goethe to sing new songs to old tunes and rhythms? It is my hope to have supplied at least some of the source material for the proper answer.
78. Grenzlose Lebenspein.
Title: none. Date: 1823-1827.
Text: JA rv, 67 and 284; FA n, 221 and 457; DA xv, 321.
Group: Zahme Xenien, Buch rv.
Comment: Political, gnomic poetry of the "Zahme Xenien," cf. No. 22.
Hab oft einen dumpfen dustern Sinn. Cf. No. 6.
79. Habt ihr das alles recht bedacht.
Title: none. Date: 1820-1822.
Text: JA rv, 55 and 279; FA n 211; DA xv, 272. 29 Cf . p. 9 ff.
Goethe and Music — Ballads 59
Group: Zahme Xenien, Buch m.
Comment: Gnomic poetry of the "Zahme Xenien," cf. No. 22. The rhythm is that of the ballad variation 4-4-3-4-4-3, cf. No. 65.
80. Halte dich nur im stillen rein.
Title: none. Date: 1823-1827.
Text: JA rv, 75 and 287; FA n, 228 and 459; DA xv, 327.
Group: Zahme Xenien, Buch rv.
Comment: Boucke (FA) rightly praises this ballad quatrain as one of the most dis- tinguished lyrics of the "Zahme Xenien" and lists other poems of the same underlying philosophy. Concerning the gnomic character of the entire collection, cf. No. 22.
81. Hans Adam war ein Erdenkloss. Title: Erschaffen und Beleben. Date: June 21, 1814.
Text: JA v, 9 and 328 and p. xxvii; FA m, 26 and 295; DA xv, 38.
Group: West-ostlicher Divan, Buch des Sangers.
Comment: Another ballad from the Divan, cf. No. 30; in fact, the oldest poem in that collection. It is clearly a lyric to be sung, not one to be spoken or silently read; in fact, it is a German drinking song in the tradition of the "Gesellige Lied." Among the parodies discussed so far, a goodly number were collected by Goethe under the heading "Gesellige Lieder": "Was gehst du schone Nachbarin," "Du prophetscher Vogel du," "Mich ergreift, ich weiss nicht wie," 3° — lyrics that sing of wine and chivalry, characteristic of the general tone and content of the group. The "Gesellige Lieder," it will be remembered, were largely inspired by the cour d'amour, a Round Table initiated by Goethe, reminiscent of minnesinger and troubadour days. They are, in effect, community songs, a condition which of itself almost necessitated the parody technique, since amateurs could not be expected to sing new lyrics at sight except to well-known tunes. The most successful director of such social songs was Goethe's friend, the Berlin composer Zelter. He had been the moving spirit and assistant conductor of a singing club ( Singe-Tee ) which, in 1792, was transformed into the famous Berlin "Singakademie," the same organization which in 1829 rendered the epoch-making performance of Bach's St. Matthew Passion. In 1808 the energetic Zelter founded a pioneer male singing society, called "Liedertafel," which gave rise to similar organizations all over the country for a century to come. For the present study the importance of Zelter's "Liedertafel" lies in the fact that from its beginning the "Gesellige Lieder," which Goethe had written earlier for his cour d'amour of Weimar, found a place in the organi- zation's repertoire. Because of their improvisatory, occasional nature Goethe was pleased to supply more and more of the merry parodies for his friend's glee-club. "Ergo bibamus" was one of these drinking songs. As Konrad Burdach has shown in J A, the first poems of the Divan were written for actual performance by this musical organization, including the present ballad which was published singly with Zelter's musical setting (Liedertafel, Berlin, 1818, p. 318) before the whole collection of the Divan appeared in print in 1819.
"Hans Adam war ein Erdenkloss" was written in the early summer of 1814, when Goethe's productive capacity had reached new heights after the comparatively stagnant years of the Napoleonic wars. The folk ballads of 1813 (cf. Nos. 42 and 71) initiated a striking rejuvenation which was to produce, in addition to the lyrical collections of the Divan and the "Zahme Xenien," the musical dramas Des Epimenides Erwachen and Der Lowenstuhl. This high pitch of poetic excitement and productivity continued during the summer of 1814, for on June 7th Hammer's translation of Hafiz arrived; two weeks later the first Hafiz parody was written (the present No. 81 ), and by the end of August thirty poems were completed. Not only were the early poems of the Divan intended for immediate musical adaptation and performance, but their very in- ception took place in an intensely musical atmosphere. The little bathing town of Berka, near Weimar, where Goethe stayed from May until July, boasted as superintendent of baths, an accomplished organist, J. H. F. Schutz who almost daily played keyboard compositions of Goethe's favorite composers, Mozart and Bach. These recitals were deliberately planned to
30 p. 14, 16, 18.
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function as a musical stimulant in order to assist the dramatic and lyrical productions of 1814. Such musical nourishment had often been commissioned by the poet, notably for Iphigenie in 1779 and the Maskenzug in 1818.
During these long summer months at Berka composers beat a veritable path to Goethe's door. Zelter was there, intent on setting to music the drama Die Weisen und die Leute. B. A. Weber came from Berlin to talk about his composition of Epimenides for the Berlin Nationaltheater. K. Eberwein, in charge of Goethe's weekly musicals, arrived to submit his setting of Proserpina for the poet's approval. (Goethe turned the score for him on this occasion and delivered the verse with such fire and sweep that the young conductor found it difficult to maintain his pace. ) F. Moltke, singer and composer, came to render his own and Reichardt's settings of Goethe's lyrics, and, in turn, received some coaching in enunciation and expression. These and other musical activities, including the recitals of Schiitz 31 must be recognized as a significant source for the writing of the West-Eastern Divan, for the inspiration which Hammer's Eastern Hafiz (cf. No. 30) provided was supplemented by a branch of Western song, a very German branch, one may add.
The model of the present ballad will be found in Hammer's translation of Hafiz:
Die Sau - er - ung von A - dams Stoff, Nichts an - ders ist der Trin - ker Tun
which Goethe parodies
Hans A - dam war ein Er - den - kloss, Den Gott zum Men - schen mach - te
substituting the traditional ballad pattern 4-3 for the model's 4-4, an interchange frequently carried out to the same tune with poems of iambic measure (cf. No. 65). Hammer's edition of Hafiz also inspired Goethe with other elements of his thought and rhyme scheme, cf . par- ticularly the concept and the sound of the word "Klumpen" in Hammer's notes, reprinted in JA and FA.
82. Hat Welscher-Hahn an seinem Kropf .
Tide: none. Date: 1814-1815.
Text: JA rv, 39 and 273; FA n, 197 and 451; DA xv, 108.
Group: Zahme Xenien, Buch i.
Comment: Gnomic poetry of the "Zahme Xenien," cf. No. 22.
Herein, o du Guter! du Alter, herein! Cf . No. 7.
83. Hier sah ich ihn, hier sah ich zu.
Tide: none. Date: 1815.
Text: JA m, 37 and 301; FA n, 284 and 470; DA xv, 152. Group: Inschriften, Denk- und Sende-Blatter.
Comment: From the same group of occasional poems as No. 57. The present ballad quatrain was sent to Count K. F. Reinhard, together with a view of Frankfurt.
84. Hoch auf dem alten Turme stent.
Title: Geistesgruss. Date: July 18, 1774.
Text: JA i, 62 and 321; FA i, 51 and 358; DA xrv, 144; DJG, 100 and 109, and vi, 370. Group: Lieder.
31 For a more complete account of the crowded musical life at Berka during Goethe's sojourn in 1814 cf. B; Riemer; also H. G. Graef's essay "Goethe in Berka" (Goethe, Leipzig, 1924); also JA v, p. xxvii.
Goethe and Music — Ballads 61
Comment: An improvisation in ballad quatrains, dictated during a boat trip on the river Lahn, in view of the ruins of the old castle of Lahneck. The rhythmic rocking of boats on the water inspired two of Goethe's most successful ballad improvisations: his famous "Ich saug an meiner Nabelschnur" (later revised as "Und frische Nahrung, neues Blut") and the present lyric. During the Lahn journey of 1774 and later on a boat trip on the Lake of Zurich in 1775 a rhyming game, called bouts rimes gave rise to these ballads. The game required the first player to note down a number of rhymed words which were to terminate the poetic lines which the second player was obliged to fill in. The genesis of both ballads suggests that the motion of the boat is at first transferred to the iambic pattern 4-4-4-4. In keeping with their holiday spirit the poet and his companions — Lavater accompanied Goethe on both occasions — improvised some inconsequential lines at the beginning, but Goethe's muse soon became inspired to proceed from dribble to poetry, and he then cast the improvisations in his favorite meter, 4-3-4-3. ( Numerals indicate stresses, cf. No. 65.) The manuscript diaries of Lavater for 1774 (DJG rv, 108-113) and of Goethe for 1775 (DJG vx, 483-485) have preserved the stages of the game for us. Lavater jotted down three rather lame couplets in 4-4 rhythm before he noted: "Wonderful old castle Lahneck gleaming down on the Lahn. Goethe dictates.
Hoch auf dem alten Turme steht Des Helden edler Geist. . ."
It has been demonstrate^ in No. 65 that iambic poems of the pattern 4-3 and 4-4 may be hummed to the same tune and are easily interchangeable. In the present instance this can be done by taking Reichardt's musical setting (SchGG xi, 30), which accommodates itself quite naturally both to the rhyming jokes evoked by the holiday spirit (4-4) and to Goethe's ballad (4-3).
The poet's fondness for the traditional ballad meter is shown in still another improvisation from the Lahn journey. In the poem, "Zwischen Lavater und Basedow" ( JA n, 158 and 319; FA n, 68 and 432), Goethe tried his hand at the Knittelvers, the meter of Hans Sachs. But after twenty-seven lines of improvising in this meter he suddenly concludes with a ballad quatrain ( "Und, wie nach Emmaus, weiter gings" ) . In his autobiography he ignores the first twenty-seven lines but quotes the quatrain in full.
What makes "Hoch auf dem alten Turme steht" particularly successful is that the ballad tone accommodates a rather abrupt change of thought in the last stanza. This striking indifference to external logic is characteristic of the English and German folk ballads which Goethe took as models, in contrast to the neat unfolding of action or mood traditionally associated with the favorite meters of Germany before the Sturm und Drang movement.
85. Ich begegnet einem jungen Mann. Title: Neologen.
Date: 1814-1815.
Text: JA n, 136 and 312; FA n, 30 and 425; DA xv, 89. Group: Parabolisch.
Comment: An occasional and gnomic poem from the same group as Nos. 68, 39, and 24, directed against the neologisms of the Romantic movement.
86. Ich fuhrt einen Freund zum Maidel jung. Title: Kenner und Enthusiast.
Date: 1774.
Text: JA n, 103 and 304; FA n, 19 and 423; DA xrv, 149. Group: Kunst.
Comment: From the same group as Nos. 17 and 40. Another expression of the artistic creed of the young Goethe in ballad quatrains.
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87. Ich habe geliebet, nun lieb ich erst recht. Title: Gewohnt, getan. Date: April 19, 1813.
Text: JA i, 79 and 330; FA i, 66 and 361; DA xiv, 629. Group: Gesellige Lieder.
Printed Source: "Ich habe geliebt, nun lieb ich nicht mehr," reprinted by Woldemar von Biedermann, Goethe und Leipzig, 2 parts in 1 v., Leipzig, 1865, part n, p. 84:
Ich habe geliebt, nun lieb ich nicht mehr! Vertrauend auf Worte und Schwure Und schuldlos ehrliche Augen, Betrog mich bald Madchen, bald Freund. Du bauest auf Sand, wenn auf Liebe Und Freundschaft dein Gliick du bauest. — Ich habe geliebt, nun lieb ich nicht mehr!
Comment: Goethe himself has characterized this song as a "parody." 32 It was a spon- taneous improvisation induced by the rhythm and first words of a model whose literary and spiritual weakness called for emendation.
The lyric was immediately intended for musical performance: "Here is the song you asked for. . .A melody to fit it is easily found. When I return [Mile. Ernestine] Engels shall receive me with it" (Christiane 588). Goethe was fond of the soprano voice of Mile. Engels, both in performances at the Weimar theater and at musicales in his own house. She was good at adapting a new text to an old tune and frequently assisted the poet in the performance of his parodies, e.g., in connection with "Alles kundet dich an," "Donnerstag nach Belvedere," etc.
Because of its merry and improvisatory musical aspect Goethe included the song with the group, "Gesellige Lieder" (cf. No. 81). However, in terms of the poet's stylistic development, it belongs rather with the "Balladen" of 1813. With these it shares the rhythm, and the new vigor, with which Goethe returned to balladry in that year ( cf. No. 42; also Nos. 7, 71, 90, 111 ). He had left Weimar on April 17th to travel to the Bohemian bathing spa of Teplitz. On that day he wrote, at Eckartsberga, the ballad "Der getreue Eckart" ( No. Ill ) in a stanza that twice employs the pattern 4 4 3 (numerals indicate stresses per line; cf. No. 65). It was his reaction to a Thuringian folk story that his secretary John had just related. Goethe's use of the popular German pattern 4 4 3 is particularly pronounced in the spring of 1813. On the following day, which was Easter Sunday, Goethe reached Leipzig and attended a performance of the reciter Solbrig. From him he heard the sentimental lyric "Ich habe geliebt, nun lieb ich nicht mehr," which prompted him to write his wife (Christiane 571) that the lachrymose sentimentality of the song had been very disturbing, ". . .no applause whatsoever, and we left quickly. For our pleasure, however, we wrote down in suitable rhymes the legend of 'The Dance of Death' which August [i.e., Goethe's son] had narrated earlier." This refers to No. 42 above which appends the three-line extension 4 4 3 to the conventional ballad quatrain 4-3-4-3. Solbrig's recitation had indeed disturbed and challenged the poet, and his reaction must needs take a more positive and productive form. Continuing his journey on April 19th, he stopped for lunch at Oschatz. "We found a passable inn and there wrote a parody of Solbrig's song [eine Parodie des Sol- brigschen Lieds], it begins Teh habe geliebt, nun lieb ich erst recht.' " Solbrig's song was cast in seven-line stanzas of the rhythm 4-3-3-3-3-3-4. Goethe's parody retained the first six words and, like its model, employed lines of four as well as of three stresses. But, again, as on the preceding two days, he made use of the pattern 4 4 3. The six-line stanza consists of two such units.
Of the three ballads written on the three Easter days of 1813, their common rhythmic shape is but one of the aspects that unites them. Written in such close succession they are proof, once more, of the unfailing success of the technique of parody and improvisation as a recipe for the poet's productivity. His alert and sensitive insight could re-create with these tools three illustrious ballads, adapted in turn from the Thuringian folk tale told by his secretary, the children's legend narrated by his son, and the dispirited "Ich habe geliebt" offered by a professional reciter. To
32 Cf. p. 8.
Goethe and Music — Ballads 63
Zelter he wrote with philosophical assurance on May 3, 1813: "I enclose a little song, a parody on the most miserable of all German songs, 'Ich habe geliebt, nun lieb ich nicht mehr.' Were poetry not an inward and inevitable operation, independent of external circumstances, these stanzas could not have been written in these days. But I think the time will come again when you [and your Berlin friends] will dine and sing, and so I dedicate to you this trifle so out of tune with the times." Indeed, during the dark days of Napoleon's campaign in 1813 Goethe found much comfort in his parody technique, which seemed always ready to sustain his poetic muse.
88. Ich kenn ein Bliimlein Wunderschon. Title: Das Bliimlein Wunderschon. Date: June, 1798.
Text: JA i, 108 and 340; FA i, 91 and 363; DA xrv, 457. Group: Balladen.
Comment: This parody is discussed in connection with the Sacred Song Parody, "Ich hab mein Sach auf Nichts gestellt" (No. 179).
89. Ich rufe dich, verrufnes Wort.
Title: none. Date: 1814-1815.
Text: JA rv, 33 and 271; FA n, 191 and 450; DA xv, 102.
Group: Zahme Xenien, Buch i.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). This is one of the ballad quatrains which open the "Zahme Xenien." The collection concludes in the same measure ( cf . No. 77). This formal structure points to the importance, well considered on the poet's part, of the ballad rhythm for the entire group. The "xenion" is the "verrufenes Wort" ( discredited word) of the first line, called upon to perform the job of house-cleaning on the various matters of the day ( "Ordnung des Tages" of the second line ) . Thus Goethe emphasizes the occasional character of the "Zahme Xenien" ( cf. No. 22 ).
90. Ich weiss, dass mir nichts angehort. Title: Eigentum.
Date: December, 1813.
Text: JA i, 67 and 325; FA i, 56 and 360; DA xrv, 642.
Group: Lieder.
Printed Source: J. G. Jacobi's translation of a passage from Beaumarchais' Fragment de mon voyage en Espagne. The translation was published in 1774 and is reprinted J A i, 326: "Weiss ich nicht, dass nichts mir wirklich auf dieser Welt gehort als der Gedanke, den meine Seele hervorbringt, und der Augenblick, dessen ich geniesse?"
Comment: In 1774 Goethe wrote his drama Clavigo, which is closely identified with, and at times literally follows, Beaumarchais' Fragment. Upon this parody of a French model he grafted a conclusion, drawn from English and German balladry. When the poet recounted the remarkable speed of this improvisation in his autobiography (cf. No. 25) he quoted no less a personage than Shakespeare as his distinguished precursor in such outright borrowing. In all probability it was while dictating the relevant portions of his autobiography in 1813 that Goethe re-examined Jacobi's German translation of Beaumarchais and transformed Jacobi's prose passage into a poem in ballad meter. He had read the original French version in 1774 but now, nearly forty years later, seems to have confined himself to the rather inaccurate German translation. Of the twenty-four words in Jacobi's passage, fourteen re-appear in the poem. (They have been italicized in the quotation given above.) As a whole, Goethe followed his source quite closely. Beaumarchais praises the moment in which we enjoy our thoughts (la pensee que je forme et le moment ou fen jouis), while the translator extols the processes of thought and the enjoyment of the fleeting moment (und der Augenblick dessen ich geniesse). Jacobi's passage, in spite of its inaccuracy, apparently appealed to Goethe for whom the mastery of the fleeting moment was an important philosophic concept. He considered his parody as a significant expression of his thought and beyond its incidental use in a souvenir album in 1813 he employed it twice
64 The New York Public Library
with considerable prominence. When he appealed to the Diet of the Germanic Confederation for protection against unauthorized reprinting of his writings he wrote a letter ( WA, 4th division, v. 39, p. 127 ) in which he quoted the lyric as a motto for his collected works. Moreover, when he arranged the group entitled "Lieder" for publication, he concluded it with the famous poem "Liebchen, kommen diese Lieder," preceded by the present parody. It was Goethe's practice to reserve the lyrics he considered most significant for the concluding portion of a group of poems or of a novel or of a drama ( cf . No. 77 ) . Thus the two last "Lieder" are true expressions of the poet's creed. "Liebchen" admonishes eloquently: "Do not read, always sing, and each page of my poetry will be thine." And "Ich weiss" extols individual artistic expression and the happy moment bestowed by a loving fate.
The song is one of the six ballads written in 1813, five of which employ the metrical pattern 4—4-3 (cf. No. 65).. For a discussion of the meaning of the ballads of that year in the poet's development, cf. No. 42 (also Nos. 7, 71, 87, 111).
91. Ihr Bestien, ihr wolltet glauben. Title: none.
Date: 1823-1828.
Text: JA rv, 122; DA xv, 396.
Group: Zahme Xenien, Buch vnr.
Comment: Gnomic poetry of the "Zahme Xenien" ( cf. No. 22)."
92. Ihr konnt mir immer ungescheut. Title: none.
Date: 1819.
Text: JA rv, 110 and 302; DA xv, 389.
Group: Zahme Xenien, Buch vn.
Comment: Occasional and gnomic poetry of the "Zahme Xenien" (cf. Nos. 22 and 173).
Ihr Lieben Christen allgemein. Cf. No. 9.
93. Ihr lieben Leute, bleibt dabei. Title: none.
Date: 1814.
Text: JA v, 58 and 369; FA in, 71 and 315; DA xv, 28.
Group: West-ostlicher Divan, Buch der Spriiche.
Comment: Gnomic poetry from the West-ostlicher Divan (cf. Nos. 48 and 30).
94. Ihr seht uns an mit scheelem Blick. Title: none.
Date: 1823-1827.
Text: JA iv, 81 and 290; FA n, 234 and 460; DA xv, 369.
Group: Zahme Xenien, Buch v.
Comment: Occasional and gnomic poetry of the "Zahme Xenien" ( cf . No. 22 ) . Rhythmically the nine lines of the lyric are derived from the pattern 4-4-3 and proceed 4 4 3 4 4 3-2-2-3 ( numerals indicate stresses per line; cf . No. 65 ) .
95. Im Felde schleich ich still und wild. Title: Jagers Abendlied.
Date: December, 1775.
Text: JA i, 64 and 323; FA i, 53 and 359; DA xrv, 181. Group: Lieder.
Comment: This is the last of the poems in which Goethe expressed his impassioned love for Lili Schdnemann. The short dedicatory lyric which accompanied his Stella. A Drama for
Goethe and Music — Ballads 65
Lovers when it arrived on Lili's doorstep a few months later was merely a token of affectionate, yet retrospective, gratitude. (For the chronology of the Lili songs, cf. Ewald Boucke, FA n, 496 f . ) "Im Felde," on the other hand, still proclaims his love, though it is a love clouded by melancholy.
Goethe and Lili met in January, 1775, and became engaged in April, the only time in his life that the poet experienced the role of a fiance. Yet, as early as May he tore himself awav from the attractive Frankfurt girl and journeyed to Switzerland where he found in the rhythm of the deseterac the poignant lyrical shape for his feelings of love and guilt. Promptly he wrote "Wenn ich, liebe Lili, dich nicnt liebte." (For the model of the deseterac parodies, cf. Germanic Review xx [1945], p. 258. ) Upon his return to Frankfurt in July the lovers were reunited, but the engagement was finally broken in the early autumn, and in November Goethe left Frankfurt and Lili to settle in Weimar. There he wrote the two last lyrics to his love. "Angedenken du verklungner Freude" is still cast in deseterac and betrays the fresh wound in its poignant strains. But the ballad quatrains of the second lyric, "Im Felde schleich ich still und wild," depict a curious intermingling of tempestuous unrest and a newly-found quiet. For this dramatic juxta- position the traditional meter was particularly apt. Throughout his turbulent love affair with Lili the music of the language reflected Goethe's feelings faithfully, and it is significant that he sang his swan song in ballad strains.
Two cross references to other portions of this study are in order here. It will be seen in the comment to No. 120 how abruptly Goethe changed from iambic ballad meter to trochaic measure when he spoke of his love for Lili. Further, the curious and dramatic intermingling of unrest and quiet in 'Tm Felde" was one that Goethe expected to be carefully observed when he coached a singer in the performance of Reichardt's composition of the lyric33 An interesting parody of Goethe's song with Reichardt's music, by Sophie Mereau is recorded GJB vi, 331.
96. Im Vatikan bedient man sich.
Title: none. Date: 1820-1822.
Text: JA n, 147 and 314; FA n, 169 and 447; DA xv, 260.
Group: Parabolisch.
Comment: Gnomic poetry from the same group of parabolical lyrics as No. 68.
97. Im Zimmer wie im hohen Saal. Title: An Angelica Catalani. Date: August 14, 1818.
Text: JA m, 143 and 339; DA xv, 197.
Group: An Personen.
Comment: From the same occasional group as No. 19. For further references in Goethe's work to the renowned soprano Angelica Catalani, cf. the indices in WA and ZG. About the singer herself, cf . the standard dictionaries of music.
98. In grossen Stadten lernen fruh. Title: Kinderverstand. Date: 1768.
Text: JA m, 213 and 363; FA n, 360 and 485; DA xrv, 67; DJG i, 355, and vi, 71.
Group: Neue Lieder.
Comment: The Neue Lieder in Melodien gesetzt von B. Th. Breitkopf were the first collection of Goethe's poetry to appear in print (October, 1769). Modestly, the name of the poet does not appear on the title page nor anywhere else in the volume. Nevertheless, it is signifi- cant of his future poetic writings that Goethe's first publication brought together the sister arts of poetry and music. For an evaluation of Breikopf as a composer, cf. Max Friedlander's comments (SchGG xi, 130), Albert Koster's essay accompanying the facsimile edition of the Neue Lieder
33 Cf . p. 20 f .
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(Leipzig, 1906), and the other literature listed by Ewald Boucke (FA n, 485). Cf. also the reprint, mentioned s. v. No. 101.
"In grossen Stadten lernen f riih" is one of Goethe's earliest ballads ( cf . No. 72 ) . As Erich Schmidt has shown (GJB m, 322), its cynical attitude is obviously derived from fashionable trifles of the day. The rhythmical pattern of Goethe's stanza is 4-3-4-3 [-3-3] -4-4-3, i.e., a ballad quatrain at the beginning and the familiar three-line extension at the end. Two lines of three stresses each are inserted in the middle. So far, no metrical model has been found.
99. 1st Konkordat und Kirchenplan.
Title: none. Date: 1823-1828.
Text: JA rv, 126 and 308; DA xv, 399.
Group: Zahme Xenien, Buch rx.
Comment: Occasional and gnomic poetry of the "Zahme Xenien" (cf. No. 22).
100. Johannisfeuer sei unverwehrt.
Title: none.
Date: June 23, 1804.
Text: JA rv, 80 and 290; FA n, 234 and 460; DA xrv, 525.
Group: Zahme Xenien, Buch v.
Comment: An occasional poem, improvised on St. John's Eve (June 23rd) and later in- corporated into the gnomic poetry of the "Zahme Xenien" ( cf . No. 22 ) . From the time of pre- Christian celebrations of the summer solstice ( cf . No. 29 ) the tradition of St. John's Eve has maintained its hold upon peoples into our own time. Its manifestations in the worship of nature in defiance of convention appear literally all over the map. Most familiar instances to the Western world are Shakespeare's Midsummer Night's Dream and Scott's Eve of St. John, the Johannisnacht episode in Wagner's Meistersinger, Gogol's Eve of St. John and Stravinski's Petrouchka (cf. Notes of the Music Library Association n [1945], p. 99). If one is also to recognize the custom of lighting bonfires on the hilltops of Vermont on June 23rd, then the universality of merrymaking when nature is at the peak of her fertility is beyond question.
To Goethe this ballad improvisation was a symbol of nature eternally reborn ( cf . B m, 323; also FA xvm, 345). The folk tone of the ballads was the perfect rhythmical expression for a potent folk tradition.
101. Jiingst schlich ich meinem Madgen nach. Title: Das Schreien.
Date: 1766-1767.
Text: JA m, 206 and 360; FA n, 354 and 484; DA xi, 203; DJG i, 236, and vi, 37. Cf. also DJG i, 246, and vi, 44. Cf. also JA m, 212 and 363; FA n, 359 and 485; DJG i, 352 and vi, 68.
Group: (Liederbuch) Annette.
Printed Source: A poem by Christian Felix Weisse, reprinted in Martin Sommerf eld's Goethe, Leiden, 1935:
Ich war bei Chloen ganz allein, Und kiissen wollt ich sie. Jedoch sie sprach: sie wiirde schrein, Es sei vergebne Muh!
Classification: Rhythmical Parody.
Comment: Again one of Goethe's earliest ballads from his student days in Leipzig (cf. Nos. 72, 98 ) . It bears the subtitle, "Nach dem Italienischen" ( after the Italian ) , and for a long time commentators were mystified by this remark ( JA m, 360; DJG vi, 37 ) . Actually, as Som- merfeld has shown, the lyric is a parody, in rhythm and content, of Weisse's little poem. Weisse was less distinguished than either Wieland or Gleim, the other German mentors of Goethe's
Goethe and Music — Ballads 67
Anacreontic poetry (cf. No. 72). However, as a stepping stone in the poet's development, he cannot be ignored.
Goethe revised the poem later and included it in the Neue Lieder of 1769 ( cf . No. 98 ) . A variant of this revision will be found DJG i, 246. Breitkopf s composition from the Neue Lieder is reprinted SchGG xi, p. 3; also in Goethes Leipziger Liederbuch. . .neu bearbeitet von Gunther Raphael, Leipzig, n. d. [1932], p. 9.
102. Kann die Vorsicht grosser sein.
Title: none. Date: 1823-1828.
Text: JA iv, 119; DA xv, 394.
Group: Zahme Xenien, Buch vm.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
103. Liebe Mutter, es wird zu arg.
Title: none. Date: 1815-1818.
Text: JA m, 143 and 339; DA xv, 185. Group: An Personen.
Comment: An occasional poem from the same group as No. 19. Probably for Goethe's daughter-in-law.
104. Mag jener dunkelhafte Mann.
Title: none. Date: 1775.
Text: JA xxrv, 174; FA xvi, 139 and 563; DA xiv, 158; DJG v, 33, and vi, 447.
Group: Lyric from Dichtung und Wahrheit.
Comment: Occasional and invective poem against Nicolai's Freuden des jungen Werther ( cf . No. 37 ) . This lyric is in regular ballad quatrains of the pattern 4-3-4-3 ( cf . No. 65 ) . Another ballad improvisation on the same subject, "Ein junger Mensch, ich weiss nicht, wie," starts out with two three-line units of the form 4 4 3, but continues in lines of four stresses.
105. Man lauft, man drangt, man reisst mich mit!
Title: none. Date: May, 1782.
Text: JA n, 187 and 331; DA xrv, 239; Charlotte i, 455 and 643.
Group: Epigrammatisch.
Comment: An occasional poem from the same group as No. 21.
106. Mein altes Evangelium. Title: Sendschreiben. Date: 1774.
Text: JA n, 105 and 304; FA n, 21 and 422; DA xrv, 154.
Group: Kunst.
Comment: From the same group as Nos. 17, 40, 86. Another expression of the artistic creed of the young Goethe. The first twelve lines originally belonged to No. 17 and are in ballad quatrains. The remainder (lines 13-42) is cast in the Knittelvers of Hans Sachs. The Knittelvers proceeds in lines of four stresses, but does so with more irregularity and flexibility than the fashionable songs of the eighteenth century which were in the rhythm 4-4. Bismarck's "Lalage" and Goethes "Veilchen" (cf. No. 65) are instances of the latter, while examples of the more irregular Knittelvers will be found in Goethe's "Es hart' ein Knab eine Taube Zart" (No. 68) and "Zwischen Lavater und Basedow" (referred to s. v. No. 84). In both of these poems, as in the present lyric, Goethe switches from ballad quatrains to Knittelvers. ( For a further dis- cussion of Knittelvers cf. Germanic Review xx [1945], p. 243.)
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107. Memento moril gibts genug.
Title: Schwebender Genius iiber der Erdkugel.
Date: 1825-1826.
Text: JA n, 127 and 310; DA xv, 346.
Group: Kunst.
Comment: Gnomic poetry (cf. Nos. 20 and 22).
108. Nehmt nur mein Leben hin in Bausch.
Title: none, Date: 1823-1827.
Text: JA rv, 72 and 286; FA n, 226 and 458;- DA xv, 325.
Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
109. Nicht Augenblicke steh ich still.
Title: none. Date: 1823-1828.
Text: JA rv, 102; DA xv, 417.
Group: Zahme Xenien, Buch vn.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
110. Nur fort, du braune Hexe, fort I Title: Der Mullerin Reue. Date: August-September, 1797.
Text: JA i, 125 and 342; FA i, 106 and 364; DA xrv, 448.
Group: Balladen.
Comment: Shortly after Goethe had heard Paesiello's comic opera Die Mullerin, he wrote a trilogy of miller ballads ( cf . B rv, 398 ) in an endeavor to establish dialogues in song form as a poetic genre (cf. Schiller i, 426.) Ballad rhythms occur in each of the three lyrics, either as simple quatrains (4-3-4-3) or as modifications of the seven-line stanza 4-3-4-3 4 4 3 (cf. Nos. 65 and 42). The first song of the trilogy concludes with a quatrain ( JA i, 120, lines 29-32); the second lyric shortens the seven-line stanza to the design 4-1-4-1-4-4 (JA i, 120-122); and the present ballad which concludes the trilogy conforms to the popular pattern exactly, except that it shortens the fourth line: 4-3-4-2 4 4 3.
O Vater alles wahren Sinns. Cf . No. 52.
111. O war en wir weiter, o war ich zu HausI Title: Der getreue Eckart.
Date: April 17, 1813.
Text: JA i, 133 and 344; FA i, 113#and 364; DA xrv, 627.
Group: Balladen.
Comment: One of the six ballads, written in the year 1813. For a discussion of the meaning of the ballads of that year for the poet's development, cf. No. 42 (also Nos. 7, 71, 87, 90). The metrical pattern is 4-4-3-4-4-3 as with Nos. 87 and 90. Concerning the origin and background of this ballad, cf. our account of the three Easter days of 1813, s. v. No. 87. For older accounts of the Eckart-saga, cf. GJB rx, 235. Apparently Goethe's secretary John offered the poet a local variant.
Pardonnez-moi! Ihr sehet mich. Cf . No. 60.
Goethe and Music — Ballads
112. Reingewaschen in Lammesblut. Title: none.
Date: 1820-1822.
Text: JA iv, 152 and 323; DA xv, 258. Group: Invektiven.
Comment: Occasional poetry from the "Invektiven" (cf. Nos. 16, 18, 37, 64). The metrical pattern is 4-4-3 4 4 3 (cf. No. 65).
113. Seit vielen Jahren hab ich still.
Title: Ins Einzelne. Date: 1820-1821.
Text: JA n, 174 and 327; FA n, 153 and 444; DA xv, 252.
Group: Epigrammatisch.
Comment: Gnomic poetry from the group "Epigrammatisch" (cf. No. 21).
114. Setze mir nicht, du Grobian.
Title: Dem Kellner. Date: July 1, 1814.,
Text: JA v, 98 and 404; FA m, 106 and 329; DA xv, 41. Group: West-ostlicher Divan, Schenkenbuch.
Comment: One of the earliest ballads of the Divan and; like No. 81, a drinking song (cf. JA v, p. xxvn).
115. Sie fahrt in alles rasch hinein. Title: Isis.
Date: 1816.
Text: JA rv, 155 and 325; DA xv, 175.
Group: Invektiven.
Comment: Occasional poetry from the "Invektiven" (cf. No. 16).
116. Sie haben wegen der Trunkenheit.
Title: none.
Date: September 29, 1815.
Text: JA v, 98 and 404; FA m, 107 and 329; DA xv, 132.
Group: West-ostlicher Divan, Schenkenbuch.
Comment: Another ballad from the "Schenkenbuch," in praise of drinking (cf. No. 114). However, unlike Nos. 114 and 81 this is clearly not a song for Zelter's "Liedertafel" or any other social gathering; rather it is a thoughtful and carefully wrought poem in praise of the capacity for enthusiasm. The metrical pattern is that of the ballads, the recurrent rhyme is in imitation of the ghazal-form of Oriental lyrical poetry (cf. No. 30).
117. Sie maltratieren dich spat und fruh.
Title: none. Date: 1823-1827.
Text: JA rv, 80 and 289; FA n, 233 and 460; DA xv, 367.
Group: Zahme Xenien, Buch v.
Comment: Occasional and gnomic poetry of the "Zahme Xenien" ( cf . No. 22 ) .
So rissen wir uns rings herum. Cf. No. 123.
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118. So schliessen wir, dass in die Lang.
Title: none. Date: 1810-1812.
Text: JA iv, 32 and 270; FA n, 62 and 431; DA xiv, 603.
Group: Sprichwortlich.
Comment: Gnomic poetry of the group "Sprichwortlich" (cf. No. 22). This collection of proverbial sayings was published in 1815. After some 600 lines it winds up with three quatrains of which the present is the first: "So schliessen wir. . ." (Thus we conclude. . . ). Thus, once again, Goethe employed the ballad rhythm with final emphasis ( cf . Nos. 45, 77, 90 ) .
119. Thou knowst how happily thy friend.
Title: A Song over the Unconfidence toward Myself. To Dr. Schlosser. Date: May, 1766.
Text: JA m, 225 and 365; DA xrv, 28; DJG i, 131, and vi, 21.
Comment: This is Goethe's earliest ballad, and by a happy omen it was originally written in the English language. (Goethe was then a student at Leipzig, and not yet seventeen years of age. ) In retrospect it thus points symbolically to the importance of. the English ballad tradition for Goethe, for Germany, and for European literature.
For the details of the poet's readings in Shakespeare and Young, I refer to DJG where further literature is cited. DJG also offers an accurate reproduction of the young Goethe's English orthography which is surprisingly good. The "Song" survives in a letter of May 11th to his sister Cornelia. It is written entirely in the tongue of Shakespeare, except for an occasional lapse into Italian or French phrases. A postscript reads: "Are they not beautifull, sister? Ho yes! Senza Dubbio."
The Age of Enlightenment was ripe for the unkempt and irrational melancholy of Shakespeare, Percy and Young. Particularly illuminating as to the role English poetry played in continental Europe is the paragraph in which Goethe introduced the song to his sister:
"Many time I become a melancholical one. I know not whence it comes. Then I look on every man with a starring owl like countenance. Then I go in woods, to streams, I look on the pyed daisies on the blue violets, I hear the nightingales, the larks, the rooks and daws, the cukow; And then a darkness comes down my soul, a darkness as thik as fogs in the October are. . . In like a situation of my soul, I make english verses. . .english verses, that a stone would weep. In that moment thou shalt have of them. Think on it sister thou art a happy maiden, to have a brother who makes english ve[r]ses. I pray thee be not haughty thereof."
To the student of poetry and music in Goethe's work the passage abounds in anticipations of the poet's later development, particularly his liking for "darkness" that the German Sturm und Drang movement was so eagerly to espouse. Yet, with all due scholarly enthusiasm, interesting and charming as the poem is, great it is not. Goethe did not write great ballads until he met Herder at Strassburg, four and a half years later. But the "Song" remains valuable as an indication of one of the main sources of Goethe's balladry and as proof of the miraculous ease with which his ear caught the music of poetry — in any language. The lines'
I hum no supportable tune I can no poet be
are but one of the hundreds of instances in which poetry is interpreted in musical terms. To this mode of interpretation Goethe remained true until the end of his life when he wrote to Wilhelm Humboldt (sixty-six years later) that in his Faust the conscious and the unconscious intertwined as in a musical score.
120. Und frische Nahrung, neues Blut. Title: Auf dem See.
Date: June 15, 1775.
Text: JA i, 50 and 318; FA i, 41 and 357; DA xrv, 164. Group: Lieder.
Goethe and Music — Ballads 71
Comment: These are again ballad quatrains improvised during a boat trip on the Lake of Zurich in the course of the rhyming game of bouts rimes; cf. "Geistesgruss" ( No. 84). The almost identical circumstances under which both "Auf dem See" and "Geistesgruss" were written are discussed in the commentary to the latter poem. The main sources for "Auf dem See" are DJG vi, 483-485, and SchGG xxn, plate 13.
Goethe started the rhyming game with a trochaic quatrain of the pattern 4 4 11 ( nu- merals indicate stresses per line; cf. No. 65). The manuscript then made the rounds among the other writers and musicians in the boat. Five of the poet's companions switched from trochaic to iambic rhythm, still of the design 4 4 4 4, and only the composer Kayser followed Goethe's trochaic model. When the notebook returned to Goethe, he at first accepted the iambic scansion that had prevailed in the rather insignificant bouts rimes written so far. However, as in "Geistes- gruss," he modified the design from 4^A to 4—3 thus arriving at the traditional ballad meter of which he was so fond. In that rhythm he wrote two quatrains which expressed his feeling of oneness with the universe and at the same time conveyed a sense of the motion of the rocking boat. (Parenthetically it should be noted that the original wording of the first two lines, "Ich saug an meiner Nabelschnur // Nun Nahrung aus der Welt" [At my navel chord I suck fresh food from the world], loses in spontaneity what it gains in polish in the final version.) An abrupt change of thought is reflected in an equally sudden change of meter when, after these first eight lines, Goethe speaks of his love for Lili in the trochaic stanza in which he opened the rhyming game. The rare mastery by which the poet conveyed his emotions through the rhythm and other means of the music of the language has elicited the admiration of some of our most sensitive critics.34
The poem merits a more prolonged consideration but, unfortunately, the complexity of Goethe's intense feeling for Lili (to which reference is made in our comment on "Im Felde," No. 95), and the subtlety of the rhythmic and melodic means of language is such, that an ade- quate discussion would go beyond the confines of this study.
121. Und sollst auch du und du und du.
Title: none. Date: 1814-1815.
Text: JA rv, 33 and 271; FA n, 191 and 450; DA xv, 102. Group: Zahme Xenien, Buch I.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). This is one of the Quatrains which open the collection (cf. No. 89).
122. Und wenn er ganz gewaltig niest.
Title: none. Date: 1823-1827.
Text: JA iv, 68 and 258; FA n, 222 and 458; DA xv, 322. Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). The metrical pattern is 4-4-3-4-4-3 (cf. Nos. 65 and 111).
123. Verflucht sei, wer nach falschem Rat.
Title: Epimenides' Erwachen, letzte Strophe. Date: 1815 or afterwards.
Text: JA iv, 131 and 311; WA v, part i, p. 147.
Group: Zahme Xenien, Buch rx.
Comment: The rejuvenation of Goethe's muse which began in 1813 and which was re- flected in his return to the popular tone of balladry is discussed in our comment to No. 42. Reference is also made there to the final chorus of the drama Des Epimenides Erwachen, cast in
34 Cf. Oskar Walzel, Gehalt und Gestalt, Berlin, 1923, p. 238.
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ballad quatrains. This chorus, "So rissen wir uns rings herum," gave Goethe an opportunity to address his nation, at the conclusion of a patriotic play, with rousing strains that were both popular and occasional. (For the importance of the "occasional" elements in the poet's lyrics, cf. No. 16; for Goethe's technique of reserving a significant message for the conclusion of a work, cf. No. 90.) For such an event it was natural enough to write verses that would fit an existing and therefore presumably known tune. And indeed, the stage remark for the conclusion of Epimenides reads: "Great picturesque group at the end. Final chorus after the given melody" (nach der gegebenen Melodie). (Cf. WA xvi, 516, and FA vin, 606.) "So rissen wir," then, is a parody in which the poet expresses his joy over his country's liberation after the Napoleonic wars. Its strains are popular and confident, and one observer went so far as to suggest that the last stanza be adopted as the German national anthem ( FA vrn, 607 ) .
When the unproductive and selfish bickerings of the Congress of Vienna destroyed the hope of freedom which Goethe had cherished along with his nation and the rest of Europe, he bitterly returned to the ballad tune and to the faith of the final chorus from Des Epimenides Erwachen and created a parody of the parody, entitling it "Epimenides' Erwachen, letzte Strophe" (Epimenides' Awakening, last stanza). In it he castigated the Germans for practicing might as against right, just as Napoleon had done. These disenchanted lines were published posthumously in the ninth book of the "Zahme Xenien" ( cf . No. 22 ) .
124. Verliehet ihr den goldnen Kranz.
Title: An die Frankfurter Freunde. Date: November 12, 1825.
Text: JA m, 156 and 344; DA xv, 225.
Group: An Personen.
Comment: An occasional poem from the same group as No. 19. There is some dispute between the editors of DA, JA and WA as to the date of the lyric, but the suppositions of JA seem most reasonable.
125. Verstanden hat er vieles recht. Title: Grabschrift, gesetzt von A. v. J. Date: 1823-1828.
Text: JA rv, 135 and 312; DA xv, 405. Group: Zahme Xenien, Buch ix.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). The last of the four quatrains which conclude the ninth book of the collection ( cf . No. 45 ) .
126. Verwandte sind sie von Natur.
Title: none. Date: 1823-1828.
Text: JA rv, 155 and 325; DA xv, 344. Group: Invektiven.
Comment: Invective poem (cf. No. 16) against Wolfgang Menzel, the successor of Mullner ( cf . No. 64 ) as editor of the Literaturbhtt.
127. Verwiinschter weiss ich nichts im Krieg.
Title: Kriegsgluck. Date: February 14, 1814.
Text: JA i, 85 and 331; FA I, 71 and 361; DA xv, 14. Group: Gesellige Lieder.
Comment: Another merry, improvisatory song from the "Gesellige Lieder" (cf. Nos. 81,87).
Goethe and Music — Ballads 73
128. Verzeiht einmal dem raschen Wort.
Title: none. Date: 1814-1815.
Text: JA rv, 34 and 271; FA n, 191 and 450; DA xv, 102. Group: Zahme Xenien, Buch i.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). This is one of the quatrains which open the collection (cf. Nos. 89, 121).
129. Vier Tieren auch verheissen war. Title: Begunstigte Tiere.
Date: February 22, 1815.
Text: JA v, 125 and 420; FA m, 130 and 336; DA xv, 82. Group: West-ostlicher Divan, Buch des Paradieses.
Comment: Another ballad from the West-Eastern Divan (cf. No. 30). Concerning the details of Goethe's Oriental models for this lyric, cf . the commentaries of JA and FA.
Vom Vater hab ich die Statur.
Cf . No. 77.
130. Von Osten will das holde Licht.
Title: Dem 30. Januar 18 — . Date: January 30, 1814.
Text: JA m, 6 and 286; FA n, 254 and 464; DA xv, 12. Group: Inschriften, Denk- und Sende-Blatter.
Comment: An occasional ballad quatrain from the same group as No. 57, improvised on the occasion of a visit of the Russian Empress at Weimar.
131. Von Sangern hat man viel erzahlt.
Title: Dank des Sangers. Date: December 29, 1815.
Text JA n, 234 and 348; FA n, 113 and 439; DA xv, 152.
Group: Loge.
Comment: Another ballad improvisation, recited by Goethe's son August before the Free- mason Lodge "Amalia" (cf. No. 28; also the literature cited FA n, 438). The first two stanzas consist of 7 lines each, of the pattern 4-3^1-3-4-4-3 (cf. No. 65). The last stanza of 8 lines consists of two ballad quatrains.
132. Von wem ich es habe, das sag ich euch nicht.
Title: VorGericht. Date: 1778 or earlier.
Text: JA i, 118 and 342; FA i, 100 and 364; DA xrv, 198. Group: Balladen.
Comment: A ballad with obvious overtones of the folk tradition. The plight of the deserted girl, for instance, is reminiscent of the English and German sources for No. 5.
133. Vor vierzehn Tagen harrten wir.
Title: Feier der Geburtsstunde des Erbprinzen Karl Friedrich, den 15. Februar 1783, gegen Morgen. Date: February 15, 1783.
Text: JA m, 97 and 323; DA xrv, 243.
Group: AnPersonen.
Comment: An occasional lyric from the same group as No. 19.
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134. Voss contra Stolberg! ein Prozess. Title: none.
Date: 1819-1820.
Text: JA iv, 149 and 321; DA xv, 222. Group: Invektiven.
Comment: An invective and occasional poem from the same group as No. 16. Regarding the topical occasion, cf. Journal of English and Germanic Philology l ( 1951 ), p. 53.
135. Warm wird der Herr seine Freunde sehen.
Title: none. Date: 1823-1827.
Text: JA rv, 63; FA n, 217 and 457; DA xv, 317.
Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
136. War schoner als der schonste Tag.
Title: none. Date: 1827.
Text: JA n, 266 and 361; DA xv, 410. Group: Chinesisch-Deutsche Jahres- und Tageszeiten.
Comment: Another lyric, in two ballad quatrains, from the same group as 'Der Kuckuck wie die NachtigalT (cf. our comment s. v. No. 38).
137. Warum willst du das junge Blut.
Title: none. Date: 1823-1827.
Text: JA rv, 64 and 283; FA n, 218 and 457; DA xv, 318.
Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry of the "Zahme Xenien" ( cf. No. 22).
138. Warum willst du dich von uns alien.
Title: none. Date: 1814-1815.
Text: JA rv, 33 and 271; FA n, 191 and 450; DA xv, 102. Group: Zahme Xenien, Buch i.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22). This is one of the quatrains which open the collection (cf. Nos. 89, 121, 128).
139. Was alle wollen, weisst du schon.
Title: An Hafis.
Date: September 11, 1818.
Text: J A v, 23 and 341; FA m, 39 and 301; DA xv, 199.
Group: West-ostlicher Divan, Buch Hafis.
Comment: Another ballad from the West-Eastern Divan (cf. No. 30). Here Goethe praises his model, Hafiz, and parodies, in content, several Oriental motives, such as the comparison between the beloved and a cypress tree. But beyond that, "the poem attempts to make an effect analogous to that of the poetry of Hafiz: its audacity of expression (in grammar as well as in imagery), the flowing transitions, and the formulations of thought are the means of achieving that effect" (Konrad Burdach, JA v, 342).
Goethe and Music — Ballads 75
140. Was brachte Lokman nicht hervor.
Title: none. Date: 1814.
Text: JA v, 60 and 370; FA m, 72 and 316; DA xv, 29. Group: West-ostlicher Divan, Buch der Spriiche.
Comment: A gnomic ballad quatrain from the West-Eastern Divan (cf. No. 30). In con- tent, a parody of several Oriental models, listed in FA.
Was gehst du, schone Nachbarin. Cf . No. 13.
141. Was haben wir nicht fur Kranze gewonnen. Title: none.
Date: 1814.
Text: JA rv, 131 and 311; FA vm, 336 and 598; DA xv, 402. Group: Zahme Xenien, Buch rx.
Comment: Three ballad quatrains, occasional and gnomic, from the "Zahme Xenien" (cf. No. 22).
142. Was hatte man vom Zeitungstraum. Title: none.
Date: 1823-1827.
Text: JA rv, 75 and 287; FA n, 228 and 459; DA xv, 327.
Group: Zahme Xenien, Buch rv.
Comment: Gnomic poetry from the "Zahme Xenien" (cf. No. 22).
143. Was hor ich draussen vor dem Tor.
Title: Der Sanger. Date: 1775-1783.
Text: JA i, 101 and 337; FA i, 85 and 363; DA xrv, 242; cf. also FA x, 208, and FA xi, 138.
Group: Balladen.
Comment: A poem in seven ballad stanzas of the pattern 4-3-4-3 4 4 3 (cf. No. 65). It is one of the lyrics from Wilhelm Meister where the old Augustin, accompanying himself on the harp, produces the song from his repertory, as if it were an improvisation. Like so many other sections of the novel, the ballad is autobiographical ( cf . the commentaries in JA and FA ) . The lyric first appeared in print in 1795 when Wilhelm Meisters Lehrjahre, Volume i, was pub- lished. This first printing of the novel had appended to it several musical settings by Reichardt, among them "Was hor ich." (For later settings by other composers, cf. FA n, 533. For Zelter's criticism of Reichardt and his claim to have restored, in his own composition, the ballad form of the poem, cf . Z i, 35. ) In 1806 Goethe included the song in his collected lyrical poetry and with it opened the group "Balladen und Romanzen." When the poet prepared another edition of his works in 1815, the group was simply called "Balladen." A ballad the poem certainly is, clearly intended to be sung, not spoken. Yet the added label "Romanze" points to an emotional and dramatic context that is important for our understanding. (Cf. also No. 160, another song of the old harp-player from Meister, with an elaborate exposition of its nature, given in the novel. )
Ignace Feuerlicht (Journal of English and Germanic Philology xLvm [1949], p. 474f. ) has recently drawn attention to the remarkable flexibility of the stanza 4—3-4—3 4 4 3 which accommodates such strikingly different ballads as "Der untreue Knabe" (No. 5) and "Der Sanger." Mr. Feuerlicht's bibliographical references to the large literature on ballad meter are unusually full and happily augment the material presented in our commentaries to Nos. 4, 6, 13, 42,52,65.
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144. Was ist denn Kunst und Altertum. Title: Kunst und Altertum. Date: 1823.
Text: JA n, 181 and 329; FA n, 158 and 445; DA xv, 302.
Group: Epigrammatisch.
Comment: Gnomic poetry from the same group as No. 21. The quatrain is occasional in that it served as a motto for an issue of the periodical Kunst und Altertum, of which Goethe was editor. The rhyme scheme of the second and fourth lines is obviously derived from the German proverb, "Kunst bringt Gunst."
145. Was lassen sie denn iibrig zuletzt. .
Title: none. Date: 1820-1822.
Text: JA rv, 61 and 282; FA n, 216 and 456; DA xv, 277.
Group: Zahme Xenien, Buch m.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
146. Was mir in Kopf und Herzen stritt.
Title: none. Date: 1777.
Text: JA m, 87 and 318; FA n, 371 and 486; DA xrv, 200. Group: An Personen.
Comment: An occasional poem, written for Charlotte v. Stein, from the same group as No. 19 (cf. Charlotte i, 66 and 572).
147. Was niitzt die gluhende Natur. Title: Monologdes Liebhabers. Date: 1774.
Text: JA n, 105 and 304; FA n, 20 and 423; DA xrv, 138; DJG rv, 163, and vi, 400. Group: Kunst.
Comment: From the same group as Nos. 17, 40, 86, 106. Another expression in ballad quatrains of the artistic creed of the young Goethe.
148. Was schmuckst du die eine Hand denn nun.
Title: none. Date: 1814.
Text: JA v, 60 and 371; FA m, 72 and 316; DA xv, 29.
Group: West-ostlicher Divan, Buch der Spriiche.
Comment: A gnomic ballad quatrain from the West-Eastern Divan (cf. No. 30). In con- tent, a parody of a Persian passage from Saadi's Gulistdn, which Goethe knew in German trans- lations by Olearius ( 1696) and Herder ( 1792 ).
149. Was waren das fur schone Zeiten. Title: none.
Date: 1823-1828.
Text: JA rv, 107 and 301; DA xv, 388.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
Goethe and Music — Ballads 77
150. Was will von Quedlinburg heraus.
Title: none. Date: 1821-1822.
Text: JA rv, 150 and 321; DA xv, 259. Group: Invektiven.
Comment: Invective poem (cf. No. 16) against J. F. W. Pustkuchen who had published, at Quedlinburg in 1821, a travesty of Goethe's novel Wilhelm Meisters Wanderjahre under the same title (cf. FA xn, 527f.). The ballad quatrain is related to No. 37 which inveighs against several such mistreatments of the poet's works, amongst them Pustkuchen's Wanderjahre.
151. Wen die Dankbarkeit geniert. Title: none. Date: 1823-1828.
Text: JA rv, 110 and 302; DA xv, 390.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
152. Wenn dirs in Kopf und Herzen schwirrt.
Title: Das Beste. Date: 1814-1815.
Text: JA n, 167 and 323; FA n, 75 and 433; DA xv, 86.
Group: Epigrammatisch.
Comment: Gnomic poetry from the same group as No. 21.
153. Wenn Phobus Rosse sich zu schnell.
Title: none.
Date: December 21, 1827.
Text: JA m, 163 and 349; DA xv, 415.
Group: An Personen.
Comment: Occasional and gnomic poetry ( cf. No. 22 ), improvised at the time of the winter solstice "when Phoebus' steeds descend too quickly." Within two weeks Goethe addressed the timely and gallant verses, in turn, to Klementine von Mandelsloh, Thomas and Jane Carlyle, and Marianne von Willemer.
154. Wenn schones Madchen sorgen will.
Title: An Frau [Luise] K[raft] in C[6ln]. Erwiderung. Date: 1830-1831.
Text: JA rv, 152 and 323; DA xv, 436.
Group: Invektiven.
Comment: Occasional and invective poem from the same group as No. 16.
155. Wenn sich lebendig Silber neigt.
Title: none.
Date: July -August, 1823.
Text: JA m, 18 and 291; FA n, 266 and 467; DA xv, 307.
Group: Inschriften, Denk- und Sende-Blatter.
Comment: An occasional poem, for Ulrike von Levetzow, from the same group as No. 57. In 1827 Goethe published the present improvisation together with five others written in the same summer, under the collective title "Liebschaft." Half a century later, in her reminiscences, Ulrike protested, with obvious reference to this title: "Keine Liebschaft war es nicht" (Love it was not). Further literature is cited JA in, 292 ( cf. also GJB xxrx, 73 ).
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156. Wenn iiber die ernste Partitur.
Title: An Felix Mendelssohn-Bartholdy. Date: January 20, 1822.
Text: JA m, 149 and 341; DA xv> 290.
Group: An Personen.
Comment: An occasional poem, for the young composer Mendelssohn, from the same group as No. 19. Rhythmically, the poem adds two iambic lines, of four stresses each, to the conventional ballad quatrain.
The friendship between the old Goethe and the young Mendelssohn is, indeed, a happy chapter in the history of poetry and music. Fortunately, it is amply documented, and the main sources are listed in the bibliography of this study.35 I refer particularly to the book by the com- poser's son Karl, Goethe und Felix Mendelssohn-Bartholdy, which sketches the background of the present improvisation with authority (p. 34 of the English translation) and to G. Selden- Goth's edition of the Letters in which the autograph of the poem and the accompanying silhouette by Adele Schopenhauer ( the philosopher's sister ) are reproduced.
157. Wer etwas taugt, der schweige still.
Title: none. Date: 1820-1822.
Text: JA rv, 54 and 278; FA n, 209 and 454; DA xv, 271.
Group: Zahme Xenien, Buch m.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
158. Wer hats gewollt? wer hats getan?
Title: none. Date: 1821.
Text: JA m, 32 and 298; DA xv, 266.
Group: Inschriften, Denk- und Sende-Blatter.
Comment: An occasional quatrain from the same group as No. 57.
159. Wer muht sich wohl im Garten dort.
Title: Zu Thaers Jubelfest. Dem 14. Mai 1824. Date: March 7, 1824.
Text: JA m, 24 and 295; FA n, 271 and 468; DA xv, 330.
Group: Inschriften, Denk- und Sende-Blatter.
Comment: An occasional poem from the same group as No. 57. It was written for the jubilee of the agricultural reformer Thaer, held in Berlin on May 14, 1824. Goethe mailed the ballad strains to the composer Zelter on March 11 with the remark, "May this song, to be sung by a large number of farmers at the table, inspire you to a merry composition." The lyric, in Zelter's setting, was performed at the jubilee.
160. Wer sich der Einsamkeit ergibt. Title: Harfenspieler.
Date: Before 1783.
Text: JA n, 87 and 301; FA i, 273 and 380; DA xrv, 227. Group: Aus Wilhelm Meister.
35 Cf . p. 154.
Goethe and Music — Ballads 79
Comment: A lyric from Wilhelm Meister (cf. No. 143). Again the context of the novel is important to an understanding of the song and points to a "Romanze," that is, to a lyric which, in feeling and setting, betrays the attitudes of the early Romantic movement.
In the novel (FA x, 215 and xi, 146) Goethe compared the impact made by the songs of the old harp-player upon Wilhelm Meister with the practices in Herrnhuter (or "Moravian") worship. At these Pietist meetings the liturgist would weave verses of sacred song into his dis- course which "lift the soul to where it should take its flight." Then another of the worshippers would "proceed to another melody, with the line of [still] another song . . . thus the related ideas of these songs are induced, but each passage becomes new and individual through the new application, as if invented on the spur of the moment. In such manner, from a known repertory of ideas, songs, and texts, an individual [new] whole is born for this particular community at this moment, and through its enjoyment the members are vivified, strengthened and refreshed."
This, it will be seen, is an articulate exposition of parody and improvisation. Goethe, well familiar from the time of his Frankfurt days with the type of worship he describes, was equally well versed in the art of the old harp-player who, with his "known and unknown songs and passages," fused in Wilhelm's soul "both near and distant emotions, waking and slumbering feelings." The employment of the traditional meters in the lyrics of Wilhelm Meister invites, then, the use of well-known songs. And Zelter in his composition (reprinted SchGG xi, 87) followed Goethe's gospel of making new use of old tunes by parodying the first line of the well-known Lutheran hymn: "Wer nur den lieben Gott lasst u?aZten" and applying the melodic fragment to "Wer sich der Einsamkeit eigibt." (Italics indicate stresses [cf. No. 3].) It is, qf course, the strength of the ballad meter, that it permits the intermingling of the sacred and the secular, the drawing of strength from two repertoires (cf. No. 52). The parallelism between Herrnhuter songs and the lyrics of the old harp-player, which Goethe establishes in the prose passages of Meister surrounding the lyric, guided the musical practice of Zelter.
The eight-line stanza of the song consists of a ballad quatrain, followed by a quatrain of three-stress lines. The pattern, then, is 4-3-4-3-3-3-3-3. (Numerals indicate stresses per line; cf . No. 65. ) In "Wer sich der Einsamkeit ergibt," a melancholy and lonely atmosphere is strongly suggested by way of the music of the language. Each line contains the diphthong "ei" and half of the lines rhyme on "ei." Moreover, in some lines, as in "Recht einsam sein," this dipthong dominates the sound-pattern to an unusual degree, particularly so in the slow tempo demanded by the character of the lyric. In what may be termed a contrapuntal manner, the vowel "a" also weaves through the poem as a secondary element in the design of sonority. By way of contrast, it heightens the monotonous effect of the "ei" sound. Further material concerning these subtle and delicate problems can be found in E. Reinhard, Zur Wertung der rhythmisch-melodischen Faktoren in der neuhochdeutschen Lyrik, Leipzig, 1908; in P. Beyer, "t)ber Vokalklangprobleme und Vokalsymbolismus in der neueren deutschen Lyrik" (Festschrift fur Berthold Litzmann, Berlin, 1921, p. 132-175, particularly p. 153 ) ; in Woldemar Masing, Sprachliche Musik in Goethes Lyrik, Strassburg, 1910; and, last but not least, in the many publications of Eduard Sievers that deal with the analysis of sound-patterns.
161. Wer Wissenschaft und Kunst besitzt. Title: none.
Date: 1823-1828.
Text: JA rv, 125 and 308; DA xv, 398.
Group: Zahme Xenien, Buch rx.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
162. Wie doch, betriegerischer Wicht.
Title: none. Date: 1814-1815.
Text: JA rv, 38 and 273; FA n, 195 and 451; DA xv, 106.
Group: Zahme Xenien, Buch i.
Comment: Gnomic poetry of the "Zahme Xenien" (cf. No. 22).
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163. Wie kann sich aber Hans von Eyck. Title: Modernes.
Date: 1823-1827.
Text: JA n, 113 and 307; FA n, 141 and 443; DA xv, 356.
Group: Kunst.
Comment: Gnomic poetry (cf. No. 22) in which a ballad quatrain, 4-3-4-3, is followed by a quatrain of the pattern 4 4 4 4 ( numerals indicate stresses per line; cf . No. 65 ) . The artistic creed, expressed here, is considerably more mellow and all-embracing than in Nos. 17, 40, 86, and 106 from the same group.
164. Wie kommts, dass du so traurig bist. Title: Trost in Tranen.
Date: 1803.
Text: JA i, 56 and 320; FA i, 46 and 358; DA xrv, 522.
Group: Lieder.
Printed Sources: (1) "Wie kommts, dass du so traurig bist" from C. F. Nicolai's Ein feyner, kleiner Almanack, 2 vols., Berlin, 1777-1778. ( Reprinted in Berliner Neudrucke, vol. n, Berlin, 1888. The song will be found p. 21f.)
(2) "Wie kommts, dass du so traurig bist" from C. F. Nicolai's Liebe und Treue, 1800. (Reprinted in L. Erk-F. M. Bohme, Deutscher Liederhort, 3 vols. Leipzig, 1893-1894. The song will be found in vol. n, p. 357, followed by a valuable commentary and two other versions of the folk song. )
Classification: Folk Song Parody.
Comment: One of the parodies from the Taschenbuch auf das Jahr 1804.36 Goethe's dependence on his folk-song model is pronounced in the first six lines of the text as will be seen from the following quotations of the first two ballad quatrains from Nicolai's Almanack and Goethe's Taschenbuch.
Nicolai
Wie kommts, dass du so traurig bist Und gar nicht einmal lachst, Ich seh dirs an den Augen an, Dass du geweinet hast.
Und wenn ich auch geweinet nab, Was geht es dich denn an, Ich wein, dass du es weisst, um Freud, Die mir nicht werden kann.
Goethe
Wie kommts, dass du so traurig bist, Da alles froh erscheint? Man sieht dirs an den Augen an, Gewiss, du hast geweint.
Und hab ich einsam auch geweint, So ists mein eigner Schmerz, Und Tranen fliessen gar so suss, Erleichtern mir das Herz.
The text is the same in both sources ( 1 ) and ( 2 ) . The tunes, however, are not alike. For Nicolai's Almanack Reichardt had composed one melody (cf. Erk-B6hme, op. cit, v. i, p. xtjtt, and v. n, p. 358 ) . Twelve years later he employed a popular Swiss tune ( reprinted Erk- Bohme, op. cit., v. n, 357), to fit the same words in a musical play. Which of the two melodies Goethe had in mind, I have not been able to establish so far. Reichardt supplied still a third musical setting, which fits the ballad meter, when he composed Goethe's parody (reprinted SchGG xxxi, 37; for an interesting comparison with Brahms' setting, cf. also p. 204, 229, 243). Undoubtedly, the poet would have approved the employment of any one of the three tunes. In his review (JA xxxvi, 248) of the folk-song collection Des Knaben Wunderhorn he wrote: "Would that this volume lay on the piano of a lover or master of music so that the songs [i.e., texts of songs] contained therein would receive their due either from known, traditional melodies,
36 Cf . p. 80 ff.
Goethe and Music — Ballads 81
or from suitable tunes fitted to them, or — God willing — so that they may bring forth new, significant melodies."
Goethe's folk-song model boasts an old tradition and has survived well. A variant of it is recorded as early as 1613 (Erk-Bohme, op. cit., v. n, p. 358) and the editors of Des Knaben Wunderhorn included it in their third volume. The collection of Erk-Bohme records several other variants, popular throughout the nineteenth century.
165. Wir litten schon durch Kotzebue. Title: none.
Date: 1818-1819.
Text: JA rv, 148 and 320; DA xv, 207.
Group: Invektiven.
Comment: Invective poem (cf. No. 16) against Adolf Miillner and a companion piece to No. 64, opening with a thrust at the equally disliked Kotzebue.
166. Wir reiten in die Kreuz und Quer. Title: Klaffer.
Date: 1814-1815.
Text: JA n, 137 and 312; FA n, 31 and 425; DA xv, 91. Group: Parabolisch.
Comment: An occasional and gnomic poem from the same group as Nos. 24, 39, 68. Prob- ably directed against G. Merkel, a brother-in-arms of Kotzebue, cf. No. 165.
167. Wir singen und sagen vom Grafen so gern. Title: Hochzeitslied.
Date: 1802.
Text: JA i, 112 and 340; FA i, 95 and 364; DA xrv, 500.
Group: Balladen.
Comment: One of the songs from the Taschenbuch auf das Jahr 1804, that originated during the days of the cour d' amour in Weimar.37 In content, a parody of several old legends, recorded by Johannes Praetorious in the seventeenth and by the brothers Grimm in the nineteenth century ( cf . GJB rx, 234 ) . The material for this song occupied Goethe's mind for some forty years before he completed it. In an autobiographical passage ( DA xvi, 51, or FA xvi, 352 ) he instances the "Hochzeitslied" as one of his ballads that profited from such a prolonged remodeling.
The stanza of the song consists of nine lines and follows the design 4-3-4-3 4 4 i 3-3 (numerals indicate stresses per line; cf. No. 65). This stanza is an extension of the conventional 4-3-4-3 or 4-3-4r-3 -4 -4-3 patterns. It differs from the traditional German and English ballads in that there are usually two unaccented syllables between the stresses instead of one, which makes the scansion anapestic rather than iambic. However, most ballad tunes will easily accom- modate that metrical feature. One needs only to compare two early nineteenth-century settings of Goethe's "Hochzeitslied," one in 4/4 and one in 6/8 time, with traditional ballad tunes in those two standard time signatures. The music example from No. 9, giving both a 4/4 and a 6/8 melody for an iambic text will serve as a convenient basis of comparison. In a musical setting such as that by Loewe (SchGG xxxi, 119) the 4/4 rhythm fits the anapests of the "Hoch- zeitslied," as well as the tune of the upper staves of No. 9 accommodates its iambic words. Loewe simply employs two quick, unaccented notes which, together, last as long as one un- accented note in No. 9 or in any other iambic ballad in even time signature ( e.g., No. 13 ) . Either text could be sung to either melody. If, on the other hand, a composer were to set "Hochzeitslied" in 6/8 time, as Zelter did (SchGG xxxr, 236), his tune would be identical, in its rhythmic struc-
37 Cf. p. 8 and 13.
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ture, with such ballad tunes as are exemplified in the lower staves of No. 9 for, again, four syllables in Zelter's music last as long as six syllables in the melody of Anna Amalia. In other words, the "Hochzeitslied" can be sung to any traditional ballad tune with such slight adaptations as may be necessary to accommodate extra syllables in our hymnals or in the translations of arias and songs from one language to another. In analyzing the structure of a song, it is more important to consider the number of stresses in each line of verse and in the corresponding portion of the melody to which the verse is sung, than to count the number of syllables.
From its inception, the "Hochzeitslied" was intended for actual musical performance, as were the other songs from the Taschenbuch auf das Jahr 1804 (cf. Z.i, 25, 30 and 36; Bode i, 289 ) . Its first line emphasizes the union of poetry and music, for "singen und sagen" ( sing and speak) was a motto much and proudly used by German bards through the centuries.
168. Wir sollten denn doch auch einmal. Title: Journal der Moden.
Date: 1814.
Text: JA rv, 141 and 316; DA xv, 9.
Group: Invektiven.
Comment: An occasional and invective poem from the same group as No. 16.
169. Wirst nicht bei jedem Wanderschritt. Title: none.
Date: 1823-1828.
Text: JA rv, 103 and 299; DA xv, 385.
Group: Zahme Xenien, Buch vi.
Comment: Gnomic poetry of the "Zahme Xenien" ( cf. No. 22).
170. X hat sich nie des Wahren beflissen. Title: none.
Date: 1820-1821.
Text: JA rv, 51 and 277; FA n, 206 and 454; DA xv, 247.
Group: Zahme Xenien, Buch n.
Comment: Occasional and gnomic poetry from the "Zahme Xenien" (cf. No. 22).
171. Zerbrach einmal eine schone Schal. Title: Wunderglaube.
Date: 1814-1815.
Text: JA v, 107 and 408; FA m, 115 and 331; DA xv, 79.
Group: West-bstlicher Divan, Buch der Parabeln.
Comment: Gnomic poetry of the West-Eastern Divan and, like No. 30, in content a parody of a passage from Chardin's Voyage en Perse.
172. Zu Ephesus ein Goldschmied sass.
Title: Gross ist die Diana der Epheser. Apostelgeschichte 19, 39.
Date: 1812.
Text: JA n, 109 and 305; FA n, 24 and 423; DA xrv, 605.
Group: Kunst.
Comment: An occasional and gnomic poem (cf. No. 22), written as a reply to F. H. Jacobi's Von den gottlichen Dingen und ihrer Offenbarung (Of Divine Matters and their Revelation) which had appeared the preceding year. Goethe and Jacobi had grown apart since
Goethe and Music — Ballads 83
the days of their friendship in the 1770s, and the poet apparently felt the need to reaffirm his own creed in matters divine and artistic, and to demand more tolerance on Jacobi's part.
In content, a parody of the incident from the nineteenth chapter of the Acts of the Apostles which also (verses 28 and 34) supplied Goethe with his title. Metrically, the poem begins with a ballad quatrain, but continues in Knittelvers (as does No. 106 from the same group).
173. Zu Goethes Denkmal was zahlst du jetzt.
Title: none. Date: 1819.
Text: JA rv, 110 and 302; DA xv, 389. Group: Zahme Xenien, Buch vn.
Comment: Occasional and gnomic poetry from the "Zahme Xenien" and a companion piece to No. 92.
174. Zum Tanze Schick ich dir den Strauss.
Title: none.
Date: December 9, 1780.
Text: JA m, 90 and 321; DA xrv, 221. Group: An Personen.
Comment: An occasional poem, improvised for Charlotte von Stein and sent to her along with a nosegay for a ball (cf. No. 19; also Charlotte i, 292 and 615).
SACRED SONG PARODIES
175. Ach neige. Title: none. Date: 1775.
Text: JA xm, 156 and 323; FA v, 182 and 659.
Group: Lyric from Faust. Der Tragbdie Erster Teil. Lines 3587-3619.
Comment: Goethe's stage direction that Gretchen, before delivering her prayer, place flowers in the vases which embellish the shrine of the Mater Dolorosa, is a strong indication that these verses are a parody of the medieval sequence:
Stabat Mater dolorosa Juxta crucem lacrimosa, Dum pendebat filius, Cuius animam gementem Contristatam et dolentem Pertransivit gladius
Indeed, the inception and conclusion of the prayer follow the rhyme scheme of the medieval sequence, namely, a-a-x, b-b-x, etc. Gretchen's supplication begins in groups of three lines — 3587-8-9; 3590-1-2; 3593-4-5 — which any audience familiar with the Stabat Mater would interpret as a traditional prayer. But with the intensifying of her emotion, the verse changes and falls into highly individualized stanzas until, in her exhaustion, she returns to the beginning of her incantation. This repetition of the initial triplet re-establishes the form and rhyme scheme of the medieval model.
A familiar chant in the Roman Catholic service, the Stabat Mater dolorosa was also known through the polyphonic compositions of Palestrina and Pergolesi. It would seem, however, that Goethe did not follow a musical model but merely organized Gretchen's prayer into groups of three lines and used the rhyme scheme of the Latin sequence without copying its rhythm. The musical and rhythmical freedom of the lyric is evident when an attempt is made to fit it to one
84 The New York Public Library
of the traditional melodies for the Stabat Mater dolorosa, such as those given in the Liber Usualis (Ed. No. 801, Tournai: Desclee, 1934, p. 1634) or Hymns Ancient and Modern (rev. ed., London, 1950, p. 143). On the other hand, it is impossible to fit the Latin text to the various musical settings which the Faust lyric has received, such as those of Schubert, Loewe (SchGG xxxi, 112), Klein (SchGG xi, 48) and Wagner (Werke, Leipzig, cop. 1914, xv, 22).
Even so, there can be no doubt that Goethe wanted to parody the Stabat Mater dolorosa and that he wanted his audience to be aware of the model: the relationship between "dolorosa" and "Schmerzenreiche," between "animam . . . pertransivit gladius" and "Das Schwert im Herzen" is too obvious to be ignored. But the two elements which the Latin poem contributed, namely stanza and rhyme scheme, are treated with remarkable independence. The beginning and con- clusion of Gretchen's prayer use a recurrent rhyme on every third line ( a-a-x, b-b-x, c-c-x, d-d-x ) . The incantation thus resembles more closely a sequence like Veni Sancte Spiritus, for in the Stabat Mater dolorosa, the pairs of triplets are joined into a stanza by the rhyme in the third and sixth lines ( a-a-x, b-b-x, c-c-y, d-d-y, . . . ) . Moreover, the pairing of the triplets is obscured in Goethe's parody, sometimes by typographical separation (lines 3587-3589, 3590-3592), sometimes by intervening lines (3593-3595, 3617-3619).
But the double triplet (or sextet) of the model and its rhyme scheme are echoed in the central section of Gretchen's prayer (lines 3596-3601, 3602-3607), where the lyric gradually shifts from traditional to personal expression. The next-to-the-lasf section (lines 3608-3616) completely abandons any formal resemblance to the well-known sequence, which endows the return of the first triplet at the very end with a strong dramatic and poetic impact.
More than half a century later (probably about 1830) Goethe parodied his own parody. In Faust. Der Tragodie zweiter Teil ( lines 12069-12075 ) Gretchen prays from above for Faust's soul. The sorrow of the early scene becomes transformed into the bliss and salvation of the end of the drama. The virgin is now no longer "Schmerzenreiche" (rich in sorrow) but "Strahlen- reiche" ( rich in radiant light ) . And with the exception of one interpolated line ( 12070 ) , the formal scheme follows the Latin model in its organization into pairs of triplets.
Georg Witkowski (Goethes Faust, 7th ed., Leipzig, 1924, n, 255) has pointed out that Goethe experimented about this time ( 1775 ) with the same stanza in the elegiac lines from the drama, Claudine von Villa Bella ( DA vn, 496 ) :
O quale
Deine Hebe Seele,
Quale deine Hebe Seele nicht!
Mein Herze
In bangem Schmerze
Mein Herz in bangem Schmerze bricht.
176. Alles vergangliche.
Title: Chorus mysticus. Date: 1830.
Text: JA xrv, 286 and 405; FA v, 480 and 702.
Group: Lyric from Faust. Der Tragodie zweiter Teil. Lines 12104-12111.
Comment: This parody wiU be discussed in connection with "Christ ist erstanden," No. 177.
177. Christ ist erstanden.
Title: none. Date: 1801.
Text: JA xn, 32 and 283; FA v, 78 and 643.
Group: Lyric from Faust. Der Tragodie erster Teil. Lines 737-741, 749-761, 785-807. Printed Sources: (1) "Christ ist erstanden," the traditional German Easter song. Its text and melody were available in countless hymn books (Gesangbiicher) from the sixteenth century
Goethe and Music — Sacred Song Parodies 85
to Goethe's and even our own time. Modern reprints with ample bibliographical and historical
information can be found in Johannes Zahn, Die Melodien der dt fien-
lieder, 6 vols., Giitersloh, 1888-1893, v. 60, no. 8584, and in L. Erk-M. 1
Liederhort, 3 vols., Leipzig, 1893-1894, in, 676, no. 1970. Foi ftnthei hj
Hanns Teuscher, Christ ist erstanden. Stilkritische Studie uber die mclirstimmigcn Bcurbcitungen
der Weise von den Anfangen bis 1600, Kassel, 1930.
(2) "Tandem audite me," a Latin hymn of the Renaissance reprii hero
Schlegel and Christian Ludwig Tieck in their Musenalmanach auf das Jahr more easily accessible in American libraries, are: Richard C. Trench, Sacred Latin Pen-try, \ don, 1864, p. 249; F. A. March, Latin Hymns, New York, 1875, p. L03; 1 Zoozmann,
Laudate Dominum, Munich, 1928, p. 672. For a further discussion and additional hibliograj I references, cf. the remarks of E. Schmidt in JA and R. Petsch in FA; also of Jakob afinof i Goethet Faust, 2 vols., Stuttgart, 1901, n, 121), Karl Vossler (JGG xrv, 269), Oiku VI fur deutsche Philologie, vol. 64, 1939, p. 97, with a critical evaluation of tl ther
scholars, notably Kurt May and Andreas Heusler) and Erich Trunz {Goethet Faust Hamburg, 1949, p. 633).
Comment: Toward the end of his long career, Goethe was in the habit of r. f. rring to the completion of Faust as the main business ( "Hauptgeschaf t" ) of his life. Posterity has concurred in viewing the drama as the core of his poetic achievement on which his position in world literature rests.
The two parts of the tragedy run to over 12,000 lines, and in a work of this length it is to be expected that only certain portions are crowned by the fame and renown tint man them well known and loved by a large public. So much of Goethe's achievement rests on ! as a lyrical poet, it was unavoidable that the lyrics in Faust should be widely reprinted out of context. Much as the student of Goethe may resent such arbitrary excerpting, one cannot censor public taste for concentrating upon the songs which, in effect, accompany Faust's evolution from beginning to end and into which the poet has distilled so much of the dramatic and philosophical essence of the entire work.
It is typical of Goethe's larger productions (cf. No. 77) and, indeed, of Gt mm p altogether, that a careful expression of an important message be reserved for the \m work. And it is characteristic, in view of the importance of music for Goethe's inure, thai the "main business" of his life should conclude with a song. Commentators and stud realized that the rhythm of the "Chorus Mysticus" (No. 176) which spells Faults final r< dmip- tion, harks back, with deliberate intent, to the Easter chorus (No. 177) which HVH Pawl suicide in the first part of the tragedy.
What with the great popularity of the lyrics from Faiist and the crucial import :
these two choruses for the drama, it is not surprising that students have analysed these lines time and again. Their meaning, their metrical structure, and their models have b« en in the most minute detail. Consequently, a full discussion of the two parodies must !>< for another occasion. Space also forbids a discussion of the various musical artttngi which the two choruses, particularly the "Chorus Mysticus," have received. Indeed, they shed little on the poetical and musical sources of the poet's inspiration, however much they may reveal concerning the nature and ambitions of German composers in the Romantic era, among them Schumann, Liszt and Mahler.
In order to understand the close relationship which exists between the old 1 "Christ ist erstanden" (Source [1] above and the first text under the accompanying l example) and Goethe's parody which has the identical first line (third text under the aooompap) - ing music example) we must consult the music of Goethe's model. Even a usual examin of the words would show that the last foot of each line consists of two lyllabk that the
last accented syllable is followed by only one unaccented syllable:
Christ ist er-ston-den, Von der Martern «Me, Des solln wir alle froh sein, Christ will unser Trost sein.
86
The New York Public Library
However, the music of the Protestant hymnals shows that in each line the last stressed syllable is sung to two notes, followed by another note for the last, unaccented syllable. Actually, then, two unaccented notes follow the last accented note, and the last foot is' musically a complete dactyl of three syllables. Coverdale, the first English translator, sensed this and quite properly
zz
3=$=k
GeSdngbach, Wii£ezxherg;\lJ35 Tr. Cover dale ,&eibre 15 '39 (roelhe Tr. Taylor , 1871
Christ Christ Christ Christ
iSt
is
iSt
is
er- er-
Sta.ii- ris'n a — Sta.n-
den,
g*in
denl
ri-
sen
rr\
9
Mar- ter al- le,
death and all his pain,
de demSterb-li- chen,
to the mor- tal one,
|
Von |
der- |
|
From |
his |
|
Freu- |
|
|
Joy |
i
p^
Des solln wir al -
There -fore will
Den die
• Whom the
i
le froh sein , we mer- ry be,
ve r- derb - 1 i - chen ,
un- me- ri- ted,
Christ will un- And re- joice
Schlei- chen-
CHny- in^,
ser Trost eein ,
with him g*lad- ly.
den9 erb- li- chen
in- he- ri- ted
i
^
i J J J
Ky- ri- e- Ky- ri- C - M*an- gel urn- Needs did im-
fitted to the tune a text with a complete dactylic close for each line ( Goostly Psalmes and Spirituall Songs, before 1539, reprinted in the Publications of the Parker Society, vol. 14, p. 563; the second text under the accompanying music example ) :
Christ is now ris'n a-gain From his death and all his pain, Thereioie will we mer-ry be, And rejoice with him glad-ly.
Goethe and Music — Sacred Song Parodies
87
Goethe's parody which clearly refers to Source ( 1 ) as its model, both in the use of the first line and by its liturgical association, treats the tune much as Bishop Miles Coverdale did in the sixteenth century. That is to say, many of the lines come to a close by fit* tune
syllabically:
Ster&-li-chen, ver-derfc-li-chen, erfc-li-cln -n.
Bayard Taylor, one of Goethe's best-known American translators, follows the metric A structure of the Easter chorus from Faust:
mor-tal one, un-m£-rited, in-/ie-ri-ted.
It was but natural that Goethe should return to the meter of this message of salvation from the first part of the tragedy when he articulated Faust's final redemption. And, indeed, the d.i structure of the "Chorus Mysticus" (No. 176) is conspicuous. Unlike the Easter chorus, the first line concludes with a complete dactyl ("Al-les ver-gang-li-che" ) , as does also the famous and much-quoted penultimate line: "Das E-wig Weih-li-che."
Some sixty years earlier, Goethe's harmless musical play Lila allowed him to experiment on a much simpler plane with a similar dramatic and metrical scheme. The message of Lila is epitomized in two dactylic lyrics which bear an unmistakable resemblance to the choruses Faust, though they are lighter in tone and faster in tempo. In a succession of scenes wfak h tain the form of a masque, the heroine is restored to sanity by the power of music. Near the beginning of the play (DA vn, 594), as in Faust, the message of Lila's salvation is anticipated in a song of dactylic dipody:
Goethe
Fei-gei Ge-dan-ken Bang-li-ches Schwan-ken, Wei-bi-sches Za-gen Angst-\i-ches Kla-gen Wen-det kein E-lend, Macht dich nicht frei.
AMen Ge-wal-ten Zum Trutz sich ei-hal-ten, Nim-mei sich beu-gen, Kraf-tig sich zei-gen, Ru-fet die Ar-me Der Got-tei hei-bei.
Tr. John Bernhoff
Fears that e'er haunt us, Cares that e'er daunt us, Womanly plaining, Timid refraining Made us but cowards, Slaves that obeyed.
Powers resisting,
On right e'er insisting,
Never surrender,
Prove thy defender,
Call to the Gods:
They'll lend thee their aid!
And the final chorus confirms and expands, again as in Faust, the same message in the same meter :
Weg mit den zif-tern-den, AZ-les ver-fc/f-tern-den Zweirieln von hier! Nur die ver-fcun-de-te, E-wig be-griin-de-te Won-ne sei dirl
Kommt, ihr ent-ron-ne-nen, Wie-dei ge-ujon-ne-nen Freu-den, her-an/ Le-bet ihr Se-U-gen, So die un-Zflft-li-gen Ta-ge iort-an!
Away with the quivering,
All too embittering Misgivings — be free! Bounded in unity, Meant for eternity, Bliss be with theel
Come, o ye passing joys, New everlastinglv. Come to the fore! Love, o ye blessed ones, Countless professed ones Days evermore!
88 The New York Public Library
Of these two lyrics, the second comes even closer to the Easter chorus. Eight of its twelve lines employ a complete dactyl at the end of the rhymed line, whereas in Faust six of the seven concluding lines employ rhymes with complete dactyls. The rhyme "sterb-]i-chen, ver-derh-li- chen" that figures so prominently in the Easter chorus is anticipated in yet another passage in Lila ( DA vn, 595 ) . Actually, the early play is a simple singspiel which functions in more than one way as a preliminary study for Faust. But several sensitive students, including Walzel, have felt that the obvious similarities between the lyrics from Lila and Faust are offset by important differences: the later verses bespeak a solemn and hymnic ecstasy that transcends the rhythmic verve of the earlier songs. These qualities stem from Source (.2), namely, a Latin hymn which complements the models of the Lutheran hymnal and of Goethe's own Lila. The discovery of this hymn is largely due to Jacob Minor's investigations.
The critical comments of Minor, Walzel, Heusler and Trunz are listed above under Source (2). Minor speaks of "so-called dactylic dipodies,"'and, indeed, a distinction between real dactyls and pseudo-dactyls would seem desirable. But such fine points are beyond the scope of this study. Suffice it to say that Source ( 2 ) and the choruses from Faust have a definite secondary accent on the last syllable of a complete dactylic rhyme. If capital letters were to denote the primary accent and italics the secondary accent the prosodic scheme in the "Chorus Mysticus" could be presented as: un-be-SCHREIB-li-che, WEIB-li-che. This secondary accent on the last syllable adds solemnity to the line, as it does in the Latin models, and to a lesser extent it is even an- ticipated in Lila (ZYT-tem-den, ver-BIT-tern-den; STERB-li-cfren, ver-DERB-li-c/ien ) . The solemn tone is fully present in Schlegel's free translation of Source (2) and in Goethe's Easter chorus. Whether we call it, with Minor, "so-called dactylic dipodies" or simply "dactyls," the important consideration is the recognition of the tone and its hymnic antecedents. For the sake of brevity and in order to be generally understood, I do not hesitate to call the rhyme "Un-be- schreib-li-che, weib-li-che" dactylic. The same holds true of fines that end with a stressed syllable, i.e., with an incomplete dactyl, to use the conventional terminology. For example, the last lines of the Easter chorus and of the "Chorus Mysticus" are respectively "Euch ist er da" and "Zieht uns hin-an." These are, I think, clearly lines of two dactyls each in which the second foot is incomplete. Heusler scans "Zieht uns hin-an" to indicate the considerable slowing down of tempo and the increase in emphasis, but the sense of the words obviously makes "Zieht" ( draws ) more important than "uns" ( us ) and "-an" ( up ) more than "hin" ( -ward ) . "Zieht uns hin-an," then, or "ZIEHT uns hin-AN," at best, seems more accurate to me, and throughout the present dis- cussion I have spoken of dactylic lines and rhymes with this understanding.
As Walzel has pointed out, the rhythm of Source (2) is comparatively rare in Latin hymnody. The rhyme ( or assonance ) of three syllables is frequent enough, but the majority of the lines run to more stresses than those in Source ( 2 ) . It is true, Trunz quotes the beginning of a hymn in honor of Saint Jerome from the fourteenth century which exhibits the same rhythmic structure as Source ( 2 ) and the choruses from Faust. However, he adduces no evidence to show that Goethe knew the hymn:
Cum dignus gloria In lectum decidit, Tunc sapientia Mirum se prodidit. . .
On the other hand, biographical considerations make it extremely probable that Goethe knew Source (2) from Schlegel's Musenalmanach when he wrote the Easter chorus in 1801. Schlegel taught at the nearby University of Jena from 1796 to 1801, and in those days Goethe warmly encouraged the young Romanticists. In spite of Schiller's critical attitude he performed their plays in Weimar (Schlegel's Ion in 1802). It was through Schlegel's Spanisches Theater (published in 1803, though received by Goethe in manuscript form in 1802) that the poet came to know so well the dramas of Calderon and their trochaic measure. It seems unlikely that he would not have known the contents of the Musenalmanach auf das Jahr 1802 before the volume appeared in print (it was published some time during the second half of 1801). In the last analysis, the internal evidence,, the poetic and sonorous similarities, must weigh even more
Goethe and Music -— Sacred Song Parodies
heavily. Certainly Goethe knew the Latin hymn when, thirty yean later, he brought Faust to completion with the Chorus Mysticus," whose very title suggests the Latin mo I
Latin Original
Tandem audite me, Sionis filiae! Aegram respicite, Dilecto dicite, Amore vulneror, Amore funeror.
5cm ! en \ Gunman Version
Hort Sionitiiih. Meine Cespielinn- Seht mich mitlei Saget dem Brauti'jam, Liebe verwunde rnich, Ximmer gesunde ich.
lam vitae stamina Rumpe, O anima! Ignis ascendere Gestit et tendere Ad coeli atria: Haec mea patria!
Leih uns des Lebens Sehoss, O Seele, strebend los! Das Feuer eilt hinauf, Und nimmer weilt im Lauf Bis an des Himmels Rand; Dort ist mein Vaterland!
Tr. F. W. S.
Hark, daughters of Zion, look at my misery Tell the precious one I am wounded with love, I am ready for the grave with love . . . Break the thread of life, o soul! The flame is willing to ascend and to rise to the doors of heaven: there is my fatherland!
Chorus Mysticus
Alles Vergangliche Ist nur ein Gleichnis; Das Unzulangliche Hier wird's Ereignis; Das Unbeschreibliche, Hier ist's getan; Das Ewig-Weibliche Zieht uns hinan.
Tr. B. Taylor, 1871; rev. F. W. S.
All things transitory But as symbols are sent: Earth's Insufficiency Here grows to event The indescribable, Here it is done: Woman-Eternal Leadeth us on.
178. Die heil'gen drei Konig' mit ihrem Stern. Title: Epiphanias. Date: January, 1781.
Text: JA i, 96 and 335; FA i, 80 and 362; DA xrv, 223.
Group: Gesellige Lieder.
Printed Source: "Die heil'gen drei Konig' mit ihrem Stern," a German folk r the
feast of Epiphany. One of the earliest recorded publications of text and tunc in tlu- ViUierbcfntr Gesangbuch of 1616; Goethe may have used a reprint of 1778 ( cf. J k I print
with full bibliography appears in L. Erk-F. M. Bohme, Detltscher Liederhort, 1893-1894, in, 112, no. 1196.
Comment: This is a parody both in the original and the later, narrow, of thr v
since Goethe's second line obviously pokes fun at the folk custom which had sunk from * id
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The New York Public Library
tradition to plain, undisguised begging: "Sie essen, sie trinken, und bezahlen nicht gern" (they eat, they drink, and prefer not to pay). An occasional song (cf. No. 16) for a masqued ball that was held at Weimar on the night of Epiphany in 1781. The actress and composer, Corona Schroter, represented the first king (the twelfth line makes a topical reference to her beauty). The whole song also defends the spontaneity of a folk custom against a strict and unimaginative edict of the local constabulary. For another defense of popular tradition and merrymaking of the young, as opposed to a concern with orderliness on the part of the police ( cf . No. 100 ) .
The accompanying music example gives the folk tune and the text of the first stanza in the traditional as well as in Goethe's wording:
J I J J J|J=?
1
^
22
Die heil-g-en clrei l£o-ni^ mrt iK- Die heil-gen drei 3£o - irig mit iK-
rem Stem, rem $tern,
i=i
f -f p pi F^
I
<?\
Die ka- men her aus "Mor-geii-land fern,
Sie es - gen, sie trin-lcen, und "be-za.h-len nictt g"ern;
Dies wird die letzte Tran nicht sein. Cf . No. 52.
Es geht eins nach dem andern hin. Cf. Nos. 67, 179.
Geht einer mit dem andern hin. Cf . Nos. 75, 179.
179. Ich hab mein Sach auf Nichts gestellt.
Title: Vanitas! vanitatum vanitas! Date: 1806.
Texts: JA i, 83 and 331; FA i, 70 and 361; DA xrv, 531.
Group: Gesellige Lieder.
Printed Sources: (1) "Es ist auf Erd' kein schwerer Leid'," a secular folk song, of the sixteenth century. The tune was, and has remained, extremely popular. It also served a variety of other texts, among them —
( 2 ) "Es liegt ein Schloss in Osterreich," a secular folk song, printed with this melody in the early seventeenth century.
(3) "Ich hab mein Sach Gott heimgestellt," a sacred folk song of the sixteenth century, of which Goethe parodied the first and seventh stanzas. It appears in German hymn collections from the sixteenth century on. In Jos. Clauder's Psalmodia. . ., Altenburg, 1627, the German text bears the heading, "to the tune, Teh weiss ein Bliimlein hjibsch und fein," i.e., Source (4), and a Latin translation is preceded by the note: "To the tune, 'Es ist auf Erden kein schwerer Leid'n'," i.e., Source (1).
(4) "Ich weiss ein Bliimlein hubsch und fein," another sacred folk song of the sixteenth century.
Modern reprints of all four sources, with bibliographical references, will be found in L. Erk-M. F. Bohme, Deutsche? Liederhort, 3 vols., Leipzig, 1893-1894, n, 558-560; in, 716-
Goethe and Music — Sacred Song Parodies
91
718, 860-862. Cf. also Johannes Zahn, Die Melodien der deutsclicn cvangclucltc-n K cder,
6 vols., Giitersloh, 1888-1893, I, 445-447; and Karl von Winterfeld, Der m gesang. . ., 3 vols., 1843-1847, i, 52.
Comment: This popular tune, whose convenient range is encompassed by a mere fifth fostered parodies down through the centuries. Sources ( 1) or (2), or both, art- pro! from an older ballad (cf. Erk-B6hme, op. cit., in, 861) and thus an- really u< tune. Sources (3) and (4) are, in turn, parodies of (1) and (2). According to C. I Source (3) was known and loved both by Goethe and his mother | ( und dc xUed,
Hamburg, 1924).
Goethe humorously derived from the first stanza a drinking BODg which, lik. m DUU his parodies, belongs to the group "Gesellige Lieder" (cf. Nos. 81, 87, 127, L78 He also parodied the seventh stanza in Nos. 67 and 75. In the accompanying orasi . \ imple th- stanzas of Goethe's three songs and the two model stanzas of his sacred source are printed under the tune (lines 3-7). The first two lines of text reproduce Sources (2) a- of clarity and brevity, Goethe's main source, i.e., (3), has been labeled - sources (2) and (4) "Folk Song i" and "Folk Song n." Actually the distil Song" and "Sacred Song" in the case of sources (4) and (3) is quite tenuous, a Ften the
case with songs derived from ballad meter ( cf . No. 52 ) .
The ballad, "Ich kenn ein Bliimlein wunderschon" (No. 88 above) is also possibly der from Source (4), reproduced as "Folk Song n" in the accompanying music example. structure of the text of Source (4) is 4-3-4-3-2—3 (numerals indicate rtressei pet li:.
Folk Song- 1 Folk Song II
Sa.cred Song, lstst&nza. Goethe I
Sacred Song^^fanza Qoelhe II 0oelhe in
|
o |
.. ,_. |
fTS |
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1/ 1 |
|||||||||||
|
/C n |
i |
1 ! |
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rJh " js |
■ |
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V\ J ' • |
1 |
» fl m |
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|
«J |
In |
0- |
ster- |
■ reich |
da |
liegt |
ein Schlorfi, |
||||
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92
The New York Public Library
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65 ) and that of Goethe's No. 88 4-3-4-3-4-4-3. Both songs begin with a ballad quatrain and the two opening lines show real similarity:
Folk Song: Ich tveiss ein Bfann^lein hiibsch und fein;
Es tut mir wohl ge-falAen; Goethe: Ich kenn ein JBZtim-lein umn-der-schon
Und trag dsn-nach Ver-Zan-gen;
Internal evidence makes it quite plausible, therefore, that No. 88 is derived from (4). But most commentaries, including those in JA and FA, suggest that Goethe's ballad is derived from the song in "Ich weiss ein blaues Blumelein," attributed to Count Johann von Habsburg zu Rap- perswyl. It is true that Count Johann's song begins with a similar first line and is related in subject matter. It is also true that Goethe probably read about the song when, on his Swiss journey in 1797, he perused Henricus ^Egidius Tschudi's Chronicon Helveticum. But this latter work ( ed. Joh. Rud. Iselin, Basel, 1734, 2 vols., i, 386, available in the Library of Congress ) gives only the first line and does not quote the song in toto. We must therefore agree with Erk-Bdhme (op. cit., n, 199) that it is farfetched to call Count Johann's little-known song Goethe's model. This is not to say that the tune which Erk-Bohme gives for Count Johann's song (op. cit., n, 198) could not fit Goethe's ballad on purely musical grounds. It can be adapted perfectly by eliminating the sixth fine of the original, thus reducing a stanza of eight lines to the seven-line stanza of No. 88.
Some minor accommodations were likewise needed in order to fit No. 179 to the tune of Source (3) (cf. the accompanying music example). Goethe's text is of the structure 4-4—4-4—3. This five-line stanza is modified by the ejaculation "Juchhe" which is inserted after the first and third lines and stands apart, both metrically and typographically. Source (3) is of the pattern 4-4-4-2-4. It becomes necessary, therefore, to repeat the fourth fine of the model in order to
Goethe and Music — Sacred Song Parodies
accommodate Goethe's four stresses and to sing the last syllable of Goethe's last line to two notes to fit a text of three stresses to a time of four. Also, the ejaculation "Juchhe" must be im- provised at the end of the first and third lines. Spohr's setting ( SchGG xi, 125 ) of Goethe's parodv provides a good clue for practical performance, since his descending melodic skip "d"-"g" aptlv fits the word "Jucn~ne" m Goethe's poem, whether sung to the sacred folk som: or to Sp I melody. The composer has caught the structure of the parody quite accurately. "Joch-he" is an addition to the basic pattern of four accents to the line. In the piano accompaniment Spohr also adds another "Juch-he" after the fifth line which expands that line from three to four stresses. In other words, the metrical treatment which Spohr accords Goethe's text is essentially id. nt with the adaptation Goethe made of the sacred melody. Such coincidences in the specific means of poetry-and-music to bring texts and tunes together bespeak a sturdiness of the oral tradition at the beginning of the nineteenth century which seems absent from trie literary and mus< works of the foremost creators of later times. It is true, "Ich hab mein Sach auf nichts gestellt" is unabashedly ephemeral, a bit of froth, as the Biblical tide "Vanitas! vanitatum % anitas.' ' ironicaly points up. But the fact remains that in the days of Herder and Goethe, and Scott and Byron, poets still acknowledged and recognized a tradition which nourished their inspiration, whether light or profound.
Another parody of Source (3) has been discovered by Erich Schmidt (GJB m, 323) in the Austrian comedy repertory. It dates from the second half of the eighteenth century, and it is curious that it anticipates, verbatim, Goethe's first line:
Ich hab mein Sach auf nichts gestellt, Da kanns mir auch nicht fehlen, Und wers so macht auf dieser Welt Dem wird man wenig stehlen. Guth und Geld macht angst und bang: Ey so leb ich noch so lang!
This is a six-line stanza of the pattern 4-3-4-3-4-4, to which the well-known tune of Source (3) could easily be adapted. Whether Goethe ever came across this parody we do not know. It is recorded in a manuscript of the eighteenth century in which were collected Genu an arias taken from comedies produced at the Viennese theater. The editor, F. J. Kurz-BernarLlon. who was an author, director, and actor as well, is well known to students of Haydn's and MoaitTl Singspiele (cf. G. Adler, Handbuch der Musikgeschichte, 2nd ed., Berlin, 1930, D, 7 Ernst Lert, Mozart auf dem Theater, 4th ed., Berlin, 1921, p. 60, et passim; WA, v. 53, p. 589
For an adaptation of Goethe's parody to still another tune, cf. the commentary to No. 211.
Ich kenn ein Bliimlein wunderschon. Cf. Nos. 88, 179.
Ihr lieben Christen allgemein. Cf . No. 9.
180. Komm, Heiliger Geist, du Schaffender. Title: Veni Creator Spiritus. Date: 1820.
Text: JA m, 275 and 381; DA xi, 221.
Group: none.
Printed Source: The well-known medieval Latin hymn for Whitsuntide, Veni ('• Spiritus, available in many modern reprints, such as: Liber U.suahs (Ed. No. 801, Journal, L934, p. 885); F. A. March's Latin Hymns, New York, 1875, p. 77; R. C. Trench's Sacred Latin Poftry, London, 1864, p. 184.
Comment: The original title was "Appell ans Genie" (Appeal to Genius V This suTprisfagly unconventional heading indicates the very personal meaning this hymn of the church held
94 The New York Public Library
Goethe. And, indeed, the references to it in his correspondence with Schiller and Zelter, as well as his appraisal of it in his prose works, make clear that the poet's German, re-creation was more than a mere translation. It was a new rendering of the lyric which transformed its ecclesiastical meaning into an artistic one. ( Cf. Schiller i, 281; Z n, 52, 105, 114; DA xin, 544. )
The parody is rhythmical rather than musical, and there is no evidence whatsoever that Goethe intended to have his German text sung to the traditional tune ( reprinted Liber Usualis, Ed. No. 801, Tournai, 1934, p. 885; Hymns Ancient and Modern, Revised, London, 1950, p. 198).
181. O Freiheit suss der Presse. Title: none.
Date: 1816-1821.
Texts: JA iv, 46 and 275; FA n, 203 and 453; DA xv, 245.
Group: Zahme Xenien, Buch n.
Printed Source: The German Christmas song, "In dulci jubilo," whose mixture of Latin and German vernacular is characteristic of macaronic poetry. L. Erk-M. F. Bdhme, Deutscher Liederhort ( Leipzig, 1893-1894, 3 vols., m, 636-639 ) offers modern reprints of several versions, including a variant of the sixteenth century which has appeared in Protestant hymnals ever since. It is this latter version which is Goethe's model.
Comment: Goethe's fondness for this ever-popular song was undoubtedly enhanced by his mother's preference for it, *as well. It continues to be sung at Christmas time to this day, and in English-speaking countries frequently with the text, "Good Christian men, rejoice." Goethe refers to the song not only in the fourth line of this parody but also in his correspondence and his poetry (Marianne 58, 311; DA xrv, 519). The tune is so well known that it is hardly necessary to reproduce it; however, to facilitate an actual vocal performance, both texts are given below, and accents are indicated by italics:
In dul-ci iu-bi-lo! O Frei-heit suss der Pres-sel
Nun sin-get und seid froh! Nun sind wir end-]ich froh;
Un-seis Her-zens Won-ne Sie pocht von Mes-se zu Mes-se
Leit in prae-se-pi-o. In Dul-ci ju-hi-lo.
Und leuch-tet als die Son-ne Kommt, lasst uns aZ-les druk-ken,
Mat-ris in gre-mi-o. Und wal-ten fiir und fur;
AZ-pha es- et o, Nur soll-te kei-ner muk-ken,
AZ-pha es et o. Der nicht so denkt wie voir.
O Vater alles wahren Sinns. Cf. No. 52.
182. Uber Tal und Fluss getragen. Title: An Mignon.
Date: 1797.
Texts: JA i, 59 and 320; FA i, 49 and 358; DA xrv, 427.
Group: Lieder.
Printed Sources: (1) "Jesu, mein Erbarmer, hore," a Protestant hymn of the eighteenth century by Gerhard Tersteegen ( 1697-1769 ) . Tersteegen's text ( reprinted GJB v, 259 ) is itself a parody of an older hymn:
( 2 ) "Herr, zur Zucht in deinem Grirnme," published in Ambrosius Lobwasser's Psalter of 1573, with Claude Goudimel's melody, and reprinted in Johannes Zahn's Die Melodien der deutschen evangelischen Kirchenlieder, 6 vols., Gutersloh, 1888-1893, n, 428, No. 3531. Lob- wasser's text is a German translation (if not a parody) of the hymn in the French Huguenot psalter of 1565 by Marot and Beze. This edition, with Goudimel's melodies, was the basis of many
Goethe and Music — Sacred Song Parodies
Psalm Books published in various European languages in the sixteenth, a nth, and
eighteenth centuries.
Comment: Wilhelm Scherer has shown so convincingly and in so much detail (GJB v, 258-260) how close is the relationship between Tersteegen's and Goethe's lyric that little- needs
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96 The New York Public Library
fourth and fifth line of Tersteegen's second stanza re-appears in the fourth and fifth lines of all of Goethe's five stanzas. These observations, though in themselves technical, are nevertheless tokens of the emotional climate which one senses in "An Mignon." For here, as in the novel, Wilhelm Meister, the figure of Mignon seems to conjure up, in the poet's mind, associations of a religious nature peculiar to the pietistic and mystical friendships of Goethe's early years in Frank- furt. The accompanying music example gives Goudimel's tune with the text of the first stanzas of Lobwasser, Tersteegen and Goethe. In the case of Tersteegen, the second stanza is also given, to delineate more clearly Goethe's poetical model.
MISCELLANEOUS PARODIES
183. Alles kundet dich an.
Title: Gegenwart.
Date: December, 1812.
Text: JA i, 39 and 314; FA i, 31 and 355; DA xrv, 619.
Group: Lieder.
Printed Sources: (1) The folk song "Ach Madchen, nur einen Blick," reprinted in L. Erk- M. F. Bdhme's Deutscher Liederhort (Leipzig, 1893-1894, 3 vols., n, 439). The popular tune, first recorded in a manuscript of 1800, served a variety of texts and was also fitted to:
(2) H. W. F. Ueltzen's poem, "Namen nennen dich nicht," by Andreas Kretzschmer, a young student in the University of Halle. Ueltzen's text, first published in the Gottinger Musenalmanach for the year. 1786, with Kretzschmer's adaptation of the tune made in 1797, is reprinted in F. M. Bohme's Volkstumliche Lieder der Deutschen im 18. und 19. Jahrhundert (Leipzig, 1895, p. 293) where additional literature is cited, indicating that the sentimental lyric enjoyed a rather curious vogue during the early decades of the German Romantic movement.
Classification: Musical Parody.
Comment: Goethe's parody is preserved on a manuscript page on the reverse side of which Karoline Ulrich, a member of his household, noted the circumstances of its making ( WA, v. 53, p. 541) : "On the occasion of a family dinner at Goethe's house [in December, 1812] Mile. Engels played the guitar and Goethe liked the tune of one of the songs, though not its text. He took a letter from the table, tore it in half, and used the reverse side for writing off his own poem." Ueltzen's text, with its constant negations and obscurations ( "Verheimlichungen" ) was a sin against the very nature of lyrical poetry, Goethe felt. He had endeavored to correct this fault by re-creating the piece, as he confided to a visitor a few weeks later (B n, 161) after Mile. Engels had sung his parody, with guitar accompaniment. In several aspects these contemporary accounts are typical of Goethe's parody technique, such as the substitution of the positive "All announces thee" for the negative "Words cannot name thee," reminiscent of the change from "I have loved, now I love no more," to "I have loved, now I love all the more," in the case of No. 87. (The role of Mile. Engels, who often sang for Goethe, is discussed in the commentary to No. 87.) That Goethe liked the tune but not the text is also characteristic, and thus he felt challenged to create his parody, as in the case of "Da droben auf jenem Berge." 38 Important, also, is the ease and speed with which an older song gives rise to a new one. In this regard, the history of the present lyric is similar to "Da droben auf jenem Berge," "Ich habe geliebet," and many others.
Goethe parodied his earlier parody in a song sent to Marianne von Willemer in the spring of 1816 (Marianne, p. 21, 287). In it (third stanza) he paid homage to Marianne's song by relating it to the resounding harmony of the spheres, whereas the version of 1812 spoke only of the dance of the spheres. The later variant is far more compelling, and "regst-regen" sounds languid in contrast to "singst-klingen." The rejuvenating force that Goethe's muse received with the blossoming of his love for Marianne was responsible for much of the poet's finest work. It is a chapter in his life that calls for a more intimate examination and discussion than the present survey permits.
In the accompanying music example, Kretzschmer's tune is given with both Ueltzen's and Goethe's first stanzas. Moreover, Goethe's third stanza is given in the version of 1812, as well
38 p. 11.
Goethe and Music — Miscellaneous Parodies
as in that of 1816. The poet probably heard the song in an arrangement that used the accompani- ment by Ludwig Berger, published in 1812 ( cf. Marianne 287 ). But so far I have not been able to locate a copy of Berger's arrangement and collate it with Kretzschmer's tu
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184. An dem reins ten Fruhlingsmorgen. Title: Die Sprode. Date: 1796.
Texts: JA i, 15 and 306; FA i, 10 and 354; DA xrv, 407.
Group: Lieder.
Printed Sources: An aria from Domenico Cimarosa's U impresario in tmgtutie (, 17 Cimarosa's aria, with Goethe's parody, is reprinted SchGG xi, 111.
Classification: Musical Parodv.
Comment: In 1787 Goethe heard Cimarosa's comic opera in Rome and later rep favorably upon it in his Italienische Reise. But his reaction went beyond mere comment; tor upon his return to Weimar he edited the opera and translated it into German in Order to have it performed at the Weimar theatre, where it was given several times between 17;) 1 and
In 1796 Goethe decided to graft the music of Mozart's SchauspieJrdirehor (1780) 0O to Cimarosa's Impresario. Obvious similarities in plot and subject matter facilitated the imalgamattan of the German singspiel and the Italian opera buffa; and it must be admitted that M< music, charming as it is, has never been able to carry the wholly inadequate original t« \t of the work of editing and combining was done by Goethe's brother-in-law. Vulptat, Howevi r. Goethe himself contributed the present parody. The first performance took place at Weimar
98 The New York Public Library
on October 14, 1797, and the amusing pastiche proved quite popular, both there and on other
German stages. ...
Goethe's parody originally consisted of six stanzas and was published in this form in a German periodical in 1797 under the title, "Arie aus dem Direkteur in der Klemme [L'impresario in angustie]." Later Goethe separated the first three and the second three stanzas and published them under the separate titles "Die Sprode" (No. 184) and "Die Bekehrte" (No, 188). For further details cf. GJB xxvi, 5 and 28; SchGG xi, 147.
185. An den holden Jungling denkend. Title: Arie. Nach dem Italienischen. Date: January 4, 1813.
Texts: JA in, 274 and 380; DA xi, 207; WA ry, 328, and v, part n, 204.
Group: none.
Printed source: The Italian bass aria, "Una vaga giovinetta" (Eine liebenswurd'ge Schone), composed by Francesco Bianchi ( 1752-1811 ).
Classification: Musical Parody.
Comment: Goethe's diary for February 4, 1813, notes: "Parodie des Gedichts 'Eine liebenswurd'ge Schone' [Una vaga giovinetta], Bei den Frauenzimmern, um dasselbe zu pro- bieren." (Parody of the poem "Eine liebenswurd'ge Schone." With" the ladies to rehearse it.) Mile. Engels, who often performed the poet's parodies as well as other songs (cf. Nos. 87, 183), was among the ladies present. She wished to sing the popular bass aria by Bianchi in an arrange- ment suitable for her voice and sex. Goethe therefore changed the content considerably with the exception of the last stanza. In the original song a sneeze, issuing from under a table, betrays the unfaithfulness of a girl to her irate lover; while in Goethe's parody a rustle in the bushes unmasks the faithless lover to the young maiden who sings the song.
186. Auf den Auen wandeln wir.
Title: none.
Date: August 12, 1785.
Texts: JA m, 101 and 324; DA xiv, 265.
Group: none.
Printed source: A French song, as yet unidentified.
Classification: Musical Parody.
Comment: On the occasion of his impending leave-taking from the Countess Christine von Briihl, Goethe improvised this song. The manuscript notes of Count von Briihl (reprinted GJB xi, 132) tell us: "Goethe found in Carlsbad a French song whose melody he liked. He fitted German words to it which made reference to the impending separation and the hoped-for reunion of our group. The German text was sent to [Johann Gottlieb] Naumann, who was in Denmark at the time, and he composed it as it stands here." The musical illustration, facing p. 132 of GJB xi, reproduces Goethe's parody in Naumann's composition. For another parody written in the summer of 1785, connected with the composer Naumann and with Count and Countess von Briihl, cf. "Ein munter Lied! Dort kommt ein Chor" (No. 198).
187. Auf Kieseln im Bache. Title: Wechsel. Date: 1768.
Texts: JA i, 41 and 316; FA i, 33 and 356; DA xrv, 67; DJG i, 243, and vi, 40. Cf. also JA m, 216 and 264; FA n, 362 and 485; DJG i, 358, and vi, 71.
Group: Lieder mit Melodien, Mile. Friederiken Oeser gewidmet.
Printed Source: Johann Christian Giinther's poem "Verflucht nicht, ihr Madchen, mein fliichtiges Lieben" from the Sammlung von . . . Gedichten of 1733 ( reprinted by Max Morris in DJG vi, 40, and by Wilhelm Kramer in Bibliothek des literarischen Vereins in Stuttgart, v. 275, Leipzig, 1930, p. 131).
Classification: Rhythmical Parody.
Comment: An early parody dating from Goethe's student days in Leipzig. It was first included in the manuscript collection for Friederike Oeser and the following year, with slight
Goethe and Music — Miscellaneous Parodies 00
variations, in the Neue Lieder. This latter version, which begins "Im spi- ■ is
reprinted, with Breitkopfs music, in Giinther Raphael's edition (cf. Xo. 101) The obvious similarities in rhythm and content between model and parody ha> Max
Morris (DJG vi, 40) Martin Sommerfeld (cf. No. 101), and Hermann August Korff (D- der Goethezeit, Leipzig, 1923, i, 184). Goethe's poem is an excellent exampl German poetry in the Age of Enlightenment. A comparison with its model points up the surpri^ native gifts of a precocious fledgling.
188. Bei dem Glanz der Abendrote. Title: Die Bekehrte.
Date: 1796.
Text: JA i, 15 and 306; FA i, 10 and 354; DA xiv, 407.
Group: Lieder.
Classification: Musical Parody.
Comment: Source and background of this song are discussed s. v. No. 184. Of especial interest to American readers will be a comparison of Edward MacDowell's setting of ti (op. 47, No. 6; published by Breitkopf & Hartel) with Cimarosa's music ( SchGG xi. 111.
189. Da droben auf jenem Berge, da steh ich tausendmal. Title: Schafers Klagelied.
Date: 1802.
Text: JA i, 55 and 320; FA i, 45 and 357; DA xrv, 505.
Group: Lieder.
Classification: Folk Song Parody.
Comment: Source and background of this parody have been discussed in the Introduce
190. Da droben auf jenem Berge, da steht ein altes Schloss. Title: Bergschloss.
Date: About 1802.
Text: JA i, 60 and 321; FA i, 50 and 358; DA xrv, 509.
Group: Lieder.
Classification: Folk Song Parody.
Comment: Source and background of this parody have been discussed in the Introduction.*
191. Dem Schnee, dem Regen. Title: Rastlose Liebe. Date: May, 1776.
Text: JA i, 54 and 320; FA i, 44 and 357; DA xrv, 193.
Group: Lieder.
Printed Sources: (1) "Love will find out the way" from Percy's Rcliqucs of An English Poetry, series m, book m, No. 3.
(2) "Weg der Liebe," Herder's German translation of Source (1), first published in Von deutscher Art und Kunst of 1772 and later reprinted in the Volkslicdcr of 177D. Cf. the modern reprint and Carl Redlich's commentary in Herder, xxv, 358 and 677.
Classification: Folk Song Parody (rhythmical).
Comment: As in No. 9, Goethe knew the source both from Percy's English and Herder*! German version. The similarities in title, content, mood and rhythmical scheme an very marked Rhythmically, all three poems proceed in lines of two stresses, as can bo seen from the quotatii below (italics indicate stress; cf. No. 65). Both Herder and Goethe van Percy's sound Pattern, by having a greater number of lines begin with a downbeat, rather than with an upbeat Ifladtng to a downbeat. Goethe introduces a further variation, since his first and last stanzas consist of but six lines each, the middle one of eight fines, whereas Percy's and Herder's lyrics arc in Stem
39 Cf. P. 11.
100 The New York Public Library
of eight lines throughout. Here are the first stanzas of each of the songs, as well as the last stanza of Goethe's parody:
Percy: "Love Will Find Out the Way' Over the moun-tains And o-ver the waves; Un-der the /otm-tains And im-der the graves; Un-der floods that are deep-est, Which Nep-tune o-bey; O-ver rocks that are steep-est, Love will find out the way.
Herder: "Weg der Liebe'
t)-ber die Ber-ge, V-ber die Wel-\en, Un-ter den Gra-bern, l/n-ter den Quel-len, U-ber Flu-ten und Seen, In der A&-griin-de Steg, U-ber FeZ-sen, ii-ber Hohn, Find Lie-be den Weg!
Goethe: "Rastlose Liebe"
Dem Schnee, dem Re- gen, Dem Wind ent-ge-gen, Im Dampf der Kluf-te, Durch Ne-be\-diif-te, Im-mer zu! Im-mer zu! Oh-ne Rast und Ruh!
Wie, soil ich flieh-en? Wa'Z-der-warts zieh-en? AZ-les ver-geb-ensl Kro-ne des Lefe-ens, Gliick oh-ne Ruh, Lie-be, bist dul
192. Diese Federn, weiss und schwarze. Title: Canzonetta Romana. Date: 1780.
Text: JA m, 265 and 379; DA xi, 204; WA rv, 317, and v, part n, 201.
Group: none.
Printed Source: The Roman song:
Quelle piume, bianche e nere Che nel capo voi portare, Belle Donne inamorate, Vi fan crescer la Belta . . .
which appeared in Der Teutsche Merkur vom Jahre 1780, Viertes Vierteljahr, p. 276-280. There Wieland, the editor, presented ( 1 ) the Italian original, ( 2 ) Goethe's unrhymed re-creation, ( 3 ) a musical setting by Corona Schroter ( with Italian text only ) . I have checked a copy of Der Teutsche Merkur in The New York Public Library, where it is bound as Der Neue Teutsche Merkur; the passage in question will be found in Volume 32 of the Library's copy.
Classification: Musical Parody.
Comment: The provenance of the Italian text is unknown (cf. J A in, 379); nor is it known whether Schroter's composition is original or an adaptation of an older tune. But since Wieland, the editor of Der Teutsche Merkur, published only the Italian text, with Corona Schroter's music (the musical illustration opposite p. 280), it seems likely that Schroter first composed the Italian text and that Goethe must have liked this parody, which is more than a mere translation, since he permitted its republication in Reichardt's Musikalischer Almanach (Berlin, 1796). With its first publication in 1780 Wieland stated modestly (p. 275f.) that the rhyme-less re-creation made no other pretense but to facilitate understanding of the Italian original. He then went on to dare his fellow writers to produce a rhymed German translation which would not lose the poetic beauty of the original. "He who could fulfill the task would truly be the great Apollo!" Several attempts were made, of which only Herder's version is worth noting (Herder xxv, 611 and 688). It shares with the Italian original and with Goethe's parody the metrical scheme of four trochees in each line, as well as the organization into stanzas of eight lines each.
Goethe and Music — Miscellaneous Parodi< s 101
193. Donnerstag nach Belvedere, Freitag gehts. Title: Die Lustigen von Weimar.
Date: January 15, 1813.
Text: JA i, 97 and 336; FA i, 81 and 362; DA xiv, 62L
Group: Gesellige Lieder.
Printed Source: unknown.
Classification: unknown.
Comment: Although the printed source of this parody has not yet been di veral
circumstances suggest that it was fitted to a well-known melody ( cf. JA i, 3 16): il i to the
group "Gesellige Lieder" (cf. Nos. 81, 87, 127, 178, 179, 203, 213, 216, 228); it v ,ed
in the merry circle of actors and singers who gathered around Goethe and his wife — a <- ircle which gave rise to many a parody derived from popular models — and it was in performed by Mile. Engels (cf. Nos. 87, 183, 185, 194), who often fitted an old tune to I poet's new verse. Goethe's diary for the day carries the entry: "Song 'Donnerstag nach Bel dere\ After dinner, Mile. Engels who sang same."
194. "Donnerstag nach Belvedere!" Und so ging's. Title: In das Stammbuch der Frau Durand-Engels. Date: June 4, 1831.
Text: JA in, 176 and 355; DA xv, 438.
Group: none.
Printed Source: Goethe's own No. 193.
Classification: Musical Parody.
Comment: The quotation marks of the first fine obviously refer to No. 193. The present improvisation was also written for Mile. Engels, who now, eighteen years later, was the v of the Weimar actor, F. A. Durand.
195. Ein munter Lied! Dort kommt ein Chor.
Title: Bankelsangerlied zum 26. Juli 1785, dem Geburtstage des Graf en Moritz v. Bruhl.
Date: July, 1785.
Text: JA in, 99 and 324; DA xrv, 263; WA rv, 223, and v, part n, 134.
Group: none.
Classification: Musical Parody.
Comment: Goethe improvised these verses, on the occasion of the birthday of tl of Bruhl, to a melody by J. G. Naumann (cf. GJB xi, 131). For another parody connected with Naumann and Count and Countess of Bruhl (also written in the summer of 1785), cf. No. I So far, I have not been able to locate either Naumann's tune or the original text for which it was written.
196. Einen wohlgeschnitzten, vollen Becher.
Title: Der Becher.
Date: September 22, 1781.
Text: JA n, 78 and 297; FA i, 268 and 380; DA xrv, 225.
Group: Vermischte Gedichte.
Comment: Goethe subtitled the poem, "After the Greek." Tnu\ it utilizes BOOM DM I of Anacreontic Greek poetry and was written when Herder and Goethe began to stn imitate the lyrics of the Greek Anthology. Nevertheless, the main rhythmic I be
the South Slavic deseterac (cf. Germanic Review, xx [1945], 25S). From time to time, Goethe and Herder enjoyed mystifying their more pedantic readers by using misleading and fanciful captions (cf. Herder xxv, 684, s. v. "Not und Hoffnung"). In Goethe's case, the pre* nt 1 in the group "Vermischte Gedichte," is followed by an actual recreation of a concrefc model (cf. No. 225).
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197. Enweri sagt's, ein Herrlichster der Manner.
Title: none.
Date: Summer, 1818.
Text: JA v, 55 and 366; FA m, 68 and 314; DA xv, 192.
Group: West-ostlicher Divan, Buch der Spriiche.
Printed Source: An excerpt from a lyric of the Persian poet Enweri (twelfth century; transliterated Anwari by NYPL), translated into German in Joseph von Hammer-Purgstall's Geschichte der schonen Redekunste Persiens, Vienna, 1818; reprinted in the commentaries of
JA and FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan, inspired by Hammer-Purgstall's trans- lations of Persian poetry (cf. No. 30). Unlike No. 81, which modifies the rhythm of the model, the present lyric follows closely Hammer-Purgstall's translation of Enweri, in which each line has five complete iambics.
198. Es furchte die Gotter das Menschengeschlecht.
Title: none. Date: 1779.
Text: JA xn, 70 and 352-354; FA vn, 90 and 523; DA vm, 56. Group: The drama, Iphigenie auf Tauris. Lines 1726-1766.
Printed Sources: Several Scandinavian lyrics, published in Herder's Volkslieder of 1778- 1779, namely:
( 1 ) "Schweiget alle, heilige Wesen," entitled "Voluspa, oder die Nordische Sibylle ..." (Herder xxv, 460);
(2) "Gaundul und Skogul sandte Gott Thor/' entitled "Konig Hako's Todegesang. Skaldisch." After the words "Gaundul und Skogul," Herder's footnote explains ( translated ) : "The choosers of death, the Valkyries,' the Nordic Parces." (Herder xxv, 217);
(3) "Umher wirds dunkel von Pfeilgewolken," entitled "Die Todesgottinnen." The subtitle reads (translated): "The Vision of a Wanderer in a lonely sepulchral cave, where he saw the Valkyries weaving." ( Herder xxv, 478 ) .
Classification: Rhythmical Parody.
Comment: Goethe wrote two versions of the drama Iphigenie, one in the poetic prose style of his impassioned youth, very much influenced by Herder; and one, after his journey to Italy, in verse which is much closer to classical models. As always with Goethe, the transplan- tation from a Northern to a Mediterranean atmosphere is reflected in the music of the language. The two versions of Iphigenie are important milestones in the poet's development from his "storm and stress" period to his "classical" stage. Space forbids a fuller discussion of these stages or a more detailed analysis of the rhythmic structure of this parody (the two-stress lines of the Edda) and the light it sheds on Herder's re-creations, Holderlin's "Song of Fate" and Brahms' compositions of both Goethe's and Holderlin's texts.
Suffice it to say that Goethe copied not only the rhythmic structure but also several elements of Scandinavian folklore, all of which he found in Herder. When he recast the ecstatic prose of his youth into poised and controlled blank verse, the parodies of scaldic poetry were the only portions of Iphigenie that Goethe retained unchanged. The characters of the protagonists in the play experienced real change, sometimes subtle and at other times obvious. But the lyrics re- mained faithful relics of an infatuation with Nordic poetry. And the finest of all the lyrics, the "Song of the Parces," is not a song of Greek parces, but rather of a "Northern Sibylla," or of "Nordic Parces," or of northern "Valkyries Weaving," as all three sources suggest.
The "Song of the Parces," in the original context of the older version of Iphigenie, will be found DA vn, 713, or WA xxxix, 386. For other lyrics from the drama, cf. "Du hast Wolken, gnadige Retterin," "Lasst nicht den Muttermorder entfliehen," "Willkommen Vater, euch griisst Orest" (WA xxxrx, 341, 475, 369; Iphigenie in blank-verse, lines 538, 1054, 1281). For a further discussion of Scandinavian elements, cf. GJB xxxm, 85-96.
Goethe and Music — Miscellaneous Parodies
199. Fullest wieder Busch und Tal. Title: An den Mond. Date: 1st version, 1777-1778; 2nd version before 1789.
Text: JA i, 65 and 323; FA i, 54 and 359; DA xrv, 200f.
Group: Lieder.
Printed Source: (1) a poem by Heinrich Leopold Wagner, "An den Mond/' v. la b appeared in the Almanack der deutschen Musen, 1776, p. 153f. and \\ ! Schmidt's H. L. Wagner, Jena, 1875, p. 15. It should be noted that V Mond," follows in the Almanack upon Goethe's own "Das Schreien" | No. 1< stance makes it extremely probable that Goethe knew this version of Wagner*
(2) a musical setting of Wagner's "An den Mond" by Goethe's Mend, die composer Ph. Chr. Kayser, published in Kayser's Gesdnge mit Begleilung des Klaviers, I . ntcr-
thur, 1777. The music was reprinted in 1896 by Max Friedlander in SchGG \i. 55, A: d il time, and along with leading contemporary Goethe scholars, Friedlander erroneously attri! music to S. von Seckendorff. In 1923 Julius Petersen ( Charlotte i, 90 and E 708) discovered that the music was by Kayser, a fact which later scholars, among them Julius Wahle in 1924 (SchGG xxxvn, p. 8 of commentary) and Heinrich Spiess in 193] 1( 145) have substantiated. In 1949 Samuel Fisch (Goethe und die Miisih, 1 p. 19) republished Friedlander's reprint of 1896, but erroneously continued the attribut: Seckendorff.
In the printed copy of Kayser's Gesange, Wagner's text differs slightly from the t version in the Almanack:
Unbewolktes Silberlicht, Heiligkeuscher Mond! Lachle keinem Bosewicht In dem Falschheit thront.
The manuscript of this improved variant had been mailed by Wagner to Kayser sometime in 1776. It was reprinted by Erich Schmidt (op. cit., p. 116) and James Bovd (Notes to CoctJu's Poems, 2 vols., Oxford, 1948-1949, i, 128).
Classification: Musical Parody.
Comment: One of Goethe's great poems and one that strikingly illustrates the ; of change and transformation engendered by the parody technique. Kayser's tune baa actually served four poems: first, Wagner's "An den Mond"; second, Goethe's parody of Wagner's lyric; third, Charlotte von Stein's parody of Goethe's poem; and, finally, Goethe's re-creation into which he absorbed elements of his own earlier version as well as of Charlotte's verse.
During the winter of 1777-1778, Goethe engaged a Weimar musician to copy the music of seventy-one songs by the composer Philipp Christoph Kayser. (Kayser, born in Frankfurt in 1755, was one of the close friends of Goethe's youth until 1788-1789; cf. C. A. Burkhardt, Goetke und Kayser, Leipzig, 1879; also Edgar Refardt, Der " Goethe-Kay ser," Zurich, 1950. par- ticularly p. 20.) But in the case of one of these seventy-one songs, the setting lor Wagner's "An den Mond," Goethe had the copyist substitute his own parody for the original text. 1 1 sent his lyric, with Kayser's music, to Charlotte von Stein. It is clearly a song which tin addressed to his beloved, when he likens the soft rays of the moon to the glances of Charlotte, (A facsimile reproduction of Goethe's manuscript is offered SchGG xxxvn. There it ifl panied by Kayser's music, notated on two staves. Text and music are reprinted Charlotte i. But when, some ten years later, Goethe tore himself away from Weimar ami Charlotte tnd fled to Italy, the deserted Charlotte parodied Goethe's poem, and sent her parody to th.- poet in Rome as a token of her grief. With tune and title unchanged Charlotte, the deserted woman. deliberately added the significant subtitle, "Nach meiner Manier" (after my own Fashion [cf, Charlotte i, 578] ) :
Goethe: "An den Mond'
Fullest wieder s'liebe Tal Still mit Nebelglanz, Losest endlich auch einmal Meine Seele ganz.
Charlotte: "An den Mond"
nach meiner Manier Fullest wieder Busch and
Still mit Nebelglanz Losest endlich auch einmal Meine Seele game.
104 The New York Public Library
Now a woman speaks who has lost her lover, and she wants his image erased from her heart: "Losch das Bild aus meinem Herz" begins Charlotte's third stanza. Both as lover and poet, Goethe understood the grief of the woman whom he had deserted, and he could transform her woes into his own expression with a consummate mastery that marks his songs of women, whether they be Klarchen in Egmcmt or Gretchen in Faust.
The poet's final version is, indeed, a woman's song, but not quite Charlotte's complaint, for this parody of her parody is a transfiguration of her grief: as Goethe wished to remember her, she recognized, in spite of her misery, the friend's gentle concern over her fate.
Goethe i
Breitest iiber mein Gefild Lindernd deinen Blick, Wie der Liebsten Auge mild Uber mein Geschick.
Charlotte
Breitest iiber mein Gefild Lindernd deinen Blick, Da des Freundes Auge mild Nie mehr kehrt zuriick.
Goethe n
Breitest iiber mein Gefild Lindernd deinen Blick, Wie des Freundes Auge mild t)ber mein Geschick.
With his characteristic faith in the restoring power of music, Goethe added the stanza —
Goethe n
Rausche, Fluss, das Tal entlang, Ohne Rast und Ruh, Rausche, fliistre meinem Sang Melo'dien zu.
In the foregoing account I have endeavored to sketch the development of the various phases of "An den Mond," without the impediment of too many philological and bibliographical details. The song has, in fact, been discussed in great detail in all its ramifications: the correct authorship of the music, whether it is by Kayser or by Seckendorff; the precise date of Goethe's first version, whether it was written in 1777 or in 1778; certain happenings in Weimar during the season of 1777-1778 and their probable pertinence to the origin of the song. The interpre- tation given here is in accord with that of Wahle, Spiess, Boyd and Refardt. Thanks to these scholars, the essential facts are beyond discussion, and from the history of the song there emerges a clear realization that Goethe's muse was nurtured by all kinds of borrowing. It also seems clear that, despite their important role in the song's development, the contributions of Wagner, Kayser and Charlotte were not only absorbed but also transcended in the lyric which Goethe finally fashioned.
200. Gottes ist der Orient! Title: Talismane. Date: 1815.
Text: JA v, 6 and 326; FA m, 24 and 294; DA xv, 75.
Group: West-ostlicher Divan, Buch des Sangers.
Printed Source: A quotation from the Koran, in German translation by Hammer-Purgstall, which served as motto for his Fundgruben des Orients, Vienna, 1809-1816; reprinted in the commentaries of J A and FA.
Classification: Rhythmical Parody.
Comment: Another parody from the Divan, inspired by Hammer-PurgstaH's translations of Oriental poetry (cf. Nos. 30, 81, 197). Goethe copies the first two lines of the model rather
Goethe and Music — Miscellaneous Parodi 105
closely, but he improves them by eliminating the unaccented syllable at the 1 g of each
line. Then he completes the quatrain, by continuing in the rhythm of the- first tv
Hammer-Purgstall Goethi.
Sag: Gottes ist der Orient, Gottes ist der Orient!
Und Gottes ist der Okzident; Gottes ist der Okzidmt!
Er leitet, wen er will, Nord- und sudlieh
Den wahren Pfad. Ruht im Frieden seiner Hande.
201. Hand in Hand! und Lipp auf Lippel Title: An die Erwahlte.
Date: About 1795.
Text: JA i, 36 and 313; FA i, 29 and 355; DA xrv, 341.
Group: Lieder.
Printed Source: unknown.
Classification: unknown.
Comment: A sketch of the second and third stanzas of this poem has been found in one of Goethe's notebooks next to "Ich denke dein" (No. 206). Since "Ich denke dein" is a parodv, it is a reasonable assumption that the present lyric, too, is derived from another po( I At least this is the circumstantial evidence quoted by E. v. d. Hellen (JA i, 313). II. G. Graef certainly agrees that the two poems are closely connected, since he prints them next U> other in his chronological edition of Goethe's poems (DA xrv, 341). Considering the in' evidence, such as the sound patterns and general atmosphere, I would agree with v. d. HeDen'l assumption, but it must be stated that no concrete model has so far been found.
202. Herrin, sag was heisst das Fliistern?
Title: Vollmondnacht. Date: October 24, 1815.
Text: JA v, 90 and 400; FA m, 99 and 326; DA xv, 143.
Group: West-ostlicher Divan, Buch Suleika.
Printed Source: A lyric from Hammer-Purgst-aH's Der Divan von. . .Hafis, Stuttgart and Tubingen, 1812-1813; reprinted in the commentaries of JA and FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan inspired by Hammer-Purgst all's translations of Oriental poetry (cf. Nos. 30, 81, 197, 200). Goethe's re-creation shares with the model the rhythmic structure of four trochees to each line. Also, his refrain, "Ich will kiissen! Kfij ich" echoes " Ich will kiissen, kiissen/ sprach ich" from Hafiz.
203. Hier sind wir versammelt zu loblichem Tun. Title: Ergo bibamus!
Date: 1810.
Text: JA i, 93 and 334; FA i, 77 and 361; DA xrv, 559.
Group: Gesellige Lieder.
Printed Source: Friedrich Wilhelm Riemer's poem, "Hort Freuncle. ich tag Euch, trefHiches Wort," reprinted SchGG xxxi, 237, and Jahrbuch des frcicii deutochen Hochl 1902, p. 352. Cf. also Graef, Lyrik, i, 428f.; and Riemer 363f.
Classification: Rhythmical Parody.
Comment: Another merry parody from the group "Gesellige Lieder" ( cf, Nos, Bl, 87, 1 87, 178, 179, 193). Along with Nos. 81 and 179, it is a drinking song.
With the help of the literature, quoted above, it is easy to reconstruct the genesis of this song. The pedagogue Basedow provided the phrase Ergo bibamus which was to ten e as the title and refrain. Goethe's secretary Riemer hit upon the idea of expanding the phrase into a drinking song and, indeed, himself wrote a lyric which served as a preliminary study tor the p in rhythm and content.
106 The New York Public Library
204. HoredenRat. Title: none. Date: July, 1814.
Text: JA v, 33 and 350; FA m, 49 and 305; DA xv, 40.
Group: West-ostlicher Divan, Buch der Betrachtungen.
Printed Source: A lyric from Hammer-Purgstall's Der Divan von. . .Hafis, Stuttgart and Tubingen, 1812-1813; reprinted in the commentary of FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan inspired by German translations of Ori- ental poetry (cf. Nos. 30, 81, 197, 200, 202). Goethe's re-creation copies the first two lines of the model verbatim, then proceeds in the same rhythm of four stresses per line.
205. Ich bin der wohlbekannte Sanger. Title: Der Rattenf anger.
Date: Before 1803.
Text: JA i, 116 and 341; FA i, 99 and 364; DA xiv, 321.
Group: Balladen.
Printed Source: unknown.
Classification: unknown.
Comment: It seems likely that Goethe's ballad of the "Rattenf anger" (Pied Piper) was derived from a folk song, although no model was recorded before 1803. In 1806 Arnim and Brentano published a folk song on this ever-popular subject in Des Knaben Wunderhorn, with the notation "miindiich," i.e., from the oral tradition. This version has been reprinted and dis- cussed by L. Erk and M. F. Bohme (Deutscher Liederhort, Leipzig, 1893-1894, i, 36). It has the same rhythm as Goethe's ballad and unless we assume that the editors of the Wunderhorn offered their own creation as a genuine folk song, it is difficult not to believe that the song pub- lished by them — or an earlier variant of it — influenced Goethe. I am inclined to trust the judgment of Erk and Bohme who do not doubt the authenticity of the lyric, as recorded in the Wunderhorn.
Whether Goethe's model was merely rhythmical or whether he had an actual tune in mind, we do not know. The earliest recorded melody appears in a folk song collection of 1840, and one that is none too reliable ( cf . Erk-Bdhme, op. cit. v. i, p. xlvi and 36 ) . We do know, however, that Goethe wrote the song for a children's ballet in Weimar (cf. Riemer 219).
Also, when Goethe reviewed the Wunderhorn Collection, he remarked of the Pied Piper's lay that it tended in the direction of minstrelsy and popular balladry (JA xxxvi, 249). These very elements are in evidence in an anonymous musical setting of 1810 of Goethe's own "Pied Piper," which has been reprinted by Friedlander (SchGG xxxi, 133 and 237). Quite properly Friedlander senses in this composition elements of merry minstrelsy as well as an awareness of theatrical audiences. Thus, this music of Goethe's own time seems to reflect accurately the popular and dramatic atmosphere of the text.
206. Ich denke dein, wenn mir der Sonne Schimmer. Title: Nahe des Geliebten.
Date: April, 1895.
Text: JA i, 38 and 314; FA i, 30 and 355; DA xrv, 341.
Group: Lie der.
Printed Source: Friederike Brun's poem, "Ich denke dein, wenn sich im Bliitenregen," set to music by C. F. Zelter, published in the Musikalische Blumenlese fiir das Jahr 1795, edited by J. F. Reichardt. Reprinted by Friedlander in SchGG xi, 116 and 147, where Zelter's music is given both with Brun's text and Goethe's parody.
Classification: Musical Parody.
Comment: As in the case of "Da droben auf jenem Berge" (No. 189), we are dealing here with an emotional climate, a melody, and a first line, all of which must have been extremely
Goethe and Music — Miscellaneous Parodies 107
popular among the German Romantic poets. Friedrich von Matthisson (1761-1831) seems to have started a whole series of poems with his:
Ich denke dein, Wenn durch den Hain Der Naehtigallen Accorde schallen! Wann denkst du mein?
His friend and fellow-poet Friederike Brun (1765-1835) felt inspired by this lyric to write her "Ich denke dein," copying Matthisson's first line and the sentimental tone which hov een
reflections on love and those on nature. Rhythmically, the older poem serves rather as a point of departure than as a model, for there are six lines to Brun's stanza instead of five, and the number of stresses in some of the lines has also been increased.
But Goethe's parody of Brun's poem with Zelter's music follows the rhvthmical structure of his model accurately line for line. He also copies the initial line of the fir^t stanza and rhyme "malt-strahlt" between lines 3 and 6:
Brun Goethe
Ich denke dein, Ich denke dein,
Wenn sich im Blutenregen Wenn mir der Sonne Schimmer
Der Fruhling malt, Vom Meere strahlt;
Und wenn des Sommers Ich denke dein,
Mild gereifter Segen Wenn sich des Mondes Flimmer
In Ahren strahlt. In Quellen malt.
One might fear that the remainder of Goethe's parody would hew too closelv to the senti- mentality of the model. But he happily leaves behind the artificial atmosphere, composed of ele<;\ and sweetness, when he substitutes in the later stanzas "I see thee," "I hear thee," "I am with thee" for Brun's tiresome repetitions of "I think of thee."
In fact, there can be no doubt that, as in the case of No. 189, Goethe liked the tune but not the text of the model. There he had considered "the poetry common but the music i ingly attractive" and pronounced the text as "requiring emendation." And concerning the men of the present parody he writes: "Zelter's melody to the song Ich denke dein' held an imredible attraction for me, and I could not desist from writing myself the [right kind of] song [-text] for it."
Again, as in the case of No. 189, later German poets continued to reflect and remake Goethe's "Ich denke dein," among them Gustav Schwab, Justinus Kerner, and Xikolans Lento. (An interesting discussion of Goethe's predecessors and followers will be found in the chapter, "Vor- und Nachklange Goethescher Lyrik," in Martin Sommerf eld's Goethe, Leiden, 193"
Finally, a word of caution against a minor confusion in the commentaries of J A and I A. Brun's "Ich denke dein" was inspired by Matthisson's "Ich denke dein," and not by Matt! "Adelaide," immortalized by Beethoven. The two poems have nothing in common aave author and the distinction that each was composed by Beethoven. Beethoven also set to im. Goethe's parody. (Both Matthisson's and Goethe's "Ich denke dein" are reprinted In Beethoi l Werke, xv, 38, and xxm, 152 ) .
207. Ich ging im Felde so f iir mich hin. Title: Im Vorubergehn. Date: August, 1813.
Text: JA n, 222 and 344; FA, ii, 104 and 438; DA xiv, 635.
Group: Lyrisches.
Classification: Rhythmical Parody.
Comment: Cf. No. 209.
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208. Ich ging im Walde so fur mich hin. Title: Gefunden.
Date: August, 1813.
Text: JA i, 18 and 307; FA i, 13 and 354; DA xiv, 635.
Group: Lieder.
Classification: Rhythmical Parody.
Comment: Cf. No. 209.
209. Ich ging im Walde so vor mich hin. Title: none.
Date: August, 1813.
Text: JA n, 222 and 344; FA n, 105 and 438; DA xrv, 635.
Group: Lyrisches.
Printed Source: Gottlieb Konrad Pfeffel's poem, "Die Nelke," which appeared first in his Fabeln of 1783, reprinted JA i, 308.
Classification: Rhythmical Parody.
Comment: Pfeffel's poem is cast in quatrains of the pattern 2-2-2—2 (numerals indicate stresses per line; cf . No. 65 ) and tells a parable that was well familiar to readers of the eighteenth century. Both Pfeffel's maiden and Goethe's poet are attracted by the beauty of a flower and want to pick it. The flower protests that to do so would cause it to fade and lose its beauty. The obvious analogy to the rash wooing of the lover and the gentle resistance of the beloved is made in count- less lyrics of the time and also colors Goethe's own "Violet" ( No. 65 ) and "Heather-Rose" ( No. 224 ) . Below are the first four stanzas of Pfeffel's "Nelke" ( Carnation ) and one of Goethe's three parodies, derived from Pf effel ( No. 207 ) . The analogy of the plot is as close as that of the rhythm. The first stanza provides the setting; the second describes the loveliness of the flower; the third and fourth the wanton desire to pluck the flower and the ensuing protest. ( Italics indicate accents; cf.Nos.3,65.)
Pfeffel Goethe
Vom Schwarm der Wes-te Ich ging im Fel-de
Vei-buhlt um-weht, So fiir mich hin,
Be-goss Al-ces-te Und nichts zu su-chen,
Ihr Blu-men-beet. Das war mein Sinn.
Pfeffel Goethe
Sie sah schon lan-ge Da stand ein Bliim-chen
Ein Nelk-chen bliihn, So-gleich so nah,
Gleich i/i-rer Wan-ge Dass ich im Le-ben
Weiss und kar-mfn. Nichts lie-her sah.
Sie wollt es pfluk-ken, Ich wollt es bre-chen,
Um ih-re Brust Da sagt es schleu-mg:
Da.-mit zu schmiik-ken, Ich ha-be Wur-zeln,
Den Sitz der Lust. Die sind gar heim-]ich.
Lasst, fleht es ban-ge, Im .tie-fen Bo-den
Mich heut noch stehn, . Bin ich ge-grwn-det;
Bis mor-gen pran-ge Drum sind die Blu-ten
Ich noch so schon. So schon ge-run-det.
It must be admitted that so far the external similarities are considerable, although Goethe's verse reads like poetry, while pfeffel's sounds more like an exercise in rhyming. However, at
Goethe and Music — Miscellaneous Parodk s 109
this point, the raison d'etre of the parody technique, that is, the desire of the poet to impr upon the model, asserts itself (cf. No. 206). Pfeffel draws the pedestrian moral that flowers will bloom one day and be gone the next. He explicitly terms his lesson a "Moral" and addresses it pointedly to women whom he calls "reif e Schwestern" ( mature sisters ) . Goethe, on the other hand, conceives his parody as a tribute to his wife Christiane, whom he first D tv-five
years earlier. He ends his poem with the flower's warning not to break it but bo transplant it. No moral to mature sisters is appended, but the poet has expressed to the beloved ( and to his readers) his pride and happiness in preserving beauty rather than destroying it.
Apparently the rhythm, as well as the ideas expressed in that rhythm, b for he created three different parodies. He published No. 208 in five stanzas in 1815. For so: reason or other, he withheld the other two poems from publication until 1827. 1 hen appeared No. 207, also in five stanzas, which, like No. 208, counseled transplanting rather tl ion.
Together with No. 207, appeared No. 209: it consisted only of one stanza of five lines. of them (1-2 and 5) are almost identical with Nos. 207 and 208, but fines 3 and 4 are m different and seem like an interpolation.
E. Boucke (FA n, 438) argues, quite reasonably, that all three parodies must have originated about the same time and that Goethe simply postponed the publication of Nos. 9 and 209. I should like to hazard the guess that Nos. 207 and 208 are parodies of Pfeffel. \n No. 209 is a further development of Goethe's own parodies, a parodv of parodies. Its brevity and the irregularity of its stanza seem to make sense only if the reader is aware of the longer and more symmetrical structures that preceded it.
A comparison of No. 208 on the one hand, and Nos. 207 and 209 on the other, will lx? found in James Boyd, Notes to Goethe's Poems, 2 vols., Oxford, 1948-1949, n, 161f. Bovd argues convincingly for the artistic superiority of No. 208, which Goethe published first.
210. Ich wollt ich war ein Fisch.
Title: Liebhaber in alien Gestalten. Date: 1775-1786.
Text: JA i, 22 and 309; FA i, 16 and 354; DA xrv, 216.
Group: Lieder.
Comment: This song sounds very much like a folk song parody, but no model dial hibits the same rhythmical structure has been found. In content, though, the song utiliz< motif which occurs in the folklore of many nations, namely, the desire of the lover to approach the beloved in all kinds of guises and disguises. In C. F. Nicolai's Kleiner, Fcincr Almanack of 1777, for instance, there occurs the song, "Wohl auf ihr Narrn." Its second stanza artieul the well-known wish to be a bird which might fly to the beloved. This is characteristic ol the preference for animals in such "wishing-songs." It is found as well in Goethe's Lyric when the lover wishes first to be a fish and his lady an angler and then a horse and his lad) a ruler. Here the poet still partakes of a robust folk tradition, which in later generations gives WE] I more delicate approach, as in Heine's "Ich wollte meine Lieder" and "Ach, wenn ieh nnr dfli Schemel war," where the lover wishes his songs were little flowers, or he the beloved's foots!
211. Ihr verbluhet, siisse Rosen. Title: none.
Date: 1773-1775.
Text: JA vm, 170 and 347; FA n, 368 and 486; DA vn, 380, and vm, 190; DJGv, !
Group: The drama, Erwin tmd Elmire.
Comment: In the strict sense of the word this is not a parody, namely, a new text d< I from an old tune. Rather, it is a poem which, after it had been written, was fitted to an older melody.
On April 26, 1775, Goethe sent the lyric to the Countess von Stolberg with the remark. "Here is a song of mine for which I have had a melody of Gretry re-east." The melody WIS the air, "Je ne sais pourquoi je pleure" from the opera he Magnifiquc ( 1773). The re-casting was done by the composer Kayser (cf. No. 199), who copied the first eight measures of the French
110 The New York Public Library
tune rather closely, but then proceeded more independently. ( The original is reprinted in Gretry's Works, xxxi, 114-122; the adaptation in SchGG xi, 20-21. )
Both the French text and Goethe's verse express sentiments of love in an elegiac manner, and both have in common the rhythm of four trochees per line. They were therefore easily inter- changed and either one may be sung to Gretry's tune.
Such substitutions, after the event, that is to say, after the text had been written, were not uncommon in the tradition of poetry-and-music or in Goethe's own practice. When Johanna Schopenhauer, the mother of the philosopher, discovered that the song, "Ich hab mein Sach auf Nichts gestellt," (No. 179) could be easily fitted to the. folk song "Es ritten drei Bursche zum Tore hinaus," Goethe was greatly pleased, and had the lyric often sung to that tune (B i, 481; the folk song melody is reprinted L. Erk-M. F. Bohme, Deutscher Liederhort, Leipzig, 1893-1894, n, 560).
Finally, it should be noted that the entire drama, Erwin und Elmire, of which the present lyric forms a part, is derived from the English ballad of "Edwin and Angelina" which Oliver Goldsmith inserted in the eighth chapter of The Vicar of Wakefield. The English poem suggested the plot of Goethe's musical play, the French genre of the Opera-Comique provided the dramatic form, and one of the lyrics was fitted to a melody by Gretry: surely, no paucity of heterogeneous influences.
Im spielenden Bache. A variant of No. 187.
212. Lasset heut am edlen Ort.
Title: Tischlied, zu Zelters siebzigstem Geburtstage, dem 11. Dezember
1828. Date: December, 1828.
Text: JA m, 167 and 351; DA xv, 428; WA rv, 291, and v, part n, 182.
Group: none.
Comment: This parody will be discussed s. v. No. 216.
213. Lasset heut im edlen Kreis. Title: Generalbeichte. Date: 1802.
Text: JA i, 81 and 330; FA i, 67 and 361; DA xrv, 504.
Group: Gesellige Lieder.
Comment: This parody will be discussed s. v. No. 216.
214. Lieber, heiliger, grosser Kiisser.
Title: An den Geist des Johannes Sekundus. Date: November 2, 1776.
Text: JA n, 295; DA xrv, 196; Charlotte i, 49 and 568.
Group: none.
Printed Sources: (1) the fifth basium of the Flemish Renaissance poet Johannes Secundus which begins: Dum me moZ-li-bus, hinc et hinc la-cer-tis (italics indicate stress; cf. No. 65). The meter, which also occurs in the Carmina of Catullus, is generally referred to by classical philologists as "Phalaecean" or "Hendecasyllabic." From a modern, accentual standpoint it is characterized by five stresses per line with a stress on the first syllable of each line. An English imitation of this rhythm is offered by Tennyson —
O you chorus of indolent reviewers, Irresponsible, indolent reviewers, Look, I come to the test, a tiny poem All composed in the metre of Catullus.
Goethe and Music — Miscellaneous Parodies 1 1 1
(2) The South Slavic song of the "Asan Aga," in the rhythm of the deseterac (somet translated as "Serbian trochees"). This rhythm, too, is characterized by fl the first syllable of each line being stressed.
Classification: Rhythmical Parody.
Comment: Bibliographical references for sources ( 1 ) and ( 2 ) will be found in ' 1 Music in Goethe/' Germanic Review xx (1945), 241-260, wherein is discus • significance of the deseterac rhythm for Goethe (cf. also Nos. 218, .
The poet's main source was Johannes Secundus, as the title alone would indicate. Be meter and content (in both poems the beloved to whom the poem is addr. lips of the poet), there is a joyous affirmation of the secular life which COona lei
and its parody.
The deseterac is the second important source. It provided a lone which Goethe empl again and again in his love lyrics between the years 1775 and 1788. In the present poem, the use of the deseterac creates subtle overtones that are unmistakable if one reads, in cession, the love songs in that tone (quoted in Germanic Review xx, 258f. ) This cunfluenc poetic ideas is, of course, facilitated by the similarity between the Latin and Slavonic rhvthms.
In 1789 Goethe published a second version of this poem, "Wer vernimmt mich? ach, soil ich's klagen?" under the title "Liebebedurfnis." Cf. J A n, 70 and 294; FA i, 201 and 7 DA xrv, 277.
215. Mein Haus hat kein Tiir. Title: Freibeuter. Date: Before 1827.
Text: JA n, 226 and 345; FA n, 108 and 438; DA xv, 361.
Group: Lyrisches.
Printed Source: A folk song from the collection Des Knaben Wunderhorn 3 vols., (Heidel- berg, 1805-1808). This is one of the most important of German folk song collections, and one with which Goethe was prominently connected: it was dedicated to him, and he reviewed it extensively and favorably.40 The song is printed Volume in, p. 125, of the Wunderhorn.
Classification: Folk Song Parody.
Comment: The model consists of 44 lines of which fines 29^14 seem to have oexcJfl marked influence on Goethe. In the following quotations italics indicate stresses, and the two fines that are most similar are capitalized:
Wunderhorn Goethe
Hab ein Ring-lein am Fin-ger,
Da.-durch seh ich nur,
Da seh ich mein Schatz-le
Sei-ne fal-sche Na-tur.
Aus ist es mit dir. MEIN HAL7S HAT KEIN TCR.
MEIN HAUS HAT KEIN TVR, MEIN WR HAT KE HAUS;
MEIN TOR HAT KEIN SCHLOSS, Und im-mer mit Scluiz-/c\
Von dir bin ich los. Hin-em und her-ou*.
Dort dru-ben am Rhein, Mei Kiich hat ke Herd,
Da lie-gen drei Stein, Mei Herd hat ke Kiich;
Dort fiihrt mir ein And-rer Da bra-tets und sfe-deta
Mein Schaz-ze-\e heim. Fur sick und fiir mich
40 Cf. p. 17; also No. 205.
112 The New York Public Library
216. Mich ergreift, ich weiss nicht wie. Title: Tischlied. Date: February, 1802.
Text: JA i, 77 and 329; FA i, 64 and 361; DA xiv, 502.
Group: Gesellige Lieder.
Printed Sources: (1) The ever-popular medieval drinking song, "Mihi est propositum in taberna mori," a variant of "Meum est propositum in taberna mori." The song forms a stanza in the "Confessio," a longer poem by a medieval author known as the "archipoeta," or Archpoet. The "Confessio" is recorded in a medieval manuscript of Latin and German- secular poems dis- covered in the early nineteenth century in the library of the Benedictine monastery of Benedict- beuern in Bavaria. This manuscript collection is generally known as Carmina Burana, i.e., the Songs of Benedictbeuern, and has often been reprinted, in part or as a whole. An early reprint of "Mihi est propositum" will be found in Carmina Burana (Bibliothek des literarischen Vereins in Stuttgart, vol. xvi, Stuttgart, 1847 ), p. 69, and a very recent one with English translation in The Goliard Poets, tr. George F. Whicher (Norfolk, Conn., 1949) p. HOf. and 296. The amount of academic scholarship that has been bestowed on "the greatest drinking song in the world" ( Helen Waddell, The Wandering Scholars, Boston, 1927, p. 154) naturally defies cataloguing here. Suffice it to mention Thomas Wright's edition of The Latin Poems, Commonly Attributed to Walter Mapes (London, 1841, p. 73); the edition of Vagantenlieder by Robert Ulich and Max Manitius (Jena, 1927, p. 132); and Helen Waddell's Mediaeval Latin Lyrics (London, 1929, p. 176f.).
(2) G. A. Burger's German parody of (1), "Ich will einst bei Ja und Nein, vor dem Zapfen sterben," written in 1777 and published in his Gedichte of 1780, p. 290.
( 3 ) J. A. P. Schultz' musical composition of ( 1 ) and ( 2 ) published in his Lieder im Volkston (1st ed., Berlin 1782; 2nd ed., Berlin, 1785). The song occurs in both editions, and I have checked the musical and literary texts against a copy of the second edition in The New York Public Library.
Classification: Musical Parody.
Comment: The story of this drinking song in German literature, from the second half of the 18th century to the student songbooks of the present has been sketched in the Introduction,41 where Schultz' music with the texts of the Archpoet, of Burger, and of Goethe has been presented. What connects the various poems quoted there — as well as countless other Goliardic lyrics, old and new — are two elements. In content, these songs extol the pleasures of drinking and other secular joys with utter frankness. In rhythm, they are all derived from the trochaic stanza of the wandering scholars. This stanza has the same distribution of stresses as the ubiquitous ballad quatrain, namely 4-3-4-3 ( numerals indicate stresses per fine; cf . No. 65 ) . But whereas the ballad quatrain is iambic, the Goliardic quatrain is trochaic.
Goethe's "Mich ergreift" of 1802 consists of eight stanzas, each of which is composed of two such quatrains. The strains proved popular indeed, and the song, itself a parody of Latin and German models, became the point of departure for three further parodies.
In 1822 the Weimar poet H. K. F. Peucer improvised, on the occasion of Goethe's birthday, verses which he entitled "To the melody 'Mich ergreift ich weiss nicht wie.' " The following year Marianne von Willemer wrote at the bottom of a colored view of Frankfurt a quatrain clearly derived from the conclusion of "Mich ergreift." Her surnmer residence, "Die Gerber- muhle," stood in the background of the print, and the word "Miihle" ( mill ) provided an obvious connection between the two poems. Shortly thereafter, Goethe, inspired by the same view, wrote a quatrain that is almost identical with Marianne's jocular improvisation:
Goethe, 1802, 1st and last quatrain ( J A i, 77ff )
Mich ergreift, ich weiss nicht wie, Himmlisches Behagen. Will michs etwa gar hinauf Zu den Sternen tragen?
Von der Quelle bis ans Meer Mahlet manche Miihle, Und das Wohl der ganzen Welt Ists, worauf ich ziele.
41 Cf. p. 14 ff.
Goethe and Music — Miscellaneous Parodies 1 1 3
Peucer, 1822 (GJB xxvn, 277):
Am 28. August 1822. Nach der Weise: Mich ergreift, ich weiss nicht * Manuscript fur
Freunde. )
Jetzo lasset allzumal
Ihn, den Hohen, leben!
Gute Freunde mogen gem
Wunsch in Tone weben . . .
Marianne 1823 (Marianne, p. 346) :
Von der lime bis zum Rhein Mahlet manche Miihle, Doch die Gerbermiihl am Main Ists, worauf ich ziele.
Goethe 1823 ( WA v, part n, p. 367; cf. No. 229 ) :
Von der Isar bis zum Rhein Mahlen manche Miihlen, Doch die Gerbermiihl am Main Ists, wohin wir zielen.
The Latin lyric was a popular student song long before Schultz published his composition, but no melody for "Mihi est propositum," prior to Schultz, has been preserved. Franz M. Bolnne (L. Erk-M. F. Bbhme, Deutscher Liederhort, 3 vols. Leipzig, 1893-1894, in, 49 3 and remarks quite properly that the tune for the Latin student song, "Lauriger Horatius," fits "Mihi est propositum" perfectly and may have well been originally invented for the latter text. This tune, recorded in the eighteenth century, is indeed a versatile one: it served various German texts in the eighteenth century and is now mostly associated with the popular Christmas song "O Tannenbaum," to which it was first fitted in 1820 (cf. Erk-B6hme, op. cit., i, 548). It Is one more instance of the flexibility of the stanza of the wandering scholars. For whereas "Law follows the pattern 4-3-4-3-4-3-4—3 (numerals indicate stresses per line; cf. No. 65). and line begins with a downbeat, "Tannenbaum" is of the design 4-3-4—3 1 1 -1 3 and each line begins with an upbeat. This necessitates not only the addition of an unstressed note at the beginning of each line — making the tune iambic rather than trochaic — but also the addition of a stressed note at the end of the sixth line.
Such variations, modifications and adaptations have, of course, been observed with many of the parodies described in these pages. Yet, they occur with particular frequency in two repertories: the iambic ballads and the trochaic Goliard songs. It will be remembered, Eos how often Goethe used in his ballads a stanza of seven lines (4^-3-4-3 4 4 3) in which an appendix of three lines is added to the basic quatrain (cf. Nos. 5, 9, 42, 88, 110. 131, 1 An analogous modification was made in the trochaic verse of the wandering scholars. Si baits I popular tune was written for the favorite meter of Goliardic song, the trochaic quatrain ot the pattern 4-3-4-3. It could be sung to such carmina burana as "Me-um est pro-/x>-si-f ii//i." "A-mOf ha-bet su--per-os." "Ex-vl e-go cle-ii-cus," "Bac-che, be-ne-ve-ni-es," "Duni cau-pc-na « rem" etc. (Italics indicate stresses.) All these are composed of Goliardic quatrains, as an and Goethe's recreations of "Meum est propositum." But these were not the onl) popular I drinking songs known in Germany during the eighteenth century. There was "Gau-d< 4 ami i-gi-tur," cast in trochaic stanzas of seven lines of the pattern 4-3-4-3—1-4-3, and translated into German by Gunther as early as 1717 in stanzas of the same organization (cf. Erk-Bfihme, op. cit., m, 490). As in the case of the iambic ballads, so here with the popolar rap trochaic measure, a tune originally intended for a text of eight lines (4-o I 9 1^3-4-3) was easily adapted to a lyric of seven lines. And in the German student songbooka of the nine: century, Schultz's popular tune would serve at one time "Meum est propositum,'' at another "Lauriger Horatius," and at still another "Gaudeamus igitur."
Goethe, too, used the variant of seven lines of the trochaic stanza of the wandering scholars in three parodies which, in their spirit of conviviality as well as in their rhythm, are derived
114 The New York Public Library
from "Mihi est propositum." The first, "Lasset heut im edlen Kreis" ( No. 213 above ) is a "Geselliges Lied" like several of his drinking songs (cf. Nos. 81, 179, ^03; also the present "Mich ergreift" ) . It was written in 1802 for the cour d' amour for whose merry meetings he and Schiller were fond of improvising lyrics.42 In content, No. 213 absorbed several models, among them a ballata of Lorenzo di Medici and a passage from a letter of Schiller's (JA in, 351 and JA i, 330). The song became very popular and was parodied on two successive occasions. For Zelter's birthday in 1828, the poet wrote a parody of his parody, which, in its first stanza, refers clearly to the older song (No. 212). In 1830, on the occasion of his own birthday, his friends in Frankfurt sent him a silver cup and a case of wine, quoting in the accompanying letter the fifth stanza of the original parody. Goethe, not to be outdone, replied with another improvisation (No. 221), which he subtitled "Melodie: Lasset heut im edlen Kreis" (To the melody: "Lasset," etc. ) and whose last stanza parodied the same fifth stanza which his friends had quoted.
Goethe 1802: Stanzas 1 and 5 (JA i, 81f.)
Lasset heut im edlen Kreis Willst du Absolution
Meine Warming gelten! Deinen Treuen geben,
Nehmt die ernste Stimmung wahr, Wollen wir nach deinem Wink
Denn sie kommt so selten. Unablasslich streben,
Manches habt ihr vorgenommen, Uns vom Halben zu entwohnen
Manches ist euch schlecht bekommen, Und im Ganzen, Guten, Schonen
Und ich muss euch schelten. Resolut zu leben.
Goethe 1828: 1st Stanza (JA m, 167)
Lasset heut am edlen Ort Ernst und Lust sich mischen, Geist an Herzen, Ton am Wort Feierlichst erfrischen! . Froh' geniesset eurer Lage, Denn man setzt nicht alle Tage Sich zu solchen Tischen.
Goethe 1830: last Stanza ( JA m, 172f.; cf. No. 221)
Werde Silber, werde Gold, Wie sichs ziemt, verehret; Bleibe guter Geist euch hold, Der im stillen lehret: Sich ans Reine zu gewohnen Und im Echten, Guten, Schonen ' Recht uns einzuburgern.
As in the case of the ballads, the "tone" or rhythm of these songs is as important for the poet's ceuvre as the concrete parodies themselves. For this reason, the chapter on "Ballads" enumerated some 150 poems, although for most of them no specific models have been found so far. Space forbids the presentation of an equally detailed list of Goethe's lyrics in Goliardic rhythm, but below will be found a short chronological tabulation. It emphasizes the strong impact which the tone of "Mich ergreift" made upon the poet when he absorbed it in 1802. Only three poems in Goliardic rhythm date from the three decades preceding that year, but some forty follow before Goethe's death in 1832.
The tabulation gives approximate date, first line, and page reference to H. G. Graef s chronological edition of the poems in DA xrv and xv. Unless otherwise indicated, each poem
42 Cf. p. 13 ff.
Goethe and Music — Miscellaneous Parodies
falls into the regular trochaic quatrains of the carmina burana. When I :i-line stanza, or
other variations, are used, the stanza is briefly sketched in parenthesis, e.g., 4— 3-4-3 4 1 3. Before proceeding to this tabulation a word should be said about n< I trSa
to refer clearly to Goethe's most important model, I have spoken of the scholars," the "goliardic quatrain," the "trochaic quatrain of the carmina huraiui." v ' and American works on versification call the metrical formula of "Mil. name of "rhymed septenary." Obviously, a septenary of seven stresses equals a and two such septenaries make up the standard quatrain. (Cf. the basic works on pvofod George Saintsbury and Jakob Schipper; also their evaluation in Fraiu is Gumn* dbook of
Poetics, Boston, 1903, p. 182, and in George Young's English Prosody, Cam] >'2H. p. I
However, whatever nomenclature is employed, Goethe's main source seems quite dear. This is not to say that, as in the case of the ballads, varicus models hem various languages di at times converge in the poet's mind. For instance, the lyrics from the Wi m in
goliardic quatrains combine the influence of the Latin stanza with that of German translations from the Persian (cf. No. 30). And in the case of one of the poems listed below tb !>e no
doubt that Goethe's main source was an elegiac German lyric, not a mem- Latin song wieder Busch und Tal," described in detail as No. 199 above). This is the esx epti- the rule. Still, there remains to be done a thorough study of Goethe's trochaic poefl pattern 4-3-4-3, to which this discussion is but an humble beginning.
Date First Line
1774 Als ich noch ein Knabe war
1777-78 Fullest wieder Busch und Tal
1794 Als ich still und ruhig spann
1802 Mich ergreift, ich weiss nicht wie
1802 Lasset heut im edlen Kreis
1805 Mocht ich doch wohl besser sein
1807 Himmel, ach! so ruft man aus
1813 Muntre Garten lieb ich mir
1813 Viele Gaste wiinsch ich heut
1814 Tut ein Schilf sich doch hervor 1814 Sei das Wort die Braut genannt 1814 Auch in Locken hab ich mich 1814 Lass dich nur in keiner Zeit 1814 Artges Hauschen hab ich klein 1814 Dichten ist ein t)bermut
1814 Wenn du auf dem Guten ruhst
1814 Warmes Luftchen, weh heran
1814 tJbers Niedertrachtige
1814 Strenge Fraulein zu begriissen
1814 Worauf kommt es iiberall an 1814-15 Jeder ist doch auch ein Mensch
1815 Ruhig soil ich hier verpassen 1815 Mag der Grieohe seinen Ton 1815-16 Haben sie von deinen Fehlern 1817 Lustrum ist ein fremdes Wort 1818-19 Miisset im Naturbetrachten
1819 Weil so viel zu sagen war
1821 Was dem einen widerfahrt
1822 Gbnnet immer fort und fort 1822 Da das Feme sicher ist
DA XIV
Remark
p. 134 200 323 502 504 527 539 623 637 19 20 21 27 46 48 51 53 63 64 70 88 104 120 153 182 208
213 245 270 301
(4_3_4_3_3)
Cf. No. 199 above
No. 216
(4-3-4-3 1 1 3) No. 21S
Cf. No. 228 below
First six lines: -1 111 I Kj
com hull S: 1 >-4— 3
116 The New York Public Library
Date First Line DA XV Remark, continued
1822 Pusten, grobes deutsches Wort 301
1823 Lass doch, was du halb vollbracht 320 1823 Wie es in der Welt so geht 321 1823 Einem unverstandigen Wort 325
1823 Von der Isar bis zum Rhein 328 Cf. No. 229 below
1823-28 Stark von Faust, gewandt im Rat 336
1823-28 Wer sich selbst und andre kennt 345 First quatrain: 4-3-4-3; second
quatrain; d d d d 1823-28 Kiinstler, wirds im Innern steif 355
1823-28 Ob ich liebe, ob ich hasse 388
1823-28 Spansches hast du mir gesandt 414
1823-28 Edle deutsohe Hauslichkeit 416
1828 Lasset heut am edlen Ort 428 (4-3-4-3-4-4-3) No. 212
1830 Pflegten wir kristallen Glas 435 (4-3-4-3-4-4-3) No. 221
below
1831 Klarster Stimme, froh an Sinn 436
1831 Sangreich war dein Ehrenweg 436
217. Nicht am Susquehanna.
Title: Zum 21. Juni, Karlsbad, 1808. Date: 1808.
Text: JA m, 113 and 329; FA n, 406 and 490; DA xrv, 550; WA rv, 236, and v, part n, 139.
Group: none.
Source: A poem which Christian Gregor (1723-1801) sent from Bethlehem, Pennsylvania, to his daughter Christiane in Herrnhut, Germany. Gregor, the author of many sacred songs, was a Herrnhuter (or "Moravian" as they are commonly called in America). Like so many of his fellow believers, he emigrated from Germany to the United States. In 1771, on the occasion of her eleventh birthday, he sent a rhymed letter to his daughter who had stayed behind in Herrnhut. It told of his missionary work in America and of other doings.
Von des Hei-lands Sa-che // in A-me-ri-ca
Und was sonst ich ma-che // hier und dort und da.
( In this quotation italics indicate stresses, and the symbol // signifies both caesura and internal rhyme.) It is difficult for modern readers, interested in early American-German relations, not to be touched by these references to eighteenth-century fife on the banks of the Susquehanna and to the Moravian settlements of Bethlehem and Lititz.
Beth-\e-hem hier-u-ben, // u-berm O-ce-an,
Seh ich just wie dru-ben // un-ser Herrn-\mt an. . .
Li-titz, bei-nah vier-zig // MeiV von Beth-le-hem, Gru-net und ior-miert sich // auch recht an-ge-nehm. . .
An der Sus-que-han-na, // ei-nem gros-sen Fluss,
Wo man ir-disch Man-na // stampft und es-sen muss . . .
To appreciate the ruggedness of the pioneer's story and the fervor of the missionary's zeal, Gregor's account of the New World and its Red Indians should be read in its entirety. It is reprinted in the commentary of WA and in F. C. Schreiber's "Goethe-Herrnhut-America" (Deutsch-Amerikanische Geschichtsblatter, 1920-1921, p. 3-11). The poem proceeds throughout in rhymed couplets with six trochees in each line and with both caesura and internal rhyme after the third trochee.
Goethe and Music — Miscellaneous Parodies 1 17
Classification: Rhythmical Parody.
Comment: Goethe and his friends came to know and enjoy Gregor's birthday poem in Karlsbad in the summer of 1808. And on the occasion of Silvie von Ziegesar's birthdav, the poet improvised a parody which carefully copied the trochaic rhymed couplets with caesura and internal rhyme. His diary noted: "Herrnhuter-Epistel. Festgedicht in demselbigen Toi u m-
huter epistle. Festival [i.e., birthday] poem in the same tone). The word "tone" h- .fies
not only the prosodic properties, but also the general air of naive simplicity. Moreover, ( - first couplet, in content as well as in rhyme, clearly refers to the manna on the banks of Susquehanna:
Grzgor, 1771
An der Sus-que-han-na, // ei-nem grcs-sen Fluss, Wo man ir-disch Man-na // stampft und es-sen muss.
Goethe, 1808
Nicht am Sus-que-fom-na, // der durch Wu-sten fliesst, Wo zum ird-schen Man-na // geist-ges man ge-niesst.
218. O du loses, leidigliebes Madchen. Title: Morgenklagen.
Date: 1788.
Text: JA n, 73 and 296; FA i, 264 and 380; DA xrv, 279.
Group: Vermis chte Gedichte.
Printed Sources: (1) a Latin elegy by Johannes Secundus. His influence on Goethe is discussed in GJB xm, 209, and the elegy is reprinted in Baisers et Elegies de Jean Second m le texte Latin, ed. P. F. Tissot, Paris, 1806, p. 84-87; (2) the rhythm of the South Slavic desett (cf. Nos. 214,230,231).
Classification: Rhythmical Parody.
Comment: Another love lyric from the period 1775-1788 in the rhythm of the domtemc (cf. the comment to No. 214). In content, the Latin elegy contributes several motives which are evaluated in GJB by G. Ellinger.
219. O gib, vom weichen Pfuhle. Title: Nachtgesang. Date: 1802.
Text: JA i, 57 and 320; FA i, 47 and 358; DA xiv, 511.
Group: Lieder.
Printed Source: The Italian folk song, "Tu sei quel dolce fuoco," set bo music by J. F Reichardt. The text has been reprinted by H. Diintzer (Goethes lyrische Gedichte. crhiutt rt . . . . 3 vols., Leipzig, 1875-77, n, 135) and W. Masing (Sprachliche Musik in Goethe* Ltjrik. Straaa- burg, 1910, p. 54).
Classification: Musical Parody.
Comment: One of Goethe's parodies from the Almanac for the year ISO} ami published, with Reichardt's melody for the Italian model, in Ehlers' Songs. The popular Datura of the Almanac and the importance of Ehlers' musical companion volume have been described aaito After Goethe had written a new text to Reichardt's tune, Zelter composed another tuna to Goethe's parody. On July 23, 1804, he wrote to the poet: ". . .1 enclose a song which 1 have just made. Reichardt has set the Italian poem to music so beautifully that it did oo4 OCCUX to me to compose it myself. However, today I found your poem, and matters Immediately took their course. I shall be content if my melody is related to that of Reichardt, as the translation
43 Cf. p. 9.
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of the poem [i.e., Goethe's parody] is to the original. . ." Goethe was pleased and replied on August 8th: ". . .the melody is very pleasant and fits my song, indeed, better than my song fits Reichardt's very laudable melody ..." For the present discussion, Reichardt's composition has been checked against a copy of his Goethe's Lieder, Oden, Balladen und Romanzen mit Musik von J. F. Reichardt, Leipzig, n. d. [1809], part i, p. 34, in the Dartmouth College Library. There the song appears both with the original Italian and with Goethe's text. Of course, Reichardt's com- position must have appeared first in print before 1809, but so far I have not been able to locate a copy in an American library. Of the existence of such an earlier edition there can be no doubt (cf. Graef, 3rd division, i, 392 and 403).
Woldemar Masing follows his reprint of the Italian text with a sensitive and detailed analysis of the similarities and dissimilarities between model and parody. Certain similarities in the rhyme scheme are obvious enough, such as the echoing of the third line of each stanza in the first line of each succeeding stanza. Equally obvious is the derivation of the parodies which Eichendorff (from the novel Ahnung und Gegenwart, 1815) and Heine (from the Buch der Lieder, 1827) wrote of Goethe's poem. Below are the first two stanzas of all four lyrics:
Italian
Tu sei quel dolce fuoco, L'anima mia sei tu E degli affetti miei- Dormi, che vuoi di piu?
E degli affetti miei Tien le chiavi tu! E di sto cuore hai- Dormi, che vuoi di piu?
Goethe 1802
O gib vom weichen Pfiihle, Traumend, ein halb Gehor! Bei meinem Saitenspiele Schlafe! was willst du mehr?
Bei meinem Saitenspiele Segnet der Sterne Heer Die ewigen Gefiihle; Schlafe! was willst du mehr?
Eichendorff (from Ahnung und Gegenwart, 1815) Ach von dem weichen Pfiihle Was treibt dich irr' umher? Bei meinem Saitenspiele Schlafe, was willst du mehr?
Bei meinem Saitenspiele Heben dich allzusehr Die ewigen Gefiihle; Schlafe, was willst du mehr?
Heine (from Buch der Lieder, 1827)
Du hast Diamanten und Perlen Hast alles, was Menschenbegehr, Und hast die schonsten Augen — Mein Liebchen, was willst du mehr?
Auf deine schone Augen
Hab ich ein ganzes Heer
Von ewigen Liedern gedichtet —
Mein Liebchen, was willst du mehr?
220. O Welt! wie schamlos und boshaft du bist!
Title: Ferdusi spricht. Date: 1815.
Text: JA v, 41 and 355; FA hi, 56 and 309; DA xv, 73.
Group: West-bstlicher Divan, Buch der Betrachtungen.
Printed Source: A passage from the Persian epic Shahnameh by Firdusi, translated in Hammer-Purgstall's Fundgruben des Orients, 6 vols. Vienna 1809-1816, n, 64, and reprinted in the commentary of FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan, inspired by German translations of Oriental poetry (cf. Nos. 30, 81, 197, 200, 202, 204). As in No. 202, Goethe's re-creation copies two lines of the model verbatim and then adds, by way of a reply, two lines in the same rhythm.
Goethe and Music — Miscellaneous Parodies 119
221. Pflegten wir kristallen Glas.
Title: Erwiderung der festlichen Gaben. Date: 1830.
Text: JA in, 172 and 353; DA xv, 435; WA iv, 297, and v, part n, 188.
Group: none.
Comment: This parody has been discussed s. v. No. 216, where the last stanza is quoted.
222. Ros und Lilie morgentaulich.
Title: Im Gegenwartigen Vergangnes. Date: July 26, 1814.
Text: JA v, 12 and 330; FA m, 29 and 296; DA xv, 47.
Group: West-ostlicher Divan, Buch des Sangers.
Printed Source: A quatrain from Hammer-Purgstall's Der Divan von Hafis, Stuttgart
and Tubingen, 1812-1813; reprinted in the commentaries of JA and FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan, inspired by German translations of Ori- ental poetry (cf. Nos. 30, 81, 197, 200, 202, 204, 220). Hammer-Purgstall's translation provided the rhythmical frame-work of four trochees per line. Beyond that, Goethe took from Hafiz the symbol of the rose and lily, which also appealed to the younger German Romanticists: in Tit comedy, Kaiser Octavianus, for instance, the rose and lily stand for love and art.
223. Sagt es niemand, nur den Weisen. Title: Selige Sehnsucht.
Date: July 31, 1814.
Text: JA v, 16 and 332-38; FA m, 32 and 297-98; DA xv, 55.
Group: West-ostlicher Divan, Buch des Sangers.
Printed Source: A lyric from Hammer-Purgstall's Der Divan von. . .Hafis, Stuttgart anil Tubingen, 1812-1813; reprinted in the commentaries of JA and FA.
Classification: Rhythmical Parody.
Comment: This is, philosophically and poetically, one of the great poems of the old Goethe, Friedrich Gundolf considers this poem and "Wiederfinden" the climax of the Divan, and Konrad Burdach has quite properly devoted to it in JA a long and loving commentary. The lyric sir the confluence of many schools of thought: the Persian mysticism of Saadi and Hafiz, the Platonic theory of Eros; the mysticism of the Christian world and — not the least important — Goeti own theory of metamorphosis. To do these various strands justice and to analyze their reflection in Goethe's poem would require an essay of full length. The following remarks are necessarily brief and largely restricted to prosodic questions.
The main source is Hammer-Purgstall's translation of Hafiz, of which two quatrains quoted below:
Wie die Ker-ze brennt die See-le, The soul burns like a candle
Hell an Lie-bes-fiam-men, Brightly in flames of love,
Und mit rei-nem Sin-ne hob ich And with pure mind I have
Mei-nen Leib ge-op-fert. Sacrificed my body.
Bis du nicht wie Schmet-ter-lin-ge Until, like butterflies
Aus Be-gier ver-bren-nest, Desire makes thee burn to death
Kannst du ra'm-mer Ret-tung fin-den Thou canst never find relief
Von dem Gram der Lie-be. From the grief of love.
Italics indicate stresses, and the trochaic scheme of these verses may be summarised as 1 9 1 3 (cf. No. 65).
Goethe's parody consists of five stanzas in trochaic measure. The first four are of the patten 4-4-4-4, the last 4-3-4-3. In order to show the considerable similarities in content, ftansai 4 and 5 are given below. They contain the comparison with the burning candle, the comparison
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with the butterfly which flies to its death; and the thought that relief from grief is found only through the gospel of death:
In der Lie-bes-nach-te Kuh-lung, In the coolth of nights of love
Die dich zeug-te, wo du zeug-test, Which begot thee, where thou begotst,
V-ber-fallt dich frem-de Fuh-lung, A strange feeling conquers thee
Wenn die stil-le Ker-ze leuch-tet. When the quiet candle shines.
No distance gives thee trouble, Thou comest flying and charmed, And, at last, desirous of the light, Thou art burned, butterfly.
And as long as thou dost not have
This gospel: Die and enter again into being,
Thou art only a doleful guest
On this dark earth.
Kei-ne Fer-ne macht dich schwie^rig, Kommst ge-flo-gen und ge-bannt, Und zu-letzt, des Lichts be-gie-rig, Bist du Schmet-tei-ling ver-brannt.
Und so lang du das nicht hast, Dieses: Stirb und wer-de\ Bist du nur ein trti-ber Gast Auf der dunk-\en Er-de.
The last stanza, the poetic and philosophical summation of the poem, is closest to the rhythm of the model. At the same time, it is truly West-Eastern, in that it extends and develops the thought of Hafiz. ( About the West-Eastern character of the entire Divan, cf . No. 30; for other parodies of Oriental models, cf. Nos. 81, 197, 200, 202, 204, 220, 222.) In Persian thought, candle, butterfly and man burn to death and are thus liberated from the prison of the body. There is no implication of repeated death and resurrection during life on this earth. But the message of "Stirb und werde" of Goethe's last stanza spells out precisely this faith, a faith in keeping with the poet's philosophy of finding hope and salvation in this world. Thus the last stanza grafts Western elements on the Eastern model. In so doing it reaffirms the raison d'etre of the parody technique which resides in live development, not in mechanical copying. On the other hand, Goethe wanted the reader to know that Hafiz' poem had served as a point of de- parture for his own lyric. The original title was "Buch Sad, Gasele 1" referring to the verse of the model (cf. WA vi, 372 and J A v, 332).
224. Sah ein Knab ein Roslein stehn. Title: Heidenroslein. Date: 1771; first published by Goethe in 1789.
Texts: JA i, 12 and 304; FA i, 7 and 353; DA xrv, 668; WA i, 16 and 371; DJG n, 61, and vi, 166.
Group: Lieder.
Printed Sources : ( 1 ) "Sie gleicht wohl einem Rosenstock," a poem published in a collection of Paul von der Aelst in 1602, reprinted by Max Morris (DJG vi, 166) and F. M. Bohme (Erk- Bohme, Deutscher Liederhort, 3 vols., Leipzig, 1893-1894, n, 242). The latter reprint also offers a melody, taken from a songbook of the sixteenth century. This melody, intended for a poem about a flower of the heath ( Heidenblumlein ) , aptly fits our poem about the rose of the heath ( Heidenroslein ) , both in meter and atmosphere.
(2) A passage in Herder's Von deutscher Art und Kunst, published in 1773 (and re- printed Herder v, 194, and DJG vi, 169 ) where he "quotes from memory" ( suppliere . . . aus dem Gedachtnis) the poem "Es sah ein Knab ein Roslein stehen" as an example of an old German children's song. The title given here is "Fabelliedchen" ( Little Fable Song ) .
(3) Herder's poem "Es sah ein Knab ein Knospgen stehn," entitled "Die Blute" (The Blossom) and subtitled "Ein Kinderlied" (A Children's Song). It is preserved in a manuscript collection of 1771 and reprinted DJG vi, 168, and Herder xxv, 438.
(4) "Es sah ein Knab ein Roslein stehn," published Herder in 1779 in the second part of his Volkslieder, reprinted Herder xxv, 437 ( cf . also the commentary p. 680 ) . The title given here is "Roschen auf der Heide" (Little rose on the heath), and the table of contents states, "Aus der mundlichen Sage" ( after the oral tradition ) .
Classification: Folk Song Parody.
Comment: There has been a great deal of controversy about the "Heidenroslein." Is it by Herder, or is it by Goethe? And even granted that it is by Goethe — a supposition accepted
Goethe and Music — Miscellaneous Parodies 121
by the majority of scholars — how much of it is by Goethe? Did he merely provide a : version of a folk song which differed slightly from Herder's version? Line 1 ■ " - instead of "Es sah ein Knab"; also lines 3-5 and 18-19.) Or did he fashion from the ; • published by von der Aelst in 1602, a full-fledged parody which departs I important creative aspects?
The eighteenth-century lack of reverence for originality and the a! right
laws make it impossible to decide the matter. On the other hand, d he DO donl I I
Goethe's "Heidenroslein" has become a folk song de facto, and is, probably, tb .lar
song among the poet's lyrics. Interestingly enough, it is usually sung to a melody whfti D become a folk melody, although it was composed by Heinrich Wernei and first pul collection of 1829. The melody, too, owes a heavy debt to its antecedents, DOtabb composition of 1815, as Max Friedlander has pointed out in Das d ! im iS. Julir-
hundert (Stuttgart and Berlin, 1902, n, 161). And, indeed, Schubert's melody les
one of the ditties from Mozart's Magic Flute of 1791.
Just what were the qualities that made Werner's tune outrun all others in popular I is difficult to say. Musically, it is certainly inferior to that of Schubert, from which it On the other hand, it is neither easier to sing nor to remember than Reichardt's setting of IT which is marked by a charming simplicity and which attracted Brahms so much that h- i it in 1858 for his Volkskinderlieder, dedicated to the children of Robert and Clan s hum (The settings of Reichardt, Gronland, Kienlen, Schubert, and Tomaschek, as well as a sketch by Beethoven, have been reprinted by Friedlander in SchGG xi and xxxi; the lJn Library lists over 150 compositions, but most of them merit little attention. )
The two basic questions to be dealt with in regard to the text are Goethe's indebtedness to Herder and to folk song. These questions have been threshed out at great length and with great heat in the manner characteristic of literary sleuthings involving famous authoi recent discussion by James Boyd ( Notes to Goethe's Poems, 2 vols., Oxford, 1948-1949. [,21 25 ) seems to offer a fair summary of the probable chronology:
Source (1). The first stage is a folk song, such as the one published in 1602.
Sources (2) and (4). The second stage is the "Fabelliedchen" which Herder pub! in 1773 and again in 1779, but which Goethe transmitted to Herder as early as 1771. In it the stanza of eight lines of Source (1) is reduced to seven lines. The conclusion is not tragic: boy enjoys the rose which he has plucked and forgets its sufferings.
Source (3). In 1771 Herder produced his parody of the folk-song version which Goethe had presented to him. Herder's "Es sah ein Knab ein Knospgen stehen" is characterized 1 moralizing tone. It copies the stanza of seven lines and concludes on a tragic note: the bi perceives a bare tree after he has plucked the blossom.
Also in 1771 Goethe fashioned his famous "Heidenroslein" (though it was not published until 1789). Ii^ it he returned, on the whole, to the sturdy tradition of folk song, avoid moralizing slant of the eighteenth century, which marked Herder's parody. However, the 1 now concluded on the tragic note that the powerless rose must suffer death. And in this i the otherwise poetically inferior version of Herder has made its contribution.
It may seem strange that so sensitive a critic as Herder should turn a perfectly good folk song into such a poor poem as "Die Knospe" (The Blossom). But his was a tortured soul \\! moral and religious scruples at times produced strange results. Also, he published Cot tin I lust folk-song version twice, his own parody never, which indicates his sound judgment ood
thought.
There can be no doubt that Herder knew the collection of von der Aelst ( of. DJG and Herder xxv, 680) which provided Goethe with his model. In fact, he probably dn attention to it, since he functioned altogether as the younger man's poetic mentor. In tin- scb I literature on this song, there are prolonged arguments on the propriety of mutual between the two poets. The facts will fall into their proper perspective if we remetnbet that Herder was the great restorer of German folk song and the great teacher of the \ oung ( Soothe.
225. Selig bist du, liebe Kleine.
Title: An die Cikade, Nach dem Anakreon. Date: 1781.
Text: JA n, 81 and 298; FA i, 270 and 380; DA xi, 235; SchGG vn, 75 and 37 1 . Group: Vermischte Gedichte.
Printed Source: The well known Anacreontic lyric, entitled Elq innvu (To a nasshop] which begins Maxa^io^v 6s tetti£ (We bless you, grasshopper). Convenient modern reprii
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with references to older editions, are offered by Carl Preisendanz ( Carmina Anacreontea, Leipzig, 1912, p. 28) and by C. M. Bowra (The Oxford Book of Greek Verse, Oxford, 1930, p. 189). In Thomas Stanley's Anacreon of 1651, the first four lines are translated as follows:
Grasshopper thrice-happy who Sipping the cool morning dew Queen-like chirpest all the day Seated on some verdant spray. . .
(The complete translation is reprinted in Greek Literature in Translation, ed. G. Howe and G. A. Harper, New York, 1924, p. 117. )
Classification: Rhythmical Parody.
Comment: The famous original belongs to a body of poems known as Anacreontea, i.e., imitations of Anacreon from the Hellenistic and Greco-Roman periods. It consists of lines of eight syllables each, and the meter is called "Minor Ionic with anaclasis" (cf. C. M. Bowra, Greek Lyric Poetry, Oxford, 1936, p. 456). In modern accentual renderings, this meter tends to be transformed into four trochees, as will be seen in Stanley's translation above, as well as in Goethe's parody. Actually, Goethe's re-creation is more of a translation than a parody. He published it in company with another poem which shows traces of Anacreontic thought and meter (cf. No. 196).
226. Sturm, sturm, Winterwind.
Title: none. Date: 1771.
Text: JA x, 230; FA vi, 590; DA vn, 173.
Group: A passage from the drama, Geschichte Gottfriedens von Berlichingen, Act v. Printed Sources: (1) "Blow, blow, thou winter wind," from Shakespeare's As You Like It, Act n, Scene 7;
(2) "Sturm', stiirm' o Winterwind!" Herder's translation of Shakespeare's lyric of 1770, reprinted Herder xxv, 254;
(3) "[The spirit] To be imprison'd in the viewless winds;
And blown with restless 'violence round about The pendant world ...'•' from Shakespeare's Measure for Measure, Act m, Scene 1, lines 122ff.
Classification: Rhythmical Parody.
Comment: Goethe parodies only the first line of the lyric from As You Like It. However, the reference is so literal that German lovers of Shakespeare could hardly overlook it. Somewhat more obscure is the derivation of the remainder of the passage which proceeds in free flowing prose, independent of any rhythmical model. But the phrase ". . .und heul sie [i.e., die Seelen] tausend Jahr um den Erdkreis herum. . ." (and howl them [i.e., howling winds, blow the soulsl a thousand years round the globe) is obviously derived from another Shakespearean passage, Source (3).
These echoes of the bard's verse in Goethe's first major drama are far from fortuitous. In his autobiography (FA xvi, 119), the poet introduces the discussion of his play with a reference to the continuous study and enjoyment of Shakespeare's works. Goethe's fellow poets responded with alacrity to his public declaration of enthusiasm for Shakespeare: his auto- biography notes, with guarded pride, Burger's epithet calling him a German Shakespeare (FA xvi, 123 and 561). Even more important, Herder, who had been Goethe's guide and mentor in the discovery of Shakespeare and English literature, concluded his own essay on Shakespeare (Herder v, 231) with the most flattering apotheosis of Goethe and his Goetz. The essay was included in Herder's Von deutscher Art und Kunst, which also contained the folk song version of Goethe's "Heidenroslein," No. 224. The commentary to No. 224 points out the general relationship between the two poets. For other echoes of Shakespeare in Goethe's work, cf. Nos. 2, 14, 15.
227. tiber meines Liebchens Augeln.
Title: Geheimes. Date: August 31, 1814.
Text: JA v, 31 and 348; FA m, 47 and 304; DA xv, 57.
Goethe and Music — Miscellaneous Parodies 123
Group: West-ostlicher Divan, Buch der Liebe.
Printed Source: A lyric from Hammer-PurgstalTs Der Divan DOfl. . .Uafe, Stuttgart and Tubingen, 1812-1813; excerpts from it are reprinted in the commentary « of J A ft]
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan, inspired by German translations of Oriental poetry (cf. Nos. 30, 81, 197, 200, 202, 204, 220, 222, 223). Hammer-Purgstal! the rhythmical model of four trochees per line as well as the first line, which (. pied
verbatim. It also suggested the spirit and atmosphere of the poem; the "ai: to flirt) of the beloved and the happy pride of the lover in understanding tin- lecret message.
This is one of the few poems from the Divan that has received a comm :sical
setting. Schubert's composition is well known, and so is Marianne von Will, hut's 1. -tt« f I I in which she praises the melody (SchGG xi, 128 and 150). The tune takes the in- bene
of four trochees as its point of departure, expands this scheme eloquciiriv at certain {> never obscures it. It also conveys perfectly the state of mind of the loser \\1. happiness with great pride, and with a smile. Notwithstanding omissions and a< I, the
subtle spirit of the Persian original by Hafiz has somehow traveled across centuries and tinents to Goethe and to Schubert.
228. Viele Gaste wunsch ich heut. Title: OffneTafel. Date: October 12, 1813.
Text: JA i, 87 and 332; FA i, 73 and 361; DA xrv, 637.
Group: Gesellige Lieder.
Printed Source: "On dit qu'il arrive ici" by de la Motte Houdard ( 1672-1731 ), published in his CEuvres of 1754 and his CEuvres choisies of 1811; also in P. Capelle's Nouvelle Encyclo- pedic poetique. Modern reprints are offered by H. Diintzer (Goethe's lyrische Gedichtc, 2nd ed., 3 vols., Leipzig, 1875-76, n, 210) and Fr. Strehlke (Goethes Werke, 36 vols., Berlin, 1868- i,86).
Classification: Rhythmical Parody.
Comment: Another of the merry improvisations from the group "Gesellige Lieder" (cf. Nos. 81, 87, 127, 178, 179, 193, 203, 213, 216). Goethe visited the French ambassador, d Aignan, on October 12, 1813, and wrote his parody the same day. It seems reasonahh JA i, 332) that it was St. Aignan who drew the poet's attention to de la Motte Houdard's poem. Goethe did, however, know the lyric's refrain "Va t'en voir s'ils viennent, Jean" as early as I 1805, because it was then that he translated Diderot's Neveu de Ratneau where the line i> referred to in passing (DA rx, 564). Goethe's first three stanzas correspond in content to sta 1, 4 and 5 of the French lyric, whose first stanza runs:
On dit qu'il arrive ici Grande compagnie, Qui vaut mieux que celle-ci Et bien mieux choisie. Refrain: Va t'en voir s'ils viennent, Jean, Va t'en voir s'ils viennent.
Rhythmically, the model is built on trochaic lines, with an alternation of four and three stresses. There are six such lines in the stanza, namely four for the stanza proper and two lor the refrain. The total scheme for the quatrain plus the refrain couplet, then, is 4 3 4 3- [ (numerals indicating stresses per line). Goethe adheres to the prosodie properties of the model but expands the refrain to four lines. His stanza runs 4-3-4-3- [+-3-4-3 J.
On the surface, it might appear that trochaic quatrains of the pattern 4 34 8 AM IB echo of the stanza of the wandering scholars, discussed s. v. No. 216. And, indeed, the present parody is tabulated in the chart at the end of the commentary to No. 216. However, ftl In the oftM 01 No. 199, "Viele Gaste" is clearly an exception to the rule, and not derived from a Latin drinking song.
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229. Von der Isar bis zum Rhein. Title: none.
Date: 1823.
Text: DA xv, 328; WA v, part n, 367.
Group: none.
Comment: This parody has been discussed s. v. No. 216.
230. Warum gabst du uns die tief en Blicke. Title: none.
Date: 1776.
Text: JA in, 83 and 317; FA n, 369 and 486; DA xiv, 191.
Group: none.
Source: The rhythm of the South Slavic deseterac (cf. Nos. 214, 218, 231).
Comment: This beautiful love poem, written for Charlotte von Stein, is more of a general echo of the rhythm of the deseterac than a concrete parody. Even so, it is a remarkable coinci- dence that Schiller's ode "Ewig starr an deinem Mund zu hangen" of 1781 (SA i, 23 and 294) expresses in the same rhythm the notion of the lovers' union in a previous life. It seems likely that, as with Nos. 214 and 218, the poem results from a confluence of sources, of which the South Slavic rhythm is merely one.
231. Was ist Weisses dort am griinen Walde.
Title: Klaggesang von der edlen Frauen des Asan Aga. Aus dem Mor-
lackischen. Date: 1775.
Text: JA n, 39 and 280; FA i, 233 and 375; DA an, 617; DJG v, 316, and vi, 508; Herder xxv, 295 and 672.
Group: Vermischte Gedichte.
Printed Source: The South Slavic song of the "Asan Aga," translated into German in Die Sitten der Morlaken, Bern, 1775, by. Clemens Werthes, reprinted DJG vi, 509. Werthes' book is, in turn, a translation of Alberto F.ortis' Viaggio in Dalmazia, Venice, 1774. Classification: Rhythmical Parody.
Comment: Goethe's parody, which was first published in Herder's Volkslieder of 1778, has a remarkable history and one which sheds much fight on the poet's development. I have presented a full discussion, with bibliographical references, in the Germanic Review, v. xx (1945), p. 251-260, from which the conclusion drawn as to Goethe's rhythmical procedure may be quoted here :
"In 1774 Fortis could do no better than to offer an Italian translation of the Asan Aga in which he substituted the rising rhythm of the endecasillabo for the falling rhythm of the deseterac. In the following year Werthes, the German translator, committed the same rhythmical fault. The first step in the appreciation of the true rhythm was made by Herder, who presented in his folk song collection German versions of Serbian as well as other Slavonic national poetry in ten-syllable falling lines. But Herder's frequent enjambement gives a false contour to the models which he translated and transcribed. When Goethe re-created the Asan Aga he occupied himself with his model 'passion- ately,' as he himself put it, and re-created the true meter in the German language, 'divining the rhythm and paying attention to the word position of the original.' He thereby gave, in terms of the music of the language, the first true rendition of the Slav chants." Walter Scott's translation of Goethe's parody departs from the rhythm of the German lyric. Scott proceeds in lines of four dactyls each; cf. the reprint in G. H. Needler's Goethe and Scott, Toronto, 1950, p. 14-16.
232. Was machst du an der Welt. Title: none.
Date: 1818.
Text: JA v, 54 and 365; FA m, 67 and 313; DA xv, 192.
Goethe and Music — Miscellaneous Parodies
Group: West-ostlicher Divan, Buch der Spriiche.
Printed Source: A passage from the Persian epic Shahnameh by Firdusi, translated in Hammer-PurgstalTs Geschichte der schbnen Redekiinste Pendens, Vienna, ISIS, and reprii. in the commentary of FA.
Classification: Rhythmical Parody.
Comment: One of the parodies from the Divan, inspired by German tr is of
Oriental poetry (cf. Nos. 30, 81, 197, 200, 202, 204, 220, 222, 223, 227 ). Goethe followi both the rhythm (tines of four accents) and the content of the model closeh \ In fact, his k n almost a literal re-creation of the verse from Hammer-Purgstali's Firdusi translation. Ami, be expected, Goethe's lines scan more smoothly and sound more singable, but even the rhv: words are identical in four cut of six lines.
233. Wen du nicht verlassest, Genius.
Title: Wanderers Sturmlied. Date: 1772.
Text: JA n, 52 and 290; FA i, 245 and 377; DA xrv, 95.
Group: Vermischte Gedichte.
Comment: In spite of many individual allusions to the poems of Pindar, Horace, Aim and Theocritus, this poem is not a parody. Rather, it is, like so many of the l\Tics of the voung Goethe, cast in "free verse," an echo of the poet's enthusiasm for the rhapsodic character of Pindar's odes. That these Greek works were actually not as formless as the poetic rebels of the eighteenth century assumed, is irrelevant for an understanding of Pindar's influence on modem times. British and German poets imagined that Pindar's verse was what thev called free; and that belief helped them to liberate themselves from the premeditated regularity which the) abhorred in the older works of the age.
In particular, one effect in the music of language created by Pindar fascinated Goethe, and this he was fond of parodying. A favorite device of the ancient poet was to hold in abeyance the hero's identity until the end of the stanza. In the Pindaric ode, a prolonged recital of heroic deeds usually introduces the protagonist whose identity is held in abeyance and not revealed until the end of the stanza, when it climaxes the tale. This long-spanned arc, in sonority and thought, creates an element of suspense. In the present poem the introduction of the names of Anacreon (line 90) and Theocritus (line 100) are apt illustrations, and "Anakreons Grab" ( N 237) uses the same technique when it withholds the name of Anacreon until the end of the fourth line.
Finally, a word concerning bibliography. The foregoing discussion is almost entirely derived from the research of Oskar Walzel (cf. his Gehalt und Gestalt, Berlin, 1923. p. 2-11, with references to other publications of his as well as to Franz DornseifFs Pindars StiL Berlin, 1921). Several studies have been made of the classical allusions in the present poem; the literature is listed in the commentaries of JA and FA, also by H. Diintzer (Goethet hfHtche Gedichte. . ., 3 vols., Leipzig, 1875-1877, m, 317-324) and J. Boyd (Notes to Goethe's 1\h~ihs, 2 vols., Oxford, 1948-1949, I, 26-32). Actually, the German poet's imitation of Pindar must be viewed in the context of the other models of his free verse, namely MacPherson and KlopsUvk.
234. Wenn ich doch so schon war- Title: Kriegserklarung. Date: 1803.
Text: JA i, 20 and 309; FA I, 15 and 354; DA xrv, 496.
Group: Lieder.
Printed Sources: ( 1 ) The folk song:
"Wenn 'ch doch so schon war wie die Madel auf'm Land sie tragen gelb Hiitel mit Rosenroth Band!"
from Herder's collection Alte Volkslieder, Altenburg, 1774. Herder gathered tlu- collection in 1773, but when preparing final copy for the printer he eliminated fifteen songs, annum them
126 The New York Public Library
the present one which survives, therefore, only in manuscript. It is reprinted Herder xxv, 108 ( cf . also Carl Redlich's commentary, Herder xxv, 664 ) .
(2) The folk song from Grein in Upper Austria:
Wenn i a so schbn war wie die Buabn in Landl, haben grone Hiitel auf drauf rote Bandl.
The song is documented as early as 1780 and printed by H. Uhlendahl in 1924, reprinted by Alfred Gotze in 1928, and again reprinted by Karl Vietor in 1946 (Modern Language Notes, v. 61, 1946, p. 503; with full references to the earlier publications ) .
(3) The folk song:
Wenn ich doch so schon war
Wie die Madchen auf dem Land! Sie tragen gelbe Hiite Mit rosenrothem Band.
This song was found, by Ludwig Erk, in a song collection at Breslau in 1821 and communicated to H. Viehoff, who printed it in his Goethes Gedichte, erlautert. . . ( 1st ed. 1846-1853; 2nd ed. 1876). Since then many commentators have reprinted the lyric, notably E. v. d. Hellen (JA i, 309) and Ernst Feise (Modern Language Notes, v. 61, 1946, p. 326). A melody for this folk song is published by Ludwig Erk in his Kindergcirtchen, Essen, 1843. (I have not been able to consult this collection, but a copy is listed in the catalogue of the British Museum. )
(4) An Austrian folk song, of the type called "Schnadahupfl":
Wann ih ah so schen war Als wia d'Landlamenscha, So dad ih main Schenhaid Voar's Fensta henga.
This song is printed by F. Tschischka and J. M. Schottky in their collection Osterreichische Volkslieder. The first edition appeared in 1818 ( ? or 1819, cf . Modern Language Notes, v. 61, 1946, p. 503); 2nd rev. & augm. ed., 1844. I have checked the text of the song in a reprint of the 2nd ed. in The New York Public Library (Der Volksmund, vol. I, Leipzig, 1906, p. 131). It is also reprinted by various commentators, notably by Ernst Feise ( Modern Language Notes, v. 61, 1946, p. 327).
Classification: Folk Song Parody.
Comment: Since both sources (3) and (4) were published later than Goethe's parody, some commentators have wondered whether the present lyric was really derived from the folk song. Of course, internal evidence would strongly suggest that these doubts are unfounded. Goethe's lyric sounds like a folk-song parody, and it first appeared in the Taschenbuch auf das Jahr 1804, which was a collection of parodies on well-known tunes.44 But in view of Carl Red- lich's reprint of Source (1) in 1885 and Karl Vietor's reprint of Source (2) we have external proof that several variants were current in the late eighteenth century.
The interpretation of the late Karl Vietor (Modern Language Notes, v. 61, 1946, p. 503) is the most recent, published scholarly report concerning the relative importance of the various sources for Goethe. In reviewing Vietor's findings, it seems strange that he does not even mention Source ( 1 ) and Redlich's commentary, for a folk song collected by Herder seems both personally and geographically closer to Goethe's world than variants (2) and (4). Moreover Source (1) of 1773 is almost identical with the first stanza of Goethe's parody of 1803 and of Source (3) of 1821. (Herder's manuscript presents only the first stanza as a fragment.) I do not think that the date of 1780 for Source (2) proves that this is a more likely model for Goethe than Source (4). A song not printed before 1818/1819 may well have been in the oral repertoire before 1803. On the other hand the available evidence does not support any categorical statement as to which source was actually Goethe's model. Vietor merits our gratitude for having drawn the attention of American scholars to Source ( 2 ) but as a working hypothesis I favor Source ( 1 ) .
44 Cf . p. 9.
Goethe and Music — Miscellaneous Parodies 127
235. Wer kann gebieten den Vogeln. Title: Unvermeidlich.
Date: August 31, 1814.
Text: JA v, 31 and 348; FA hi, 46 and 304; DA xv, 56.
Group: West-ostlicher Divan, Buch der Liebe.
Printed Source: A lyric from Hammer-Purgstall's Der Divan von. . .Hajis, Stuttgart and Tubingen, 1812-1813; reprinted in the commentaries of JA and FA.
Classification: Rhythmical Parody.
Comment: A parody of Hammer-Purgstall's verse, analogous to No. 227 v. huh was written on the same day. The two poems are printed next to each other in the "Buch da I Book
of Love). The present lyric derives from its model the rhythm of three B and
copies the first two lines verbatim except that it omits the syllable MwohT in the finl !. cerning other parodies of the Divan inspired by German translations of Oriental 30, 81, 197, 200, 202, 204, 220, 222, 223, 227, 232).
236. Wer reitet so spat durch Nacht und Wind. Title: Erlkonig.
Date: 1776-1782.
Text: As a single poem, JA i, 105 and 338; FA i, 89 and 363; DA xrv, 229; as a Km bom the musical play, Die Fischerin, JA vm, 71 and 338; FA vru, 51, 54 and 563.
Group: Balladen.
Printed Sources: (1) The Danish ballad of "Sir Oluf and the Elf-King's Daughter." It appears in a ms. of the sixteenth century (cf. GJB xxn, 261) and in various printed editions of Danske Kaempeviser. The indirect source for Goethe was an edition of 1739 (cf. Herder xxv. p. 681). Most readily accessible in American libraries are the editions by Sven H. Grun* published at Copenhagen during the second half of the nineteenth century (cf. S. B. Host Ballad Books and Ballad Men, Cambridge, Mass., 1930, p. 195, 197, 344).
(2) A complete German translation of Source (1) was offered, after Goethe's "Erlkonii:" had appeared in print, by Wilhelm Grimm in his Altdanische Heldenlieder, Balladen .... 1 leidel- berg, 1811, p. 91.
(3) A complete English translation of Source ( 1) is available in A Book of Danish Ballatls, selected and with an introduction by Axel Olrik, translated by E. M. Smith-Dumpier. Priw
N. J., 1939, p. 103-106. Cf. also Olrik's comments p. 9 and 54.
(4) An incomplete German translation of Source (1) by Herder in his V6lkdied&r, 2 Leipzig 1778-1779, reprinted Herder xxv, p. 443-444 and 681-682. This translation, which was Goethe's immediate source, contracts several of the stanzas and omits altogether the last three stanzas. Thus the ballad ends with the death of Sir Oluf and does not mention tin- subse- quent death of his bride and of his mother. Also, this translation confuses "Elf-K6ni;4" ( king of the elves) with "Erl-K6nig" (king of the alder trees); cf. Herder xxv, p. 682.
(5) A free translation of Herder's version, i.e., Source (4), by Matthew Gregory ( "Monk" ) Lewis. It appeared first, together with a translation of Goethe's "Erlkonig." in the Monthly Mirror of 1796 and was subsequently published in Lewis' Tales of Wonder of 1801 | <- t. ( JJB in. p. 45). The present commentary is based on an examination of a copy of tlu1 I V, nder, published in New York in 1801. Lewis entitles his translation "The Erl-King's Daughter," thai perpetuating Herder's "Erl" for "Elf"; elsewhere in the same volume, Lewis entitles anothei ballad, "The Elfin King," in keeping with the English tradition. The subheading for
King's Daughter" reads "Danish... The original is in the Kiampe-Yiiser." However, unlike Source (1) Lewis omits the death of the mother and concludes, like Herder, with tlu- death of Sir Oluf. (He does mention the death of the bride, but that, taken in the context of tlu- entire ballad, seems more of an extension of Herder than a return to the original Ktiem; The
subheading for Lewis' translation of Goethe's "Erlkonig" reads, "Though founded on a Dt tradition, this Ballad was originally written in German, and is the production of the celebrated Goethe, author of Werther, etc." For an evaluation of the relative merits ot the translate Lewis and Walter Scott, cf. G. H. Needier, Goethe and Scott, Toronto, 1950, p. 12 and 1 ) 1
(6) A reprint of Herder's translation, Source (4), in Dcs Knahen WunderJiom. edited by Achim von Arnim and Clemens Brentano, 3 vols., Heidelberg, 1805-1808. For the present
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comment, the text has been checked in the second edition, Heidelberg, 1819. Arnim and Bren- tano entitle their reprint, "Herr Olof," and not "Erlkonigs Tochter," as did Herder. Also, the source given is "Fliegendes Blatt" (broadside), not Herder's Volkslieder. Arnim reported that he had still heard "the magnificent song of Sir Olof sung by the people" ( cf . Max Friedlander, Das deutsche Lied in 18. Jahrhundert, 2 vols., 1902, n, 539 ) .
( 7 ) An Icelandic variant of Source ( 1 ) is published in Sven H. Grundtvig's and Jon Sigurdsson's Islenzk fornkvaedi. . ., 2 vols., Copenhagen, 1854-1855, i, 1—11. Copies are available in the Library of Congress and the Fiske Icelandic Collection of the Cornell University Library. The similarities with the Danish version in rhythm and content are so striking that a common source seems to offer the only reasonable explanation. In his comments to , Source ( 3 ) , Olrik suggests: "The main lines of this ballad can be traced through one country after another, from its birthplace in Brittany or northern France to its diffusion over the greater part of Europe."
(8) Three different melodies for Source (7) are offered in Bjarni Thorsteinsson's Islenzk Thodlog. . . Copenhagen, 1906-1909, p. 491, 492, 624. Of these the first represents Iceland's most popular folk song. It was first printed in Andreas Peter Berggreen's (1801-1880) Folke- visor, Folkesange og Melodier, 2nd ed., 11 vols., Copenhagen, 1864. The second melody, also first printed in Berggreen's collection, is no longer in popular use. It may have been more current between 1750 and 1850, "if it ever was popular," as Thorsteinsson puts it. The third melody has been recorded only once, and may be disregarded for this study. The main value of Source ( 8 ) lies in the fact that it offers the only folk music known to this author that fits the Danish and Icelandic ballads of Sir Oluf as well as Herder's translation and Goethe's parody. I am indebted to Vilhjalmur and Evelyn Stefansson for having enlightened me on this difficult topic. Miss Freda Harold, of the Dartmouth College Library, has been of great assistance in the translation of Danish and Icelandic originals.
Classification: Rhythmical Parody.
Comment: The old Northern folk ballad of Sir Oluf was twice subjected to radical trans- formation before it yielded one of the best-known art ballads of modern times, the "Erlkonig."
The first set of changes was brought about by Herder, when he prepared Source ( 4 ) which served as Goethe's model. He shortened the story by bringing it to a sudden conclusion with Sir Oluf s death. Also, his narrative is extremely terse, since he omits the refrain which, in the Scandinavian ballads, accompanies each stanza.
• Danish, Source (3) Stanza 1 ( Solo ) Sir Oluf rode by East and West
To bid his friends to his bridal-feast. ( Chorus ) Gay goes the dance by the greenwood tree.
Stanza 14 ( Solo ) She struck him twixt his shoulders broad,
It pierced his heart-roots like keenest sword ( Chorus ) Gay goes the dance by the greenwood tree.
Icelandic, Source (7), Translation
Stanza 1 ( Solo ) Olaf rode forth along the cliffs
( Chorus ) The red flame was burning ( Solo ) He came upon a dwelling of elves
( Chorus ) There lay a ship abreast of the cliffs, ready to sail
Stanza 14
( Solo ) She thrust beneath his shoulder-blade
( Chorus ) The red flame was burning
( Solo ) Till the spear rested in the roots of his heart
( Chorus ) There lay a ship abreast of the cliffs, ready to sail.
Goethe and Music — Miscellaneous Parodies 129
Herder, Source (4) Stanza 1 Herr Oluf reitet spat und weit, Zu bieten auf seine Hochzeitleut;
Stanza 11 Sie tat einen Schlag ihm auf sein Herz, Noch nimmer fiihlt er solchen Schmerz.
Goethe, in his parody, accepted both of these drastic changes, namely, the reduction of the narrative as well as the reduction of the stanza. He also perpetuated "Erlko'nig" for "Eli which has thus, thanks to him and to Schubert's musical setting, become, for better or part of world literature. In the musical play, Die Fischerin, "Der Erlkonig" opens the f: and the opening stage remark reads "Unter hohen Erlen am Flusse. . ." ( Under high alder ti on the river). Also, both ballads conclude with the discovery of the death of the protagoi. by the bride in Herder's version and by the father in Goethe's poem. It is emphasized on "tot" ( dead ) :
Herder Goethe
Die Braut hob auf den Scharlach rot, Erreicht den Hof mit Miih und Not;
Da lag Herr Oluf, und er war tot. In seinen Armen das Kind war tot.
These are, indeed, striking similarities, quite apart from the basic rhythm of the narrative couplet! with four stresses per line, common to all of the eight sources listed above.
But Goethe also departed from Herder in two important aspects and thus removed hi^ poem even further from the tradition of the folk ballads (already tampered with bv Herd* In the Northern tradition the elfin maiden desires the knight, is repulsed by him, and kills him in revenge. The essential part of the tragedy takes place between protagonists of opposite and comparable age. But Goethe's ballad follows a less common tradition when the "Erl-king" seeks to entice a small child. Also, in the Danish and Icelandic songs the impact of the I depends on a belief in the supernatural. But in the "Erlkonig" the eerie and gruesome events be rationally explained as the feverish hallucinations of an ailing child.
One might expect that all these changes wrought by Herder and Goethe would result in poetic impoverishment, yet posterity has clearly put the stamp of immortality upon the "Erlkon as witness its vogue for almost two centuries among the lovers of poetry and music. Without doubt this has been due in part to the excellent musical settings by Schubert and Loewe, each of whom published their respective compositions as "opus 1." Concerning the merits of tl. settings and Goethe's attitude toward them, relevant material may be found in SchGG xi. p. I 86 and 141-144. Cf. also Wilhelm Tappert's 70 Erlkonig-Kompositionen, Berlin, 1906 (the first edition had been published in 1898 as 54 Erlkonig-Kompositionen) .
Wer vernimmt mich. A variant of No. 214.
237. Wo die Rose hier bluht. Title: Anakreons Grab. Date: 1785.
Text: JA i, 248 and 367; FA i, 276 and 381; DA xrv, 260.
Group: Antiker Form sich nahernd.
Comment: Like No. 233, not so much a parody as an echo of Pindar's verse. Unlike No. 233, this lyric was written during a period of the poet's development when he endeavored to assimilate the poise, balance and rhythms of classical antiquity. The poem is. then tore, char- acteristically, not cast in so-called free verse, but consists of three elegiac distiehs, a measure of considerable formality. Cf. our commentary to No. 233 as to the withholding of the name "Anakreon" until the end of the second distich, i.e., the fourth line. Concerning the Importance of the elegiac distich as a rhythmic model for Goethe, cf. JA i, p. xxm. In Ins musical setting of 1888, Hugo Wolf divined and followed Goethe's music of the language which, in turn, derh 60 its long-spanned arc from Pindar. The essence of Goethe's "melody," with its fine climax on the
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words "Anakreon's Run" at the end of the fourth line, governs the structure of Wolfs music, a rare wedding of voice and verse.
238. Woher sind wir geboren.
Title: none. Date: June, 1786.
Text: JA m, 101 and 324; FA n, 372 and 486; DA xrv, 266; Charlotte n, 252 and 681; SchGG n, 1 and 365-367.
Group: none.
Printed Source: A lyric from Chymische Hochzeit: Christiani Rosencreutz Anno 1459, Strasburg, 1616; reprinted 1781; and again reprinted SchGG n, 366.
Classification: Rhythmical Parody.
Comment: The author of the Chymische Hochzeit. . .was the Swabian theologian Johann Valentin Andrea (1586-1684) who influenced several others of Goethe's works (cf. GJB rv, 127-140; xxvn, 134, 136, 138). Andrea whose Fama Fraternitatis des loblichen Ordens des Rosenkreutz of 1614 provided the foundation for the order of the Rosicrucians, also offered Goethe the rhythm and some of the lines for a love poem for Charlotte von Stein. Goethe helped himself liberally to the second and fourth stanza of one of Andrea's cantatas in the Chymische Hochzeit, in fact he copied literally except for the last quatrain:
Andrea: Stanza 2, lines 5-8 Stanza 4, lines 1-8
Woher sind wir geboren?
Aus Lieb. Wie waren wir verloren?
Ohn Lieb. Was tut dies uberwinden?
Die Lieb. Kann man auch Liebe finden?
Durch Lieb. Was lasst man gut Werk scheinen?
In Lieb. Wer kann noch zwei vereinen?
Die Lieb.
Goethe
Woher sind wir geboren?
Aus Lieb. Wie waren wir verloren?
Ohn Lieb. Was hilft uns uberwinden?
Die Lieb. Kann man auch Liebe finden?
Durch Lieb. Was lasst nicht lange weinen?
Die Lieb. Was soil uns stets vereinen?
Die Lieb.
GOETHE'S RELATIONSHIP TO MUSIC
A List of References
PREFACE
THE publications that concern themselves with Goethe's relationship to music make up only a slender segment of the vast extant literature on Goethe. By the time of the First World War, this literature had already grown to frightening proportions, as Goedeke's compilation l proves, though relatively few pages were then devoted to "Goethe and Music." But with the improvement of library catalogues, bibliographies and periodical indi and the publication of further books and articles, the number of entries in the intervening period increased more than tenfold. Still, Goedeke's Grund- risz . . .first printed in 1859 and revised in 1910 must remain an invaluable tool and a point of departure for all later research, and in the present tabulation all titles printed by Goedeke have been set off typographically.
Despite the confines of space we cannot sidestep the responsibility of evalu- ating the more important monographs in the field. Of the innumerable pub- lications which range from very short articles to Bode's two volumes,5 a few only represent basic tools of research, and the vast remainder must be classed as subsidiary writings.
Among the scholars in the field the place of honor must go to Max Fried- lander (1852-1934), whose knowledge of German song was as encyclopedic as his devotion to Goethe was life-long. Although he taught for many decades at the University of Berlin and also as an exchange professor at Harvard, there is nothing professorial about his writings. Rather, they disc lose the cultivated singer who had studied under Manuel Garcia and who, from the time of his debut in 1880 at the London Monday Popular Concerts, offered a rare combination of able performance and real knowledge. As the unrivalled historian of German song in the eighteenth century and editor of the con- temporary musical settings of Goethe's poems, not to mention his numerous shorter articles, Friedlander amassed sources for which all later students
1 Karl Goedeke. Grundrisz zur Geschichte der deutschen Dichtung, 3d row ad Rdimmd c: Dresden, 1910-16. v. 4: parts n, ra & rv.
2 Wilhelm Bode. Die Tonkunst in Goethes Leben. Berlin: Mittler, 1912, 2 \ .
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must remain indebted to him. From the much-used and quoted first volume of Gedichtevon Goethe in Compositionen seiner Zeitgenossen ( SchGG, 1896, v. 11) to such brief and almost unknown publications as Eine hisher un- hekannte Goethesche Aufzeichnung zur Musiktheorie (1924), he has made contributions that range from works of the broadest importance to those of the most specific helpfulness. Friedlander never found the time to formulate the summa of his work and to integrate the many fruits of his long and de- voted studies.
The two volumes which Bode published in 1911 under the title of Die Tonkunst in Goethes Leben are entirely different in character, though hardly less indispensable. In terms of letterpress, his is the most sizeable of all the studies that have been published to date and one that quotes many original sources not to be found elsewhere. The story of Goethe's youth at Frankfurt, Leipzig and Strassburg, is, unhappily, not as fully documented as one would wish, and the descriptions are not always free from error. In this area the author relied on earlier published works in place of seeking original sources, and in the case of Goethe's cello teacher at Strassburg, he copied the misprint "Basch" from Killer's study of 1883, instead of referring correctly to "Busch." ( Parenthetically it may be noted that Ferdinand Hiller's little book has exer- cised an amazing and rather mystifying attraction for later writers: Abert copied the same misprint in 1922, and in 1913-14 the Bayreuther Blatter published Anton Hackmann's full-length plagiarism of Hiller's entire opus. ) But for the local lore of Weimar, Bode is invaluable; he stands unrivaled as an antiquarian of Goethe's adopted city. He combed the memoirs of Goethe's actors, singers and composers, as well as those of important non-musical persons at the ducal court, and his detailed and substantiated account is of fundamental importance, since Goethe lived at Weimar from 1775 until 1832. If Friedlander approached his subject as a historian of music, Bode did so as a connoisseur of German life and letters in Goethe's time. The grave short- coming in Bode's work, which he himself acknowledges in a modest and disarming manner, is his lack of competence in the field of music and his consequent inability to pass even a broad judgment in musical matters.
It was precisely this musical competence, so wanting in Bode, that enabled Hermann Abert in 1922 to write what is still the best book on the subject, Goethe und die Musik. Abert established himself as one of Germany's fore-
Goethe and Music — Preface most musical scholars with the publication of his revision of Jahn's Mozart in 1921. Moreover, his research on Mozart, Gluck, and Jomelli gave him an invaluable background for interpreting Goethe's attitude toward the musical stage, and his general training as a historian of culture prevented him from obscuring the drift of Goethe's age by concentrating on the merely anecdotal Unfortunately, Abert's booklet, published in a popular collection, is tantali/- ingly short, and he could only touch upon the various aspects of his subject The so-called "parodies" which Goethe was fond of creating and which i suited in some of his most distinguished poems, are a major instance of the incompleteness with which Abert had to content himself in so brief a work. One of the most important sources for much of Goethe's poetry was old tunes, folk songs and others, whose rhythmic and melodic strains inspired him to write new texts to the established tune, and few of the poet's working habits reveal the importance of music for his creative efforts as do these "wandering melodies." Of some hundred documented instances, Abert men- tions only three, even less than Bode. Whether or not his death in 1927 pre- vented his returning to the task on a more appropriate scale, we shall never know.
In 1928 Hans John published his Goethe und die Musik, a work of great diligence and, next to Bode's study, the most extensive book on the subject. It did not live up to its predecessors, however, although it drew upon them liberally. John has, in a way, collated the work of Friedlander, Bode and Abert, and also some of the publications of Hans Joachim Moser, listed below. But his earnest and extensive endeavors are uneven, and he displays little judgment in his emphasis. His book is also marred by a parti-pris, namely, the view that Goethe was, at heart, not a musical person and could explain music to himself only in terms of other disciplines. Goethe's well-known comparison of the profound mastery of Bach's art "with the harmony of the universe conversing with itself in the bosom of God" had long been singled out by John's predecessors as a beautiful tribute to Bach. Wasiliew ski wrote in 1880 that with these words Goethe characterized the great spiritual im- portance of Bach's art, and in 1922 Abert called attention to Goethe's grasp of the interweaving of voices and of musical patterns. John, on the other hand, engages in polemics with both of these earlier authors and insists that the statement indicates bewilderment rather than understanding. Goetlu s
134 The New York Public Library
vocabulary was anything but haphazard, and John would have been led to a truer comprehension of the famous passage had he made a careful study of the meaning and use of such phrases in the poet's writings as "harmony of the universe."
This tribute to Bach, which appears in the correspondence with Zelter, serves to emphasize the importance of still another printed source for a proper understanding of Goethe's relationship to music. The poet's letters to the Berlin composer have appeared in three complete editions in Germany ( ed. Riemer, 1833; ed. Geiger, 1902; ed. Hecker, 1918 ), and a volume of selections has been offered in English translation by A. D. Coleridge. The letters to Zelter are a veritable gold mine of information on music as well as on other matters, but their reading requires patient effort on the part of the modern reader who is in all likelihood unfamiliar with the multitude of ideas and persons to which Goethe constantly alludes. But the appearance of three German editions plus an English translation within one century may very well indicate that the general reading public prefers Goethe's own utterances to those of his interpreters.
Hecker 's edition of the correspondence is based on a careful comparison with the original manuscripts and is by far the most reliable. It is unfortunately incomplete, since there has been no further publication since 1918, when the third volume of texts appeared, and a commentary and index are still lacking. For this reason students must consult Hecker 's edition for an up- to-date text and Geiger's three volumes for a critical apparatus. Moreover, Hecker 's text offers only those epistles that are extant as actual letters and excludes such passages as Goethe's characterization of Bach's music because it survives only as a mundum.
The way is still open, then, for an up-to-date study of "Goethe and Music" and for an annotated edition of the correspondence with Zelter. Nevertheless, it can be said that in a composite way the publications of Friedlander, Bode, Abert and John, and the editions of Geiger and Hecker provide, for the pres- ent, the bulk of the available information and that their imperfections are neither excessive nor prohibitive.
As to the present bibliography, arranged according to author, the List of Abbreviations (p. 136) will divulge the authority for most of the titles, the key to symbols ( p. 136 ) explain the typographical marks ( * and f ) , indicat-
Goethe and Music — Preface
ing that the title had previously been listed by Goedeke. Goedeke's bibliog- raphy, the indispensable source for all later compilations, is also responsible for a short list of subject headings, appended to the main bibliography. This supplementary list is largely composed of short articles, either unsigned originally or listed by Goedeke without author. Frequently these periodicals are quite rare in American libraries, and in most cases American students may safely ignore them. But inasmuch as this material had been print by Goedeke and the bibliographical indices for the years following the publication of Goedeke's Grundrisz often list titles without author, it seemed best to reprint Goedeke's headings and bring them up to date.
Owing to the disruption of German periodicals by the Second World War. bibliographies were checked as follows:
JB up to 1935.
LZ up to 1939 ( also individual fascicles up to 1942 ) .
ZB up to 1939.
ZBBuptol937.
Of American bibliographies the International Index to Periodicals and the Readers Guide to Periodical Literature have been consulted to June, 1949.
In the alphabet, the German umlaut has been treated as if spelled with an V, i. e., "Miiller" is treated as "Mueller."
Finally, I ask the indulgence of my readers for any errors or inaccuracies that may have crept into this bibliography. I should be deeply grateful for any corrections and additions which may be addressed to me at the Music
Division of The New York Public Library.
F. \v. s.
136
The New York Public Library
LIST OF ABBREVIATIONS
* before a title indicates that the item also appears in Goedeke iv. 2 under the heading Music (p. 414-416 and supplements).
t before a title indicates that the item also appears in Goedeke iv. 2-4 under the headings: Beethoven, Eberwein, Loewe, Mendelssohn, Reichardt, Hochlitz, Schroeter, Schubert, Zelter; Egmont, Erlkonig, Kompositionen, Theater; in index, Music.
The abbreviation appearing on the right-hand margin at the end of a title indicates the biblio- graphical source which furnished the item, e. g., "ZfM W 8" means that R. Aber's article, "Faust-Musik bis zu Goethes Tod" was found in Zeitschrift fur Musikwissenschaft, volume 8.
Abert
B
Bettina
Bode
Charlotte
Christiane
DA
DJG
E
FA
GFB
Goedeke
GJB Graef
Herder
JA IMG
JB JGG
John
LZ
Marianne
PJB
Riemer
SA
SchGG
WA
WGV
Z
ZB
ZB, NF ZBB
ZBB, NF ZfM ZfMW ZG
H. Abert. Goethe und die Musik. Stuttgart: J. Engelhorns Nachf., 1922.
Fl. v. Biedermann. Goethes Gesprache. Leipzig, 1909-11. 5 v.
Bettinas Leben und Brief wechsel mit Goethe, ed. Bergemann. Leipzig: Insel, 1927.
W. Bode. Die Tonkunst in Goethes Leben. Berlin: Mittler, 1912. 2 v.
Goethes Brief e an Charlotte von Stein. Ed. Petersen. Leipzig: Insel, 1923. 2 v.
Goethes Ehe in Brief en. Ed. Graef. Potsdam: Riitten & Loening, 1937.
Goethes Werke, Diinndruck-Ausgabe. Leipzig: Insel, 1925. 17 v.
Der junge Goethe. Ed. Morris. Leipzig: Insel, 1909-12. 6 v.
Goethes Gesprache mit Eckermann. Ed. Deibel. Leipzig: Insel, 1932.
Goethes Werke. Fest-Ausgabe. Leipzig: Bibliographisches Institut, 1926. 18 v.
Goethe und seine Freunde im Brief wechsel. Ed. Meyer. Berlin: Bondi, 1909-11. 3 v.
Karl Goedeke. Grundrisz zur Geschichte der deutschen Dichtung. 3rd rev. ed. Ed.
Edmund Goetze. Dresden, 1910-16. v. rv, in 4 parts. Goethe-Jahrbuch. Frankfurt: Riitten & Loening, 1880-1913. 34 v. H. G. Graef. Goethe iiber seine Dichtungen. Frankfurt: Riitten & Loening, 1901-11.
9v. Herders Samtliche Werke. Berlin: Weidmann, 1877-1913. 33 v. Goethes Werke. Jubilaums-Ausgabe. Stuttgart: Cotta, 1909-12. 41 v. Internationale Musik-Gesellschaft.
(a) Sammelbande . . . Leipzig, 1899-1914; (b) Zeitschrift. . . Leipzig, 1899- 1914. Jahresberichte fur neuere deutsche Literaturgeschichte. Stuttgart, 1890- Jahrbuch der Goethe-Gesellschaft. Weimar, 1914- H. John. Goethe und die Musik. Langensalza: Beyer, 1928. ( Musikalisches Magazin.
1910ff.no. 73) Literarisches Zentralblatt fur Deutschland. Leipzig, 1850-
Goethes Brief wechsel mit Marianne von Willemer. Ed. Hecker. Leipzig: Insel, 1922. Jahrbuch der Musikbibliothek Peters. Leipzig: C. F. Peters, 1895- Riemers Mitteilungen iiber Goethe. Ed. Pollmer. Leipzig: Insel, 1921. Schillers Samtliche Werke. Sakular-Ausgabe. Stuttgart: Cotta, 1904-05. 16 v. Schriften der Goethe-Gesellschaft. Weimar, 1885-
Goethes Werke. Weimarer Ausgabe. Weimar: Bohlau, 1887-1919. 135 v. Chronik des Wiener Goethe- Vereins. Vienna, 1887-
Briefwechsel zwischen Goethe und Zelter. Ed. Hecker. Leipzig: Insel, 1913-18. 3 v. Bibliographic der deutschen Zeitschriftenliteratur . . . Gautsch b. Leipzig: Felix
Dietrich, 1896- . Same as above, new series. Bibliographic der fremdsprachigen Zeitschrif ten-Literatur . . . Gautsch b. Leipzig:
Felix Dietrich, 1911- Same as above, new series. Zeitschrift fur Musik. Leipzig, 1834- Zeitschrift fur Musikwissenschaft. Leipzig, 1918- Briefwechsel zwischen Goethe und Zelter. Ed. Geiger. Leipzig: Reclam, 1902. 3 v.
Goethe and Music
137
A LIST OF REFERENCES
Aber, A.
Faust-Musik bis zu Goethes Tod. (Die Mu- sikwelt, Hamburg, v. 6, no. 4) ZfMW 8
Abert, Hermann.
Goethe und die Musik. Stuttgart, 1922. W. A. Mozart. Leipzig, 1919. 2 v.
Cf. particularly v. 1, p. 916f.
Adler, Guido.
Schiller und Schubert. Vienna: Verlag des Schubertbundes, 1910.
Adrio, Adam.
Wirkungen Goethes im Berliner Musikleben seiner Zeit. ( Goethe in Berlin, ed. Fritz Moser, Berlin, 1949, p. 67-94)
Albini, Eugenia.
Goethe e la musica. (Rivista musicale itali- ana, 1932, v. 39)
Allen, Elise J.
t Corona Schroter, the original of Goethe's Iphigenie. (The Music, Chicago, Sept., 1898, p. 441 )
Alpenburg.
Goethe und die Musik. (Deutsche Musik- zeitung, Cologne, v. 33, no. 10) ZfMW 15
Amann, P.
Goethe et le solf ege. ( La Revue musicale, v. 13, no. 125) ZfMW 14
Andro.
Goethe, das Kind Bettina und die Musik. ( Der Merker, Vienna, v. 7, no. 19 ) ZfMW 1
Anna Amalia, Herzogin zu Sachsen-Weimar- Eisenach.
Erwin und Elmire (1776). Ed. Max Fried- lander. Leipzig: Siegel, 1921.
Reviewed by H. Abert in ZfMW, v. 4, p. 436-438.
Appell, J. W.
Das Haus mit den drei Lyren. . . Frankfurt: Wilmans, 1849.
Cf. also (a) Allgemeine Zeitung, Augsburg, October 31, 1844, no. 305; (b) Didaskalia, 1844, no. 314.
Arneth, Alfred v.
Aus meinem Leben. Vienna, 1891, p. 61f.
Pertains to the performance of Egmont with Bee- thoven's music in Vienna.
Arnheim.
Goethe und Rousseaus "Devin du village." (Sammelbande der Internationalen Musikge- sellschaft, v. 4, p. 695) IMG 4
Amim, Bettina von.
Briefwechsel mit einem Kinde. Berlin, 1835. 3 v.
Goethe's Correspondence with a Child. London, Berlin [printed], 1837-1839. 3 v.
Goethe's Correspondence with a Child. I ican, from the London ed. Low. 1],
Bab, J.
Egmont als Oper. (Pester Llovd, Budapest, 1912, May 9) Q
Bacher, Otto.
Zur Geschichte der Oper auf Frankfurt. -r Boden im 18. Jahrhundert. (ZfMW, J v. 8, p. 93-102)
Die deutschen Erstauffiihrungen von Mo- zarts "Don Giovanni." (Jahrbuch des Fn-ien Deutschen Hochstifts, 1926, p. 338-369)
Pertaining to Joseph Lux, reviewed by Goethe in DA, v. 5, p. 85.
Bar, Der.
Jahrbuch von Breitkopf und Hartel auf das Jahr 1925. Den Manen Goethes gewidniet. Leipzig, 1925.
Batz, Rudiger.
Schauspielmusiken zu Goethes Faust. Diss. Leipzig, 1924.
Bagge, Selmar.
Robert Schumann und seine Faustszenen. Leipzig: Breitkopf, 1879. ( Sammlung inu>i- kalischer Vortrage, ed. by Paul Graf Wfudfln v. 20)
Balet, Leo.
Die Verburgerlichung der deutschen Kunst. Literatur und Musik. Strassburg, 1936. ( Sanun- lung musikwissenschaftlicher AbhandhmgttB, begriindet von Karl Nef. v. 18)
Baltz, K.
Von Goethes Tonlehre... (Goetheanum, 1932, v. 2, p. 406, 414) ZB71
Bartels, Adolf.
Clironik des WeiniarischeD lloitluat 1817-1907. Weimar, 1908.
Batka, R.
t Joh. Friedr. Reiehardt. (KuDStwait, If, L6,
part ii, p. 239f . )
t Goethischc Lieder in der Musik. (In; Dei Kranz. Gesammelte Blatter iibcr Musik. Lefp- zig, 1903)
138
The New York Public Library
Batka, R., continued
Musikalische Stunden (Goethes). (Kunst- wart, 1912, p. 324) ZB
Goethesche Lieder in der Musik. (Die Mu- sik, 1922, June 5) t ZfMW 5
Bauer, Moritz.
Friedlanders "Gedichte von Goethe in Kom- positionen seiner Zeitgenossen." ( ZfMW, 1919- 20, v. 2, p. 119-123)
Bautz.
t tJber Zelters Berliner Liedertafel. (In: Ge- schichte des deutschen Mannergesangs in iiber- sichtlicher Darstellung. Frankfurt, 1890 )
Becker, Reinhold, ed.
t Beethoven. Erlkonig. Bearb. v. Reinhold Becker. Mit Facsimile der Originalskizze Bee- thovens. Leipzig, 1897.
Becking, Gustav.
Der musikalische Rhythmus als Erkenntnis- quelle. Augsburg: Filser, 1928.
Belmonte, C.
t Goethe und Beethoven. ( Wiener Frem- denblatt, Vienna, 1899, no. 237 )
Benz, Richard.
Goethe und Beethoven. Leipzig: Reclam, 1942. . LZ 1942
Bergemann, Fritz.
Bettinas Leben und Briefwechsel mit Goethe. Leipzig: Insel, 1927.
Berger.
Uber alien Gipfeln ist Ruh. (Der Kapell- meister und Musikfiihrer, v. 2, no. 4 ) ZfMW 14
Bergmann, Alfred.
Haydn und Goethe. (Jahrbuch der Samm- lung Kippenberg, 1927, v. 6, p. 299-306)
Berthold, F.
Schubert, der musikalische Apostel des Goetheschen Wortliedes. (Monatshefte fiir kathohsche Kirchenmusik, 1928, p. 164-170)
Bertini.
Goethe e la musica. (La Cronica musicale, Pesaro, v. 16, no. 5-6) IMG 14
Goethe e la musica. (La Nuova musica, Firenze, v. 17, p. 231) IMG 15
Bertram, Ernst.
Goethe, Gesang und Gesetz. (In: Deutsche Gestalten. Leipzig: Insel, 1934).
Bettina. s. v. Bergemann.
Beyer, Rudolf von.
Meine Begegnungen mit Goethe und anderen grossen Zeitgenossen. Ed. Rudolf Schade. Ber- lin: Brunnenverlag, 1930.
Beyerlein, F. A.
Goethe als Operntext-Dichter. (Die Musik- welt, Hamburg, 1927, v. 7, no. 10) ZfMW 10
Goethe als Operntextdichter. ( Die Kolnische Zeitung, September 6, 1927) ZB 60
Bezold, Karl.
Der Lowenstuhl. Goethes Opernentwurf und die Hessische Geschichte. (Die Drei, v. 9, p. 369-380)
Goethes Opernentwurf "Der Lowenstuhl" und das Schloss zu Steinau. (Deutsche Tage- zeitung, February 9, 1925 ) ZB 57
Goethe und die Oper. ( Baden-Badener Biih- nenblatt, v. 8, no. 64) JB 1928
Bianquis, Genevieve.
Faust a travers quatre siecles. Paris, 1935.
Biedermann, Fl. v.
Goethes Gesprache. Begriindet von Wolde- mar von Biedermann. Neu herausgegeben von Flodoard von Biedermann. Leipzig, 1909-11. 5v.
Biedermann, Woldemar, Freiherr von.
t Goethes Briefwechsel mit Friedrich Roch- litz. Leipzig, 1887.
t Goethe und Leipzig. Zwei Teile. Leipzig, 1865.
Teil 2, p. 233 and 241 pertain to Rochlitz.
t Goethe-Forschungen. Anderweite Folge. Leipzig, 1899.
p. 21 Off. pertain to Rochlitz.
t Johann Friedrich Rochlitz. (In: Allgemeine deutsche Biographie, v. 30. Leipzig, 1890, p. 85-91)
Cf. also: (a) Wiener Jahrbucher der Literatur, Vi- enna, 1832, v. 60,' p. 226-231; (b) Goethe-Kalender auf das Jahr 1908, p. 89; (c) Weisstein in: Vossische Zeitung, Sonntagsbeilage, Oct. 19, 1879, no. 42; (d) GJB, 1897, p. 143-159; (e) Allgemeine Zeitung, Beilage, Munich, 1888, p. 9.
Biehle, Herbert.
Goethe und das Berliner Lied. ( Mitteilungen des Vereins fiir Geschichte Berlins, 1932, v. 49 )
ZB71
Goethe und die Stimmkunst. ( JGG, Weimar, 1931, v. 17, p. 201-208) ZB 67A
Cf. also: Neue Ziircher Zeitung, Oct. 4, 1931.
Bielanska, Karolina.
Kobiety w zyciu Goethego. (Bluszcz, v. 65, nos. 2, 5, 7, 12, 16, 19, 21, 23, 26, 36) JB 1932
Concerning M. Szymanowska.
Goethe and Music — List of References
Bielschowsky, Albert.
Goethe. Sein Leben und seine Werke. Mu- nich: Beck, 1898-1904. 2 v.
Cf. particularly v. 1, p. 408.
The life of Goethe. Tr. William A. Cooper. New York: Putnam, 1907-09. 3 v.
Cf. particularly v. 1, p. 404.
Birnbaum, M.
Briefwechsel zwischen Goethe und Zelter. (GJB, 1906, v. 27, p. 245) ZB
Bitter, C. H.
t Carl Loewes Selbstbiographie, bearbeitet von C. H. Bitter. Berlin, 1870.
Cf. p. 76 concerning Loewe and Goethe.
Blaschke, J.
* Goethes musikalisohes Leben. ( Musi- kalisches Wochenblatt, Leipzig, 1904, no. 40)
* Schubert und Goethe. ( Neue ZfM, Leipzig, 1902, v. 69, p. 546-549)
* Goethe und Mozart. (Neue Musikzeitung, 1910)
* Goethe und Mozart. ( Badischer General- Anzeiger, January 27, 1910)
t Beethoven und Goethe. ( Deutsche Mili- tarmusiker-Zeitung, 1903, v. 24, no. 39)
Blaze de Buri, Henri.
f Goethe et Beethoven. Paris, 1892.
Blechschmidt, K.
Goethe in seinen Beziehungen zur Oper. Diss., Frankfurt. Duren, 1937. LZ 1938
Blessinger, K.
Goethes musikalische Personlichkeit. (Die Ernte, Hanover, 1932, no. 9) ZB 70
Blom, Eric.
Goethe's "The Magic flute, part n" in English translation. (Music and letters, 1942, v. 23, p. 234-254)
Blume, Friedrich.
Goethe und die Musik. Kassel: Barenreiter, 1948.
Goethes Mondlied in Schuberts Komposi- tionen. ( Der Bar. Jahrbuch von Breitkopf und Hartel, 1928, p. 31-58) ZB 66
Bock, Alfred.
Goethe und Spontini. (Zeitgeist, 1893, no. 38) JB1893
Goethe und Fiirst Radziwill. (Allgemeine Zeitung, 1894, no. 252, supplement) JB 1894
Bock, Alfred, continued
* Deutsche Dichter in ihren Beziehungen zur Musik. New [2nd] ed. Ciessen, 1900.
p. 87-114 concern Goethe.
Cf. also M. Koch in Hochstiftsberichte, v. 9, p. 399f.
♦Goethe als Musiker. Mittcilu- (Frankfurter Zeitung, April 7, 1895, Al, blatt no. 183)
Bock, W. von.
*Goethe in seinem Yerhaltnisse zur M Berlin: Schneider, 1871.
Reviewed in: (a) Europa, 1871, no. 49; (b) Atlan- tic monthly, v. 29, p. 629.
Bode, Wilhelm.
t Corona Schroter. (Zeit, Vienna. 1902 p. 122-124) JB1902
t Goethes Schauspieler und Musiker. Erin- nerungen von Eberwein und Lobe. Mit ganzungen von Wilhelm Bode. Berlin: Mittkr 1912.
t Berliner Geschichten fur Goethe. ( Berliner Tageblatt. Zeitgeist, 1900, no. 37)
Pertains to Zelter.
Stunden mit Goethe. Berlin: Mittler, 1905- 21. 10 v.
These volumes contain the following arti W. Bode. Die padagogische Provinz. v. 5, p. 216-
220. W. Bode, f Goethes Tonsetzer vor hundert Jahren.
v. 7, p. 108-144. W. Bode. * Goethes Kapellmeister ( Karl Eber- wein). v. 7, p. 241-269, 270-290, 291-295.
(Reviewed by I. C. L. in Hamburger N
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p. 31-44. Karl Eberwein. Die Musik zum Goetheschen Faust.
v. 8, p. 45-55. Chr. Lobe. Gesprach Lobe-Zelter. v. 8. p. |
202. W. Bode. Goethe im Gesangbuche. v. 8.
309. Hugo Laemmerhirt. Goethe im katfaoUtolM H
sangbuche. v. 9, p. 183-200.
t Goethes Gedanken. Berlin. 1907.
Amalie, Herzogin von Weimar. Berlin. 1908. 3 v.
* Die Tonkunst in Goethes Leben. Btrlin: Mittler, 1912.
Reviewed in (a) Bresl.uu-r ZstaBgi L911, BO* fSij (b) Rheinisch-Westfttlische Zeitung,
1911; (c) Heilbronner Unterhnltun'oM.itt. 1912. 51.
Der Weimarische Museohof, L756 L781.
Berlin, 1917.
Bohme, Werner Erdmann.
Ernst Wilhelm Wolf. (ZfMW. L93S v. 15)
140
The New York Public Library
Boehmer.
Goethe und Schubert. (Rheinische Musik- und Theaterzeitung, Cologne, 1913)
ZB 35, 37 A Boellert, K.
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meine Musikzeitung, v. 33, p. 583-588)
JB 1906-07 Botscher, Elmar.
Goethes Singspiele. . . Diss., Marburg, 1912.
Bojanowski, Eleonore von.
Ausserungen Anna Amaliens und Herders iiber die Musik. (GJB, Frankfurt, 1909, v. 30, p. 56-66)
Bolt.
Goethe inspiriert die Musiker. (Die Ton- kunst, v. 36, no. 12) ZfMW 14
Boode, E.
* Goethe, Beethoven, Schiller und Weber. (Die Wahrheit, Leutkirch, v. 30, p. 712-718, 753-760)
Borcherdt, H. H.
Goethe und Joh. Andre. (Frankfurter Zei- tung, August 29, 1912) ZB
Borgese, G. A.
t Fra Goethe e Beethoven. ( Italia centrale, Reggio Emilia, March 24, 1907 )
Boschot, Adolphe.
Le Faust de Berlioz. Paris: Rene Dumesnil, 1927. (Collection des grandes oeuvres musi- cales. v. 1)
Boutarel, Amedee.
La vraie Marguerite et 1'interpretation musi- cale de Tame feminine, d'apres le "Faust" de Goethe. Paris: Hengel & Cie., 1900.
Une lettre de Berlioz a Goethe. (Menestrel, 1903, v. 69, p. 52f ., 59f . ) JB 1903
t Corona Schroter. (Menestrel, 1905, v. 71, p. 209-211, 217-220, 225-228)
Boyer, Jean.
Le romantisme de Beethoven. Toulouse, 1938.
Brachtel, K.
Goethe-Lieder und ihre Vertoner. ( Deutsche Heimat, Sudetendeutsche Monatshefte, 1932, p. 228-230) ZB70
Brentano, Bettina, s.v. Arnim and Bergeman.
B(reslauer), M(artin).
t Corona Schroter. Leipzig, 1910.
Bricht, Balduin.
Musikalisches von der Goethe-Ausstellung. (Volkszeitung, Vienna, April 30, 1932)
Bricht, Balduin, continued
Bericht iiber die Goethe-Feier der Konzert- hausgesellschaft. ( Volkszeitung, Vienna, March 22, 1932)
Goethe und die Musik. ( Volkszeitung, Vi- enna, March 17, 1932)
Brock, Klaus.
Goethes Faust auf dem Weimarer Theater. Diss. Jena, 1934.
Brockt, Joh.
. E. W. Wolf. Diss. Breslau, 1927.
Partially printed.
Brummer,F.
t Karl Siegmund von Seckendorff. (In: All- gemeine deutsche Biographie, v. 33, Leipzig, 1891, p. 518)
Brues, O.
Zauberflote 2. Teil. (Das Nationaltheater, Berlin, 1931-32, v. 4, p. 171-180) ZB 70
Bruford, W. H.
Die gesellschaftlichen Grundlagen der Goethezeit. Weimar, 1936. (Literatur und Leben. v. 9)
Bruns, Friedrich.
"Auge und Ohr in Goethes Lyrik." (Journal of English and Germanic philology, 1928, v. 27, p. 325-360)
Bruschke, C. H.
Zauberflote h. (ZfM, 1932, v. 99, p. 570)
ZB71
Budapester Akademie der Wissenschaften, Elischersche Goethe-Sammlung.
t 365 Bande und Hefte mit Kompositionen zu Goetheschen Dichtungen zusammenge- tragen.
Biilow, Hans von.
t Brief wechsel mit Liszt. Leipzig: La Mara, 1898.
t Ausgewahlte Schriften. v. 4. Leipzig, 1898.
Biilow, P.
Goethes Mutter als Liebhaberin der Musik. (Deutsche Musikerzeitung, v. 62, no. 9)
ZfMW 13
Goethes Mutter als Liebhaberin der Musik.
(Deutsche Sangerbundeszeitung, v. 23, no. 10)
ZfMW 13
Schuberts Liebeswerben urn Goethe. (Die
Harmonie, v. 23, no. 2) . ZfMW 14
Hans Wildermanns "Faust-Wirklichkeiten." ( ZfM, v. 99, no. 3 ) ZfMW 14
Goethe and Music — List of References
141
Biilow, P., continued
Ein Faustjubilaum aus dem Schaffenskreise R. Wagners. (ZfM, v. 99, p. 234f.)
Musik und Musiker urn Goethe. (Borsen- blatt fiir den deutschen Buchhandel, May 19, 1932) ZB70
Musikalische Schicksalstage im Leben Goethes. (Deutsche Oberschule, Frankfurt, 1932-33, v. 6, p. 35) ZB 73
Goethe und die Sangeskunst seiner Zeit. (Die Harmonie, Wolfenbiittel, v. 23, no. 8)
ZfMW 15 Burdach, Konrad.
Lauchstadts Erneuerung. Berlin, 1909.
Goethe und sein Zeitalter. (His: Vorspiel. Gesammelte Schriften zur Geschichte des deutschen Geistes. v. 2) Halle a. d. Saale: Nie- meyer, 1926. (Deutsche Vierteljahrsschrift fiir Literaturwissenschaft und Geistesgeschichte. Buchreihe. v. 3)
Contains: Schillers Chordrama und die Geburt des tragischen Stils aus der Musik, p. 116—237.
Reprint from: Deutsche Rundschau, 1910, v. 36.
Burkhardt, C. A. H.
Goethe und Kayser. Leipzig: Grunow, 1879.
t Das Repertoire des Weimarischen Theaters unter Goethes Leitung 1791-1817. Hamburg und Leipzig, 1891. ( Theatergeschichtliche Forschungen, ed. Berthold Litzmann. v. 1)
Burkhardt, H.
Goethe und die Schulmusik. ( Zeitschrift fiir Schulmusik, Wolfenbiittel, 1932, p. 25-29)
ZB70 Buss, B.
Maurermeister und Musiker [Zelter]. (All- gemeine Musikzeitung, Charlottenburg, 1908, v. 35, p. 928-930)
Calmus, Georgy.
Die ersten deutschen Singspiele von Stand- fuss und Hiller. Leipzig: Breitkopf, 1908.
Cannstadt.
Frau Ajas Musikbeziehungen. ( Neue Musik- zeitung, Stuttgart, v. 36, no. 11 ) ZfMW 1
Cantarini.
Del carteggio di Goethe e un amico musi- cista. (Rivista musicale italiana, 1914) ZBB 15
Capen, Samuel Paul.
t Friedrich Schlegel's relations with Reich- ardt and his contributions to "Deutschland." Diss., Philadelphia. Philadelphia: The Uni- versity, 1903. (Publications of the University of Pennsylvania, Series in philology and litera- ture, v. rx, no. 2 )
p. 28ff. concern Goethe and Reichardt.
Castelle, F.
Goethe und Beethoven. (Wtttbaig-1 buch, 1926) ZB59
Castle, E.
Goethe und Schiller als Yorlauf. r EL V ners. (WGV, 1933, v. 38, p. 27-35) LZ 1933
Certella, Alessandro.
La Pasqua nel Faust di Goethe e nel Mefisto- fele di Boito. (Gazzetta musicale di Milano, v. 42, nos. 27-28 )
Chandler, S.
Goethe et Beethoven. (Revue hebd daire, Paris, v. 41, tome 35-41) ZB NFfl
Chantavoine, J.
* Goethe musicien, a propos d'une pul tion recente. (Revue germanique, 1905. \. ]. p. 431-445)
A study of the Goethe-Zelter correspondence, ed- ited by Geiger.
Goethe et la musique. ( Le Menestrel, * no. 11) ZfMW 11
Goethe musicien. Paris, 1912. (Musiciens et poetes )
Charlotte, s. v. Petersen.
Chrysander, Friedrich.
t Corona Schroter. ( Allgemeine musikalische Zeitung, 1875, no. 41-42)
Coeuroy, A.
Climat musical de Goethe. (La Revue musi- cale, 1932, v. 13, no. 125) ZfMW" 14
Coleridge, A. D.
t Goethe's letters to Zelter, with extracts of those of Zelter to Goethe selected, translated and annotated. London, 1887.
Reviewed in Athenaeum, London, 1887, no. 3090.
Coronata, Sister Man-.
Parallels to Goethe's "Elsfissische VoDes-
lieder." (Journal of American folklore. L931, v. 44, p. 43-53)
Corte, Andrea della.
La vita musicale di Goethe. Torino: I\ira\ i.i. 1932.
Cursch-Buhren, Th. F. Schuberts Goethe-Lieder. (Zentralblatt
1900, Instrumentalinusik, v. L5, p. 41f.)
JB L900
f Loewe und Goethe. (Leipzigei TageMattt
Leipzig, June 28, 1903)
Curzon, Henri de.
Goethe et la musique. ( Journal dea d6bats,
1932, v. 39, part 1, p. 518-519)
142
The New York Public Library
Dammann, O.
Goethe und Chr. Fr. Schlosser. (JGG, 1930, v. 16)
Daubresse, M.
Mignon, episodes lyriques tires de "Wilhelm Meister," Goethe-Schumann. (Guide musical, Brussels, v. 49, no. 32-33) - IMG 4
David, Hans Theodore.
Goethe on Music. (Southwest Goethe Fest- ival. A Collection of Nine Papers, ed. Gilbert J. Jordan, Southern Methodist University Press, Dallas, 1949, p. 19-33)
Davies, J.
The earliest musical setting to Goethe's Faust. (Journal of English and Germanic philology, 1926, v. 25, p. 517-530)
ZB 64; ZBB NF1 Debrunner, Hans.
Gedenkrede zur Goethefeier 1932 in Frauen- feld. Frauenfeld, 1932.
Delacroix, H.
t De Goethe a Beethoven. ( Revue jeune, 1892, no. 1)
Dennerlein, Hanns.
J. Fr. Reichardt und seine Klavierwerke. Minister: Helios, 1930. ( Universitas - Archiv. v. 25)
Dernburg, Friedr.
t Zelters Jubilaum. ( Berliner Tageblatt, De- cember 6, 1908, no. 621)
Destouches, E. von.
t Franz Destouches. ( Allgemeine Zeitung, 1904, supplement no. 54 and 65 )
Deutsch, Otto Erich.
Schuberts Goethe-Lieder. Vienna, 1926.
Schuberts zwei Liederhefte fur Goethe. ( Die Musik, 1928, v. 21, p. 31-37)
Beethovens Goethe-Kompositionen. (Biblio- graphisch, etc. ) Berlin- Vienna-Leipzig, 1930.
Ein vergessenes Goethe-Lied von Beethoven. (Die Musik, 1931, v. 23, p. 19-23)
"Neue Liebe, neues Leben" in the first version.
Haydn-Zelter-Goethe. - ( Preussische Lehrer- zeitung, Magdeburg, March 24, 1932 )
ZfMW 15
Eine vergessene Goethe-Komposition Bee- thovens. ( Philobiblon, Vienna, 1932, v. 5, p. 173) ZB70
Goethe und Schubert. (WGV, 1936, v. 41)
Beethovens Goethe-Kompositionen. ( Jahr- buch der Sammlung Kippenberg", 1928-30, v. 8, p. 102-133)
Devrient, Hans.
t Jugenderinnerungen an Therese Devrient. Stuttgart, 1905.
Contains: Zelter on Goethe's death, p. 37.
[Dictionaries of Music]
(a) Hermann Abert. Illustriertes Musiklexi- kon. Ed. Hermann Abert. Stuttgart: Engelhorn, 1927.
(b) Alfred Einstein. Hugo Riemanns Musik- lexikon, 11th ed. Ed. Alfred Einstein. Leipzig: Hesse, 1929. 2 v.
( c ) Hans Joachim Moser. Musiklexikon. Ber- lin: Hesse, 1935.
(d) Baker's Biographical dictionary of mu- sicians. 4th rev. & enl. ed. New York: Schirmer, 1940.
Consult s. v. Goethe.
Diersche.
Beethoven und Goethe. ( Die Woche, Berlin, 1927, no. 14) ZfMW 9
Diezmann, A.
* Goethe-Schiller-Museum. Leipzig, 1858. Appendix: Goethe und drei Musiker.
Dilthey, Wilhelm.
Von deutscher Dichtung und Musik. Leipzig, 1932.
Distel, Th.
Peucers Tafellied zum 74. Geburtstag Goethes. ( GJB, 1906, v. 27, p. 276-277 ) IMG 7
Dobel.
Goethe's Verhaltnis zur Tonkunst. ( Die Har- monie, v. 20, no. 9 ) ZfMW 12
Goethe's Verhaltnis zur Tonkunst. ( Die Mu- sikerziehung, 1930, v. 7, p. 110-115) ZfMW 12
ZB66 Dbring, H. W.
Das rhythmisch-melodische Urerlebnis in Goethes "Fischer." (Zeitschrift fur Deutsch- kunde, 1940, v. 44, p. 328-331 )
Dolezil.
Goethe v. ceske hudbe. (Tempo, Prague, v. 11, no. 8) ZfMW 15
Dorn.
* Goethe in seinem Verhaltnis zur Musik und zu Musikern. (Theater- und Musikzeitung, Konigsberg, J.904, v. 1, no. 1)
Douel, M.
t Bettina Brentano, Goethe et Beethoven. ( Revue blanche, November 1, 1902 )
Reviewed in: (a) La Revue, January 1, 1902, v. 43, p. 499; (b) Allgemeine conservative Monatsschrift, January, 1880, p. 79-82.
Goethe and Music — List of References
Douel, M., continued
t Un probleme psychologique: Goethe et Beethoven. (La Grande revue, 1904, v 8 p. 481-495)
Cf. Nemi. Goethe e Beethoven. (Nuova antoloeia July 1, 1905, p. 163-164). 6
Draheim, H.
Goethes Balladen in Loewes Komposition. Langensalza, 1905. ( Musikalisches Magazin, v. 10)
Dubitzky, F.
"Kennst du das Land'* in den Vertonungen unserer Meister. (Rheinische Musik- und The- aterzeitung, v. 7, p. 5-7 )
* Schillers und Goethes Werke als Opern. (Biihne und Welt, 1908, v. 10, no. 20-21, p. 901-909)
Duntzer, Heinrich.
* Goethes Tonlehre. ( Morgenblatt fur ge- bildete Leser, 1858, no. 22, 23)
t Charlotte von Stein und Corona Schroter. Eine Verteidigung. Stuttgart, 1876.
Das Breitkopfsche Haus zum Silbernen Baren. (tjber Land und Meer, 1890, no. 37)
JB 1890
* Aus Goethes Freundeskreis. Braunschweig:
Vieweg, 1868.
Contains ( a ) Goethes Tonlehre und Chr. H. Schlos- ser, p. 523-550; (b) Reichardt, p. 173-214.
Eberwein, Karl.
Erinnerungen eines Weimarischen Musikers. Goethes Proserpina. (Weimarer Sonntagsblatt, July 6, 13 and 20, 1856, p. 225-248 )
Ehinger, Karl.
Rochlitz als Musik-Schriftsteller. Leipzig: Breitkopf, 1929.
Einstein, Alfred, ed.
Chronologisch - thematisches Verzeichnis samtlicher Tonwerke . . . Mozarts . . . von Dr. Ludwig Ritter von Kochel. Dritte Auflage, bear- beitet von Alfred Einstein. Leipzig: Breitkopf und Hartel, 1937.
Mozart-Goethe: Das Veilchen. Mit einem Nachwort von Alfred Einstein. Zurich: Reich- ner, 1936.
Eitner, R.
fK. F. Zelter. (In: Allgemeine deutsche Biographie, v. 45, Leipzig, 1900, p. 46-52)
E.L.
t Musikalische Ketzereien. ( Posener Zeitung, December 28, 1899)
143
Engelbrecht, K.
Goethe und Beethoven. (V81 Beo-
bachter, April 8, 1931)
Engelmann, Walt* -r.
Goethe und Beethoven. Augsburg
Ernest.
Goethe und die Musik. ( Deutv .ger-
bundeszeitung, v. 24, no. 12 ) WW I A
Errante, Vincenzo.
Musik und Malerei in Goethe K stellt an Faust I: 'Vvuerbaehs Ukr." Aus dem Italienischen von Ernst Wiegand Junker. (Thema, Gauting near Munich, 1949 [no v ] no. 2, p. 39-42)
Ettinger, Max.
Goethes Beziehungen zur Musik. (Das Pris- ma, v. 2, no. 17, p. 177-181 )
Falk, J.
fErinnerung an C. Schroter aus Wei: Ein Totenopfer. (In: Taschenbuch der Lube und Freundschaft fur 1807, p. 241-248)
Faller, Max.
J. Fr. Reichardt und die Anfange der musi- kahschen Journahstik. Diss., Konigsberii. 1 Kassel: Barenreiter, 1929. ( Konigsberger Studi- en zur Musikwissenschaft. v. 7)
Fauchier-Delavigne, Marcelle.
Nina, La Folle par amour: Goethe et Bet- tina Brentano. (Revue hebdomadaire. ll 44eme annee: tome vn, p. 135-164. 287-901, 402-417; tome vm, p. 45-73, 177-1 9S, 290- 311, 483-497)
Faure, Gabriel.
Goethe et Beethoven. (In: Sur les roatBfl Boheme. Paris, 1932)
Federmann, Arnold.
Der junge Goethe und Englaiul. Berlin: Schmidt, 1949.
Cf. particularly p. 168-171.
Feise, Ernst.
Der Knittelvers des jungeo Goed>e. i'ino metrische und melodische Untersoi liun. I zig, 1909. PJB
Der Hexameter in GoetA69 luiiuke Fuehs und Hermann und Dorothea. (Modem lan- guage notes, 1935, v. 50. p. 290 8
Studien zu Goethes VerskuDSt (GeUUUlk
review, 1933, v. 8, p. 75-.S
Zu Goethes Sesenlieiiner Liedern. (PMLA, 1942, v. 57, p. 174-181)
144
The New York Public Library
Feuerlicht, Ignace.
Goethes friiheste Balladen. ( Journal of Eng- lish and Germanic Philology, 1949, v. 48, p. 469-482)
Fisch, Samuel.
Goethe und die Musik. Frauenfeld: Huber, 1949.
Fischer, Kuno.
Goethes Iphigenie. 3rd edition. Heidelberg, 1900.
Particularly p. 12.
Flemming, Willi.
Goethes Gestaltung des Klassischen Theaters. Cologne: Schaff stein, 1949.
Cf. particularly p. 124-125.
Floch, Siegfried.
Goethe und die Musik. Vienna: Verlag der Wochenschrift fur Kunst und Musik, 1904.
Floessner, Franz.
Beitrage zur Reichardt-Forschung. Diss. Frankfurt, 1928.
Reichardt, der hallische Komponist der Goethezeit. Halle, 1929.
Goethes Beziehungen zur Musik und zu den Musikern seiner Zeit. (In: Das Goethe-Jahr 1932. Frankfurt: Goethe- Verlag, 1932)
Flossman-Kraus .
Schubert und Goethe. (Deutsche Heimat. Sudetendeutsche Monatshefte, 1928) ZB 63
Foos, Alphonse.
Musik und Goethe. Esch-Alzette : Imprimerie Cooperative Luxembourgeoise, 1932. PJB
Musik nach Goethe. Esch-Alzette: Kremer- Muller, 1939.
Frankel, J.
t Corona Schroter. ( Vossische Zeitung, De- cember 23, 1905)
Frankl, L. A.
t Goethe und Beethoven. Chemnitz: F. Miiller, 1857. ( Johannesalbum, v. 1, p. 50)
Poem.
Schiller, Beethoven und Goethe in Karlsbad. Karlsbad, 1862.
Franz, Robert.
t tiber die Komponierbarkeit Schillers, Hemes und Goethes sowie Goethe im allge- meinen. (In: Gesprache mit Robert Franz. Leipzig: W. Waldmann, 1894, p. 2, 11, 13, 44, 45, 148)
Fredrik, L. v.
Goethe und das deutsche Volkslied. ( Gegen- wart, Berlin, 1908, no. 35) ZB
Frenzel, Paul.
Schumann und Goethe. Leipzig: Breitkopf, 1926.
Frerichs, E.
Goethe und die Tonkunst. ( Monatshefte f iir Literatur, Kunst und Wissehschaft, Zeitschrift der Buchgemeinde, 1932, v. 8, p. 600-605)
ZB70 Friedlander, Max.
f tJber Studentenlieder mit Bezug auf die Goetheschen. (WGV, 1892, v. 6, p. 16f. and 24f.)
Cf. also: Deutsche Literaturzeitung, 1892, p. 512- 514.
t Gedichte von Goethe in Kompositionen seiner Zeitgenossen. Weimar, 1896. (SchGG. v. 11)
Reviewed in: (a) Euphorion, v. 4, p. 662; (b) Die Grenzboten, (1897), v. 56, no. 9.
t Goethes Gedichte in der Musik. ( GJB, Frankfurt, 1896, v. 17, p. 176-194)
t Musikerbriefe. (GJB, Frankfurt, 1891, v. 12, p. 77-132)
Goethe und Schubert. (Allgemeine Musik- zeitung, v. 24, p. 69 ) ZB 22A
f Goethes Lieder in Kompositionen seiner Zeitgenossen. ( Hamburgischer Korrespondent, 1900, v. 170, no. 579)
Corona Schroter: Lieder. Weimar, 1902.
t Das deutsche Lied im 18. Jahrhundert. Stuttgart, 1902. 2 v.
Deutsche Dichtung in Beethovens Musik. (PJB, 1912, p. 33-37)
Konzert im Stile von Goethes Hausmusik. Programm der 29. Generalversammlung der Goethe-Gesellschaft, June 5, 1914. Weimar, 1914.
Goethe und die Musik. ( JGG, Weimar, 1916, v. 3)
Gedichte von Goethe in Kompositionen sein- er Zeitgenossen. Weimar, 1916. ( SchGG. v. 31 )
Bettina. Lieder. Berlin, 1921.
Varianten in Goethes Singspiel "Claudine von Villa Bella." (JGG, 1921, v. 8, p. 52-60)
Goethe und^ die Musik. ( Rheinische Musik- und Theaterzeitung, Cologne, v. 17, no. 29- 30) ZfMWl
Das Lied von Marlborough. (ZfMW, 1923- 24, v. 6, p. 302-327)
Eine bisher unbekannte Goethesche Auf- zeichnung zur Musiktheorie. (Das Jubelschiff
Goethe and Music — List of References
115
[a special edition of Das Inselschiif for May 22, 1924, birthday of Anton Kippenberg. Not contained in the volume for 1924], p. 9-16)
Goethe und die Musik. ( Frankfurter Zeitung, August 25, 1932) ZB 69A
Goethe und die Musik. (Neue Ziircher Zeitung, June 19, 1916) ZB 37B
Frimmel, Theodor.
t Beethoven und Goethe. Vienna: Gerold, 1883.
Cf. also: (a) J. Minor in Akademische Blatter, v. 1, p. 429; (b) Buchner in Blatter fur literarische Un- terhaltung, 1884, no. 37.
t Neue Beethoveniana. ( New edition ) Vi- enna: Gerold, 1890.
Cf. also: (a) Wiener Fremdenblatt, 1889, no. 333; (b) Pester Lloyd, 1889, no. 332; (c) Didaskalia, 1889, no. 286; (d) Hamburger Musikzeitung, v. 3, no. 17; (e) Nationalzeitung, 1889, no. 676; (f) Neue ZfM, v. 56, no. 49; (g) Neue Musikzeitung, 1889, no. 16; (h) SchGG, 1904, v. 18, p. 79-8}.
Beethoven-Jahrbuch. 2 v. Ed. Theodor Frim- mel. Munich and Leipzig: Georg Miiller, 1908, 1909.
Beethoven-Handbuch. Leipzig: Breitkopf, 1926.
Fuchs, A.
* Goethe und die Musik. ( Schweizerische Musikzeitung, 1902, v. 17, no. 1 )
Fiirstenau, M.
* Goethes Hauskapelle. Leipzig, 1878.
Cf. also: (a) Deutsche Revue, 1878, v. 2, p. 120f.; (b) A. Diezmann, Goethe-Schiller-Museum, 1858, p. 5f.; (c) Programm von Goethes Hauskapelle. (In: Jahrbuch der Sammlung Kippenberg, Leipzig, 1921, v. 1)
Gaedertz, K. Th.
* Karl von Schlozer als Komponist und ein Urteil Goethes iiber ihn. ( Westostliche Rund- schau, 1894, v. 1, May, p. 382f.)
* Karl von Schlozer als Erlkonig-Komponist. Leipzig, 1900, p. 169-174. (His: Bei Goethe zu Gaste )
Gallwitz, S. D.
Der musikalische Goethe. (Die Hilfe, 1931, v. 37, p. 284) ZB70
Gebeschus, J.
f Goethe und Beethoven. (Die Umschau, Frankfurt, 1902, v. 6, p. 421-425)
Gehring, Franz.
f Unachte Brief e von Felix Mendelssohn an Gothe. (Neue Berliner Musikzeitung, Oct. 15, 1874, no. 42)
Geiger, Ludwig.
t Goethe und Ztlt-r. 1 Jahren 170fj -1 S ^2. Mil Einleil terungen. Leipzig: Reclaim Universal-Biblio- thek, 1902-0 i. I
Reviewed \>y Chuquet in lU-vue critique. | p. 403; also by Demburg in Ikrlmer Tageblatt, Feb- ruary 26, 1905, no. 105.
t Vortriige und Wrsuelie. ] . 1890.
Contains: Drei liriefe der ( r, p. 193ff.
t Zum Goethe-Zelterachen J (GJB, 1901, v. 22, p. 91-10
Genast, Eduard.
Aus Weimars klassischcr und nachklasM Zeit. Stuttgart: R. Lutz, 1919. (Ma bibliothek. n. Reihe, v. 5 ) PJB
Gensel, Julius.
Aus Rochlitzens Briefen an H. Voigt I zig, 1906.
Gerhard, C.
t L. v. Beethoven in seinen Beziehungen zu beriihmten Musikern und Dichtern. I) 1892.
t Mendelssohn bei Goethe. ( Frankfurter Nachrichten, 1897, no. 254 )
Goethe und die Musik. ( Supplement to "Das Blatt der Hausfrau," Vienna, 1899, v. 9, no. 24)
Gerold, Th.
Goethe et l'opera comique. ( La Revue iuum- cale, 1932, v. 13, no. 125) ZfMW U
L'evolution des idees de Goethe sur la mu- sique. (In: Goethe, etudes publiees pour Ifl centenaire de sa mort par l'Universite e. - bourg. Paris: Les Belles Lettres, 1932)
Gerstberger, K.
Musik im Wilhelm Meister. (Das innere Reich, 1937, v. 3, p. 1348-1358)
Giannini, R. C.
II simbolo nel Faust di Goethe 8 I'open
di A. Boito. (Rivistad'Italia. Rome. \. 4, Oft 8
ink:
Glucksmann, Heinrich. Goethe als Theaterleiter. Vienna: E
1932.
Goddard.
Beethoven and Goethe. (Music and 1. 1927, v. 8, no. 2) ZfMW 9
Gohler, Georg.
Napoleon, Goethe and Beethoven. lVut- sche Rundschau, 1940, v. 244, p. IT I
146
The New York Public Library
Goethe und Heidelberg. Unter Mitarbeit von R. Benz, . . . G. Poensgen, H. Poppen . . . Herausgegeben von der Direktion des Kur- pfalzischen Museums. Heidelberg: Kerle, 1949.
Cf. particularly p. 275-294 on Anton Friedrich Justus Thibaut and Goethe.
Gotz.
Goethe, Loewe, Wagner. (Der Chorleiter, Cassel, v. 1, no. 8ff. ) ZfMW 3
Goetze, G.
Goethes Freundin Corona. (Die Studentin, 1925, v. 1)
Goldschmidt, Arthur.
Goethe im Almanach. Leipzig, 1932. p. 73, 81, 180-195, 218, 236, 243, 265-267, 289, 300f., 310, 311, Index.
Goldschmidt, Helene.
Das deutsche Kunstlerdrama von Goethe bis Richard Wagner. Weimar: A. Duncker, 1925.
PJB Goldschmidt-Zentner, R. R.
Eine Welt schreibt an Goethe. Sylt: Kamp-
mann, 1937.
Reviewed in: Anbruch, Vienna, 1937, v. 19, p. 294- 296.
Golther, Wolfgang.
Richard Wagner und Goethe. ( GJB, Frank- furt, 1905, v. 26, p. 203-224)
Goslich, Use.
Zelter und seine Verleger. Eine biographisch- bibliographische Studie. ( Jahrbuch der Samm- lung Kippenberg, Leipzig, 1930, v. 8 )
Gottschall, R.
t Corona Schroter. ( Gartenlaube, 1875, no. 41)
Graf, Hans Gerhard.
Goethe iiber seine Dichtungen. Frankfurt- am-Main: Riitten & Loening, 1901-14. 9 v.
Goethes Ehe in Brief en. Potsdam: Riitten & Loening, 1937.
Graefenhain.
Goethe und die Musik. ( Niedersachsiche Sangerzeitung, Hanover, v. 13, no. 4 ) ZfMW 14
Graevenitz, G. v.
Die Trilogie der Leidenschaft. ( GJB, Frank- furt, 1908, v. 29, p. 71-87)
Cf. p. 77—79 on Goethe and music in Marienbad.
Goethes Stellung zu Mozart. ( Mitteilungen fur die Berliner Mozartgemeinde 1912, p. 39- 56) ZB
Graevenity, G. v., continued
Goethes Stellung zur Musik and zu Bee- thoven. (Tagliche Rundschau, December 15, 1920) ZB46A
Beethoven und Goethe. ( Neue Musikzeitung, v. 42, no. 7) ZfMW 3
Brahms und Goethe. (Berliner Zeitung, Au- gust 28, 1924) ZB55
Brahms und Goethe. (Propylaen, Munich, 1922, v. 19, p. 202) ZB 50
Greven.
• Goethe zur Theaterpolitik. ( Allgemeine Mu- sikzeitung, v. 58, no. 9) ZfMW 13
Grimm, Herman.
Goethe- Vorlesungen. 7th edition. Stuttgart and Berlin, 1903, p. 334.
Grimm, L.
t J. Fr. Reichardts Verhaltnis zu Goethe und Schiller. ( Leipziger Zeitung, Wissenschaf tliche Beilage, Nov. 25, 1902, no. 141 )
Groag, Eduard.
Der Ausgleich zwischen dem norddeutschen und suddeutschen Repertoire am Weimarer Hoftheater unter Goethes Leitung. Diss. Vi- enna, 1933.
Griindler, A.
Drei Lieder aus Goethes Leben. (Neue Musikzeitung, 1890, v. 14, p. 247, 264.)
ZB32A Griinwald, L.
Goethe und die Musik. ( Die Muse des Saiten- spiels, 1931, v. 14, p. 29, 45, 61, 77) ZB 70
Grunsky, K.
Musik in Goethes Leben. (Deutsches Adels- blatt, 1932, v. 50, p. 165) ZB 70
Goethes tragisches Verhaltnis zur Musik. (ZfM, 1932, v. 99, p. 185) ZB 70
Gustedt, J. v.
t Mendelssohn. (In: Aus Goethes Freundes- kreis. Braunschweig, 1892, p. 99-111.)
Cf. also (a) La Revue, 1891, v. 3, November, p. 306; (b) Minerva, Rome, 1891, no. 11; (c) Re- view of reviews, London, December, 1891; (d) Bent- ley's magazine, London, v. 49; (e) Littell's Living age, 1861, v. 68, p. 445-453; (f) Every Saturday, 1870, v. 9, p. 247.
Guttmann, Alfred.
Die Musik in Goethes Wirken und Werken. Berlin: Deutscher Musikliteratur-Verlag, 1949.
Reviewed in Musikforschung 1952, v. v, p. 70.
Guttman, Oskar.
Goethes Stellung zur Musik. ( Musikalische Jugend, 1930, v. 2, p. 6f. )
Goethe and Music — List of Referern
1-17
Gutzkow, K.
t Beitrage zur Geschichte der neuesten Li- teratur. Stuttgart, 1839. 2 v.
v. 1, p. 57f. concerns Goethe's opinion of Uhland in a letter to Zelter, December 4, 1831.
Cf. also (a) Blatter fur literarische Unterhaltung, April 24, 1835, no. 114; (b) Literaturblatt, July 6, 1835, no. 68; (c) Abendzeitung, Dec. 11, 1835, no. 296.
H. P.
* Goethe und die Musik. Eine Studie iiber des Dichters musikalische Entwicklung. ( Frankfurter Intelligenzblatt, August 28, 1899 )
Haarhaus, J.
t Corona Schroter. Zu ihrem 150. Geburts- tage. (Vossische Zeitung, Beilage, 1901, no. 21)
Cf. also: (a) Berliner Tageblatt, January 15, 1901, no. 24; (b) Hallesche Zeitung, 1901, no. 118; (c) Magdeburger Zeitung, January 8, 14, 1901; (d) Bo- hemia, January 13, 1901, no. 13.
Hackmann, A.
Goethes musikalisches Leben. (Bayreuther Blatter, 1913-14, v. 36-37)
Exposed as a plagiarism of Ferdinand Hiller by H. John.
Harlin, A.
t Corona Schroter. (Prager Tagblatt, Janu- ary 15, 1901)
* Goethe und die Musik. ( Die Post, 1904, Sunday edition, no. 35 )
Hank, Bettina.
K. F. Zelter. (Deutsche Zeitschrift, [Kunst- wart, v. 48], December, 1934 - January, 1935, p. 107-116)
Hansen, Wilhelm, ed.
Goethes Egmont-Handschrift. Herausgege- ben im Auftrage der Deutsch-Niederlandischen Gesellschaft von Wilhelm Hansen. Berlin: Maximilian- Verlag, 1939.
Contains: Beethovens Egmontmusik, p. 17-20; Bee- thovens Begegnung mit Goethe, p. 20-22.
Harnack, O.
Lowenstuhl. (Euphorion, 1894, v. 2, p. 324- 343) ZB28A
Hecker, Max.
Ein Brief Ottiliens von Goethe an F. Men- delssohn-Bartholdy. (In: Friedlander-Fest- schrift, 1922)
Manuscript.
Reichardts Brief e an Goethe. ( JGG, Weimar, 1925, v. 11, p. 197-252)
Goethes Tod und Bestattung. 13 Briefe an und von Zelter. (JGG, Weimar, 1928, v. 14)
Goethes Briefwechsel mit Marianne v. Wil- lemer. 4th ed. Leipzig: Insel, 1922.
Hecker, Mux, continued
Goethes Briefwechsel mit M.ir; Wil-
lemer. 5th ed. Leipzig Intel, 1
Neue Goethe-Brief e. (Got: schrift, 1936, v. 1, p. 12S-140, rod p. 212-220)
Contains a letter from Goethe to Zelter, September 27, 1820.
Briefwechsel zwischen Goethe und Zelter.
Leipzig: Insel, 1913-18. 3
Zelters Tod. Ungedruckte Briefe | Jahrboch der Sammlung Kippenberu, Leipzig, i
v. 7)
Heerwagen, H.
t Der Erinnerung an II. Heerwagen ge- weiht. Nuremberg, 1889. ( Altes und Neues aus dem Pegnesischen Blumenorden. v. 1 )
Contains: Vortrag iiber Zelter, p. 54-85.
Heid, Ph.
Goethe und der Chorgesang. (D meister, 1932, v. 6, p. 38) ZB 70
Heilborn, A.
t Mendelssohn und Goethe. (Gegenwart, 1909, v. 38, no. 5 and 6)
Heimann.
Die Musik und Goethe. (Deutselu - bundeszeitung, v. 17, no. 21 ) ZfMW s
Goethe, ein Freund des Chores. ( Deutsche Arbeitersangerzeitung, Berlin, v. 33, no. 3)
ZfMW 11
Goethe, die Musik und die Musiker. Dei Kapellmeister und Musikfnhrer. Koni Eger,v. 2, no. 3) ZfMW 11
Heimeran, Ernst.
Der junge Goethe und die Musik. i.ZiM. v. 93, no. 7-8)
Heinrichs, Georg.
J. Fr. Reiehardts Beziehungen in Cestel. , Homburg, 1922. (Befaftge luf Cetchichtl Musik in Kurhessen v.
Heintz, Alb.
Goethes Aussprneh zur Reehtl Oper als Knnstwerk. (Allgeineine Musik tung, 1891-92, v. 18) /B30A
t Felix Nfendelssohna Briefe an Goethe gemeine Musikzeltung, 1891, V, IB, y-
Helferieh, II.
Goethe und Mo/art. (Kunstwart, 1890, p. 124) IB]
148
The New York Public Library
Hensel, Sebastian.
Die Familie Mendelssohn. 1729-1847. 6th ed. Berlin, 1888. 2 v.
Consult index s. v. Goethe.
The Mendelssohn family (1729-1847), 2nd rev. ed. Tr. Carl Klingemann, with a notice by George Grove. New York: Harper, 1881.
Consult index s. v. Goethe.
Herbeck, L. von.
t Musikalische Unterhaltungen im Goethe- schen Hause. ( Wiener Fremdenblatt, 1880, no. 42)
Herenger, A.
Goethe et Beethoven. ( Revue hebdomadaire, Paris, v. 41, tome 42-45) ZBB NF9
Hermann.
Goethe und die Komponisten. (Deutsche Militarmusikerzeitung, v. 54, no. 41 ) Zf MW 15
Hermann, Albert, Bitter von.
t Die vorklassischen Kompositionen Goethi-
scher Lieder und Balladen. (WGV, v. 10, p.
204)
Cf. also: (a) Deutsche Zeitung, Vienna, 1895, no. 8562; (b) Presse, 1895, no. 299.
Hernried.
Goethe und die Musik. ( Das Orchester, v. 9, no. 5) ZfMW14
Goethe und die Orchestermusiker. ( Das Or- chester, v. 9, no. 5 ) Zf MW 14
Herrmann, Ernst.
Das Weimarer Lied in der zweiten Halfte das 18. Jahrhunderts. Diss. Leipzig, 1925.
Heun, Hans Georg.
Goethes "Erlkonig" und Scotts "Erl-King." (Goethe, Neue Folge des Jahrbuchs der Goethe-Gesellschaft, Weimar, 1949, v. 11, p. 155-164)
Heuss, Alfred.
Goethe und die Musik. ( Mitteldeutsche Monatshefte, 1926, p. 49 ) ZB 59
Das Geheimnis von Mozarts "Veilchen." (ZfM, v. 93, p. 601-609, 669-675) JB 1926-27
Wie stehts um Goethes Musikalitat? (ZfM, 1932, v. 99, p. 188) ZB 70
Hijman.
Goethes muzikaliteit. (Caecilia, Amsterdam, v. 89, no. 9) ZfMW15
Hilbert, W.
Die Musikasthetik der Fruhromantik. Rem- scheid, 1911.
Hildebrand, Rudolf.
Vorlesungen iiber Goethe. (GJB, Frankfurt, 1901, v. 22, p. 205-224)
Cf. particularly p. 216—218 on the union of poetry and music.
Hilger, Lina.
Haus-Musik bei Goethe. (In: Szenen um Goethe. Frankfurt: Diesterweg, 1932)
Hiller, Ferdinand.
* Goethes musikalisches Leben. ( Wester- manns Monatshefte, April -June, 1882)
* Goethes musikalisches Leben. Cologne: DuMont-Schauberg, 1883.
Reviewed in: (a) Deutsche Rundschau, 1883, v. 5; (b) Schlesische Zeitung, 1883, no. 147; (c) Frank- furter Didaskalia, 1884, v. 2.
Cf. also: s. v. Hackmann.
Hillman.
Goethe och tonkonsten. (Nordisk Tidskrift for Vetenskap, Konst ved Industri, 1917, p. 343-357) ZBB 18
Goethe und die Musik. ( Das Schwalbennest, v. 14, no. 6) ZfMW14
Hirsch, Paul.
Goethe und die Musik. Frankfurt am Main: Musikbibliothek Paul Hirsch, February 15, 1920. Auswahl von Schriften Goethes und seines Kreises sowie von Kompositionen seiner Werke . . .
Privately printed, 250 copies.
Hirschberg, L.
t Beethoven und Goethe. ( Neue Musik- zeitung, 1910, v. 32, p. 121ff.)
Illustrationen zu Goethes Tondichtungen. (Zeitschrift fur Bucherfreunde, 1911, p. 228- 231 ) ZB
K. Loewes Faustkompositionen. (Neue Mu- sikzeitung, 1913, v\ 34, p. 447-450) JB 1913
Spohr, Goethe und Beethoven. (Allgemeine Musikzeitung, v. 56, p. 1055f . )
Hirschberg, W.
Faust in der Musik. (Signale fur die musi- kalische Welt, 1925, p. 1231 )
Hock, Stephan.
t Die Begegriung Goethes und Beethovens in Teplitz. ( Neue Freie Presse, 1912, no. 17208 )
Hoecker, T., and others.
Essais sur Kierkegaard, Petrarque, Goethe. Religion et philosophic, musique et poesie, des- sins. Paris: Desclee De Brouwer, 1934.
Goethe and Music — List of References
149
Hoffner, Johs.
Goethe und das Weimarer Hoftheater. Wei- mar, 1913. PJB
Hofler, A.
Goethe-Gesange von Hugo Wolf. (WGV, v. 4) ZB32A
Hoffman, Johann.
Bad Lauchstadt und das Lauchstadter Goethe-Theater. Lauchstadt, 1935. PJB
Hoffman, H. St.
Goethe und die Musik. ( Anbruch, 1932, v. 5, p. 69-72)
Hofmannsthal, Hugo v.
Die Beriihrung der Spharen. Berlin: S.
Fischer, 1931.
Contains: Goethes Opera und Singspiele, p. 283- 290.
Hollander, A.
Goethes Verhaltnis zur Musik. (ZfM, 1923, v. 90) ZB54
Holle, H.
Goethes Lyrik in Weisen deutscher Ton- setzer. Munich, 1914.
Holtei, K. v.
f Goethe in Breslau. Ausziige aus . . . Brief en an . . . Reichardt. ( Westermanns Monatshef te, Oct., 1864, v. 17, p. 76-84)
Holzmann.
Das Parzenlied Goethes von Brahms. (Bei- lage des Hamburger Korrespondenten, 1908, no. 6) IMG 9
Hosaus, W.
* F. W. Rust und das Dessauer Musikleben 1766-1796. Dessau, 1882.
Houben, H. H.
Mendelssohn-Erinnerungen aus der Goethe- Zeit. (In: Kleine Blumen, kleine Blatter. Des- sau, 1925, p. 25-39) LZ 1925
Hughes, M. M.
Mendelssohn, Goethe and a forgotten diarist. (Cornhill magazine, 1933, v. 74, p. 98-105)
Huober, Hans-Gunther.
Zinzendorfs Kirohenliederdichtung. Berlin, 1934. (Germanische Studien. v. 150)
Huschke, K.
Schubert und Goethe. ( Daheim, 1928, v. 65, no. 7) ZB63
Beethoven, Schumann und Goethes Faust. (Propylaen, Munich, 1934, v. 31, p. 371 ) ZB 75
Huschke, K., continued
Musiker, Maler und Dichter I and
Gegner. Leipzig, Ifi
Contains: Reichardt, Goethe und Schiller, p. 27—19.
Goethe und Cluck. ( Signale fur die | kalische Welt, 1937, v. 93, p. I 713 81
Ilwolf, P.
t Goethe und das unsichtbare Orchester. (WGV, v. ll,p.4f., 14)
Imbert, Fugues.
Portraits et etudes. Paris: Fiscfa] 1894.
Contains a study, "Faust, par R. Schumann."
Ishikura, K.
Goethe und die Musik. Japan, 1932. (In: Goethe-Jahrbuch zur Jahrhundertfeier )
Israel, Karl.
* Frankfurter Konzertchronik von 171 >- 1780. ( Neujahrsblatt des Vereines fiir I schichte und Altertumskunde zu Frankfurt Main fiir das Jahr 1876)
Istel, E.
Rousseau als Komponist seiner ryrii Szene Pygmalion. Leipzig: Breitkopf, 1901.
t Goethe und J. Fr. Reichardt. (Frankfurter Zeitung, 1903, no. 238f . )
Reviewed in: Literary Echo, v. 5, p. 1697.
t Schubert als Komponist der Goetheschen Dichtung. ( Nationalzeitung, 1909, Supplement no. 3-4)
Goethe und Reichardt. (Neue ZfM, 1 p. 245) ZB
Goethes Lied in deutschen Weisen. Merker, Vienna, v. 8, no. 7 ) Zt M\\ 1
Goethes Lied in deutschen Weisen. ( Rliein- ische Musik- und Theaterzeitung, v. 20. no. 9-10) ZfMW a
Goethe and music. (The Musical quarterly, New York, 1928, v. 14, p. 216-254) ZfMW 1 1
J. D. C.
Goethe en de folklore. (VoDcskunde, Cent. 1902, p. 182-190)
Jachimecki, Zdzislaw.
Od pierwszej do ostatniej inuz\ Id do Fansta. Krakow, 1932.
Jacoby, M.
"Faust" in der Musik. (Vossisehe Zeitui April 14, 1912) ZB
John, Alois.
f Aus den Inilunisclien Baderu. (Musikali-
sche Rundschau, Vienna, L893, v. s. p. I
150
John, Hans.
Goethe und die Musik. Langenzalza, 1928. ( Musikalisches Magazin, no. 73 )
Reviewed: (a) von den Pfordten, Euphorion, v. 29; (b) Mersmann, Zeitschrift fiir Aesthetik und allge- meine Kunstwissenschaft, v. 23; (c) Moser, Deutsche Literaturzeitung, n. s. v. 6; (d) Martell, Die Gegen- wart, v. 58.
The New York Public Library
Kauffmann, continued
Goethes Beziehungen zu musikalischen Per- sonen in Karlsbad 1785-1823. (ZfM, v. 88, no. 1) ZfMW3
Goethe und Zelter. (Schulwarte, Stuttgart, 1932, p. 521-527) ZB 71
Joubert, M.
Goethe and music. (Contemporary review, 1932, v. 142, p. 605-611)
Jullien, Adolphe.
* Goethe et la musique. Paris, 1880.
Junk, Victor.
Goethes Fortsetzung der Mozartschen Zau- berflote. Berlin, 1900. (In: Forschungen zur neueren Litteraturgeschichte. v. 12)
Goethe iiber das Geniale in Mozart. ( WGV, 1942, v. 47, p. 53-58 ) LZ 1942
Just.
Mignon und der Harfner. (Neue Musik- zeitung, v. 27, no. 19) IMG 7
K.
* Goethe iiber Mozarts Don Juan. ( Berliner Tageblatt, October 28, 1887, no. 547)
Kahle, A.
* Goethe und die Musik. ( Norddeutsche allgemeine Zeitung, Berlin, August 28, 1899, supplement no. 201a)
Kahlert, A.
* Goethes Verhaltnis zur Tonkunst. ( Der Freihafen, Altona, 1838, no. 4, p. 174-212)
* Goethes Verhaltnis zur Tonkunst. ( tJber- sicht der Arbeiten der Schlesischen Gesellschaft fiir vaterlandische Kultur, 1839, p. 21 )
Kalischer, A. C.
t Beethoven und seine Zeitgenossen. Berlin, 1908-10. 4 v.
v. 2 deals with Beethoven, Vienna, and Weimar.
Kamienski.
Goethe-Musik. ( Rheinische Musik- und The- aterzeitung, v. 18, no. 15-16) ZfMW 1
Karl Eugen, Herzog von Wurttemberg und
seine Zeit. Herausgegeben vom Wurttembergi-
schen Geschichts- und Altertumsverein. Ess-
lingen: Paul Neff, 1905-09. 2 v.
v. 1, p. 497ff. deals with Opera; v. 1, p. 558 deals with Jomelli.
Kauffmann.
H. Wolf und seine Goethe-Lieder. (Allge- meine Zeitung, 1890, no. 324, supplement)
JB1890
Kehrer, J.
Goethes Beziehungen und Stellung zur Mu- sik. ( Gregoriusblatt, 1922, v. 47, no. 2-5)
ZB 50; ZfMW 4 Keil, R.
t Corona Schroter. Eine Lebensskizze mit
Beitragen zur Geschichte der Genieperiode.
Leipzig, 1875.
Cf. also (a) Vossische Zeitung, Sonntagsbeilage, 1875, no. 49; (b) Schnorrs Archiv, v. 5, p. 377£.; v. 6, p. 230f.
Kekule von Stradonitz.
Spontini bei Goethe. (Allgemeine Musikzei- tung, v. 54, p. 936f . )
Keller.
Goethe und Schiller in ihren Beziehungen zur Musik. ( Schweizerische Musikzeitung, v. 61, no. 3f.) ZfMW 3
Kellner, H. C.
t Corona Schroter. ( Mitteilungen aus dem Goethe- Verein zu Zwickau, 1902, no. 12 )
Kelly, J. A.
Musical settings of Goethe's poems in America. (Germanic review, 1931, v. 6, p. 233- 243) ZBBNF9
Kern, Fr.
Vermischte Abhandlungen. Berlin: Nicolai, 1898. (His: Kleine Schriften, 1895-98, v. 2)
Cf. particularly p. 41ff.
Keudell, E., und Deetjen.
Goethe als Benutzer der Weimarer Biblio- thek. Verzeichnis der von ihm entliehenen Werke. Weimar, 1931.
Kihan, Eugen.
Zur Egmont-Musik. ( Rheinische Musik- und Theaterzeitung, v. 21, no. 50-51 ) ZfMW 3
Zur Egmont-Musik. (Die Szene, Berlin, v. 11, no. 1) ZfMW 3
Beethovens 'Egmont-Musik und das The- ater. (Allgemeine Musikzeitung, 1921, v. 48, no. 3)
Kinsky, G.
Zeitgenossische Goethe-Vertonungen. ( Philo- biblon, Vienna, 1932, v. 5, p. 91-99, 131- 137) ZB70
Goethe and Music — List of References
151
Kippenberg, Anton.
Ein Brief Abraham Mendelssohns an Zelter iiber Goethe. (Jahrbuch der Sammlung Kip- penberg, Leipzig, 1924, v. 4, p. 72-91 )
Kirchner, W.
Eine tragische Gestalt aus Goethes Weimarer Hofkreise ( Seckendorff ) . ( Montagsblatt der Magdeburger Zeitung, 1928, v. 70, p. 225- 229) LZ1928
Kisch, Guido.
Music in Goethe's Life. (Monatshefte fiir deutschen Unterricht, Madison, Wis., 1950, v. 42, p. 243-251)
Kleibomer, Georg.
Goethes Theaterleitung. (Die Statte [Deut- sche Biihne, Hamburg], March, 1926, no. 17- 18, p. 1-9)
Kling, H.
Goethe et Berlioz. ( Rivista musicale italiana, v. 12, no. 4) IMG 7
Zum Goethe-Zelter-Briefwechsel. (Courrier musical, Paris, v. 10, no. 14 ) IMG 8
Zum Goethe-Zelter-Briefwechsel. ( Guide musical, Brussels, v. 52, no. 32 ) IMG 8
Knab, Valentin.
Seckendorff (1744-1785). Lied und Musik am Weimarer Hof . ( 60. Jahresbericht des His- torischen Vereines fiir Mittelfranken. Ansbach, 1914)
Knudsen, H.
Schiller und die Musik. Greifswald, 1908.
Koch, Franz.
Geist und Leben. Hamburg, 1939.
Contains: "Herder und die Musik," p. 38-61. First printed: Blatter fiir deutsche Philosophic, v. 1, 1927.
This item, listed in most bibliographies on "Goethe and Music" and "Herder and Music" should be omitted, since the correct title is "Herder und die Mystik," not "Herder und die Musick."
Koegel, R.
f Zwei Briefe Beethovens an Goethe. 1892.
Cf. also: T. W. Deux lettres de Beethoven a Goethe (Revue politique et litteraire [bleue], 1892, v. 50, p. 383).
f Goethe und Beethoven. (In: Forschungen zur deutschen Philologie, Festgabe fiir R. Hil- debrand. Leipzig, 1894, p. 195-223)
Cf. also: (a) GJB, v. 1, p. 374; (b) Hochstifts- berichte, v. 10, p. 441f.
Goethes lyrische Dichtungen. Basel, 1896, p. 24.
Koehler-Deditius, A.
Analyse der Vertonungen des Mignon-Liedes "Heiss mich nicht reden." (Zeitschrift fiir
Asthetik und allgemeine Kunsrwissenschaft, v. 16, p. 145ff.)
Koenig, K.
Goethe und Loewe. ( Heimatkalender fur den Kreis Randow, 1932, p. 43-47) ZB 69
Goethe und Loewe. (Heimatkalender fiir Pommern, 1932, p. 43) ZB 70
Goethe und Loewe. (Heimatkalender fur den Kreis Uckermiinde, 1933) ZB 72
Koster, A.
Das lyrische Drama im 18. Jahrhundert. (Preussische Jahrbiicher, v. 38, p. 163ff.)
Die Briefe der Frau Rath Goethe. Leipzig, 1923. 2 v.
Kotzschke.
Goethe und der deutsche Mannergesang. (Deutsche Sangerbundeszeitung, v. 21, no. 11 )
ZfMW 11
Goethe und der deutsche Mannergesang. ( Grossdeutsche Sanger- und Dirigenten- zeitung, 1929, no. 6) ZfMW 12
Kohler, J.
t Wie soil man Goethesche Lieder kompo- nieren? (Allgemeine Musikzeitung, 1905, no. 59, p. 817)
Kohut, A.
J. C. Lobe und Goethe. ( Illustrierte Zeitung. Leipzig, 1896-98, no. 2814) ZB22A
Schiller und die Musik. Stuttgart, 1905.
t J. Fr. Reichardt und W. Goethe, zum 150. Geburtstag (25. November). (Illustrierte Zeitung, Leipzig, 1902, no. 3098)
Kossmann, E. F.
Der Chor in Zelters "Auferstehun<4skantaU\" (ZfMW, 1928-29, v. 11, p. 234-238)
Krauss.
Goethe in der Vertonung lehendef Kom- ponisten. (Das Orchester, v. 7, do. 22)
ZfMW 1 I
Kretschman, L. v.
t Mendelssohn in Weimar. ( Deutsche Rund- schau, v. 69, p. 304-308; v. 75, p. 4
Kretzschmar, Herm.
f Geschichte des neueren deutsclun I Teil 1, Von Albert bis Zelter. Leipzig: Brett- kopf, 1911. (Kleine Handbuchei dot Mosik- geschichte, ed. H. Kretzschmar. v, 4)
Cf. particularly p. 290-296, 305-310 rt passim.
Kriiger, Karl-Joachim.
Die Bedeutung der Musik fiir Goethes W'ort- kunst. (Goethe [Yicrteljahrsschrilt]. L936, v. 1. p. 204-220)
152
The New York Public Library
Kriiger, Karl- Joachim, continued
Goethes symbolische Dichtersprache und die Wortproblematik in der deutschen Dichtung urn 1900. (Goethe [Vierteljahrsschrift], 1937, v. 2, p. 288-298)
Cf. particularly Goethe's and Rilke's attitude to- wards rhyme, p. 294ff.
Kruse, Georg.
Zelter. 2nd ed. Leipzig, 1931.
K. Sch.
* Goethes Verhaltnis zur Musik. ( Sieben- biirgisch-deutsches Tageblatt, Nagyszeben, 1907, no. 10251)
Kube, K. W.
Goethes Faust in franzbsischer Auffassung und Biihnendarstellung. Berlin, 1931. PJB
Kuchler, Ferdinand.
Goethe iiber Paganini. ( Geigenspielrund- schau, Bonn, 1936, no. 18 )
Goethes Musikverstandnis. Leipzig and Zu- rich, 1935.
Kiinstler, G. A.
Versuch. ( Goethes "Ober alien Gipf eln" von Schubert) (Die Schildgenossen, Rothenfels, 1929-30, v. 9-10, p. 79-82) ZB 66
Kuhlo, Herm.
t Geschichte der Zelterschen Liedertafel. Berlin, 1909.
Kunze, Wilhelm.
Goethe und die Zauberflbte. (Die Drei, Stuttgart, 1927, v. 6, p. 910-921) ZB 60
Lamprecht, Karl.
t Goethe und Beethoven auf der Grenz- scheide zwischen Klassizismus und Romantik. ( Osterreichische Rundschau, v. 13, p. 88-97)
Neueste Zeit. Dritter Band. Berlin, 1907. (In: Deutsche Geschichte. Berlin, v. 10) Pertains to Goethe und Beethoven.
Landau, P.
* Mozart und die Klassiker. (Hamburger Nachrichten, 1906, supplement no. 5)
* Mozart und die Klassiker. ( Allgemeine Zeitung, 1907, supplement no. 22)
Landormy, P.
Goethe, the musician. ( The Chesterian, Lon- don, v. 14, no. 105) ZfMW 15
Lines to the memory of Bettina Brentano. (Musician, 1936, v. 41, p. 78-79)
Landry, Lionel.
Goethe et Schumann. (La Revue musicale, 1932, v. 13, no. 125)
Landshoff, Ludwig.
*Joh. Rud. Zumsteeg (1760-1802). Berlin: S. Fischer, 1902.
Cf. also: (a) Istel, Zumsteeg (Frankfurter Zeitung, 1902, no. 25); (b) Isolani, Goethe und Zumsteeg (Frankfurter Zeitung, 1902, no. 5, 2. Morgenblatt ) .
Lang, W.
* Goethe und die Musik. ( Im neuen Reich, 1880, v. 2, p. .313) -
Lange, C.
tj. Fr. Reichardt. Halle, 1903.
Langhaus, W.
Goethe und Mendelssohn. (Neue Berliner Musikzeitung, v. 45, p. 350-353)
Lebede.
Beethoven und Goethe. ( Halbmonatsschrif t fur Schulmusikpflege, Essen, v. 21, no. 24)
ZfMW 9 Lehmann, J. A. O. L.
t Goethes Liebe und Liebesgedichte. Ber- lin, 1852.
Contains a list of 106 composers who set Goethe's poems to music.
Leichtentritt.
Maria Szymanowska, forgotten friend of Goethe. (Musical courier, New York, 1932, v. 105, no. 20) ZfMW 15
Leifs.
Goethe und unsere Zeitwende. (ZfM, v. 96, no. 7) ZfMW 11
Goethe und unsere Zeitwende. (Signale fur die musikalische Welt, v. 90, no. 12) ZfMW 12
Leinburg, M. v.
Schubert und Goethe. (Propylaen, Munich, 1928, v. 26) ZB64; LZ 1928
Leitzmann, Albert.
Beethoven in Briefen und Berichten der Zeit- genossen. Leipzig: Insel, 1921. 2 v.
Beethovens literarische Bildung. ( Beethoven und Goethe.) (Deutsche Rundschau, 1913, v. 154, p. 237-283) JB 1913
Beethoven und Goethes Westostlicher Divan. (ZfMW, 1918-19, v. 1, p. 157-264)
Lepel.
Musikalische Anekdoten aus dem Goethe- Kreis. ( Signale fur die musikalische Welt, v. 81, no. 35)
Goethes Notenbesitz. (Dresdner Anzeiger, August 27, 1921 ) ZB 48A
Cf. also: Deutsche Zeitung, August 27, 1921.
Goethe and Music — List of Referent
Lessmann, O.
* Nachklange aus Weimar. Im Goethe-Haus. Goethes Tonlehre. Einiges iiber Goethes Stel- lung zur Tonkunst. (Allgemeine deutsche Musikzeitung, 1884, v. 11, no. 19)
Lewinsky, J.
t Aus der Selbstbiographie K. F. Zelters. (Neue Musikzeitung, 1907-08, v. 29, p. 101- 102)
Liebleitner, K.
Goethes "Es schlug mein Herz" und das Karntnerlied "Es war einmal ein Abend spat." ( Das deutsche Volkslied, 1921, v. 23 ) ZB 48
t Liederbiichlein der Mittwochgesellschaft. (Gubitz' Gesellschafter, Berhn, 1827, no. 54- 58,142-154)
Lienhard, F.
* Goethe und die Musik. ( Wege nach Wei- mar, July, 1908, p. 189f.)
Linker, O.
* Schubert und Goethe. ( Neue Musikzei- tung, v. 12, no. 18 )
Lippmann, O. v.
Zu Baukunst — erstarrte Musik. ( GJB, Frankfurt, 1906, v. 27, p. 249-250)
Liuzzi.
Musicalita di Goethe. ( II Pianoforte, Torino, v. 6, no. 6) ZfMW7
Lobe, Johann Christian.
Aus dem Leben eines Musikers. Leipzig, 1859.
Lobstein-Wirz, L.
Goethe und Schubert. (Neue Ziircher Zei- tung, December 16, 1930) ZB 65A
Loeper, Gustav v.
t Ein Brief von F. Mendelssohn-Bartholdy an Goethe zu dessen Geburtstage, den 28 August 1831. Als Manuscript gedruckt. Berlin: J. A. Stagardt, 1869.
Loscher, F. H.
Goethe in seinem Verhaltnis zur Musik, be- sonders zur geistlichen Musik und Dichtung. (Kirchenchor, 1932, v. 43, p. 22-26) ZB 70
Loewy, Siegfried.
Deutsche Theaterkunst von Goethe bis Rein- hardt. Vienna, 1923.
Loiseau, H.
Goethe et la musique. ( Revue de l'enseigne- ment des langues vivantes, Paris, 1926, v. 42, p. 1-201,253-258) ZBB NF 1
Loos.
the und dii D- r K
und Musikiuhrer, Koni no.
1) ZfMW 14
Luitlilcn, Victor.
Hugo WolJ - . . l i >:
v. 42, p. 12-16)
Brahms und Goethe. (WGV,
p. 59-61) 1/
Dichtungen Goethes in del TonkunM seiner Zeitgenecsen. (WGV, L940, • . 45, p. 15
LZ
Lustig, I. C.
* War Goethe musikaliseh? (B. Z tag, September 26, 1911, no. 226)
Maack, R.
Zelters Goethe-Lied. Geschichte einer
Freundschaft. (DerKreis, I .10,1
32) I./
Mackall, Leonard L.
The authorship of the original of Go. "Hochlandisch." ( Modern language notes, 1936, v. 51, p. 94-97)
Mackworth- Young, G.
Goethe's "Prometheus" and its si : Schubert and Wolf. (Proceedings of tl. Musical Association, London, 1952, v. p. 53-65)
Maecklenburg, A.
Goethe und Mendelssohn. (Die Han: v. 23, no. 2) ZfMW 14
Goethe und Gluck. (Signals fur die mustics-
lische Welt, 1932, v. 90/p. 435) ZB 70
Uber Goedies Musikalitut. (Die Musikt hung, 1932, v. 9, p. 297-311 ) JB
Goethe und Chr. Kavser. (Schweizei Mu zeitung, 1932, v. 72, p. 181-101 /!
Goethes Musikanschauung. S musikpeidagogische Blfitter, L932, v. 2]
85)
Magnetic, Paul. Les traducteurs du Taust
musique. Liege: G. FronunU au-Oli\ it r. \\)0S.
Mahling, Friedrich.
Goethe iiber den Dilettantismus. M Vienna, 1936, V, 7, no. 8)
Mandyczewsld, E.
Goethes Gedichte In Franz Si huh. ken. (WGV, L897,v. 11) ZB
154
The New York Public Library
M[arggraf], H.
t Goethe und die Mittwochsgesellschaft. (Blatter fur literarische Unterhaltung, 1858, no. 34)
Marschner, K. W.
t Goethe und Mendelssohn. ( Die Post, 1909, Sunday supplement no. 4 )
Cf. also: Nationalzeitung, 1909, Sunday supplement no. 4.
Marsop, Paul.
Faust-Musik. (In: Musikalische Essays. Ber- lin, 1899)
Martell, E.
Goethe und die Musik. (Gegenwart, 1929, v. 58, p. 129-134) ZB64
Goethe und die Musik. (Siiddeutsche San- gerzeitung, Heidelberg, v. 26, no. 6 ) Zf MW 14
Goethe und die Musik. (Siiddeutsche San- gerzeitung. Heidelberg, v. 17, no. 8 ) ZfMW 7
Goethe und die Musik. (Deutsche Militar- musikerzeitung, v. 54, no. 8 ) » ZfMW 14
Martinsen, Woldemar.
Goethes Singspiele im Verhaltnis zu den Weisse'schen Operetten. Giessen Diss. Dres- den, 1887, p. 42-51.
Marx, Rudolf.
Zinzendorf und seine Lieder. Leipzig and Hamburg: Schloessmann, 1936. (Welt des Gesangbuches. no. 11)
Masing, Woldemar.
Sprachliche Musik in Goethes Lyrik. Strass- burg: Triibner, 1910. (Quellen und Forschun- gen zur Sprach- und Kulturgeschichte der germanischen Volker. no. 108 )
Mehrbach, P. A.
Goethe und K. F. Zelter. (Daheim, 1924, v. 60, no. 48) ZB 55
Meister, Richard.
Goethes Stellung zum Musikdrama. (Nach dem bei der Goethefeier des Wiener akademi- schen Wagner-Vereines am 7. April 1932 ge- haltenen Vortrage. ) ( Bayreuther Blatter, 1934, v. 56, p. 163-185) PJB1934
Melchior.
Goethe und die Musik. (Die Stimme seines Herrn, Berlin, v. 17, no. 3) ZfMW 14
Meller, Eug.
Goethes unbekannte Librettodichtungen. (Die Rheinlande, Diisseldorf, 1918, v. 18, p. 201) ZB1918
Zu Goethes unbekannten Librettodich- tungen. (ZfM, 1920, v. 87) ZB46
Mello.
Goethe im Verkehr mit Meistern der Ton- kunst. ( Deutsche Musikerzeitung, v. 63, no. 12 )
ZfMW 14
Goethes Singspiele und Opernplane. (Deut- sche Musikerzeitung, v. 48, no. 30 ) ZfMW 2
Mendelssohn-Bartholdy, Felix.
Briefe aus den Jahren 1830 bis 1847. Ed. Paul Mendelssohn-Bartholdy and Carl Men- delssohn-Bartholdy. 7th ed. in one v. Leipzig, 1899.
Consult index s. v. Goethe.
This edition comprises both "Reisebriefe. . .aus den Jahren 1830 bis 1832" (Leipzig, 1862) and "Briefe aus den Jahren 1833 bis 1847" (Leipzig, 1863).
Letters from Italy and Switzerland. Tr. Lady Wallace. London, 1862.
A translation of "Reisebriefe. . .aus den Jahren 1830 bis 1832."
Letters... from 1833 to 1847. Tr. Lady Wallace. London, 1863.
A translation of "Briefe aus den Jahren 1833 bis 1847."
Letters. [Tr. Marion Saerchinger.] Ed. G. Selden-Goth. New York, 1945.
Reviewed in Musical quarterly, 1945, v. 31, p. 540— 543.
Mendelssohn-Bartholdy, Karl.
t Goethe und Felix Mendelssohn-Bartholdy. Leipzig: Hirzel, 1871.
Cf. also (a) Translation with additions by Glehn. London: Macmillan, 1872; (b) Literary world, 1872, v. 3, p. 33; (c) The Nation, v. 15, p. 303.
Menth.
Faust-Kompositionen. ( Deutsche Musiker- zeitung, v. 63, no. 14) ZfMW 14
Mentzel, E.
Das alte Frankfurter Schauspielhaus und seine Vorgeschichte. Frankfurt, 1902.
Geschichte der Schauspielkunst in Frankfurt am Main. (Archiv fur Frankfurts Geschichte und Kunst, 1882, v. 9 )
Wolfgang und Cornelia Goethes Lehrer. Leipzig: Voigtlander, 1909.
Meregazzi, G.
Un melodramma del Cimarosa tradutto del Goethe. ( Die .vereitelten Ranke, 1794.) (Ri- vista di letteratura tedesca, v. 2, p. 15-30)
JB 1908-9 Mies.
Der Mannergesang im Briefwechsel zwischen Goethe und Zelter. (Deutsche Sangerbundes- zeitung, v. 22, no. 38) ZfMW 13
Goethe and Music — List of References
155
Mies, Paul.
Musikauffassung und Stil der Klassik. (ZfMW, 1930-31, v. 13)
Das romantische Lied und Gesange aus Wil- helm Meister. Musikalisch-literarische Paral- lelen [Oberstufe] zusammengestellt. Berlin: Weidmann, 1926.
The Sonnet Form in Composition. ( Monthly Musical Record, 1950, v. 80, p. 59-63)
Deals with Goethe's sonnet "Ein Blick von deinen Augen in die meinen."
Vertonungen von Goethes "Kennst du das Land" im Unterricht. ( Halbmonatsschrif t fur Schulmusikpflege, 1926, v. 21, p. 93) ZB 63
Goethes Harfenspielergesang "Wer sich der Einsamkeit ergibt" in den Kompositionen Schuberts, Schumanns und Wolfs. (Zeitschrift fur Asthetik, 1922, v. 16, p. 383-390) ZfMW 5
t)ber den Dilettantismus. (Deutsche Ton- kiinstlerzeitung, Berlin, 1934, y. 30) ZB 75
Miessner.
Goethes Bedeutung fiir die deutsche Chor- komposition. ( Die Tonkunst, Berlin, v. 24, no. 29f.) ZfMW 3
Goethes Bedeutung fiir die deutsche Chor- komposition. ( Der Chorleiter, v. 3 ) ZfMW 5
Goethes Bedeutung fiir die deutsche Chor- komposition. (Die Tonkunst, v. 34, no. 39, 41,49.) ZfMW 13
Goethe im Chorlied. (Deutsche Sanger- bundeszeitung, v. 23, no. 36) ZfMW 14
Milch, Werner.
Bettine und Marianne. Zurich: Artemis, 1947.
Milligen, S.
Goethe en de muziek. ( Caecilia, 's Graven- hage, v. 62, no. 6) IMG 6
Goethe ... tot de muziek. ( Caecilia, Haar- lem, 's Gravenhage, v. 74, no. 1 ) ZfMW 1
Mojsisovics, R.
Faust in der Musik. (ZfM, v. 99, p. 194- 197)
Problem einer Faust-Musik. (Neue Musik- zeitung, v. 42, no. 15) ZfMW 3
Morgenroth.
Goethes Faust in der Musik. (Die Szene, Berlin, v. 9, no. 11-12) ZfMW 3
Morgenroth, Alfred.
Zelter. Diss. Berlin, 1922 (unpublished).
Morold, Max.
Goethe und Richard Wagner. Mai lkalisches Wochenblatt, 1905, v. 36, no. 34-36 ) I .\ !
Goethe und Richard Wagner. (WCV, 1906, P. 29-36) ZB19
Goethe und Richard V 'ZfM,
v. 99, p. 199)
Morris, Max.
Goethe-Studien. 1897-1898. Berlin
Deals with Zauberflote n. JB 1897-1898
Goe'dies Operner.twurf Feradeddin un> laila. (Euphorion, 1907, p. 507-517 ) ZB 21
Goethe als Bearbeiter von italienischen Op- erntexten. (GJB, Frankfurt, 1905, v. 26, p. 3- 51)
Der Lbwenstuhl. (GJB, Frankfurt, I v. 31, p. 85-116)
Cf. also H. Abert in the introduction to Mozart's "Zauberflote" (Leipzig: Eulenburg, n. d. ).
Moser, Hans Joachim. Cf. also s. v. Ssymank.
Goethe und die Musik. Leipzig: C. F. Peters [cop. 1949].
Goethe und die musikalische Akustik. (In: Festschrift fiir Rochus Frhrn. v. Liliencron. Leipzig: Breitkopf, 1910)
Goethes Dichtung in der neueren Musik. (JGG, 1931, v. 17)
Goethes Dichtung in der neueren Musik. (Reichsbote, Berlin, June 20, 1931 ) ZB *
Goethe im jiingsten Jahrhundert der Musik. (Der Tag, Berlin, May 29, 1931) ZB
Goethes Anschauungen voin \V< Musik. ( Neue Jahrbiicher fiir Wissenschaf t und Jugendbildung, 1932, p. 209ff . )
K. F. Zelter und das Lied. (PJB, 1932
Goethes Dichtung in der neueo Musik. (Forschungen und Fortschrittc, Berlin. 1 v. 7, p. 251) ZB
Miiller, Hans von.
E. T. A. Hoffmann-Rcliquicn. (Die Mum'k. v. 1, no. 3, p. 1651)
Hoffmann Reliquien. Zu E. T, A. lhti: achzigstem Todestaj*. 25. Juni, L902. Berlin. n. d.
Miiller, Heinz Wolfgang.
Das Musikalische in der Dichtung Lcnnon- tovs. Tiibingon-Diss.. 1985. Frankfurt. 1
Reviewed in Arclu'v fiir slavisilu* FMolojfe
p. 228-233.
156
The New York Public Library
Miiller-Blattau, J. M. Cf. also s. v. Ssymank.
Zur Musikiibung und MusikaufFassung der Goethe-Zeit. ( Euphorion, v. 31 )
Goethe und Bach. (Essener Volkszeitung, August 28, 1929) ZB 63A
Goethe und J. S. Bach. (Zeitschrift fur Schul- musik, Wolfenbiittel, 1930, v. 3, p, 94) ZB 67
Goethe und die Kantate. (PJB, 1911, v. 38)
Goethe und J. S. Bach. ( Kirchenchor, 1932, v. 43) ZB71
Handel und Goethe. ( Handel- Jahrbuch, 1932, v. 5, p. 25-37) ZB 73
Goethe und Mozart. (Neues Musikblatt, 1937, v. 16, no. 32) ZB 81
Geschichte der deutschen Musik. Berlin- Lichterfelde: Vieweg, 1938. Consult Index, s. v. Goethe.
Karl Friedrich Zelters Konigsberger Briefe (1809). ( Altpreussische Forschungen, v. 12, p. 256-276)
Hamann und Herder in ihren Beziehungen zur Musik. Konigsberg, 1931.
Cf. also (a) Gunther Jacoby, Herders und Kants Aesthetik. Leipzig, 1907, especially p. 197ff.; (b) Musik und Bewegung in der Gedankenwelt Herders (Deutsche Tonkunstlerzeitung, 1937, p. 259-261).
Murelli, Ed.
t Gothe und Mendelssohn - Bartholdi. ( Abend-Zeitung, Oct. 19, 1837, no. 250)
Musiol, Robert.
Gotz von Berlichingen in der Musik. (Neue ZfM, 1902, v. 69, p. 142-143)
Der Konig in Thule. ( Neue ZfM, 1900, p. 17- 19) JB1900
Lortzing als Faust-Komponist. (Neue ZfM,
1901, p. 322-324) JB 1901
F. Liszt als Goethe-Komponist. ( Neue ZfM,
1902, v. 69, p. 302-303, 318-320)
Goethes "Faust" und der Mannerchorge- sang. ( Sangerhalle, Leipzig, v. 40, no. 30- 31ff.) IMG1
Nagel, Willibald.
t Goethe und Beethoven. Langensalza, 1902. ( Musikalisches Magazin, no. 6)
Cf. also (a) Blatter fur Haus- und Kirchen-Musik, Langensalza, 1902, v. 6, no. 7, p. 102-108; (b) Goethe und Beethoven (Frankfurter Zeitung, 1902, no. 81, Abendblatt).
Goethe und Mozart. Langensalza, 1904. ( Musikalisches Magazin, no. 8 )
Cf. also (a) Blatter fur Haus- und Kirchen-Musik,
1903, no. 8, p. 20-23; (b) IMG, 1903, no. 4, p. 372- 373.
Needier, G. H.
Goethe and Scott. Toronto: Oxford Uni- versity Press, 1950.
Contains (a) Scott's parody of C. F. D. Schubart's "Auf, auf, ihr Bruder und seid stark," reprinting Scott's text with Schubart's original music; (b) Scott's trans- lation of Goethe's "Was ist Weisses dort am griinen Walde"; in addition to Scott's well-known translations of ballads by Burger and Goethe.
Nef, Karl.
* Die Musik in Goethes Wilhelm Meister. (Die Musik, Berlin, 1906, v. 5, p. 195-211)
Neisser.
Musikalisches vom Goethe-Tag. ( Allgemeine Musikzeitung, Berlin, v. 43, no. 26) ZfM W 1
Nettl, Paul.
Goethe und die Fortsetzungen der Zauber- flote. ( Die drei Ringe, Reichenberg i. B., 1932, v. 8, p. 57-60) - ZB70
Goethe und Mozart. Eine Betrachtung. Esslingen: Bechtle, 1949.
Musiciens de Goethe et musique goethienne. (La Revue musicale, 1932, v. 13, no. 125.)
Schubert's Czech predecessors. (Music and letters, 1942, v. 23, p. 61-68)
Deals with Tomaschek and Goethe.
[Mozart-Goethe:] Das Veilchen. The violet. The history of a song. New York: Storm, 1949.
Copyright 1948 by Friderike Zweig. Cf. also s. v. A. Einstein.
Neumann, H.
Goethes Tonlehre. (Deutsche Tonkunstler- zeitung, Berlin, 1934, v. 30) ZB 75
Neumann, W.
Goethes Stimme. (Die Stimme, 1931-32, v. 26, p. 129-133) ZB70
Neuss, Erich.
Das Gibichensteiner Dichterparadies. J. Fr. Reichardt und die Herberge der Romantik. JHalle, 1933. ' pjb
Newman, Ernest.
"Faust" in music. (Contemporary review, 1903, v. 83, p. 673-682)
Niedermeier.
Der Fauststoff in der Musik. (Allgemeine Musikzeitung, v. 59, no. 40) ZfMW 15
Niemeyer, Ernst.
* tiber Goethes Stellung zur Tonkunst. (Pro- gramm des Koniglichen Gymnasiums, Chem- nitz, 1881-83)
Nitze, William A.
Goethe and Ronsard. (PMLA, 1944, v. 59, p. 486-490)
Goethe and Music — List of Referent
Nohl, Ludwig.
Beethoven und Goethe. ( Das Vaterland, Vi- enna, February 14 and 15, 1871 )
f Beethoven und Goethe. ( Die Beethoven- Feier und die Kunst der Gegenwart, Vienna, 1871, p. 42-51)
t tiberwundene Dinge [i. e. Goethe and Mendelssohn]. (Deutsche Presse und Frank- furter Borsenhalle, Probenummer, March 17,
1872)
Nohl, Walter.
Goethe und Beethoven. Regensburg: Bosse, 1930.
Oberdorffer, P.
Goethe und Haydn . . . ( Deutsche Tonkiinst- lerzeitung, Berlin, 1934, v. 30) ZB 75
Oettingen, W. von.
Goethe gegen Diderot. (Der Tiirmer, 1902, v. 4, no. 2, p. 1-14)
Ophuls.
Die 5. Strophe des "Gesangs der Parzen" von Goethe in der gleichnamigen Kantate von Brahms. (ZfM, v. 92, no. 1) Zf MW 7
Orel, Alfred.
Goethe als Operndirektor. Bregenz: E. Russ, 1949.
Goethe und die Musik. ( Akademikerzeitung, Vienna, 1932, v. 24, no. 7-9, p. 9) ZB 70
Goethe und die Musik. (In: Goethe, ed. Karl Wache. Vienna, 1932, p. 81-84) ZB 72
Operndirektor Goethe. ( Neues Wiener Tag- blatt, February 3, 1938 )
Oster, O.
Goethe und Beethoven. (Propylaen, 1928, v. 25, p. 372) ZB63
Mozart und Goethe. (Kolnische Volkszei- tung, July 31, 1931) ZB 67 A
Goethe und der Geist der Musik. ( Miinchner Neueste Nachrichten, November 29, 1932)
ZB67A
Goethe und der Geist der Musik. ( Kolnische Volkszeitung, February 29, 1932) ZB 69A
Goethe und der Geist der Musik. (ZfM, 1932, v. 99, p. 181) ZB70
Goethe gedenkt Mozarts. (Propylaen, Mu- nich, 1932, v. 29, p. 196) ZB 70
Pander, Oscar von.
War Goethe musikalisch? (Miinchner Neu- este Nachrichten, March 4, 1936)
Pasig, Paul.
t Goethe und Corona Schrffar. Mn: Goethe und Ilmenau. 3rd ed. Dmeoau, 10' I
Pasque, Ernst.
t Goethes Theaterleitung in Weimar. Leip- zig, 1863. 2v.
Pauli, Walther.
tj. F. Reichardt (1752-1814 . Mfa Leben und seine Stellung in d< r Getcfakfatfl des
deutschen Liedes. Diss., 1002. Il.-rli:. (Musi!v\visi>enscluift!:Jie Studien. v. 2)
Cf. also Die Musik, 1902, v. 1, p. I 345-
350.
Pautrier, C.
* Goethe et la musique. ( Correspon 1881, v. 1)
Peschek, Joseph.
Goethe und Beethoven. (Programm des k. k. Akademischen Gymnasiums in Gorz, 191 >- 1914, v. 64)
Petersen, Julius.
Goethes Briefe an Charlotte von Stein. Leip- zig: Insel, 1923. 2 v. in 4.
Goethes Faust auf der deutsche Biihne. Leip- zig, 1929. I'JB
Petit, Raymond.
A propos de la "Seconde partie do la Flute enchantee." (La Revue musicalc. 1032. v. 11 no. 125)
Pfannmuller, G.
Goethe und das Kirchenlied. Hamburg,
I'JB Pfister, Kurt.
Der Kapellmeister Goethes. | Minn -liner Neueste Nachrichten, November 7, L030)
Pfordten, H. v.
Schubert und Goethe. (Rheinifl falische Zeitung, Essen, August 16, L028
ZB
Goethes Stellung zui Musik.
Volksbildung, Munich, 1031, V. 7. p.
/B69
Pinck, Louis.
Volkslieder VOT Goethe int EbtJI gl
melt, nut Melodies und Vaii&nten tni Lotb-
ringen und dein Faksiinilednu k iler Str.iv->- burger Goethe-I laiuNeliritt. Heidi -11>« i
Popular edition. Saailmnkrn. L935.
2nd edition. K&SSel, L9 I I
Cf. also (a) A. Pirro Id Revue de imu no. 45; ( h ) M. Muttdim In RcrlM dt IMiml paree, 1949, v, 28, p, M6 B50.
158
The New York Public Library
Pleyer, W., and J. Tetzner.
Goethe in Teplitz. Teplitz-Schonau, 1932, p. 10, 12, 18, 26.
Pohlenz, Rudolf.
Das rhythmische Verhaltnis von Dichtung und Musik in zeitgenossischen Kompositionen Goethescher Gedichte. Diss. Cologne, 1922.
Pollmer, A.
Riemers Mitteilungen iiber Goethe. Leipzig: Insel, 1921.
Pourtales, Guy de.
Goethe en musique. (In: Les affinites in- stinctives. Paris: Les Editions de France, 1934)
Preitz, Max.
Goethe und Mozart. Volksbildungsamt der Stadt Reichenberg, 1932.
Preussner, Eberhard.
Goethes Anschauungen von der Musik. ( Die Musikpflege, April, 1937, v. 8, no. 1, p. 15-20)
Goethes Anschauung von der Musik. (Deutscher Kulturwart, 1937, v. 4, p. 675- 678) ZB81
Die Musikalischen Reisen des Herrn von Uffenbach. Aus einem Reisetagebuch des J. F. A. von Uffenbach aus Frankfurt a. M. 1712-1716. Kassel and Basel: Barenreiter, 1949.
Pertains to Uffenbach and his musical interests, mentioned by Goethe in his autobiography, cf . FA xvi, 66 and 447.
Reviewed in Musikf orschung, v. 4 ( Kassel and Basel, 1951), p. 395-398, by Rudolf Gerber.
Proelss, Robert.
* Goethe und die Musik. ( Schlesische Zei- tung, January 1-7, 1885)
t C. F. Zelter. Ein Ruckblick. ( Leipziger Zeitung, Wissenschaftliche Beilage, 1886, no. 78)
Prud'homme, J.-G.
* Goethe et les musiciens francais. ( Revue franco-allemande, 1899, v. 1, no. 18)
Prunieres, Henry.
Goethe et la musique. ( La Revue musicale, 1932, v. 13, no. 125)
Pulver, Jeffrey.
Beethoven in the Goethe-Zelter-correspond- ence. (Music and letters, 1936, v. 17, p. 124- 130)
Quabbe, Georg.
Goethes Freunde. Drei Essays. Stuttgart: Koehler, 1949.
Cf. particularly p. 5-12 on Joh. Heinr. Friedr. Schiitz, p. 51-55 on Zelter.
Querido, I.
Goethe und Beethoven. (Groot Nederland, March, 1911)
Rabsch, Edgar, and Hans Burkhardt.
Untertertia bis Untersekunda. Frankfurt: Diesterweg, 1937. (His: Musik. Unterrichts- werk fiir die Schule, v. 2 )
Cf. particularly Part m, p. 197.
Rath.
War Goethe musikalisch? ( Kartellzeitung, Hanover, v. 13, no. 13f . ) IMG 15
Redslob, Edwin.
Goethes Monodram 'Proserpina' also Toten- klage fiir seine Schwester. (Goethe, Vier- monatsschrift der Goethe-Gesellschaft, Wei- mar, 1943, v. 8, p. 252-269)
Disputes the interpretation of Proserpina in Erich Schmidt's Charakteristiken.
Refardt, Edgar.
Der "Goethe-Kayser." Ein Nachklang zum Goethejahr 1949 (cxxxvni, Neujahrsblatt der Allgemeinen Musikgesellschaft Zurich auf das Jahr 1950). Zurich: Hug, 1950.
Reviewed in Musikforschung, 1951, v. rv, p. 63-64.
Goethe in schweizerischen Kompositionen. (Schweizer Musik-Zeitung und Sangerblatt, 1932, v. 72, no. 14-15, 16-17, p. 472-476, 506- 511) PJB
Reich, Willi.
Goethe und die Musik. Aus den Werken, Briefen und Gesprachen dargestellt von Willi Reich. Zurich: Ex Libris, 1949.
Reichardt, J. Fr.
Vertraute Briefe, eingeleitet und erlautert von G. Gugitz. Munich, 1918. PJB
Reimerdes, E. E.
Goethe und Reichardt. (Die Stimme, 1931- 32, v. 26, p. 161 ) ZB 70
Goethes Singspiele. (ZfM, 1932, v. 99, p. 183) ZB70
Goethes Singspiele. (Die Deutsche Biihne, Berlin, 1932, v. 24, p. 41-43) ZB 70
Reiner, O.
Goethes Zauberflote. (Kolnische Zeitung, February 9,' 1926 ) ZB 58
Reuper, Julius.
t Goethe und Zelter. ( Neue Freie Presse, Vienna, 1882, Morgenblatt, no. 6484 and 6485)
t Goethe und Zelter. ( Nationalzeitung, Ber- lin, 1899, no. 48)
Goethe and Music — List of Referem
159
Reuter, O.
Musik wahrend der Weimarer Goethe- Woche. (Signale fur die musikalische Welt, 1932, v. 90, p. 363) ZB 70
Rhode, Karl.
* tJber ein handschriftliches Notenheft aus Goethes Bibliothek. (WGV, v. 23, p. 31f.)
* Die Entstehung der Liedersammlung des Goetheschen Notenheftes. ( WGV, v. 24, p. 63- 64)
Aus Goethes Notenheft. (WGV, v. 25, p. 23)
Richard.
J. Fr. Reichardt und Goethe. ( Die Harmonie, v. 6, no. 6) ZfMWl
Goethes Singspiele. (Die Harmonie, v. 14, no. 4) ZfMW4
Goethes Singspiele. ( Schweizerische Musik- zeitung, v. 63, no. 21 ) Zf MW 6
Goethes Singspiele. (Orchester, 1932, v. 9, no. 19) ZB70
Weber und Goethe. (Das Orchester, v. 3, no. 11) ZfMW8
Loewes personliche Beziehungen zu Goethe. (Siiddeutsche Sangerzeitung, v. 18, no. 8)
ZfMW8
Loewes personliche Beziehungen zu Goethe.
(Schweizerische Musikzeitung, v. 65, no. 26)
ZfMW8 Goethes Hausmusik. ( Schweizerische Musik- zeitung, v. 65, no. 20) ZfMW 8
Goethes Hausmusik. (Die Harmonie, v. 17, no. 8) ZfMW 9
Beethoven und Goethe. (Die Harmonie, v. 18, no. 3) ZfMW 9
Richard, August.
Goethe im Verkehr mit musikalischen Zeit- genossen. (Gegenwart, 1911, no. 34, p. 35)
ZB Riemer, F. W.
t Briefwechsel zwischen Goethe und Zelter (1799-1832). Berlin, 1833-34. 6 v.
Cf. also (a) Blatter fur literarische Unterhaltung, 1834, no. 1-3, 19, 20; (b) Literarische Zeitung, 1834, no. 1, 10, 51; (c) Zeitung fur die elegante Welt, 1834, no. 36; (d) Athenamm, London, 1834, p. 8-11; (e) Athenamm, London, 1835, p. 217-220, 291, 389- 391; (f) Le Temps, June 26 and July 12, 1834; (g) W. Neumanns Schriften, Leipzig, 1835, no. 1, p. 10, 232; (h) Wiener Jahrbuch der Literatur, 1836, v. 74, p. 102-138; (i) Blatter fur literarische Unter- haltung, 1845, no. 184; (j) A. Diezmann, Goethe- Schiller-Museum, Leipzig, 1858, p. 4; (k) Die Grenz- boten, 1873, no. 34; (1) Die Grenzboten, August 26, 1880; (m) GJB, v. 27, p. 245; (n) Ruckert, Ge- sammelte poetische Werke, v. 7, p. 71; (o) Neue ZfM, 1894, no. 1, 2, p. 2, 116; (p) GJB, v. 22, p. 91; (q) JB, v. 11, iv, 8b, p. 74; (r) Bohemia, 1901, no. 161.
Riesenfeld, P.
Goethe und Schubert. (Signale fur die musikalische Welt, 1932, v. 90, p. 267) ZB 70
Riessner, F.
Beethoven und Goethe. ( Prop\ 1 1927, v. 24, p. 279) ZB 61
Riezler, Walter.
Beethoven. Berlin and Zuric tis, 1936,
p. 44f.
Rigler, G.
Goethe und Schubert. ( Die Quelle, Vienna, 1925) ,56
Goethe und Schubert. (Die Quelle, Vienna, 1926, v. 76, p. 381-385 ) ZB 58
Rintel, W.
t C. F. Zelter. Berlin, 1861.
Cf. also (a) Huler in Westermanns MonaUhefte, April -June, 1882; (b) J. Reuper in Neue I Presse, Vienna; (c) Sundelin in Bar, Berlin; (d) Beringuier, Vortrag im Verein fur die Geschichte Ber- lins; (e) Vossische Zeitung, 1883, Sonntagibe&age No. 1 and 3.
Ritter, H.
* Goethes Entwurf einer allgemeinen Ton- lehre. ( Klavierlehrer, 1903, v. 26, no. 6 an.:
Goethe und das Theater. Berlin, 19
Rittmeyer-Iselin, D. J.
Goethe und die Musik. (Garbe, Basrl. v. 15, p. 348) ZB70
Rochlitz, Friedrich.
Cf. also s. v. Woldemar F. v. Biedennann.
f K. Fr. Zelter. Nekrolog. (AUgemeine D
kalische Zeitung, June 13, 1832, no. -
Roemer, A.
Goethe und Beethoven. (Die Tost. 1U rim. July 30, 1912) ZB
Rontz, W.
Zelter. Hanover: Wittingen. 1
Zelters Vertonungen von Goethe-LIedern. (Die Stimme, 1931-32, v. 26, p. L8J
Wie Zelter Goethes 75, Gcburtstaj (ZfM, 1932, v. 99, p. 102) ZB70
Roggcri, Edoardo.
II "Goethe et Beethoven" dJ Romain land. (Rivista musicale Itahana, LOSS) v.
Rolland, Romain.
Cf. also s. v. Runes. Dtgobeit
Goethe et Beethoven. (Europe, r
v. 14, p. 5-32, 181-21 ZBBN1
160
The New York Public Library
Holland, Romain, continued
Goethe und Beethoven. (Jahrbuch der Sammlung Kippenberg, 1928, v. 7, p. 9-74)
ZB62
Goethe and Beethoven. (Atlantic monthly, New York, 1931, v. 143, p. 187-197 ) ZBB NF 6
Goethe et Beethoven. Paris: Sablier, 1933.
Goethe and Beethoven. Tr. G. A. Pfister and E. S. Kemp. New York: Harper, 1931.
Goethe musicien. ( Europe, Paris, 1929, v. 23, p. 324-353, 498-516 ) ZBB NF 4
Goethe hudebnik. (Tempo, Prague, v. 11, no. 7) ZfMW14
Goethe's interest in music. (Musical quar- terly, 1931, v. 17, p. 157-194) ZfMW 13
Rosendahl, Erich.
J. Fr. Reichardt ...( Braunschweig Maga- zine. 37, p. 59-64) JB1931
Rosenthal, Felix.
Probleme der musikalischen Metrik. ( ZfMW, 1925-26, v. 8, p. 262-288)
Rothbarth, O.
Zu Goethes Aufsatz "Uber Volks- und Kin- derlieder." (Euphorion, 1909, p. 693) ZB
Rothes, W.
Goethe und die Musik. (Allgemeine Rund- schau, Munich, 1932, p. 79-82) ■ ZB 70
Von Goethe und Beethoven. (Allgemeine Rundschau, Munich, 1932, p. 95) ZB 70
Riicker, Curt.
Daten zur Musikgeschichte der Stadt Wei- mar. Weimar, 1935. (Beitrage zur Geschichte der Stadt Weimar, no. 48 )
Riitzel, M.
* Goethe iiber die Oper. ( Rheinische Musik- und Theaterzeitung, 1903, v. 4, p. 344f . )
Runes, Dagobert.
Goethe, a symposium. New York, 1932.
Contains: Romain Rolland. Goethe the musician.
Runze, Maximilian.
Goethe und Loewe. Leipzig: Breitkopf, 1901.
Randglossen zu Briefen Zelters an Goethe. Auf Grund neu erschlossener Quellen. i: Zelter, Goethe und Garden. (Der Schatzgraber, Ber- lin, 1927, v. 6, no. 3, p. 15-19)
Sachsse, E.
t Beethovens Begegnung mit Goethe. ( Vel- hagen & Klasings Monatshefte, 1904, v. 18, p. 289-297)
Reviewed in Review of reviews, v. $9, p. 600.
Sangerschaftskalender, Allgemeiner Deutscher. Vienna: Deutsche Sangerschaftsstelle, 1926ff. ( Goethe- und Haydn- Almanach, 1932, v. 7 )
Sandberger, Adolf.
Beethovens Stellung zu den fiihrenden Gei- stern seiner Zeit in Philosophic und Dichtung. (In: Ausgewahlte Aufsatze zur Musikge- schichte, 1924, v. 2, p. 263-280)
Sandor, Max.
Sterne der Biihne . . . Faust. Vienna and Leip- zig: Augartenverlag, 1935.
Pertains to "Faust" and music.
Saran, Fr.
Melodik und Rhythmik in der Zueignung Goethes. Halle: Niemeyer, 1903. (In: Studien zur deutschen Philologie)
Sartori-Neumann, Br.. Th.
Geschichte des Weimarischen Hoftheaters unter Goethes Leitung. Berlin, 1922. (In: Schriften der Gesellschaft fiir Theaterge- schichte. v. 31 )
Schade, O.
Weimarische Didaskalien. (Minerva, 1858, v. 2, no. 1 )
Pertains to Goethe and Corona Schroter.
Schade, R.
Goethe und die Musik. (Germania, August 22, 1921, ff.) ZB48A
Goethe und die Musik. (Der Sammler, Bei- lage der Miinchener und Augsburger Abend- zeitung, v. 94, no. 139) ZB 63
Goethe und die Musik. ( Bund, Bern, March 14 and 21, 1926)
Der musikalische Goethe. (Berliner Tage- blatt, September 9, 1922 ) ZB 51
Ein Goethischer Osterklang. (Kolnische Zeitung, Wochenausgabe, April 23, 1924)
LZ 1924
Ein Goethischer Osterklang. (Munchner Neueste Nachrichten, April 20, 1924) LZ 1924
Ein neuer Goethe-Fund. (Der Auftakt, Prague, 1925, v. 5, no. 3, p. 76-80 ) ZfMW
Goethes musikalisches Bekenntnis. Erste Ge- samtveroffentlichung des Goethe-Fundes von Berka. (Tagliche Rundschau, Berlin, February 26, 27, March 2, 3, 1926)
Schafer, Albert.
* Historisches und systematisches Verzeich- nis samtlicher Tonwerke zu Dramen Goethes . . . Leipzig, 1886.
Schafer, Wilhelm.
Begegnung in Teplitz. (Das Innere Reich, 1936-37, v. 3, p. 824-827)
Goethe and Music — List of References
Schalk, J.
Hugo Wolfs Goethe-Lieder. ( WGV, v. 8 ) ZB Cf. also: Bayreuther Taschenkalender, 1893, p. 188.
JB 1894
Schallabock, Karl.
Der Komponist Ph. Chr. Kayser und seine
Beziehungen zu Goethe. Diss. Vienna, 1911.
Schaudorfer, E.
Die drei Erzengel in Goethes Faust und in Haydns Schopfung. (Musica divina, Vienna, 1937, p. 91-94) ZB80
Schenk, Erich.
Breitkopfs Musik zum Leipziger Liederbuch und ihre Beziehungen zu Hiller und Goethe. ( Goethefestschrift zum 200. Geburtstage. Vienna: Bundesverlag, 1949)
Reviewed in Musikforschung 1951. v. iv, p. 155.
Schering, Arnold.
Kiinstler, Kenner und Liebhaber der Musik im Zeitalter Haydns und Goethes. (PJB, 1931)
Beethoven und die Dichtung. Berlin, 1936.
Schikaneder, E.
Die Zauberfldte, in der Weimarer Fassung der Goethe-Zeit. Mit einer Einleitung von Hans Lowenfeld. Den Teilnehmern an der General- versammlung der Bibliophilen in Leipzig am 29. November 1908 gewidmet von der Offizin W. Drugulin. 1909.
Schletterer, H. M.
Anton Schweizer [or: Schweitzer]. (In: All- gemeine deutsche Biographie, v. 53, Leipzig, 1891, p. 371-373) JB 1891
t Corona Schroter. (In: Allgemeine deutsche Biographie, v. 32, Leipzig, 1891, p. 560-567)
f J. Fr. Reichardt. Augsburg: Schlosser, 1865. [Also: Leipzig: Breitkopf und Hartel, n. d.]
Cf. also Duntzer in: Morgenblatt fur gebildete Stande, 1865, no. 42-44.
Schloesser, Rudolf.
Rameaus Neffe. Berlin, 1900. (In: For- schungen zur neueren Literaturgeschichte. v. 15)
Schmidt, Erich.
Die Baukunst erstarrte Musik. (Archiv fur das Studium der neueren Sprachen, v. 127, p. 378) JB 1911-12
Characteristiken. Berlin, 1901. 2 v.
Cf. v. 2, p. 148ff. Proserpina.
t Zur Enthullung des Corona-Schroter-Denk- mals in Guben. ( Brandenburgia, v. 14, p. 317- 321)
Schmidt, K. W.
Goethe und Beethoven. Vossische Zeitung, 1903, Supplement D >3)
Schmidt, L.
tj. F. Reielumlt, def C<>« the-Komporust. (Berliner Tagebktt, Liter Aug. 8, 1903, no. 399)
Schmitz, Arnold.
Beethovens "zwei Prinziix." Berlin: Diimm- ler, 1923.
Das Kftnantisckti BeethovenMd Berlin and
Bonn: Diimmler, 1927.
Schmitz, E.
Goethe und Beethoven. (HocMan : p. 482-487) JB 1911-15
Schmitz, F.
Goethes Heidenrbslein in chr M< I Volksliedes und bei Schubert. (Die Qui enna, 1925, p. 673) ZB56
Schneider, Constantin.
Rochlitz an Ignaz von Mosel iiber G (WGV, 1932, v. 37)
Schonberger, M.
Goethes Lieder mit der Musik von J. F.
Reichhardt. (Internationale Literaturlnnchte. 1903, v. 10, no. 18) JB
Schorn, H.
Goethes Faust und die Musik. ( Neoe Musik- zeitung, 1917, v. 38) ZB
Goethe und Mozart. (Neue ZfM, 1918, V. 85,
p. 153)
Schottliinder, Johann-Wotfgang.
C. F. Zelters Darstellimgeo seta i 1
(SchGG., Weimar, 1931, v. 44)
Zelters Beziehungen zu den Eton seiner Zeit. (Jahrbueh tier Sammlung Kip; berg, Leipzig, 1930, v. 8)
Zelters "Johanna Sebus". I Jahrbucn
Sammlung Kippenberg, l.< 9,
p. 291-29 0 JB
Zelters Beziehungen zu Breitkopf and 1 ttitei (ZfMW, 1932-33, v. 15, p. W 112)
Schramm, Erich.
Goethes religiose 1 toutung da Musik. M
Freie Religion. L932.
Goethe und Diderots Dialo aeui
Neffe." (ZfMW 18, L934)
Goethe uiul lohann Amhr. * \lt Oil, nbt 1935, p. 47-52)
162
Schron.
Wie stand Wagner zu Goethe? ( Schwalben- nest, Erfurt, v. 14, no. 7 ) ZfMW 14
The New York Public Library
Segnitz, Eugen, continued
Goethe und die Leitung der Oper in Wei-
Schroer, K. J.
tLoewe bei Goethe. (WGV, Vienna, 1892, v. 6, p. 43-44)
Schiinemann, Georg.
R. Wagners Komposition zu Goethes Faust. (Frankfurter Zeitung, March 6, 1917) ZB 39A
Die Bach-Pflege der Berliner Singakademie. (Bach-Jahrbuch, 1928, v. 25)
Karl Friedrich Zelter, der Begriinder der preussischen Musikpflege. Berlin, 1932.
Lieder von Goethe, Komponiert von Franz Schubert. Nachbildung der Eigenschrift. [Ed- ited, and with an introduction by Georg Schiinemann.] Berlin: Frisch, 1943.
Zelter, der Begriinder der preussischen Mu- sikpflege. (Zeitschrift fur Schulmusik, v. 5, no. 2) . ZfMW 14
Schuh, W.
Die fruhesten Schweizer Goethe-Verto- nungen. (Neue Ziircher Zeitung, March 20, 1932) ZB69A
Goethe: Vertonungen. Ein Verzeichnis. Zu- rich: Artemis [cop. 1952]
Schuurmann, M.
Goethes Verhaltnis zur Tonkunst. ( Goethea- num, 1932, v. 11) ZB 71
Goethe und das Dur-Moll-Problem. ( Goethe- anum, 1933, v. 12) ZB 72
Schwebsch, E.
Goethe und Wagner. (Bayreuther Blatter, 1919, p. 105-129, 149-175) ZB 44, 45
Scott, Aurelia Grether.
" 'Das Myrthenreis,' an Unpublished Poem of Marianne von Willemer's." Germanic Re- view, v. 27, 1952, p. 41-49)
Cf. particularly p. 46, giving a list of Marianne's parodies of Goethe's "Kennst du das Land."
Sedlatschek, E.
Goethes Mailied vertont von Beethoven. (Die sudetendeutsche Schule, 1932, v. 6, p. 242-246) ZB70
Segnitz, Eugen.
t Goethe und die Leitung der Oper in Wei- mar. (Allgemeine Musikzeitung, Charlotten- burg, 1907, v. 36, no. 36)
t Goethe und die Leitung der Oper in Wei- mar. (Blatter fur Haus- und Kirchenmusik, 1908, v. 11, no. 69, 84)
mar. ( Literarisches Echo, v. 10, p. 191 )
Goethe und die Oper in Weimar. Langen- salza, 1908. ( Musikahsches Magazin, no. 21)
Goethe und die Tonkunst. ( Allgemeine Mu- sikzeitung, 1911, no. 59, 60) ZB
Seidlin, Oskar.
Is the "Prelude in the theatre" a prelude to Faust? (PMLA, 1949, v. 44, p. 462-470)
Suggests that the Prelude was originally intended for
the Zauberflote.
Zur Mignon-Ballade. (Euphorion, 1950, v. 45, p. 83-99)
Selden-Goth, G.
Goethes Notenschrank. (Vossische Zeitung, May 20, 1921) ZB 46A
Sengle, Fr.
Goethes Verhaltnis zum Drama. Berlin, 1937. (Neue deutsche Forschungen, v. 116)
Seybel, Georg.
Das Weimarer Hoftheater unter Goethes Leitung. Diss. Vienna, 1910.
Seydel.
Goethes Bedeutung fur die Kultur der Stimme. (Die Stimme, v. 2, no. 1) IMG 9
Sibmacher-Zijnen.
Goethes Erlkonig en Beethoven. (Caecilia, *s Gravenhage, v. 61, no. 5) IMG 5
Sieber, L.
t K. F. Zelter und der deutsche Mannerge- sang. Basel, 1862.
Sieber, Paul.
J. Fr. Reichardt als Musikasthetiker. Strass- burg, 1931.
Seidlin, Oskar.
Zur Mignon-Ballade. ( Euphorion, 1950, v. 45, p. 83-99)
Silbergleit, Richard.
Goethe und die Mendelssohns. ( Die Judische Frau, v. 2, p. 7f . ) JB 1926-27
Simon, James.
Faust in der Musik. Berlin, 1906. ( Die Mu- sik, edited by Richard Strauss, v. 21 )
Goethe und die Musik. ( Geisteskultur, Ber- lin, 1932-33, v. 41, p. 193-197) ZB 72
Goethe und die Musik. ( Das Nationaltheater, Berlin, 1931-32, v. 4, p. 80-87) ZB 70
Goethe und die Musik. (Berliner Konzert- zeitung, v. 9, no. 13-14) ZfMW 14
Goethe and Music — List of References
163
Sittard, Joseph.
Kiinstler-Charakteristiken. Hamburg, 1889. (His: Studien und Charakteristiken, v. 3)
Contains: Faust, Musik-Drama von H. Zollner.
Smekal, R.
K. F. Zelter und die Gesellschaft der Musik- freunde in Wien. (WGV, Vienna, 1914, v. 28, p. 23)
sp.
Musik der Goethezeit. (Tempo, 1932, no. 69, supplement i)
Spaan, P.
* Goethe en de toonkunst. ( De xxe eeuw, 1905, v. 11, p. 4-26)
Spiess, Heinrich.
Ph. Chr. Kayser und Goethes Notenheft vom Jahr 1778. ( JGG, Weimar, 1931, v. 17, p. 132- 153)
Spiro.
Verdi und Goethe. (Signale fur die musi- kalische Welt, v. 71, no. 41) IMG 15
Zum Sohubert-Goethe-Problem. ( Signale
fur die musikalische Welt, v. 90, no. 17)
ZfMW14 Spitta, Philipp.
* Die alteste Faust-Oper und Goethes Stel- lung zur Musik. (In: Zur Musik. 16 Aufsatze. Berlin: Paetel, 1892)
Cf. also: (a) Blatter fiir literarische Unterhaltung, 1892, p. 553f.; (b) Allgemeine Musikzeitung, 1892, p. 474f., 490f.
Spitzer, Leo.
Classical and Christian idea in world har- mony. (Traditio, 1944, v. 2 and 1945, v. 3)
Spohr, Wilhelm.
Goethe. Berlin: Safari, 1949. Cf. particularly p. 636-641.
Springer, Robert.
* Goethes Einfluss auf die Tonkunst. ( Neue Berliner Musikzeitung, 1881)
* Goethes Einfluss auf die Tonkunst. (Es- says, 1885)
Ssymank, Paul.
Goethe als Student.
Contains: (a) H. J. Moser. Goethe und das Studen- tenlied; (b) J. M. Muller-Blattau. Goethe und J. S. Bach.
Stahl, E. L.
Die Singspiele Goethes. (Die Propylaen, 1936,v.33,p.l90f.) LZ 1936
Stahr, A.
f Corona Schroter. ( Nationalzeitung, 1874,
no. 197, 199)
Starczewski, Feliks.
Goethe a muzvka polska. (Muzvka, I no. 5-6, p. 138)
Stauder, Wilhelm.
Johann Andre. Ein Beitrag zur Geschichte des deutschen Singspiels. (Arehiv fur Musik- forschung, 1936, v. 1, p. 31&-360)
Steffen, A.
Goethes und Rousseaus Weltanscham:- Beziehung zur Pflanzenwelt und zur Musik. (Goethoanum, JQ34, v. 13, p. 265-268) Zl
Stege, Fritz.
Bilder aus der deutschen Musik-Kritik. Re- gensburg: Bosse, 1936. (Von deutscher Musik. v. 50)
Deals with Mattheson, Hiller, Reichardt, Rochlitz, Hoffmann, Rellstab, et cetera.
Stein, K.
Goethes Stellung zur Musik. (Musikerzie- hung, 1930, v. 7, p. 379-382 ) ZB 67
Steinmann, Friedr.
t Corona Schroter. Zur Geschichte der Biih- nen Leipzigs und Weimars. (Theater-Loco- motive, March 26, 1846, no. 13, p. 22-1-2:
Cf. also: Europa, 1875, no. 44.
Stern, Ad.
t Fr. Rochlitz: Beitriige zur Literaturje- schichte des 17. und 18. Jahrhunderts. Leip- zig, 1894.
Cf. particularly p. 175-236.
Cf. also (a) Grenzboten, 1888. p. 425-433. 480- 488; (b) Grenzboten, 1892, p. 164-174; (c) Grenz- boten, 1909, p. 589; (d) F. LkhtenbogM m: IVr heilige Garten. Beitriige zur Asthetik der Kindheit. 1907. v. 2, no. 4.
Sternfeld, Frederick W.
Renaissance music in Goethe. (Germanic re- view, 1945, v. 20, p. 241-260)
The musical sources of Goethe's p (American-German review, 1949, v. 15. p. L6- 23)
The musical springs of Goethe's portrv. (Musical quarterly, 1949, v. 35, p. 51 1-".
Sternfeld, R.
H. Berlioz unci seine Faustmusik. manns illustrierte deutsche Mon.it ihefb p. 485-492) JB]
Stettner, Th.
Goethe und Zelter. (Pauliner-Zeitu zig, 1934, v. 46, p. (;
War Goethe musikalisch? (Pauliner Leipzig, 193 i.n. 46, p. 108 110, L&8) ZB78
War Goethe musikalisch? ( Baj i litter
fur das GvnnuMalsehulwi MO, 1835, If, 71, p. 121-129)
ZB 77
164
Stiebler.
Goethes Verhaltnis zu Musikdirektoren- und v. 35, p. 57)
Goethes Verhaltnis zu Militarmusikerzeitung, v
Goethes Verhaltnis zu kunst, v. 34, no. 47 )
The New York Public Library
Beethoven. (Deutsche
Kapellmeisterzeitung,
JB 1931
Beethoven. (Deutsche , 53, no. 8) ZfMW13
Beethoven. (Die-Ton- ZfMW15
Stier, C. A.
Goethe und das deutsche Lied. ( Die Stimme, 1931-32, v. 26, p. 137-147) ZB 70
Stossinger, F.
Musik und Goethe. (Vossische Zeitung, March 17, 1932) ZB 69A
Stuart, Hannah.
Goethe's influence on music. (Publications of the English Goethe Society, new series, 1935-37, v. 12, p. 65-81 )
Stiimcke, Heinrich.
Corona Schroter. Bielefeld, 1926/
Suares, Andre.
Pensees sur la musique. ( La Revue musicale, Paris, 1931, v. 12, p. 237-240)
p. 239f. deals with Goethe the musician.
Goethe et la musique. (La Revue musicale, Paris, 1932, v. 13, p. 261-263)
Suphan, Bernhard.
t Goethes ungedruckte Ubersetzung der Chore von Racine's Athalie. (GJB, Frankfurt, 1895, v. 16, p. 35-43)
Pertains to J. A. P. Schultz and J. Fr. Reichardt.
t Corona Schroter. Ansprache am Grabe der
Kunstlerin, gehalten bei der Gedachtnisfeier
der Goethe-Gesellschaft. Ilmenau, den 25. Mai
1902. (Weimarische Zeitung, May 29, 1902,
no. 123)
Cf. also the following articles, in honor of the centenary of C. Schroter's death:
(a) Die Zeit, Vienna, 1902, no. 32, p. 122-124.
(b) W. Bode in: Der Tag, 1902, no. 193.
(c) A. v. Winterfeld in: Hlustrierte Frauenzeitung, v. 29, p. 124-125.
(d) L. Kellner in: Leipziger Zeitung, Wissenschaft- liche Beilage, 101.
(e) Berliner Tageblatt, 425.
(f ) Buhne und Welt, rv, 21. -
(g) Berliner Neueste Nachrichten, 393.
(h) Norddeutsche allgemeine Zeitung, 397.
(i) Post, 390.
(j) Frankfurter Zeitung, August 21, 1902, no. 231.
(k) J. Sittard in: Hamburgischer Correspondent, 394.
(1) Vossische Zeitung, 393.
(m) Hannoverscher Courier, no. 33937, 33940, 33943.
(n) Allgemeine Zeitung, 231.
(o) Payer v. Thurn in: WGV, 1902, V. 16, p. 35- 38.
(p) Wiener Fremdenblatt, no. 231. ,'
(q) H. Burkhardt. Zum 25. Mai 1902. [Offprint] (r) C. Ruland in: Illustrierte Zeitung, p. 283-284. (s) Deutsche Biihnengenossenschaft, p. 334.
Tappert, Wilhelm.
t 54 Erlkonig-Kompositionen. Berlin: Liep- mannssohn, 1898.
Cf. also: (a) Musikalisches Wochenblatt, 1870, no. 40ff.; (b) Rheinische Musik- und Theaterzeitung, 1904, p. 572-574; (c) Frankfurter Zeitung, 1899, no. 278, p. 572-574; (d) Wiener Abendpost, 1899, no. 227; (e) GJB, v. 21, p. 317f.;'(f) Signale fur die musikalische Welt, Leipzig, 1900, no. 3; (g) SchGG, 1896, v. 11, p. 141-144.
Thayer, Alexander Wheelock.
Ludwig van Beethovens Leben. Tr. Her- mann Deiters. Ed. & rev. Hugo Riemann. Leip- zig: Breitkopf & Hartel, 1917-23. 5 v.
Cf. particularly v. 3 regarding Beethoven and Goethe.
The life of Ludwig" van Beethoven. Edited, revised and amended from the original English manuscript and the German editions of H. Dei- ters and H. Riemann... by Henry Edward Krehbiel. New York: The Beethoven Associa- tion [19211.3v.
Cf. particularly v. 2 regarding Beethoven and Goethe.
Thomas-San Galli, W. A.
t Beethoven in .Teplitz. (Daheim, 1910, v. 46, no. 49)
Beethoven und die unsterbliche Geliebte. Amalie Sebald, Goethe, Therese Brunswik, und Anderes. Munich: Wunderhorn, 1910.
Beethoven als Goethe-Kenner. (Daheim, May 8, 1915)
Tiersot, Jul.
Le Faust de Goethe et la musique. (Guide musical, Brussels, 1899-1900, no. 48ff. ) IMG 1
Torchi, L.
Robert Schumann e le sue "Scene tratte del Faust di Goethe." Torino: Bocca, 1895.
Tornius, V.
Goethes Verhaltnis zum Gesang. (Deutsche Sangerbundeszeitung, v. 5, no. 21 ) IMG 14
Beethoven und Goethe. ( Illustrierte Zeitung, Leipzig, 1927, no. 4280) ZB 60
Goethe und die Musik. ( Illustrierte Zeitung, Leipzig, 1932, ho. 4547) ZB 70
Hausmusik bei Goethe. (Leipziger neueste Nachrichten, April 1, 1932 ) ZB 69A
Traumann, Ernst.
Goethe, der Strassburger Student. 2nd ed. Leipzig, 1923, p. 51, 63, 64, 106.
Goethe and Music — List of Refercn<
L6S
Trott.
Die Kompositionen des Goetheschen "Erl- konig." ( Schweizerische Musikzeitung, v. 59, no. 17) ZfMW2
Trunz, Erich.
Goethes Faust, herausgegeben und erlautert. Hamburg: Christian Wegner [cop. 1949].
Cf. particularly the section "Klang und Wort," p. 483-491.
Tschirch, O.
Radziwill und seine Faustmusik. ( Mitteilun- gen des Vereins fur Geschichte Berlins, 1907, p. 229-234) JB 1906-07
t J. Fr. Reichardt. ( Mitteilungen des Vereins fur Geschichte Berlins, v. 20, p. 119f.)
f J. Fr. Reichardt ( Grenzboten, 1904, v. 63, 2nd quarter, p. 20-28, 94-103)
Twardowski, Juljusz.
Goethe z muzyka. (Muzyka, v. 9, no. 3-4)
JB 1932 Unger, Max.
Ein Faustopernplan Beethovens und Goethes. Regensburg: Gustav Bosse [cop. 1952].
Cf. particularly Beethoven's letter to Breitkopf, July 24, 1812, that Goethe promised to write "some- thing" for Beethoven; and O. H. von Loeben's letter to J. Kerner of August 29, 1814, that Beethoven induced Goethe to revise Faust for a musical setting.
Goethe und die Musik. (Der Musikalien- handel, Leipzig, v. 34, no. 5) ZfMW 14
Goethe und die Musik seiner Zeit. ( Skizzen, Berlin, 1932, no. 4) ZfMW 14
Goethe und Haydn. ( Monatshefte fur katho- lische Kirchenmusik, 1932, p. 111-114) ZB 70
Goethe und Haydn. (Auftakt, v. 12, no. 3)
ZfMW 14
Goethe und Haydn. (Deutsche Musiker- zeitung, v. 63, no. 12) ZfMW 14
Wagner als Dichter in Goethes Spuren. (ZfM,v.99,no.3) ZfMW 14
Zur Urauffuhrung von Beethovens Egmont- Musik. ( Allgemeine Musikzeitung, 1937, v. 64 )
Goethe-Gesange Beethovens. ( Kolnische Zeitung, April 29, 1937)
Valentin, Karoline.
Geschichte der Musik in Frankfurt am Main. Frankfurt: Volcker, 1906.
Varnhagen von Ense, K. A.
f Goethe in den Zeugnissen der Mitlebenden. Berlin, 1823.
Cf . particularly p. 366f.
Yiotla. Henri.
t J. Fr. Reichardt (Cids, Amsterdam [1900- 04], p. 190-107)
Vockerodt, \V.
Goethe und I chenbildung auf christl v. 28, p. 15-1'j) ,70
Voelcker, Heinrith.
Die Stadt Goethes. Frankfurt a. M. fan Jahrhundert. Frankfurt.
Contains: Bodo Wolf. Pflege der Tonkurut in Frank- furt a. M.
Voigt, Emil.
War Goethe musikalisch0 (Die Musik, 1930, v. 23, no. 5)
Volker, K.
Schubert und Goethe. (D v. 14, p. 128) /!
Von den Steinen, Wolfram.
Das Zeitalter Goethes. Bern: Francke, 1949. Cf. particularly p. 79-80.
Vulpius, Christian August.
Die Zauberflote. Gesangstexte und I fiir die Weimarer Auffiihrung i. J. IT Hans Lowenfeld. Leipzig: Insel, 1911.
Wachsmann.
Goethe und die Musik. (Kunst.: Charlottenburg, Berlin, v. 5, no. 5-6 ) ZfMW
Watzold, Paul.
Zelter als Chordirigent. Pritzwalk: Kckh, 1932.
Wahle, Julius.
Drei Brief e Goethes an die Familie v delssohn-Bartholdv. (GJB, Frankfurt. U v. 19, p. 48-52)
Cf. also GJB, 1899, v. 20. p. 27 I.
t Das Weimarer Hoftheatei miter Goethes Leitung. Weimar, 1892. (SchGG, v. 6)
Waldmann.
* Goethe in seinen Beziehungen rur M (Deutsche Wochensohrift, 1884, do. l
Walker, Ernest.
Goethe and some compos* ! times, 1932, v. 73, p. 497-502) M\\ L8
Wallner.
Goethe und die Musik. AussteUun Miinchen. i'/.tM, v, 99, no. 9) M\\ 1"
Wasiliewski, W. J. VOD.
♦Goethes Verhaltnis zur Musik. I Breitkopf, L880. (Sammlung musUcalischor VortrSge, edited by Plan] G«f Waldanaa » . 22)
166
The New York
Weber, R.
Vertonungen Goethescher Gedichte im Ein- zellied. (Goethe Kalender, 1928, p. 74-114)
ZB61 Weber, Wilhelm.
Ein Oratorienentwurf Goethes. (Neue Mu- sikzeitung, Stuttgart, 1902, v. 24, no. 1; 1903, v. 25, no. 2) ZB
f Wege nach Weimar. Gesammelte Monats- blatter von F. Lienhard. Cf. s. v. Lienhard.
Weiss, Anton.
Zelter. ( Volkszeitung, Vienna, May 9 and 23, 1932)
Goethe im Mannerchor. (Volkszeitung, Vi- enna, March 21, 1932)
Weithase, Irmgard.
Goethe als Sprecher und Sprecherzieher. Weimar: Bohlaus Nachfolger, 1949.
Werner.
Uber alien Gipf eln ist Ruh. ( Deutsche San- gerbundeszeitung, v. 24, no. 12 ) Zf MW 14
Goethe und seine ersten Komponisten. ( Mo- natshefte fiir Schulgesang, Essen, 1913) ZB 35
Wichmann, Herm.
* Gesammelte Aufsatze. Berlin and Florence, 1884-91. 3 v.
Cf. particularly v. 3, p. 158-161 regarding Goethe's views on opera.
Williams, Charles A.
Thomson's "Summer" and three Goethe poems. (Journal of English and Germanic philology, 1948, v. 47, p. 1-13)
Winter, Paul.
Goethe erlebt Kirchenmusik in Italien. Darstellung nach Selbstzeugnissen. Hamburg: Dulk Verlag, 1949.
Reviewed in Musikforschung 1952, v. v, p. 67 f.
Winterfeld, A. von.
t Goethe und Mendelssohn. ( Salon, 1890, no. 8)
t Goethe und Mendelssohn. ( Schwabische Chronik des Schwabischen Merkurs, Sonntags- beilage, October 30, 1897)
t Goethe und Mendelssohn. ( Wissenschaft- liche Beilage zur Leipziger Zeitung, 1899, no. 99)
t Goethe und Mendelssohn. ( Musik-Woche, Leipzig, 1903, no. 36, 38)
Goethe liber Musik. (Neue Musikzeitung, 1892, v. 13, p. 2-9) ZB36B
Goethe, Mozart und Beethoven. (Neue Musikzeitung, 1892, v. 13, p. 28) ZB 36B
Public Library
Winterfeld, A. von, continued
* Goethe, Mozart und Beethoven. ( IUus- trierte Zeitung, Leipzig, 1899, no. 3920)
* Goethe on music. ( Music review, Chicago, 1893)
* Goethe iiber Musik; aus den Gesprachen mit Eckermann. ( Musik-Zeitung, 1903, v. 23, p. 237f.)
t Corona Schroters Verhaltnis zu Goethe und Schiller. (Neue Musikzeitung, 1903, v. 23, p. 237f.)
Witkowski.
Goethes Faust auf dem deutschen Theater. ( Buhne und Welt, Berlin, v. 4, no. 2 ) IMG 3
Goethe als Opernregisseur. (Der Anbruch, 1935, v. 17, p. 230) ZB77
Witt, B.
Beethoven und Goethe. ( Neue Musikzeitung, v. 48, p. 334-337) JB 1926-27
Goethe und die Szymanowska. (Die Deutsche Frau, v. 24, p. 361-364) JB 1931
Der vertonte Goethe. ( Daheim, 1932, v. 69, no. 28) ZB70
Wittman, Gertraud.
Das klavierbegleitete Sololied K. F. Zelters. Giessen Diss., 1935. Berlin, 1936.
Wittsack, Walter.
Studien zur Sprachkultur der Goethezeit. Berlin, 1932.
Wolf, Bodo. Cf. s. v. H. Voelcker.
Wolff, Eugen.
Mignon. Ein Beitrag zur Geschichte des Wil- helm Meister. Munich: Beck, 1909. PJB
Pertains to Elisabeth Mara-Schmehling.
Wolff, Gust.
Das Goethe Theater in Lauchstadt. Halle, 1908. PJB
Woltereck, K.
Goethe und Wagner. ( GJB, Frankfurt, 1913, v. 34, p. 141-155)
Goethe und Wagner. (Allgemeine Musik- zeitung, 1913, v. 40, no. 17) ZB
Wooley, Elmer Otto.
The sphere of music and musical terms in Goethe's lyrical poems. Diss., Indiana Uni- versity. Bloomington, Ind., 1918. 90 p.
Wulckow, R.
*War Goethe musikalisch? (Frankfurter Presse, 1880, no. 65)
Goethe and Music — List of References
167
Wulckow, R., continued
* Goethes musikalisches Leben. ( Der Zeit- geist, supplement to Berliner Tageblatt, 1899, no. 42-45)
Cf. also: Literarisches Echo, v. 2, p. 331f.
* Goethes musikalisches Leben. ( Deutsche Literatur- und Kunstzeitung, 1904, p. 4-7, 21- 24)
Wustmann, G.
* Goethe und Hummel. ( Die Grenzboten, 1883, no. 47)
Cf. also: (a) Briefe an Hummel. (GJB, Frankfurt, 1883, v. 4, p. 194f.); (b) Westermanns Monatshefte, June, 1876.
Goethes Lieder in den Kompositionen seiner Zeitgenossen. (Die Grenzboten, 1897, p. 431- 444) JB1897
Clara Schumann bei Goethe. (Die Grenz- boten, 1897, p. 508f.) JB 1897
Wyzewa, T. de.
Une seconde partie de la Flute enchantee. (Revue des deux mondes, v. 53, p. 936-946)
JB 1908-9 Zagwijn, H.
Was Goethe muzikaal? 's Gravenhage: Goe- theanumboekerij, 1933.
Zeiner, M.
Goethe und Schubert. (Die Quelle, 1929, v. 79, p. 105) ZB64
Zeitler, Julius, ed.
Goethe-Handbuch in Yerbinding mit II ber. . . herausgegeben von Julius Zeitler. Stutt- gart, 1916-18. 3 v.
Zellweker, E.
Goethe in der Anekdote. Vienna: Saturn- Verlag, 1935, no. 116, 218, 8
Zelter, K. Fr.
Bemerkungen iiber Orchesterwesen. (In- telligenzblatt der Jenaischen All^emeinen Literatur-Zeitung, 1805)
Briefwechsel mit Goethe.
1833 edition, cf. s. v. "Riemer"; 1902 edition. 'Oi- ger"; 1918 edition, "Hecker."
Fiinfzehn ausgewahlte Lieder, ed. M. Bauer. Berlin: Breslauer, 1924. ( Veroffentlichuneen der Musik-Bibliothek Paul Hirsch, Frankfort am Main. v. 6) Zf.V
Joseph Haydns Schopfung. \VA, v. 41, part n, p. 381-386.
Ziegert, M.
* Goethe und Eberwein. ( Hochstif tsbcrichte, 1887, n. s., v. 3, p. 131-144)
Zoozmann, Richard.
t Goethe-Epigramme. Eine Rundfrage... 3. War Goethe musikalisch? Ein Musiker. (In: Goethe-Festschrift zum 150. GeUuilsUge des Dichters. Ed. August Strobel. Prague, L8ti
Zuidberg.
Goethe und die Musik. (Symphonia. HiKcr- sum, v. 15, no. 4-5) ZfMW 15
Supplementary List
An index largely composed of anonymous periodical articles, not contained in the main bibliography.
Beethoven's Erlkonig, continued
Beethoven's Egmont:
t (a) Der Gesellschafter, October 18, 1826,
no. 166. t (b) Abendzeitung, June 16, 1837, no. 143. t (c) Deutsche Buhnengenossenschaft,
1889, no. 50. f (d) Leipziger Zeitung, March 31, 1891,
supplement no. 38. t (e) Neue Musikzeitung, 1909-10, v. 31,
p. 394.
Beethoven's Erlkonig:
t (a) Standard, December 27, 1897.
f (b) Manchester Guardian, December 28,
1897. t(c) Frankfurter Zeitung, January 24,
1898, no. 23.
f (d) Miinchner Freio PrCffe, Janiu: 1898.
Beethoven and Goethe:
(a) Neue Musikzeitung, isso. \. !. no. IT.
ZB t (b) Die Lyra, 1888, no. 82,
(c) Neue Musikzeitung, L88
p. 191 and L890,v. Ll,p.7.ZB
f (d) Von llans/u H.uis. I
f (e) Dalicini. 1893-04, V, 30, HO
plement.
(f) Zeitschrifi Rli deutscheo Unl
1918, p. 288
(g) Dahciin, L918, v. 51 no. 50 ZB
168 The New York
Beethoven and Goethe, continued
(h) Das literarische Echo, 1920, v. 22, p. 513. ZB 46
(i) Propylaen, 1920, v. 18, p. 82. ZB 47
(j) Berliner illustrierte Zeitung, 1931, p. 941. . ZB 69
(k) Athenaion-Blatter, 1935, v. 4, p. 12- 19. " LZ 1935
Berlioz and Goethe:
(a) Vossische Zeitung, May 28, 1903. ZB
(b) Musical courier, 1903, no. 1203.
JB 1903
Catalani and Mme. Szymanowska:
Blatter der Philharmonie, v. 3, no. 1 [? 1924].
ZfMW8 Eberwein and Goethe:
t (a) Weimarer Sonntagsblatt, 1856, v. 2,
p. 226. t (b) Dresdner Zeitung, September 9, 1887,
no. 209.
Goethe and Music:
* (a) Die Tonkunst, Kbnigsberg, 1878, no.
32-33.
* ( b ) Frankfurter Museum, February 26 and
28, 1880.
* (c) Kunstwart, 1899, no. 22. •
*(d) Neue Musikzeitung, 1899, v. 20, p. 203.
* (e) Monthly musical record, 1899, v. 21,
p. 221f. t (f ) Hochstiftsberichte, 1903, p. 319f. (g) Wochenschrift fur Kunst und Musik,
Vienna, 1904, v. 2, no. 36. IMG 5 (h) Deutsche Musikerzeitung, v. 36, no.
12. IMG 6
(i) Schwabischer Merkur, June 18, 1916.
ZB37B (j) Konigsberger Hartungsche Zeitung,
June 18, 1916. (k) Berliner Tageblatt, June 20, 1916.
ZB37B (1) Neue ZfM, 1916, p. 215. ZB 38
(m) Allgemeine Zeitung, Munich, 1916,
no. 335. ZB 39
(n) Der Merkur, Vienna, 1916, v. 7,
p. 669. ZB 39
(o) Muse des Saitenspiels, 1926, v. 8,
p. 361. ZB 60
(p) Dissonances. Revue musicale inde-
pendente, Geneva, ? 1928-29, v. 5,
no. 3. ZfMW 14
(q) Musikerziehung, 1932, v. 9, supple- ment, p. 45-63. .' ZB 70
Public Library
Goethe and Music, continued
(r) Orchester, 1932, v. 9, p. 18. ZB 70 (s) Organon, 1932, v. 9, p. 8-16. ZB 71 (t) Mitteilungen des Verlags Breitkopf,
1932, no. 162.
ZfMW 14
Jagers Abendlied:
"Welcher Fassung von Goethes 'J^gers Abendlied' ist, und zwar im Sinne des Gedichts, der Vorzug zu geben, der von Reichardt oder der von Schubert?" ( ZfM, 1927, v. 94, p. 569) ZB 61
Liszt and Goethe:
t Hannoverscher Courier, October 18, 1911.
Loewe and Goethe:
t Neue Christoterpe, 1891, p. 138-176.
Mendelssohn and Goethe:
t (a) Frankfurter Konversationsblatt, No- vember 20, 1847, no. 320.
t ( b ) Allgemeine Zeitung, Beilage, Sept. 29,
1861. t (c) Every Saturday, [1874], v. 17, p. 365. f (d) Temple Bar, [1875], v. 42, p. 165. t (e) Musikalische Jugendpost, 1888, no. 7.
t (f) Schwabischer Merkur, Abendblatt, 1898, no. 149.
t ( g ) Mitteilungen des Vereins zur Abwehr des Antisemitismus, 1899, v. 8, p. 214f.
t (h) Norddeutsche allgemeine Zeitung, Nov. 3, 1911.
Mozart and Goethe.
* (a) "Zwei Knaben [Mozart, Goethe] und
zwei Fursten." (In: Gartenlaube, 1863, no. 28)
(b) Journal musical, Paris, 1913, 1-3.
ZBB10
(c) "Zauberflote n'\ (Blatter der Staats-
oper, Berlin, 1928-29, v. 10, no. 9) ZfMW 14
Reichardt and Goethe:
* (a) Blatter fur literarische Unterhaltung,
May 22, 1832, no. 143.
* (b) Prejussische Ostseeblatter, 1832, v. 1,
p. 775.
* (c) Allgemeine musikalische Zeitung,
January 12 and 19, 1842, no. 2-3.
* (d) Europa, 1864, no. 46, p. 1469f.
* (e) Hamburger Korrespondent, 1902, no.
551.
Goethe and Music — List of Referem
H-(J
Schroter, Corona, and Goethe:
* (a) Zur Hausandacht fur die stille Ge-
meinde am 28. August 1871, p. 10.
* (b) Wochentliche Nachrichten und An-
merkungen die Musik betreffend, Leipzig, 1767-68, v. 2, p. 204.
Schubert and Goethe:
*(a) GJB, Frankfurt, 1891, v. 12, p. 99, 125ff.
* (b) Neue Berliner Musikzeitung, 1891,
p. 350-353.
Wagner, Richard, and Goethe:
Deutsche Musikzeitung, v. 631, no. 17.
ZfMW 14
Zelter and Goethe:
f ( a ) Berliner Conversationsblatt fur Poesie, Literatur und Kritik, September 11, 1827, no. 180.
t (b) Jahrbucher der Stadt St. Gallen fur 1831, Zurich, 1832, v. 2, no. 4, p. 96f.
f (c) Der Gesellschafter, May 2, 1832, no. 71.
Zelter and Goethe, O
t (d) Dei Freimdthige, Sept 29, 1832, no.
194. t (e) Frankfurter (
vembex 20, 1847, na !
t (f) FTieg litter fur Mart, 1855,
v. 2, no. 4.
t (g) Verzcielmis VOD (
schriften. . . Berlin, 186] ; 21.
t (h) Die Gn azboten, 19.
t (i) Vossisehe Zeitang, 1- plement, do. - 2
t(j) GJB, Frankfurt. IS; p. 100.
t (k) Augsburger Abendzeit
l.r), 1902. I
t (1) Frankfurter Zeitang,
gust 12, 1905, do. 2
f (m) Tag, 1908, no.
f (n) Vossisehe Zeitung, 190S ment
no. 50. t (o) Signale fiir die nmsik
Berlin, 1908, v. 66, p. L61' (p) Inselschrff. 1925, v. 6, no. 1. p. 9-14.
(q) Deutsche Zeitsehrift, 1' no. 3-4.
GENERAL INDEX
THE main purpose of this index is to facilitate the location of the- poems, all of which have been entered under first line as well as under tide. In regard to the latter, the practice of the standard editions of Goethe lias lx?en fol- lowed, in that the German definite article has not been dropped. Tin is. a good many titles are alphabetized under "d," e. g., "Das Veilclien. T>er Erik "Die wandelnde Glocke," et cetera.
Whereas all first lines and titles have been indexed, the procedure in regard to persons and subjects has been highly selective. Among persons tbeemn] sis has been on the composers who were contemporaries of Goethe (e.g., Andre, Beethoven, Berger, Breitkopf, Eberwein, Ehlers, Glnck, Gorner, Gretry, Jommelli, Kayser, Klein, Loewe, Mendelssohn, Mozart, Xanmann, Reichardt, Schroter, Schubert, Schultz, Seckendorff, Spohr, Zelter); po< and collectors who served Goethe as models (Burger, Bums, Goldsmith, Giinther, Hafiz, Hagedorn, Hammer-Purgstall, Herder, Holtw Julian: Secundus, Lenz, Lewis, Nicolai, Percy, Schlegel, Scott, Shakespeai Wieland ) .
The subject headings have also been restricted to headings pertinent to Goethe's rhythmical and musical development (bouts rimes, desetei ae. dnreh- komponieren, folk song [English, German, Greek, Italian, Scottish, Slavonic ] Gesellige Lieder, gnomic poetry, Knittelvers, Models [Chinese, French, Greek, Italian, Persian, Scandinavian], occasional poems, parody, Protestant hymnal, world literature ) .
Absurder Pfaffe, warst du nicht, 39
Ach, dass die innre Schopfungskraft, 40
Achneige, Du Schmerzenreiche, 83
Aelst, Paul von der, 120
Alles kiindet dich an ( Gegenwart), 96
Alles vergangliche, 84
Als Gottes Spiirhund hat er frei, 40
An Angelica Catalani, 65
An dem reinsten Fiuhlingsmorgen, 97
An den Geist des Johannes Sekundus, 110
An den holden Jiingling denkend, 98
An den Mond, 103
An die Cikade. Nach dem Anakreon, 121
An die Erwahlte, 105
An die Frankfurter Freunde, 72
An Felix Mendelssohn-Bartholdy, 78
An Frau Luise Kraft in Coin, 77
An Hans, 74
An Jane Carlyle, 48
An Julien. Zur Dresdner Reise, 52
An Mignon, 94
An Schiller, 45
Anakreons Grab, 129
Andre, Johann, 13, 54
Arie, Nach dem Italienisclun
Arnim, Achim. See Knabcn Wtmderhorn,
Auf dem See, 70
Auf den Auen wandeln wir,
Auf Kieseln im Bache, 98
Aus Kotschaus Torcn reichet each, 40
Axiom, 57
Bach, Johann Sebastian. 59, 1 ) !
Bankelsiingerlied zuin 26. J uli 1"
Ballade, 30
Ballads of 1813, 31 68
Beaumarchais, P. A. C,
Beethoven, Ludwigvaa, 7, 10,21, 28, 31,
121 Befindet sich einer better and gul Befrei nns Gotl von I and ang, 41 Begiinstigte Tiere, Bei dem Gknz dear a!h ndit Beiemer nossen Wnweinnot, 41
Bekenntnis lu-isst DAcfa altiin BlSOeh, 1-
Berger, Ludwig, 97
Bergschloss. 90 Beruf des Stoichs, 46
107.
[171]
172
The New York Public Library
Bewahrt der Forscher der Natur, 42 Bianchi, Francesco, 98 Bismarck, v., 55 Bouts rimes, 61, 71 Brahms, Johannes, 121 Breitkopf, B. Th., 65, 67, 99 Brentano, Clemens, 12 Brim, Friederike, 106 Burger, G. A., 29, 47, 112, 122 Burns, Robert, 35
Canzonetta Romana, 100
Carey, Henry, 27, 31
Carmina burana, 112
Chorlied. Zum 30. Januar 1806, 31
Chorus mysticus, 84
Christ ist erstanden, 84 f.
Christel, 29
Christoph Kaufmann, 40
Cimarosa, Domenico, 97, 99
Claudine von Villa Bella, 29
Clavigo, 42
Colman, George, 34
Common meter, 49
Da droben auf jenem Berge, da steh ich tau-
sendmal, 99 Da droben auf jenem Berge, da steht ein altes
Schloss, 99 Dank des Sangers, 73 Das Beste, 77
Das Blatt wo seine Hand geruht, 43 Das Blumlein Wunderschon, 63 Das Jahrmarktsfest zu Plundersweilen, 32 Das Leben ist ein Gansespiel, 43 Das Schreien, 66
Das Segel steigt! Das Segel schwillt!, 43 Das Veilchen, 54
Das Wasser rauscht, das Wasser schwoll, 44 Dass Araber an ihrem Teil, 44 Dass du die gute Sache liebst, 44 Dem Arzt verzeiht! Denn doch einmal, 45 Dem 30. Januar 18 — , 73 Dem 31. Oktober 1817, 51 Dem Herren in der Wuste bracht, 45 Dem Herzog Bernhard, 43 Dem Kellner, 69 Dem Schenken, 52 Dem Schnee, dem Regen, 99 Dem Schiitzen, doch dem alten nicht, 45 Den hoch bestandnen Fohrenwald, 45 Denicke, David, 49 Der Becher, 101
Der Dichter freut sich am Talent, 45 Der Fischer, 44 Der getreue Eckart, 68 Der freudige Werther, Stella dann, ,45 Der Goldschmiedsgesell, 27 Der Kuckuck wie die Nachtigall, 46
Der Miillerin Reue, 68
Der Rattenfanger, 106
Der Sanger, 75
Der Storch, der sich von Frosch und Wurm, 46
Der Tempel ist euch aufgebaut, 46
Der Teufel: sie ist nicht gering, 46.
Der Totentanz, 46
Der Turmer, der schaut zu mitten der Nacht, 46
Der untreue Knabe, 28
Der Vorhang schwebet hin und her, 47
Der Wanderer, 34
Der Weihrauch, der euch Gottern gliiht, 47
Des Epimenides Erwachen, 71
Des Knaben Wunderhorn. See Knaben Wun-
derhorn deseterac, 65, 111, 117, 124 Dichtung und Wahrheit, 54, 67 Die Bekehrte, 99 Die Fischerin, 127 Die gute Sache kommt mir vor, 47 Die heil'gen drei Konig' mit ihrem Stem, 89 Die Konigin steht im hohen Saal, 48 Die Lustigen von Weimar, 101 Die Nachtigall, sie war entfernt, 47 Die Perle, die der Muschel entrann, 48 Die reitenden Helden vom festen Land, 48 Die Sprode, 97
Die Wachter sind gebandiget, 48 Die wandelnde Glocke, 56 Dies fessle deine rechte Hand, 48 Dies wird die letzte Tran nicht sein, 49, 90 Diese Federn, weiss und schwarze, 100 Dilettant und Kritdker, 56
Donnerstag nach Belvedere, Freitag gehts, 101 "Donnerstag nach Belvedere!" Und so ging's,
101 Dreihundert Jahre hat sich schon, 51 Dreihundert Jahre sind vorbei, 52 Du gehst so freien Angesichts, 52 Du prophetscher Vogel du, 25 Du zierlicher Knabe, du komm herein, 52 durchkomponieren, 21
Eberwein, Max, 15
Ehlers, Wilhelm, 9, 20, 117
Eichendorff, J., 11, 118
Eigentum, 63
Ein guter Geist ist schon genug, 52
Ein Kavalier von Kopf und Herz, 52
Ein Liebchen ist der Zeitvertreib, 52
Ein Madchen oder Weibchen, 15
Ein Madchen und ein Glaschen Wein, 53
Ein Mann, der Tranen streng entwohnt, 53
Ein munter Lied! Dort kommt ein Chor, 101
Ein Quodlibet, wer hort es gem, 53
Ein Ritter wohnt in dies em Haus, 54
Ein Schnippchen schlagst du doch im Sack, 54
Ein strenger Mann von Stirne kraus, 54
Ein Veilchen auf der Wiese stand, 54
Goethe and Music — Index
Einen wohlgeschnitzten, vollen Becher, 101
Engels, Mile. Ernestine, 62, 96, 98, 101
Enweri sagts, ein herrlichster der Manner, 102
Epimenides' Erwachen, letzte Strophe, 71
Epiphanias, 89
Ergo bibamus!, 105
Erinnr' ich mich doch spat und friih, 55
Erklarung einer antiken Gemme, 56
Erschaffen und Beleben, 59
Erst singen wir "Der Hirsch so frei," 25
Erwache Friederike, 26
Erwiderung der festlichen Gaben, 119
Erwin und Elmire, 54, 109
Es furchte die Gotter das Menschengeschlecht,
102 Es geht eins nach dem andern hin, 55, 90 Es hatt' ein Knab' eine Taube zart, 56 Es ist doch meine Nachbarin, 27, 56 Es lehrt ein grosser Physikus, 56 Es steht ein junger Feigenstock, 56 Es war ein Kind, das wollte nie, 56 Es war ein Knabe frech genung, 28, 56 Es war einmal ein Hagestolz, 56
Faust, 36, 38, 83, 84-89
Feier der Geburtsstunde des Erbprinzen Karl
Friedrich, 73 Ferdusi spricht, 118 Folksong English, 21, 25, 27, 31. See also "Percy" German, 9, 16, 29, 32, 42, 44 (No. 29), 53, 66 (No. 100), 80, 81 (No. 167), 89, 90, 96, 99, 106, 109, 111, 120, 125. See also "Ballads of 1813" Italian, 100, 117
Scandinavian. See "Models, Scandinavian" Scottish, 34, 35 Slavonic. See "deseterac" Franklin, Benjamin, 21 Freibeuter, 111
Freund, wer ein Lump ist, bleibt ein Lump, 57 Friihlingsorakel, 25 Fullest wieder Busch, 103
Gar manches artig ist geschehn, 57
Gefunden, 108
Gegenwart, 96
Geheimes, 122
Geht einer mit dem andern hin, 57, 90
Geistesgruss, 60
Geld und Gewalt, Gewalt und Geld, 57
Genast, E. F., 20
Generalbeichte, 110
Gern war ich Uberliefrung los, 57
Gesellige Lieder, 59, 61, 72, 89, 90, 101, 105,
110, 112, 123 Gewohnt, getan, 62 Gleichgewinn, 57 Gleim, J. W. L., 27
Gluck, Chr. W., 133
Gnomic poetry, 40, 41, 43, 44, 45, 46 47, 48,
52, 53, 54, 56, 57, 58, 59, 60, 61, 68
65,66,67,68, 69,70. 71
76, 77, 78, 79, 80, 81, 82, 83 God Save the King, 31 Gbrner, Johann V., 26, 29 Gotz von Berlichingen, 122 Goldsmith, Oliver, 55, 110 Gottes ist der Orient!, 10 1 Grabschrift, gesetzt von A. v. J. Gregor, Christian, 116 Grenz-lose Lebenspein, 58 Gretry, A. E. M., 109 Gross ist die Diana der Epheser, Apostelge-
schichte, 82 Giinther, J. C., 47, 98 Gutmann und Gutweib. Altschottisch. 34
Hab oft einen dumpfen diistern Sinn, 29, 58 Habt ihr das alles recht bedacht, 58 Hafiz, 44, 59, 74, 119, 123 Hagedorn, Friedrich von, 26, 29 Halte dich nur im stillen rein, 59 Hammer-Purgstall, 44, 59, 102, 104, 105, 106,
118, 119, 123, 125, 127 Hand in Hand! und Lipp auf Lippt ■!. 106 Hans Adam war ein Erdenkloss, 59 Harfenspieler, 78
Hat Welscher-Hahn an seinem Kropf, 60 Heidenroslein, 120 Heine, Heinrich, 12, 118 Hendecasyllabic, 110 Herd, David, 35 Herder, J. G., 19, 29, 33, 36, 43. 44, 56, "7
99, 100, 101, 102, 120, 122. 124, 125, 127 Herein, o du Guter! du Alter, herein! Herrin, sag, was heisst das Fliistern?, 1 Herzlich und freudevoll, 31 Hiersah ich hin, hier sah ich ZU, 80 Hier sind wir versammelt zu loblichem Tun,
105 Hoch auf dem alten Turme steht, I "Hochlandisch", 34 Hochzeitslied, 81 Holderlin, J. C. F., 102 Holty, Ludwig Heinrich, 16, 36 Hore den Rat, den die Loier tout. 106 Houdard, delaMotte, 123
Ichbegegnet einem fungen Mann, (,l
Ich bin der wohlbekannte S&nger, I I
Ich denke dein, wenn mix der Sonne Schimi
106 Ich fiihrt einen Freund zum Maidel Jung, 61 Ichging im Felde so fur mich bin, L07 Ich ging im Walde so Rir mich bin, l<)s Ich hab mein Sacb auf Nichta gestelh, 90 Ich babe geliebet, nun bebicb errt recht, s
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Ich kenn ein Bliimlein Wundersehon, 63, 93
Ich rufe dich, verrufness Wort, 63
Ich weiss, dass mir nichts angehort, 63
Ich wollt ich war ein Fisch, 109
Ihr Bestien, ihr wolltet glauben, 64
Ihr konnt mir immer ungescheut, 64
Ihr lieben Christen allgemein, 32, 64, 93
Ihr lieben Leute bleibt dabei, 64
Ihrseht uns an mit scheelem B lick, 64
Ihr verbliihet, siisse Rosen, 109
Im Felde schleich ich still und wild, 64
Im Gegenwartigen Vergangnes, 119
Im spielenden Bache, 110
Im Vatikan bedient man sich, 65
Im Voriibergehn, 107
Im Zimmer wie im hohen Saal, 65
In das Stammbuch der Frau Durand-Engels,
101 In grossen Stadten lernen friih, 65 Ins Einzelne, 69 Iphigenie auf Tauris, 102 Isis, 69 1st Konkordat und Kirchenplan, 6@
Jacobi, J. G., 63
Jagers Abendlied, 64
Jery und Bdteli, 53
Johannes Secundus, 110, 117
Johannis-feuer sei unverwehrt, 66
Jommelli, N., 133
Journal der Moden, 82
Jiingst schhch ich meinem Madgen nach, 66
Kann die Vorsicht grosser sein, 67
Katzenpastete, 42
Kayser, Ph. Chr., 53, 54, 71, 103, 109
Kein Vergleich, 41
Kenner und Enthusiast, 61
Kennst du das Land, 21, 34
Kinderverstand, 65
Klaffer, 81
Klaggesang von der edlen Frauen des Asan
Aga, 124 Klein, Bernhard, 84 Knaben Wunderhorn, Des, 9, 17, 80, 106, 111,
127 Knittelvers, 61, 67, 83 Komm, Heiliger Geist, du Schaffender, 93 Kriegserklarung, 125 Kriegsgliick, 72 Kunst und Altertum, 76 Kiinstlers Abendlied, 40 Kiinstlers MorgenHed, 46
Landlich, 48, 55, 57 Lasset heut am edlen Ort, 110 Lassetheut im edlen Kreis, 110 Lenz, J. M. R., 25
Lewis, Matthew Gregory ("Monk"), 29, 44, 127
Liebe Mutter, es wird zu arg, 67 Lieber, heiliger, grosser Kiisser, 110 Liebhaber in alien Gestalten, 109 ( Lied des Bankelsangers ) , 32 Lila, 87 Loewe, Karl, 81, 84, 129
Mag jener dunkelhafte Mann, 67
Man lauft, man drangt, man reisst mich mit, 67
Matt und beschwerlich, 34 -
Medici, Lorenzo di, 114
Mein altes Evangelium, 67
Mein Haus hat kein Tur, 111
Memento moril gibts genug, 68
Mendelssohn-Bartholdy, Fehx, 78
Mich ergreift, ich weiss nicht wie, 112
Mignon, 34
Minstrelsie of the Scottish Border, 17
Models
Chinese, 46, 74
French, 26, 42, 98 109, 123
Greek, 121, 125, 129
Italian, 31, 97, 98, 99, 100, 117
Latin, 14, 83, 85, 88, 93, 94, 110, 112- 116, 117
Persian, See "West-ostlicher Divan"
Scandinavian, 102, 127 Modernes, 80
Monolog des Liebhabers, 76 Mozart, W. A., 15, 19, 36, 54, 59, 97, 121, 1$* Milliner, 54 Musikalisches Kunst-magazin, 9
Nach dem Italienischen, 98
Nahe des Geliebten, 106
Nauman, J. G., 98, 101
Nehmt nur mein Leben hin in Bausch, 68
Neologen, 61
Nicht am Susquehanna, der durch Wiisten
fliesst, 116 Nicht Augenblicke steh ich still, 68 Nicolai, C. F., 45, 80, 109 Novemberlied, 45 Nur fort, du braune Hexe fort, 68
O, du loses, leidigliebes Madchen, 117 O Freiheit suss der Presse!, 94 O, gib vom weichen Pfiihle, 117 O Vater alles wahren Sinns,49, 68, 94 O waren wir weiter, o war ich zu Haus, 68 O Welt! wie schamlos und boshaft du bist!, 118 Occasional poems, 40, 41, 42, 43, 45, 46, 48, 52, 55, 56, 57, 58, 60, 61, 63, 64, 65, 66, 67, 69, 72, 73, 74, 75, 76, 77, 78, 81, 82, 83 Offne Tafel, 123
Pardonnez moi! Ihr sehet mich, 53, 68 Parody, 7, 43, 58, 79, 133
Goethe and Music — Index
Percy, Bishop Thomas, 29, 30, 32, 36, 38, 42,
49, 70, 99 Pfeffel, Gottlieb Konrad, 108 Pflegten wir kristallen Glas, 119 Protestant Hymnal, 32, 47, 50, 84, 90, 94 Pygmalion, eine Romanze, 56
Rastlose Liebe, 99
Reichardt, J. F., 9, 11, 15, 19, 20, 54, 65, 75,
80, 100, 117, 121 Reingewaschen in Lammesblut, 69 Riemer, F. W., 105 Ronsard, Pierre de, 26 Ros und Lilie morgentaulich, 119
Sagt es niemand, nur den Weisen, 119
Sah ein Knab ein Roslein stehn, 120
Schafers Klagelied, 99
Schiller, Friedrich, 13, 19, 124
Schlegel, A. W., 36, 37
Schroter, Corona, 100
Schubert, Franz, 7, 15, 84, 121, 123, 129
Schultz, J. A. P., 14, 19, 30, 112
Schwebender Genius iiber der Erdkugel, 68
Scott, Walter, 17, 29, 36, 124, 127
Seckendorff, S. von, 103
Sehnsucht, 49
Seit vielen Jahren hab ich still, 69
Selbstbetrug, 47
Selig bist du, liebe Kleine, 121
Selige Sehnsucht, 119
Sendschreiben, 67
Setze mir nicht, du Grobian, 69
Shakespeare, William, 25, 26, 36, 38, 42, 70,
122 Sie fahrt in alles rasch hinein, 69 Sie haben wegen der Trunkenheit, 69 Sie maltratieren dich spat und friih, 69 So rissen wir uns rings herum, 69 So schliessen wir, dass in die Lang, 70 Song over the Unconfidence toward Myself, 70 Spohr, Ludwig, 13, 21 Stein, Charlotte, 103 Stiftungslied, 36 Sturm, sturm Winterwind, 122 Sumer is icumen in, 15, 25
Taschenbuch auf das Jahr 1804, 8, 80, 81, 117,
126 Thomson, James, 34
Thou knowst how happily thy friend, 70 Tischlied, 112
Tischlied, zu Zelters . . . Geburtstage, 110 Totalitat, 52 Trost in Tranen, 80
Ub immer Treu und Redlichkeit, 16 Uber meines Liebchens Augeln, 122 Uber Tal und Fluss getragen, 94
Ueltzen, H. W. F., 96
Uhland, Ludwiir, 12
Und frische Nahrung, Dead Bbl
Undmorgen fallt St. M Und sollst auch du und du und du, 71 Undwenn er gun/ j nifltt, 71
Unvermeidlich, 127
Vanitas! vanitatum \ 90
Vaux, Thomas, Lord, 38
Veni Creator Spirits
Verflucbt sei, wet each Eala hem It it, 71
Verliehet ihr den goldnen Kr.m/
Verstanden hat er vielea recht,
Verwandte sind sie VOO Yitur.
Verwiinschter weiss ich nichts im K
Verzeiht einmal dem raechen Woil
Viele Gaste wiinsch ich bent, I -
Vier Gnaden, 44
VierTieren auch verheissen war
Vollmondnacht, 105
Vom Vater hab ich die Statur.
Von der Isar bis zum Rhein, 1 2 1
Von Osten will das holde Lie lit
Von Sangern hat man vie! encahlt,
Von wem ich es habe, das sag id& 4 W h nicht.
73 Vor Gericht, 73
Vorvierzehn Tagen harrten wir Voss contra Stolberg: ein Prozess, 7 1
Wagner, Heinrich Leopold. 103
Wagner, Richard, 84
Wanderers Sturmlied, 125
Wann wird der Herr seine FVeund
War schoner als der schoDStG 1
Warton, Thomas, 25
Warum gabst du uns die tirfen Blicke?, 1-1
Warum willst du das junge Hint. 7 1
Warum willst du dich von una all. a
Was alle wollen, weisst du Bchon, 7 \
Was brachte Lokman nicht herv* r, 75
Was gehst du schone Xachhari;
Was haben wir nicht ftil Ki
Was hiitte man vom Zeitungstnuni
Was hor ich drausseo voi dem 'l > r, 75
Was ist chain Knnst uiul Mtntuin. Was ist Weisses dort am ^nincii Wahl
Was lasseo sic denn iibrig .-nl. t I Wasmachstdu an der WeltP, I
Was machst du mir VOf LiebcheOI PBr, 36 Was mir in Kept nml ll< m D Itlitt, Was niitzt die gliihende Natur, 76 Wasschmiicksl du ^c eine Hand denn nun?.
76 Was wares das FOi Bcfatfne Z Was will von Quedlinbuig heraus, Wechsel, 98
Weisse, Christian VcYw
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The New York Public Library
Wen die Dankbarkeit geniert, 77 Wen du nicht verlassest, Genius, 125 Wenn dirs in Kopf und Herzen schwirrt, 77 Wenn ich doch so schon war, 125 Wenn Phobus Rosse sich zu schnell, 77 Wenn schones Madchen sorgen will, 77 Wenn sich lebendig Silber neigt, 77 Wenn iiber die ernste Partitur, 78 Wer etwas taugt, der schweige still, 78 Wer hats gewollt? wer hats getan?, 78 Wer kann gebieten den Vogeln, 127 Wer miiht sich wohl im Garten doit, 159 Wer reitet so spat durch Nacht und Wind, 127 Wer sich der Einsamkeit ergibt, 78 Wer Wissenschaft und Kunst besitzt, 79 Werner, Heinrich, 121
West-ostlicher Divan, 40, 43, 44, 48, 52, 55, 59, 64, 69, 73, 74, 75, 76, 82, 102, 104, 105, 106, 118, 119, 123, 125, 127 Wie doch, betriegerischer Wicht, 79 Wie jung ich war und lebt und liebt, 38 Wie kann sich aber Hans von Eyck, 80 Wie kommts, dass du so traurig bist, 80 Wieland, Chr. M., 19, 100 Wilhelm Meister, 34, 75, 79 Wirlitten schon durch Kotzebue, 81 Wir reiten in die Kreuz und Quer, 81
Wir singen und sagen vom Graf en so gem, 81
Wir sollten denn doch auch einmal, 82
Wirkung in die Feme, 48
Wirst nicht bei jedem Wanderschritt, 82
Wo die Rose hier bliiht, 129
Woher sind wir geboren, 130
Wolf, Hugo, 129
World Literature, 46, 48
Wunderglaube, 82
X hat sich nie des Wahren beflissen, 82
Z'ahme Xenien, 41, 42, 44, 45, 46, 47, 48, 52, 53, 54, 56, 57, 59, 60, 63, 64, 66, 68, 71, 72, 73, 74, 75, 76, 77, 79, 82, 83, 94
Zaubernote, 15, 19
Zelter, 15, 19, 59, 75, 78, 79, 81, 94, 106, 110, 114, 117, 134
Zerbrach einmal eine schone Schal, 82
Zu einer Handschrift Friedrichs des Grossen, 43
Zu Ephesus ein Goldschmied sass, 82
Zu Goethes Denkmal was zahlst du jetzt, 83
Zu Thaers Jubelfest, 78
Zum 21. Juni, Karlsbad, 1808, 116
Zum Tanze Schick ich dir den Strauss, 83
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