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WAS 1ST SILVIA? ENGLANDERIN ODER DEUTSCHE? RESTORING

THE ORIGINAL ENGLISH TEXTS TO SONGS SCHUBERT SET IN

TRANSLATION, A LECTURE RECITAL, TOGETHER WITH

THREE RECITALS OF SELECTED WORKS OF H.

PURCELL, G. F. HANDEL, W. A. MOZART,

F. SCHUBERT, J. BRAHMS, H. WOLF,

F. POULENC AND OTHERS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Colleen R. Bolthouse, B.Mus., M.M.

Denton, Texas

May, 1995

Bolthouse, Colleen R., Was ist Silvia? Emlanderin oder Deutsche? Restoring

the Original English Texts to Songs Schubert Set in Translation. A Lecture Recital,

Together with Three Recitals of Selected Works of H. Purcell. G. F. Handel. W. A

Mozart. F. Schubert. J. Brahms. H. Wolf. F. Poulenc and Others. Doctor of Musical

Arts (Performance), May, 1995, 189 pp., 39 musical examples, references, 94 titles.

Franz Schubert, like many German literary and musical figures working at the

beginning of the Romantic Period, was influenced by English literature, particularly

the dramas of Shakespeare, the prose poems of Ossian, (James Macpherson) and the

novels of Sir Walter Scott. Among Schubert's many Lieder appear two dozen musical

settings of English poems in German translation.

In one of Schubert's few attempts to achieve commercial success, he published

seven settings of poems from Sir Walter Scott's Lady of the Lake in 1826. Four of

the solo songs were published with vocal lines for both the German translations and

Scott's original poems. Schubert hoped to publish this collection in England where Sir

Walter Scott's popularity would help to promote his songs. Schubert also planned to

compose additional songs with English and German vocal lines. Schubert's failure to

do so was probably a consequence of his declining health.

Because of the lack of information concerning the success or failure of

Schubert's bilingual edition and concerning the relationship between the English texts

and Schubert's settings, most performers take the conservative route of performing

both the songs from Lady of the Lake and the rest of Schubert's English song

both the songs from Lady of the Lake and the rest of Schubert's English song

repertoire only with the German translations. Because of the desirability of performing

this repertoire in English for English-speaking audiences, this study examines all of the

English songs of Schubert to determine whether the original poems can be successfully

substituted for the German translations. Editions of the settings that can be effectively

performed with the English texts are included in the appendix, in order to make

available editions which reflect Schubert's ambition to make his songs easily accessible

to non-German-speaking audiences.

Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library.

111

ACKNOWLEDGEMENTS

I would like to thank my major professor and voice teacher, Miss Virginia Botkin, for her help and support throughout this degree. Her suggestions concerning the choice of repertoire for my dissertation recitals were especially appreciated as was her help in the technical preparation of the recitals. I would also like to thank my minor professor, Dr. Deanna Bush, both for her direction of the seminar which inspired the topic of this study and for her suggestions concerning this study and the proposal which preceded it. Finally, I would like to thank the third member of my committee and my vocal coach, Mr. Harold Heiberg, whose musical instruction significantly improved the quality of my dissertation recitals and whose careful proofreading of this document made preparing the final copy much simpler.

IV

TABLE OF CONTENTS

Page

RECITAL I vi

RECITAL II viii

RECITAL III x

RECITAL IV xi

LIST OF MUSICAL EXAMPLES xiii

Chapter

I. SCHUBERT AND ENGLISH LITERARY ROMANTICISM 1

Ossian 2 Shakespeare 7 Sir Walter Scott 11 Schubert 14

II. ANALYSES OF THE TEXTS 18

Shakespeare 18 Abraham Cowley's The Inconstant 21 Alexander Pope and Colley Cibber 25 Ossian 30 Sir Walter Scott's Lady of the Lake Songs 37 The Other Scott Songs and One by Andrew MacDonald 47 Conclusions 53

III. ANALYSES OF SCHUBERT'S BILINGUAL SONGS 55

Schubert's Editorial Practices 55 Ellens Gesang II 73 Lied des gefangenen Jagers 74 Ellens Gesang III: Hymne an die Jungfrau 76 Ellens Gesang 1 81

Conclusions 84

IV. ANALYSES OF SCHUBERT'S OTHER ENGLISH SONGS 85

The Shakespeare Songs 85 Der Weiberjreund 87 Verklarung 87 Der blinde Knabe 89 The Ossian Songs 92 Lied der Anne Lyle 95 Gesang der Noma 98 Romanze der Richard Lowenherz 101

V. GERMAN OR ENGLISH: THE FINAL EVALUATION 104

APPENDIX 107

Preface 108 Ellen's Song II 115 Ellen's Song III 122 Lay of the Imprisoned Huntman 126 The Blind Boy 134 Drinking Song 141 Serenade 144 To Silvia 147 Song of Anne Lyle 150 Noma's Song 156 Romance of Richard the Lion-Hearted 163

BIBLIOGRAPHY 177

VI

presents

Graduate R e c i t a l

COLLEEH R. BOLTHOUSE, sop rano Cl'Ck. piani'sl

M-.ii. l / iy, A p r i l 2 , 1990 8 : 1 5 p . a . CONCERT HALL

Henry P u r e e ! 1

Hugo W o l f

Wo Si i t t f To Him <o«io A l l Yo S o n g s t e r s Sound t h e T rumpet Swootor t h a n Roses

S<* 1 «%c*t»ons f r o « M o r i k e L i e d e r

L i e d vom Winde K i n S t u n d l e i n %#ohi v o r Tag An e i n e A e o l s h a r f e Zu« neuen J a h r R a t h e i n e r A i t e n

Er i a t ' s

*A B e r e n i c e . • • S o l Nascente*1 KV 70 ( 6 0 c ) ¥ . A. M o z a r t

i n t e r m i s s i o n

D a r i u s K i i h a u d C a t a l o g u e d*L Fl<*urs

I . La V i o l e t t e i I . Le Bogon ia

I I I . Lt*s F r i t i l i a i r e s I V . Lea J a c i n t h e a

V. L«*s Crocus VI . L<* Hrachycoae

V! 1 . 1.* Kr<*aurus

i c a

V l l

The White Election Gordon C<*tly

(1985) Part A : The Pensive Spring

1. I Sing to Use the Waiting 2. There is a Morn by Hen Unseen 3. i Had a Guinea Golden 4. If She Had Been the Mistletoe 5. New Feet Within My Garden Go 6. She Bore It 7. I Taste a Liquor

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

VH1

UNIVERSITY OFNORTHTEXSS

9 fAVf

presents

Graduate Recital

COLLEEN R. BOLTHOUSE, soprano SARAH D. CLICK, pianist

Monday, April 8, 1991 8:15 p.m. Concert Hall

PROGRAM

George Frideric Handel "Mio caro bene!" (Rodelinda) "Care selve" (Atalanta) "Tornami a vagheggiar" (Alcina)

Allison Oppedahl, violin George Settlemire, viola

David Shaw, violone Johannes Brahms Bird Songs

Nachtigall Aufdem Schiffe Lerchengesang Das Madchen spricht In Waldeseinsamkeit

Wolfgang Amadeus Mozart Concert Aria, K. 505 "Ch'io mi scordi di te? . . . Non temer, amato bene"

- Intermission

X m m

NOKni

IX

Francis Poulenc Fiangailles pour rire La Dame d'Andrt Dans Vherbe II vole Mon cadavre est doux comme un gant Violon Fleurs

Samuel Barber Opus 13 A Nun Takes the Veil The Secrets of the Old Sure on this shining night Nocturne

Presented in partial fulfillment of the requirements for the degree of


mum* presents

A (inidnate Recital

COLLEEN R. BOLTHOUSE, soprano SARAH CLICK, piano

assisted by

Patricia Pierce, clarinet

Monday, October 21, 1991 8:15 p.m.

"0, King of Kings . .. Alleluja" ESTHER

Der Hirt auf dent Felsen

Automne La Fie aux chansons Aurore La Fleur qui va sur I'eau Dans la forit de septembre Fleur jette

- Intermission •

B MOJIH&HbR HOHH TflHHOH

BeTep riepejieTHWH

CoH

OTpUBOK 13 A. Miocce

CyMepKH

K Beit

Kanoe c«iacn.e Presented in partial fulfillment of the

requirements for the degree of Doctor of Musical Arts

Concert Hall

G. F. Handel

F. Schubert

G. Faurt

Ccpreli PaxMaHWHOs

XI

University of North Texas

Cottegtofykm presents

A (iiaduaie Leclure Rccilal

COLLEEN R. BOLTHOUSE, voice accompanied by

Dr. Sarah Click, piano

Monday, January 23, 1995 6:15 pm Recital Hall

WAS IS SILVIA? ENGLANDERIN ODER DEUTSCHE?

Restoring the Original English Texts to Songs Schubert Set in Translation

Verklarung D. 59 EUen s Gesang II D. 838 Kolma s Klage D.217 Lied der Anna Lyle D. 830 An Silvia D. 891

Presenied in partial fulfillment of the requirements for the degree of


Xll

LIST OF MUSICAL EXAMPLES

Page

Example

1. Lied des gefangenen Jdgers, mm. 9-11 56

2. Ellens Gesang I, m. 106-107 57

3. Lied des gefangenen Jdgers, m. 44 58

4. Ellens Gesang I, m. 98 59


6. Ellens Gesang III, m. 6 61

7. Lied des gefangenen Jdgers, m. 76 62




11. Ellens Gesang I, mm. 96-101 66


13. Ellens Gesang II, m. 70-74 69

14. Ellens Gesang III, m. 7-8 70

15. Ellens Gesang II, mm. 36-37, 41 71

16. Ellens Gesang II, mm. 47-48 72

17. Lied des gefangenen Jdgers, mm. 18-20 75

xm

18. Lied des gefangenen Jagers, mm. 19-21, altered 75

19. Lied des gefangenen Jagers, mm. 60-61 76

20. Ellens Gesang 111, mm. 7-8 altered 77

21. Ellens Gesang III, mm. 10-11 79

22. Ellens Gesang I, mm. 98-101 83

23. An Silvia, mm. 19-26 86

24. Der blinde Knabe, mm. 32, beat 4-36, beat 1 92

25. Kolma's Klage, mm. 25-28 94

26. Lied der Anne Lyle, mm. 10-12 96

27. Lied der Anne Lyle, mm. 22-24 97

28. Gesang der Norna, mm. 61-63 98


30. Romanze des Richard Lowenherz, mm. 6-8 102

31. Romanze des Richard Lowenherz,mm. 51-53 103

32. Gesang der Norna,mm. 55-57 110

33. Romanze des Richard Lowenherz,mm. 12-14 I l l

34. Lied der Anne Lyle, mm. 10-12 I l l


36. Der blinde Knabe, mm. 32-33 112



39. Ellens Gesang III, mm. 7-8 114

xiv

CHAPTER I

SCHUBERT AND ENGLISH LITERARY ROMANTICISM

During the late eighteenth century, many influences began to change the

literary, artistic and musical culture of the German-speaking areas of Europe. Long

overshadowed by France and French culture in politics, literature and language, and by

Italy and Italians in music, German culture and language were considered second rate,

and unworthy of attention by serious writers and artists.

As the influence of both the Enlightenment and the Church began to wane,

however, important writers and scholars began looking to the past for inspiration.

These scholars attempted to reconstruct an ideal past when the Germanic tribes roamed

Europe, more or less unified by common language and culture. The collection of

German stories and legends was an essential part of this reconstruction, as was a

renewed interest in folk culture generally. Rousseau's writings, upholding the 'natural

genius' as the ideal man, uncorrupted by culture and civilization, added to the

enthusiasm and longing for a simpler time. By themselves, these factors were not

sufficient to create a common vision of the past that would inspire the newly

awakening national sentiment that was to be found particularly among the members of

the growing middle class. Thus, German writers began looking beyond their borders

for artistic models which they could imitate in order to capture the growing interest in

a specifically German culture and tradition. One place they found inspiring models was

1

in English literature.

Ossian

Considering the increasing interest in legend and history during this period, it is

not surprising that publication of the writings of Ossian took the German-speaking

areas of Europe, (as well as much of the rest of the continent), by storm. The poems

of Ossian, partially based on Celtic originals and published by James Macpherson as

translations from Gaelic and Erse, were supposedly the work of a third-century Celtic

bard. From the beginning there was considerable controversy concerning Macpherson's

translations, particularly concerning whether such lengthy poems could have been

orally transmitted from the third century without being corrupted, and whether the

manuscripts that Macpherson claimed to have worked from existed. Because of this

controversy, and because of the cultural prejudice that existed in London at that time

against anything associated with Scottish or Celtic traditions, Ossian's poems were

never as favorably received in England as they were on the continent. In his biography

of James Macpherson, Paul deGategno compares the influence of Macpherson's

"translations" on English and foreign writers:

Scholars generally agree that Ossian's impact on English writers, for all the provocative evidence, remains (after argument and counterargument) problematic. Ossian's influence on the European continent, however, in particular Germany, France and Italy, is subject to little or no disagreement. Macpherson's poems were received in these countries with an excitement bordering on hysteria.1

The first German translations of some of the poems of Ossian appeared in

'Paul J. deGategno, James Macpherson (Boston: Twayne Publishers, 1989), 118.

Bremen in 1762, only two years after their publication in England. A complete edition

of the poems of Ossian was available in German by 1768-69, in a translation by J. N.

C. Michael Denis. Denis, however, was forced to base his translation on an Italian

version by Melchior Cesarotti, since copies of the English poems were relatively rare

in German-speaking areas. It was not until 1773, when the first English reprint of

Works of Ossian, Vol. 1, was published in Darmstadt,2 that these poems were widely

available to German-speaking readers.

Among the poets Ossian influenced were Klopstock, Herder, Goethe, and

Schiller, as well as the poets of the Gottinger Hain, of the Sturm und Drang

movement, and of the Romantic school. Klopstock, in particular, held up Ossian's

poetry as a model for German poetry, and in fact went so far as to suggest that Ossian

was German. For Klopstock, the ancient Celtic and Germanic tribes were all related.

At a time when German-speaking areas were still divided into numerous individual

states and when there were no exceptional German-speaking political leaders (except

Frederick the Great), Klopstock could conjure up an ideal, unified Germanic fatherland

of the distant past by equating the Celtic and Germanic tribes.

Fiona J. Stafford, in her book The Sublime Savage, states that part of the

attraction of Ossian came from the new freedoms that poetry in style of Ossian offered

to the poet. She states,

'Sublimity' was a word constantly associated with Ossian...The new taste for storms, mountains and blasted heaths was part of the desire for powerful emotional experience, which could not find an outlet in

The second volume was published in 1775.

comtemporary [sic] literature. The Poems of Ossian, with their wild landscape and irregular structure, seemed to promise the imaginative release that was so desperately needed.3

This desire for emotional experience was elevated to an aesthetic ideal by the poets of

the Sturm und Drang movement, who preferred these new freedoms over what they

considered to be the restrictions of the neoclassic poetry of the Enlightenment. Gerald

F. Elsa, in his article on the concept of the sublime for the Princeton Encyclopedia of

Poetry and Poetics,4 discusses the importance of the idea of the sublime for English

poets. His statements are equally valid for German poets of this period:

As the 18th c. advanced, the sublime was absorbed into the bloodstream of English thinking not only about literature but about art in general and even external nature. Under it were subsumed all the loftier feelings-"admiration," "transport," "enthusiasm," vehemence, even awe and terror—which literature, art and nature were capable of inspiring, but for which neoclasssicism had no clearly marked place. More and more frequently the sublime was distinguished from the beautiful—and ranked above it. Thus it played no small part in the drift toward subjectivism, the psychologizing of literature and literary experience, the concept of "original genius" unfettered by rules...and ultimately in the rise of romanticism in poetry and the concurrent establishment of aesthetics as a new, separate branch of philosophy... .5

Stafford believes the German yearning for the sublime was related to a growing

uncertainty of the existence of God. She states that,

The vogue for Ossian can be seen as part of a subconscious reaction

3Fiona J. Stafford, The Sublime Savage: A Study of James Macpherson and The Poems of Ossian (Edinburgh: Edinburgh University Press, 1988), 174.

"Gerald F. Elsa, "'Sublime'," Princeton Encyclopedia of Poetry and Poetics, ed. Alex Preminger, associate eds. Frank J. Warnke and O.B. Hardison, Jr., enlarged edition (Princeton, NJ: Princeton University Press, 1974), 819-20.

5 Ibid,819.

against the scepticism of David Hume and the French philosophes, which seemed to threaten the traditional frameworks of belief. The world of Ossian was remote and mysterious, haunted by ghosts and surrrounded by mists and darkness. It was the complete antithesis of the Enlightenment.6

One of the most significant events that enabled the spread of enthusiam for the

poems of Ossian was the translation of sections of two Ossian poems, The Song of

Selma and Berrathon, by Goethe. Goethe incorporated these translations into the

second half of his novel Die Leiden des jungen Werthers. This novel, which was one

of the most influential pieces of literature of the century, first appeared in 1774. A

widely-read and controversial novel, Werther carried Ossian's poetry with it to a

height of popularity it would otherwise not have reached. Not just in Germany, but

also in France and the U.S., Ossian's poetry became well known because of its

association with Goethe. (Napoleon was said to have carried a copy of Werther and a

copy of Ossian's poetry on campaigns.) Thomas Jefferson spoke for many readers

when he wrote to Macpherson stating, "These peices [sic] have been, and will I think

during my life continue to be to me, the source of daily and exalted pleasure. The

tender, and the sublime emotions of the mind were never before so finely wrought up

by human hand."7

The primary reason, however, that Ossian's poetry was influential on German

poets was that it pointed to a new direction for poetic development, while retaining a

'Stafford, 174.

'Thomas Jefferson quoted in Paul J. deGategno '"The Source of Daily and Exalted Pleasure': Jefferson Reads the Poems of Ossian," Ossian Revisited, ed. Howard Gaskill (Edinburgh: Edinburgh University Press, 1991), 98-99.

grounding in the past. Stafford attributes this to the combination in Ossian of novelty

and antiquity:

Despite their newness, The Poems of Ossian also seemed to offer a comforting sense of permanence: it was ancient poetry like the Bible or Homer and therefore seemed safe. Although Macpherson's work anticipated many of the concerns of the Romantic Movement, the words of a third-century poet could hardly seem revolutionary. The melancholy preoccupations of the Celtic bard himself attracted the sympathy of an eighteenth-century audience, but he still retained the stature of an Ancient. The combination of the subjective poet and the sage prophet was perfect for the Romantic Period, where the image of the poet as an isolated genius emerged again and again. As sole survivor of a greater world, Ossian commanded the perennial fascination with the exiled hero and the loss of paradise.8

Enthusiasm for Ossian continued until the work of the poets of the Romantic

school began to overshadow it late in the century. Macpherson died in 1796, and after

his death the only significant interest in Ossian's poems in German areas arose in the

years 1800-08 when steps were being taken toward publishing the original Gaelic

poems Macpherson had collected. A German translation of them was not published

until Ahlwardt's translation of 1811. Rudolf Tombo states:

The excellence of this translation was trumpeted throughout the land long before its appearence, a specimen was published as early as 1807 and widely reviewed, so that when the complete translation finally appeared, little was left to be said. Ahlwardt's translation really marks the beginning of the end.9

Ossian continued to influence important Romantic composers, however, including

Brahms and Mendelssohn. The latter even toured Scotland and the Hebrides in 1829,

'Stafford, 178.

9Rudolf Tombo Jr., Ossian in Germany, Bibliography, General Survey, Ossian s Influence upon Klopstock and the Bards (New York: AMS Press, Inc., 1966), 74.

and later composed the Overture Hebrides (Fingal's Cave) of 1930 and the Symphony

No. 3 (known as the Scottish) of 1842.

Shakespeare

Although Shakespeare was considered to be the greatest poet and dramatist in

the English language, he was relatively unknown by German playwrights and poets

until the middle of the 18th century. The first of his plays to be translated in full into

German was Julius Caesar, which was published in 1741. This publication led to a

dispute between Johann Christoph Gottsched and Johann Elias Schlegel, which brought

about the first significant discussion of Shakespeare among German writers.

Gottsched was interested in bringing to life a German dramatic school modeled

on the style of French neoclassical drama, and therefore criticized Shakespeare for his

lack of adherence to the classical unities. Schlegel, on the other hand, believed that the

unities did not serve the purposes of Shakespearian drama, where character, rather than

action and moral purpose, was the central element of the drama. Though Gottsched's

views were influential during the time that German writers aimed their works at the

French-influenced German courts, Schlegel's views began to prevail among the rising

middle class. Simon Williams, in his book Shakespeare on the German Stage, writes:

Gottsched's influence over German literature declined as the Francophone culture of the courts lost its appeal for German writers, even though this culture continued as a powerful influence in Germany until well into the nineteenth century. Its pre-eminence was challenged by a rising middle class that used models from English and national German literature to give its own literature identity. Shakespeare was a

8

pivotal figure in this change.10

A complete appreciation of Shakespearean drama did not arise, however, until

the 1770s when Shakespeare was taken up as a model by the Sturm und Drang school.

These writers believed that by studying and emulating Shakespearean drama they could

free themselves from the influence of French neoclassic drama. Their enthusiasm for

Shakespeare, writes Williams,

. . . resulted in a major body of Shakespearean criticism, representing the first phase in an outbreak of Shakespeare-worship in Germany that has rarely if ever been equalled elsewhere. Through the flood of writings that resulted, Shakespeare came to be assimilated as the 'third German classic writer' after Goethe and Schiller,11 whose work has had as great an influence as that of the first two on subsequent German drama.12

Two writers associated with the Sturm und Drang school who were particularly

influential in the spread of enthusiam for Shakespearian drama were Goethe and

Herder, both of whom wrote important essays on Shakespeare. Goethe's essay,

originally a speech entitled Zum Shakespeares-Tag, was not published until 1854,

though it was originally given in 1771. Goethe wrote about two aspects of

Shakespearean drama that especially appealed to him. One was the freedom of

Shakespeare's plays from the classical unities and the other was the completeness of

,0Simon Williams, Shakespeare on the German Stage: Vol. 11586-1914 (Cambridge: Cambridge University Press, 1990), 9.

nUlrich Suerbaum, "Der deutsche Shakespeare," Festschrift Rudolf Stamm, ed. Eduard Kolb and Jorg Hasler (Berne and Munich, 1969), p. 61, translated and quoted in Williams, 14.

12 Williams, 14

Shakespeare's characters, who to him were reflections of nature (that is they were real

individuals, not characters created for the theater).

Herder's essay, published in 1773, was far more influential than that of

Goethe. Herder, who had been familar with Shakespeare's works since 1764, rebutted

in his essay all the criticisms of Shakespeare that had been raised by supporters of

neoclassic drama. Since he had already fully developed a new theory of popular art,

his arguments were very effective. According to Williams:

He [Herder] granted French drama elegance, beauty and the capacity to enlighten its audience, and appreciated it as a natural expression of a rigorously hierarchical society, but as it was now separated from its roots, its action and characters "lack spirit, life,[and] truth".13 In contrast Shakespeare's drama seemed natural and vigorous. Through writings such as Herder's, neoclassical drama came to be seen as symbolic of an increasingly friable aristocratic culture, while Shakespeare's plays, though of an older date, appeared to embody a democratic spirit and natural energy that was powerfully antagonistic to this culture. Although the neoclassic hold on Germany was never completely loosened, writings such as Herder's Shakespeare essay provided a vital challenge to it.14

Among the Romantic writers, two in particular, August William Schlegel and

Ludwig Tieck, helped to secure a permanent place for Shakespeare on the German

stage, as well as to strengthen understanding of his work in general in German-

speaking areas. Schlegel both wrote about Shakespeare's works, most significantly in

his Vorlesungen iiber dramatische Kunst und Literatur (Lectures on Dramatic Art and

Literature), and translated them into German. Between 1791 and 1801, Schlegel

13Herder, Werke, vol. I, p. 882, translated and quoted in Williams, 22.

1 "Williams, 22.

10

published translations of sixteen of the plays, and then added one more in 1810.15

When Schlegel lost interest in finishing a complete translation of the plays, the project

was given by its publishers to Tieck, who oversaw its completion, though most of the

actual translation work was done by Tieck's daughter Dorothea and Wolf von

Baudissin. Williams describes the translations and their impact on German language

and literature:

Despite the several hands that completed the Schlegel/Tieck translation, it is remarkably uniform in style, sticking faithfully to Schlegel's original intention, "to reproduce [the text] faithfully and at the same time poetically, following step by step the literal meaning and yet catching at least a part of the innumerable, indescribable beauties which do not lie in the letters but hang about it like a ghostly bloom."16 The translations are faithful to the original without being prosaic, demonstrating a resourcefulness and imagination that often finds close German equivalents to Shakespeare's English. . . . The German verse was flexible, pleasant to hear and rhythmically light, which made it ideal for the stage, while Shakespeare's ambiguous and multiple meanings were surprisingly well sustained in the German. But the reason why this translation is historically pre-eminent is that it appeared at a time when German literature was at a crucial stage in its development. . . . The works of Goethe, Schiller and the Romantics had expanded the scope and flexibility of German as a literary medium. The Schlegel/Tieck translations, by demonstrating that German could achieve a range and expressiveness equal to Shakespeare's English, validated the advancement of German literature to European status. So, while several other complete translations of Shakespeare have since appeared, the Schlegel/Tieck version has always commanded a remarkable loyalty.17

15The plays were Romeo and Juliet, A Midsummer Night's Dream, Julius Caesar, As you like it, The Tempest, Hamlet, The Merchant of Venice, Twelfth Night, King John, Richard II, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, and Richard III.

l6Schlegel, Kritische Schriften und Briefe, vol I, 101, quoted and translated in Williams, p. 151.

l7Williams, 151.

11

Sir Walter Scott

While Shakespeare primarily influenced German drama, Sir Walter Scott

influenced the German historical novel as no other writer of that time. Goethe himself

held Scott in high esteem, calling Scott, "a great genius who does not have an equal."18

The importance of Scott's influence was also attested to by a German critic, Julian

Schmidt who wrote in his History of German Literature of 1869 that, "No matter how

we measure it, the influence of Walter Scott is enormous. Yes, I do not hesitate to

proclaim it, it is the greatest which any of the authors of the nineteenth century

wielded."19

One reason for Scott's popularity among German readers may have been that

his own style was influenced by German literature, especially the writings of Goethe.

As a young man Scott studied German specifically to enable him to read Goethe in his

native language. Indeed, Scott's first publication of any importance was his translation

of Goethe's Goetz von Berlichingen. According to his friend R. P. Gillies,

there is every reason to believe that the Goetz of Berlichingen had more influence in disposing his mind for the course which he afterwards pursued, than any other production, either foreign or domestic, which fell in his way. . . . Here, at least, was a real and well-known historical hero of the olden time—a man whose character was so far from being fabulous, that he has left his own very curious autobiography—and without the slightest departure from the realities of life, brought out in

18Goethe, as quoted in Paul M. Ochojski, "Waverly Ueber Alles—Sir Walter Scott's German Reputation," Scott Bicentenary Essays: Selected Papers read at the Sir Walter Scott Bicentenary Conference, ed. Alan Bell (New York: Barnes and Noble Books, 1973), 260.

19i Schmidt, quoted in Ochojski, 260.

12

manner, till then, unprecedented in modern art."20

The admiration that Scott had for Goethe continued throughout his life. E. H. Harvey

Wood writes, "It was to be one of the great disappointment of Scott's life that he

never managed to talk to Goethe in person, . . . [and] Goethe's interest in Scott seems

to have been no less acute than Scott's in him." Though they exchanged letters in

1827, Scott's planned visit to Goethe in 1832 was frustrated by Goethe's death on

March 22. Wood mentions, however, that, "By the time he [Scott] reached Germany,

he was so ill that it is doubtful whether he could have seen Goethe, had he still been

alive."21

Whatever the reason, Scott's popularity in German-speaking areas is

unquestioned. Deutsch mentions in his documentary biography of Schubert that Scott

was in vogue in Vienna and German-speaking areas from 1815.22 Although Scott's

early novels were published anonymously, by 1817 German critics were well aware

that "The Great Unknown" was probably Scott, and his popularity grew rapidly after

the publication of Ivanhoe in 1820. A writer in Elegante Welt, No. 57, (an issue that

includes an advertisement for Ivanhoe), states that,

20R. P. Gillies, quoted in E. H. Harvey Wood, "Scott's Foreign Contacts," Scott Bicentenary Essays: Selected Papers read at the Sir Walter Scott Bicentenary Conference, ed. Alan Bell (New York: Barnes and Noble Books, 1973), 246.

2'Wood, 248.

22Otto Erich Deutsch, The Schubert Reader: A Life of Franz Schubert in Letters and Documents, tr. Eric Blom, being an English version of Franz Schubert: Die Dokumente Seines Lebens, revised and augmented with a commentary by the Author (New York: W. W. Norton and Co. Inc., 1947), 287.

13

The truly romantic writer had become scarce, . . . No wonder that the novels of Scott among us found enthusiastic reception. His newest novel Ivanhoe surpasses his others. All the persons appearing in this novel are portrayed in a manner betraying the brush of a master, and not seldom reminding one of Shakespeare's great genius.23

The reviews of Scott's novels in German periodicals reveal another reason that

Scott's novels may have been so popular. The Literaturblatt (No. 55, 1819), edited by

Wolfgang Menzel, in holding up one of Scott's novels as an example for German

writers, praises its high moral tone, and states that that the popularity of Scott's novels

(in contrast to those by German-speaking writers) was proof that German readers were

tired of erotic trash.24

Though the height of Scott's popularity was during the years 1820-30, his

novels continued to be published throughout the nineteenth century. According to

Ochojski, "even as late as the period 1896-1910, when Scott had been overtaken by

Dickens, Marryat, and Stevenson in popularity, there were still 51 separate editions of

his novels published."25 Scott's writing also continued to inspire writers in German-

speaking areas to recreate German history by writing historical novels. Ochojski

believes that, "the historical novel in Germany was a strong factor in promoting

national unity, and it would be no exaggeration to state that it played a large part in

the psychological preparation for the foundation of the German Reich in 1871."26

23Ochojski, 262.

24Reported in Ochojski, 262.

25Ochojski, 270.

26Ochojski, 269-70

14

Schubert

With so much enthusiasm for English literature among German speakers, it is

not surprising that Schubert should be among those who were influenced and inspired

by German translations of English poems. As early as 1813, while Schubert was still a

student at the Kaiserlich-konigliches Stadtkonvikt, he made his first setting of an

English poem in translation. It was a setting of Herder's translation of The Dying

Christian to his Soul by Alexander Pope. This song signaled the beginning of what

would be a lifelong interest in English poetry, particularly the poetry of Ossian,

Shakespeare and Sir Walter Scott.

Schubert set twenty-three translations of English poems to music. Though these

songs appear throughout his compositional career, poems by individual poets tend to

be grouped together. For example, the nine settings of translations of Ossian all appear

in the years 1815-1817, and the seven Scott translations belong to the years 1825-26.

It is impossible to discover how Schubert was first introduced to English

literature in translation because there is no mention of the translations, the original

poems or the poets in any of the contemporary documents concerning Schubert before

1823. It is likely, however, that some of Schubert's friends had studied English

literature, either in the original language or in translation, and brought it to his

attention. The first mention of any of the English poets Schubert set in translation is in

a letter from Schubert to Schober dated August 14, 1823. Schubert writes, "Here [he

was writing from Steyr] I live very simply in every respect, go for walks regularly,

15

work much at my opera and read Walter Scott."27

However, contemporary documents reveal that Schubert planned to publish

bilingual versions of his songs from Scott's Lady of the Lake. This plan appears to

have been formed near the time of the composition of the songs. The Lay of the

Imprisoned Huntsman, the only one of these songs that Schubert dated, was composed

on April 4, 1825. The first document to mention these songs is a letter from Anton

Ottenwald to Josef von Spaun dated July 19, 1825. Later that same month, on July

25, Schubert wrote to his father and stepmother concerning his publication plans:

My new songs from Walter Scott's 'Lady of the Lake' especially had much success. . . . In Steyregg we called on Countess Weisenwolff, who is a great admirer of my littleness, possesses all my things and sings many of them quite nicely. The Walter Scott songs made such an excessively good impression on her that she even let it be guessed that the dedication of them would be anything but disagreeable to her. But I intend to use a very different procedure with the publication of these songs from the usual one, which yields so very little, since they bear the celebrated name of Scott at their head and may in that way arouse greater curiosity, and might also make me better known in England by the addition of the English words.28

By this time, however, Schubert had apparently already contacted a publisher

concerning a bilingual edition. Only two days after Schubert wrote to his parents,

Franz Hiither, the manager of the publishing firm of Anton Pennauer, wrote Schubert

asking how many of the Lady of the Lake songs have the same meter as the original

English and could be printed with both texts. (The edition was actually published in

27Deutsch, 287. Unfortunately, this is also the letter in which Schubert's illness is first unequivocally mentioned.

28Deutsch, 434-35.

16

April of 1826 by Matthias Artaria.) Ferdinand Schubert also wrote to his brother that

summer to express his enthusiasm for Schubert's publication plan:

It would long ago have been a good thing to proceed differently with the publication of your songs; but I particularly like your plan for the Walter Scott songs, i.e. to let them appear with English words as well.— I am already dreaming of your reception in England, where by means of larger works, such as symphonies, oratorios and perhaps operas, you will climb to the same heights among German composers as the Egyptian Joseph did among his brethren.29

Schubert also intended to expand his idea for bilingual publications to

additional groups of songs. On October 23, Jakob Nikolaus Craigher, Freiherr von

Jachelutta, made the following entry in his diary:

Schubert has entered into an agreement with me according to which I am to supply him with a number of songs by English, Spanish, French and Italian classics with German translations in the meters of the originals, which he will then set to music and have published with the original text. I myself can only gain thereby, the more so because this may bring about a closer connection between us, which could not fail to be in every respect beneficial to us both. Besides, Schubert is too splendid a person for me not to do my utmost to draw him nearer to us. —He also took a few new songs of mine with him, which he will probably set to music.30

Craigher was an accountant who also wrote poetry, and two of his own poems were

set by Schubert (Die junge Nonne and Totengrabers Heimweh). Though Schubert did

set one of Craigher's translations of an English poem, (Der blinde Knabe, a translation

of Colley Cibber's The Blind Boy), the song was composed earlier in the year,

probably about the same time as the Lady of the Lake songs.

29Deutsch, 446.

30Deutsch, 470-1.

17

Unfortunately, Schubert's plan to collaborate with Craigher was never carried

through. This was probably a result of Schubert's deteriorating health rather than any

loss of interest in the project. He did, however, continue to set translations of English

poems to music, his last being a setting of the Middle English ballad Edward (Eine

altschottische Ballade), which he composed in 1827 to a translation by Herder.

Together Schubert's song composition and the documents concerning his life

draw a clear picture of his interest in the literature of other languages, especially

English, and of his intent to replace German translations in his songs with the original

poems. One can only speculate about what direction his compositional career would

have taken had better health lengthened his life or increased his output. However, there

is no doubt he would have been pleased if more editions of his songs had appeared

with the original poems. The purpose of the following chapters is to discover whether,

in those songs Schubert did compose to translations of English poems, it is possible

and desirable to replace the German translations with the English poems from which

they are derived. Chapter Two will begin by examining the poems and their

translations.

CHAPTER II

ANALYSES OF THE TEXTS

The English poems that Schubert set in translation are, despite a common

language, a quite varied collection. They cover a wide temporal span, beginning

possibly as early as the 1580s, when Shakespeare began his work as a playwright, and

continuing through Schubert's lifetime, when Sir Walter Scott was writing his

historical novels. Because of this, they also exhibit a great variety of poetic and

literary styles and techniques. As underscored in the last chapter, however, all these

poems are linked by the influence of English literature on the emerging German style

of poetry and literature and therefore were considered appropriate texts to use in the

composition of the developing German genre of the Romantic Lied. To better

understand how these poems made the transition from English poem to German Lied,

it is necessary to examine both the original poem and the German translation.

Shakespeare

The three Shakespeare texts are all taken from Shakespeare's plays, and

therefore are all without an individual title. The poem beginning "Who is Silvia?",

which appears in The Two Gentlemen of Verona, is generally believed to be the

18

19

earliest, possibly from as early as 1587. and certainly no later than 15981. The

translation that Schubert set is by Eduard von Bauernfeld.

Who is Silvia? What is she, That all our swains commend her Holy, fair and wise is she; The heaven such grace did lend

her That she might admired be.

Is she kind as she is fair? For Beauty lives with Kindness. Love doth to her eyes repair To help him of his blindness, And being helped, inhabits there.

Then to Silvia let us sing That Silvia is excelling; She excells each mortal thing Upon the dull earth dwelling. To her let us garlands bring.

Was ist Silvia, saget an daB sie die weite Flur preist? Schon und zart seh ich sie nahn, auf Himmels Gunst und Spur weist,

daB ihr alles untertan.

Ist sie schon und gut dazu? Reiz labt wie milde Kindheit, ihrem Aug eilt Amor zu, dort heilt er seine Blindheit und verweilt in siiBer Ruh.

Darum Silvia ton, o Sang, der holden Silvia Ehren, jeden Reiz besiegt sie lang, den Erde kann gewahren, Kranze ihr und Saitenklang.

The poem beginning "Come Thou Monarch of the Vine", from Antony and Cleopatra

can be more precisely dated, probably from the latter part of 1606.2 The translation

Schubert set is by Ferdinand von Mayerhofer.

Boy Come thou monarch of the vine, Bacchus, feister Fiirst des Weins, Plumpy Bacchus with pink eyne! komm mit Augen hellen Scheins, In thy fats our cares be drowned, unsre Sorg ersauf dein FaB, With thy grapes our hairs be und dein Laub uns kronen laB,

crowned,

'For more information on the dating of The Two Gentlemen of Verona see William Shakespeare, The Two Gentlemen of Verona, ed. Kurt Schlueter (Cambridge: Cambridge University Press, 1990), 1-2.

2For more information concerning the dating of Antony and Cleopatra see William Shakespeare, Antony and Cleopatra, ed. David Bevington (Cambridge: Cambridge University Press, 1990), 1-2.

20

All Cup us till the world go round, full uns, bis die Welt sich dreht,

Cup us till the world go round. full uns, bis die Welt sich dreht.

The latest poem is Hark! hark! the lark from The Tragedy of Cymbeline, which

was probably premiered in 1610.3 August Wilhelm von Schlegel made the translation

Schubert set.

Hark! hark! the lark at heaven's Horch, horch, die Lerch im Atherblau, gate sings,

And Phoebus 'gins arise, und Phobus, neu erweckt, His steeds to water at those trankt seine Rosse mit dem Tau,

springs On chalic'd flowers that lies; der Blumenkelche deckt, And winking Mary-buds begin der Ringelblume Knospe schleuBt To ope their golden eyes: die goldnen Auglein auf; With everything that pretty is, mit allem, was da reizend ist, My lady sweet, arise: du suBe Maid, steh auf, Arise, arise! steh auf, steh auf.

All of these poems are sung in their original contexts within the plays.

The translations of these three poems retain the meter of the original poems,

the only exception being found in the tenth line of the translation of Who is Silvia?,

where an unaccented syllable that opens the tenth line in the original is omitted in the

German, so that the German line is one syllable shorter. In general, all of the

translations are reasonably accurate in communicating the meaning of the original

English. Each of the poems, however, suffered some loss in the beauty and specificity

of the imagery when they were translated. For example, in Hark! hark! the lark, the

lark that sings at "heaven's gate" in the English sings in the "blue ether" in Schlegel's

3For more information on the dating of The Tragedy of Cymbeline see William Shakespeare, The Tragedy of Cymbeline, ed. Samuel B. Hemingway (New Haven: Yale University Press, 1924), 152.

21

German. Similarly the "pink eyne" of Bacchus {pink in this context referring not to

their color but to their shape—small, narrow or half-closed4) become "eyes with bright

shine" in Mayerhofer. Because of this loss, and because of acknowledged high quality

of Shakespeare's dramatic works, the original Shakespeare poems are clearly superior

to the German translations.

Abraham Cowley's The Inconstant

After the Shakespeare poems, the next earliest English poem set by Schubert

was a translation of The Inconstant by Abraham Cowley. The original poem was

published in London in 1647, in a volume of Cowley's poems entitled The Mistresse

or Several Copies of Love- Verses. The Inconstant was one of a pair, the title of the

other being, appropriately, The Constant. The poems of The Mistresse were clearly

modeled on the collection Songs and Sonets by John Donne (1633), The Inconstant

being an especially close imitation of John Donne's The Indifferent.5

Despite its obvious derivation, The Mistresse was very popular, as was much of

Cowley's work during his lifetime (1618-1667). The popularity of his poetry is also

evidenced by the fact that many of his poems were set to music, including several that

were set by Henry Purcell. Cowley's popularity was short-lived, however, and his

work has since that time been overshadowed by that of his predecessors, Ben Jonson

4See William Shakespeare, Antony and Cleopatra, ed. David Bevington (Cambridge: Cambridge University Press, 1990), 150 for further explantion.

5See James G. Taaffe, Abraham Cowley (New York: Twayne Publishers, Inc. 1972), 51-59 for more information concerning Cowley's imitation of Donne.

22

and John Donne. The translation Schubert set was made by Josef von Ratschky. Von

Ratschky translated only the first three verses.

The Inconstant Der Weiberfreund

1. I Never yet could see that face Which had no dart for mee; From fifteene yeares, to fiftie's

space, They all victorious bee. Love, thou'rt a Devill; if I may

call thee one; For sure in Mee thy name is

Legion.

2.

Colour, or Shape, good Limbes, or Face,

Goodnesse, or Wit in all I finde: In Motion or in Speech a grace, If all faile, yet 'tis Womankind; And I'me so weake, the Pistoll

need not bee Double, or treble charg'd, to

murther Mee.

Noch fand von Evens Tochterschaaren Ich keine, die mir nicht gefiel; Von funfzehn bis zu fiinfzig Jahren 1st jede meiner Wiische Ziel.

Durch Farb' und Form, durch Witz und Giite,

Durch alles fiihl' ich mich entziicht; Ein Ebenbild der Aphrodite 1st jede, die mein Aug' erblickt.

3. If Tall, the Name of Proper slay; If faire, shee's pleasant as the

Light; If Low, her Prettinese does

please; If Black, what Lover loves not

Night? If yellow-hair'd, I Love, lest it

should bee Th'excuse to others for not loving

mee.

Selbst die vermag mein Herz zu angeln, Bei der man jeden Reiz vermifit: Mag immerhin ihr alles mangeln, Wenn's nur ein weiblich Wesen ist!

4. The fat, like Plenty, fills my

heart;

23

The leane, with Love makes me too so.

If streight, her Bodie's Cupid's Dart

To mee; if Crooked, 'tis his Bow. Nay, Age it selfe does me to rage

encline, And strength to Women gives, as

well as Wine.

5. Just halfe as large as Charitie My richly-landed Love's become; And judg'd aright in Constancy, Though it take up a larger roome. Him, who loves alwaies one, why

should they call More Constant, then the Man

loves Alwaies All?

6. Thus with unwearied wings I flee Through all Love's Gardens and

his Fields; And like the wise industrious Bee, No Weed, but Honey to me

yields! Honey still spent this dil'igence

still supplies, Though I return not home with

laden Thighes.

7. My soul at first indeed did prove Of prety Strength against a Dart, 'Till I this Habit got of Love; But my consum'd and wasted

Heart, Once burnt to Tinder with a

strong Desire, Since that by every Spark is set

on Fire.

24

Josef von Ratschky's translation of The Inconstant, though clearly based on

Cowley's original poem, is significantly different in both form and content. Cowley's

poem has seven six-line stanzas in which the first four lines have four iambic feet and

the last two have five iambic feet. Von Ratschky's translation, in contrast, has only

three stanzas with only four lines each, each with four iambic feet. In effect, von

Ratschky's translation cuts the last two lines off of each stanza.

Von Ratschky also changes the specific meaning of the poem, covering in three

stanzas only the meaning of the first two of Cowley's stanzas. Von Ratschky's

translation also introduces poetic images that are not found in Cowley's poem, such as

the comparison of all women to Aphrodite in the second stanza. The focus of the

poem is also shifted at times. For example, in the first stanza of Cowley's poem, the

focus of the entire stanza is the on women and their power over the poet, while in von

Ratschsky's translation the women become the objects of the poets desire, that is,

passive recipients rather than active agents. However, despite the liberties that von

Ratschky takes with Cowley's specific images, his poem is similar to the original in

tone and spirit.

Von Ratschky's translation cannot be replaced in Schubert's setting with

Cowley's original primarily because of the differences between the formal structures of

the two poems. When von Ratschky decided to shorten Cowley's basic stanza length

and to ignore the different line lengths that Cowley used, he made changes that

directly affected the form of Schubert's musical setting, which is too short to

25

accomodate the number of syllables in Cowley's stanzas. Therefore, Schubert's song

can only be sung to von Ratschky's translation.

Alexander Pope and Colley Cibber

Two of the English poems set by Schubert were written by poets who were

contemporaries, and indeed participants in a literary feud in London during the first

half of the eighteenth century. Alexander Pope and Colley Cibber both indulged in

satirizing the other, Pope firing the first shot when he based a character in Three

Hours after Marriage on Cibber.6 Plotwell was the name Pope gave to his caricature

of Cibber. Cibber took the shot in stride, even taking the role of Plotwell himself,

since he was also an accomplished actor. However, when Cibber lampooned Three

Hours after Marriage by inserting lines ridiculing it into a revival of The Rehearsal

several weeks later, Pope was incensed. He flew into a rage, and in addition to

verbally denouncing Cibber backstage, Pope attacked him in print repeatedly over a

period of many years. Though Cibber let many of the attacks go unanswered, he did

on occasion respond, most importantly in a 1742 pamphlet entitled A Letter from Mr.

Cibber to Mr. Pope. This led to an all-out literary war that continued up to Pope's

death in 1744.7 Leonard Ashley, in his biography of Cibber, summed up the feud as

follows:

6Three Hours after Marriage was primarily written by John Gay, but both Pope and Dr. Arbuthnot collaborated on it.

7For a complete account of the feud see Leonard R. N. Ashley, Colley Cibber, revised edition (Boston: Twayne Publishers, 1989), 108-117.

26

These facts are clear. Pope kept it going, Pope enjoyed the advantage of attack, but emotion robbed him of moderation and personal animus deprived him of restraint. Cibber, on the whole, maintained good humor throughout the unfortunate business, and we must respect him more, though it only increased Pope's fury and made him nastier and shriller. It was a stupid dog fight: Cibber, a large and somewhat less nervous mutt, was more amused than injured by the yapping and snapping of a purebred lapdog.8

There is no doubt that Alexander Pope, though less generous in spirit than

Cibber, was the greater poet. His poem The Rape of the Lock is considered to be the

finest neoclassical poem in English literature, and he also excelled in satire and

didactic essays and epistles. Cibber, on the other hand, is remembered primarily

because of Pope's ridicule of him in Pope's poem The Dunciad, which is considered to

be a great poem despite being flawed by Pope's need to exact revenge on Cibber.

Though Cibber's poem The Blind Boy was admired by his contemporaries, others of

his poems, especially the odes, were not. Ashley believes that Cibber fully realised

what the judgement of history on the two poets would be, stating, "He (Cibber) was

aware that he would be remembered as the grindstone that sharpened the wit of Pope-

Pope, who despised, envied, assailed, insulted, and immortalized Cibber."

Pope's poem The dying Christian to his Soul was first published in 1708 in a

collection entitled Ode on St. Cecilia's Day, MDCCVIII, and other Pieces for Music.

The translation Schubert set was by Johann Gottfried von Herder.

The dying Christian to his Soul Der sterbende Christ an seine Seele

ODE

sIbid., 116.

27

Vital spark of heav'nly flame! Quit, oh quit this mortal frame: Trembling, hoping, ling'ring,

flying, Oh the pain, the bliss of dying! Cease, fond Nature, cease thy

strife, And let me languish into life.

Hark! they whisper; Angels say, Sister spirit, come away. What is this absorbs me quite? Steals my senses, shuts my sight, Drowns my spirits, draws my

breath? Tell me, my soul, can this be

Death?

The world recedes; it disappears! Heav'n opens on my eyes! my

ears With sounds seraphic ring:

Lebensfunke, vom Himmel ergliiht, Der sich loszuwinden muht, Zitternd-kuhn, vor Sehnen leidend, Gern, und doch mit Schmerzen

scheidend ~ End', o end' den Kampf, Natur! Sanft ins Leben Aufwarts schweben Sanft hinschwinden lass mich nur.

Horch! mir lispeln Geister zu: "Schwester-Seele, komm zur Ruh!" Ziehet was mich sanft von hinnen? Was ist's, das mir meine Sinnen, Mir den Hauch zu rauben droht?

Seele, sprich, ist das der Tod?

Die Welt entweicht! Sie ist nicht mehr! Harmonieen um mich her!

Ich schwimm' im Morgenrot— Lend, lend your wings! I mount! I Leiht, o leiht mir eure Schwingen;

fly! O Grave! where is thy Victory? O Death! where is thy Sting?

Ihr Briider-Geister! helft mir singen: "O Grab, wo ist dein Sieg, wo ist dein

Pfeil, o Tod?"

Herder's translation, except in a few places, closely approximates the meaning

of Pope's poem. However, in attempting to clearly transfer into German the meaning

of the original, Herder alters the form of stanzas one and three. Pope's first stanza has

six lines, each with four trochaic feet. Herder's first stanza has eight lines, though lines

six and seven are both short lines of only two trochaic feet each, and therefore

together would equal the length of one of Pope's line. The real difference in length,

however, occurs because Herder uses three lines (the two short lines, numbers six and

28

seven, together with line eight) to clarify the idea that Pope expressed in only one line,

line six.

A similar disparity occurs between Pope's and Herder's third stanzas. In Pope's

poem, line four, "Lend, lend your wings! I mount! I fly!," is followed immediately by

his quote from the Bible, "O Grave! where is thy Victory? O Death, where is thy

sting?," in lines five and six. Herder adds an additional line in his translations of these

lines, so that the final part of his poem reads as follows:

Leiht, o leiht mir eure Lend, o lend me your wings; Schwingen; You brother-spirits, help me sing:

Ihr Briider-Geister! helft mir O Grave where is your victory, o singen: death where is your sting?

"O Grab, wo ist dein Sieg, wo ist dein Pfeil, o Tod?"

Because of the line Herder inserted before the biblical quote, he had to place the entire

quote in a single line for his stanza to be of the same length as Pope's. Also, because

the last two lines are a quotation, they do not have the same metrical structure in

German as they have in English, primarily because the English word victory has three

syllables, while the equivalent German word Sieg has only one.

In part because of Herder's fidelity to the exact meaning of Pope's poem, his

version loses some of the tone and movement of the original, which is to be preferred

on that basis. Only a careful examination of Schubert's setting, however, will reveal

whether the formal changes Herder made in translating the poem are significant

enough to make substitution of Pope's original poem for Herder's translation

undesirable.

29

Colley Cibber's The Blind Boy was first published in 1734 in The British

Musical Miscellany. The translation Schubert set was made, as was mentioned in

chapter one, by Jakob Nikolaus Craigher de Jachelutta.

The Blind Boy

0 say! what is that Thing call'd Light, Which I can ne'er enjoy;

What is the blessing of the Sight, O tell your poor blind Boy?

You talk of wond'rous things you see, You say the Sun shines bright,

I feel him warm, but how can he Then make it Day, or Night.

My Day, or Night myself I make, Whene'er I wake, or play;

And cou'd I ever keep awake, It wou'd be always Day.

With heavy sighs, I often hear, You mourn my helpless woe;

But sure with patience I may bear, A loss I ne'er can know.

Then let not what I cannot have, My cheer of Mind destroy,

Whilst thus I sing, I am a King, Altho' a poor Blind Boy.

Der blinde Knabe

O sagt, ihr Lieben, mir einmal, Welch Ding ist's, Licht genannt? Was sind des Sehens Freuden all,

die niemals ich gekannt.

Die Sonne, die so hell ihr seht, Mir Armen scheint sie nie,

Ihr sagt, sie auf und nieder geht, Ich weifi nicht wann, noch wie.

Ich mach mir so selbst Tag und Nacht, dieweil ich schlaf und spiel,

mein innres Leben schon mir lacht, ich hab der Freuden viel.

Zwar kenn ich nicht, was euch erfreut, doch druckt mich keine Schuld,

drum freu ich mich in meinem Leid und trag es mit Geduld.

Ich bin so gliicklich, bin so reich mit dem, was Gott mir gab,

bin wie ein Konig froh, obgleich ein armer, blinder Knab.

Though Cibber's poem was well-received during his lifetime, literary ideals

have changed since then, and it now seems presumptuous of Cibber, who was not

blind, to put words in the mouth of a blind boy. At the time, however, it was not

considered to be in bad taste.

Craigher's translation is faithful to the metrical structure of Cibber's poem,

although to accomodate such rigorous adherence to the structure, Craigher was forced

30

to alter the meaning in a few places. For example, in the last two lines of the third

stanza, where Cibber is still elaborating on the blind boy's ability to make any time

day or night, Craigher's poem translates back into English as, "My inner life smiles

beautifully to me, I have many joys." Craigher's fidelity to the structure of Cibber's

poem, however, may make it possible for Cibber's original poem to replace Craigher's

translation in Schubert's song.

Ossian

I have already written extensively about the popularity of Macpherson's

Ossianic poetry in Germany and its influence on German literature in chapter one.

Although some aspects of Macpherson's "translations" are discussed there, a more

detailed discussion is necessary in order to evaluate both Macpherson's poems and

their German translations.

Macpherson's Ossian poems were in fact based on orally transmitted poems,

although none of the poems existed in the final form in which Macpherson published

them. When Macpherson collected poems in the Scottish Highlands, he was taking

down poems that existed as part of an oral tradition in a culture that lacked the

sophistication of English culture of the day. Stafford states that Macpherson was at

first reluctant to translate the Gaelic verse:

The Gaelic tradition was totally different from the English, so Macpherson was doubtful whether the simple ballads would impress readers used to the elaborate literature of English and classical authors. It was no good translating the poems of the Highlanders if they were to be scorned by English speakers.9

'Stafford, 80.

31

Macpherson also seemed to believe that the poems he had collected had been

corrupted over the centuries as they had been handed down by successive generations

of bards (this was indeed the case). Therefore, Macpherson apparently felt no need to

translate his poems literally, but rather believed it was his duty to try to restore them

to their original purity. Stafford writes,

This idea of a pure original from which there has been a decline is crucial to the understanding of Macpherson's practice. . . .Macpherson's Celtic world was one of noble warriors, not a quaint fairyland of giants and magicians, so the witches and monsters which feature in the popular Highland ballads had to be condemned as interpolations and stripped away. (Ironically, the stories of the Viking invasions, which were obviously a later addition to the third-century Fenian cycle, were perfectly acceptable, since they suited Macpherson's vision of Fingal as a national hero, defending the honor of Scotland). . . .Although Macpherson was to draw on the genuine ballads, then, his Ossianic poems were by no means accurate translations of the poetry which was still being recited in the Highlands. . . .By dismissing his principle sources as corrupt, Macpherson felt free to 'restore' the Gaelic poems to what he thought they ought to have been. The traditional figure of Ossian, familiar thoughout the Highlands as the last survivor of the Fiana, was thus to be presented to the English-speaking world with the ideas and preoccupations of James Macpherson.

Because Macpherson believed that the Celtic poems he had collected were

neither uncorrupted nor suitable for a sophisticated English audience, his versions of

the poems were largely a product of his own imagination. Several aspects of their style

can therefore be attributed directly to Macpherson's free approach to the poems.

First, though they were supposedly handed down orally over a period of more

than a thousand years by many generations of bards, Macpherson's translations show a

remarkable unity of style. For example, the overall atmosphere of the poems is

unrelentlessly gloomy. Storms often hover on the horizon, heros too frequently meet

32

their end and love never wins the day. Writing about Macpherson's Fragments of

Ancient Poetry, Stafford states, "gradually, it becomes possible to predict the outcome

of the story as soon as the principle characters have been introduced. The speakers

vary, but each tale involves the frustrated life and ultimate death of all the major

characters." In addition, the poetic images are remarkably similar. Stafford writes,

In the longer Poems of Ossian, the repetition of the same simple images becomes rather tedious, . . . Macpherson's imitation of an early bard's limited vocabulary led to constant use of certain stock features such as 'rock', 'deer', 'stream', 'mist', 'moon', 'sun', 'oak', 'wind', 'storm', 'grave' or 'cloud'.10

The length of the poems Macpherson published in The Poems of Ossian is also

a result of Macpherson's attempt to restore Celtic poetry to its supposed earlier glory.

In order to create an epic Celtic literature, Macpherson would string together several

previously unrelated poems into a single poem of epic length. Fingal, for example

incorporates as episodes several shorter poems that were originally published separately

in Fragments of Ancient Poetry. Unfortunately, this practice tended to distract from the

central plot that epic poems generally need to unify them. Stafford writes the

following concerning a particularly gory episode originally published as Fragment XV

and later inserted into Fingal.

While such an episode did not seem out of place in the Fragments, it causes considerable disruption to the narrative flow in the longer poem. . . . On the whole, Fingal tends to leave the reader uncertain as to which characters have actually appeared in the main action and which survive only in the memories of the protagonists. . . .The uncertainty is

10Stafford, 105.

33

increased by the fact that the entire poem is being sung by Ossian, who seems to make little distinction between the living and the dead."

The character of Ossian as the creator of epic poems is also largely a creation

of Macpherson's imagination. Although in genuine Celtic literature there was a third-

century bard named Oisin, Macpherson's Ossian belonged as much to the eighteenth

century as to the third. According to Stafford,

The development of Ossian was perhaps the most important difference between Fingal and the Fragments. The earlier collection had been attributed to an anonymous body of 'Bards', but when Fingal appeared, there was no question about the identity of the author: Ossian, the son of Fingal. An epic poem required an epic poet, so Ossian, who had appeared in the Fragments as a character, was now placed firmly in the tradition of Homer and Milton as the blind bard of the Highlands. Macpherson's concentration on the isolated poet owed as much to the literature of the mid-eighteenth century as the classics. Despite its epic pretentions, Fingal is a sprawling work, held together not by unified action or theme, but by the presence of the narrator.12

One final aspect of the Ossianic poems needs to be mentioned. Because they

were allegedly translations from Gaelic and Erse, Macpherson decided not to follow

poetic conventions found in English poetry. The Ossian poems are prose poems. They

have neither regular line lengths, regular metrical structures, or standard stanzaic

forms. However, because Macpherson was trying to give his work an ancient feeling,

his prose is very stylized. He makes use of alliteration and assonance to give his prose

a more poetic sound. He also repeats key words to create an echo or refrain effect.

Stafford suggests that these repetitions create a musical effect:

"Stafford, 140-141.

l2Stafford, 141.

34

The echoes and refrains suggest an arrangement of music, corresponding to the emotions of the speakers. The lyrical chants have a semi-hypnotic effect, drawing the reader into the intangible landscape where the characters are insubstantial voices in the wind.13

These musical qualities added to the ancient feel of the translations, helping to make

them appear to be genuine translations of poetry that was originally set to music.

When Schubert began to set Macpherson's Ossianic poetry to music, he was

working from a three volume edition published in Diisseldorf entitled Die Gedichte

Ossian's eines alten celtischen Helden und Barden. The translation of the poetry was

made by Edmund, Baron von Harold, and was a prose translation. Because the

Ossianic poetry is so unified in style and because Schubert used the work of a single

translator in making his nine settings of Ossianic poetry, rather than going into a

detailed analysis of all the Ossianic poems that Schubert set, I will take an in-depth

look at only one, since detailing the study I have done of all the poems would be

outside of the scope of this work. In looking at the text of Kolma 's Klage, however, I

will be examining the possibly most influential of all the Ossianic texts because it was

this text, in Goethe's translation, that was read by Werther to Charlotte at the climactic

point of Goethe's novel Die leiden des jungen Werthers.

The text of Kolma's Klage was originally published as Fragment X in

Macpherson's Fragments of Ancient Poetry. Macpherson later included it as part of the

longer poem The Songs of Selma in an altered form (or, as Macpherson would have

said, a better translation). For example, Colma's lover is named Shalgar in Fragment

"Stafford, 109.

35

X, but is Salgar in The Songs of Selma. The text of the poem is also slightly altered

throughout. For example, the torrent that "shrieks down the rock" in Fragment X only

"pours down the rock" in The Songs of Selma. Since Schubert was using Harold's

translation of the Works of Ossian, his translation most closely approximates

Macpherson's version in The Songs of Selma.

Colma. It is night, I am alone, forlorn on the hill of storms. The wind is heard on the mountain. The torrent pours down the rock. No hut receives me from the rain; forlorn on the hill of the winds!

Rise, moon! from behind thy clouds. Stars of the night, arise! Lead me, some light, to the place where my love rests from the chase alone! With thee, I would fly from my father; with thee, from my brother of pride.

Cease a little while, O wind! stream, be thou silent awhile! let my voice be heard around. Let my wanderer hear me! Salgar! It is Colma who calls. Here is the tree, and the rock. Why delayest thou thy coming? Lo! the calm moon comes forth. The flood is bright in the vale. The rocks are gray on the steep, I see him not on the brow. His dogs come not before him, with tidings of his near approach. Here I must sit alone!

Who lie on the heath beside me? Are they my love and my brother? Ah! they are dead! Their swords are red from the fight. O my brother! my brother! why hast thou slain my Salgar? why, O Salgar! hast thou slain my

Rund um mich Nacht, ich irr' allein, verloren am sturmischen Hiigel; der Sturm braust vom Gebirg, der Strom die Felsen hinab, mich schiitzt kein Dach vor Regen, verloren am sturmischen Hiigel, irr' ich allein.

Erschein, o Mond, dring' durch's Gewolk; erscheinet ihr nachtlichen Sterne, geleitet freundlich mich, wo mein Geliebter ruht. Mit ihm flieh' ich den Vater, mit ihm meinen herrischen Bruder, erschein', o Mond!

Ihr Sturme, schweigt, o schweige, Strom, mich hore mein liebender Wanderer, Salgar! ich bin's die ruft. Hier ist der Baum, hier der Fels, warum verweilst du langer? Wie, hor ich den Ruf seiner Stimme? ihr Sturme, schweigt! Doch sieh, der Mond erscheint, der Hiigel Haupt erhellet, die Fluth im Thale glanzt, im Mondlicht wallt die Haide. Ihn seh' ich nicht im Thale, ihn nicht am hellen Hiigel, kein Laut verkiindet ihn, ich wand'le einsam hier.

Doch wer sind jene dort, gestreckt auf diirer Haide? Ist's mein Geliebter, Er! und neben ihm mein Bruder! Ach, Beid' in ihrem Blute, entblosst die wilden Schwerter! warum erschlugst du ihn? und du, Salgar, warum? Geister meiner Todten, sprecht vom Felsenhiigel, von

36

brother? Oh! from the rock on the hill, from the top of the windy steep, speak, ye ghosts of the dead! speak, I will not be afraid! Whither are ye gone to rest? In what cave of the hill shall I find the departed? No feeble voice is on the gale: no answer half-drowned in the storm!

I sit in my grief; I wait for morning in my tears! Rear the tomb, ye friends of the dead. Close it not till Colma come. My life flies away like a dream: why should I stay behind? Here shall I rest with my friends, by the stream of the sounding rock.

des Berges Gipfel, nimmer schreckt ihr mich! Wo gingt ihr zur Ruhe, ach, in welcher Hohle soli ich euch nun finden? Doch es tont kein Hauch.

Hier in tiefem Grame wein' ich bis am Morgen, baut das Grab, ihr Freunde, schliesst's nicht ohne mich. Wie sollt' ich hier weilen? Am des Bergstroms Ufer mit den lieben Freunden will ich ewig ruh'n.

Harold's translation of Macpherson is a good translation of the meaning and

spirit of the original, though Harold at times takes liberties with the specific content.

For example, Harold's phrase "ich irr' allein" translates literally as "I wander aimlessly

alone," while Macpherson had only written "I am alone." However, such changes are

few, and do not significantly alter the overall sense of the poem.

An issue that will become more significant in determining whether Harold's

translation can be replaced effectively with the original, however, is the incongruity

between Harold's and Macpherson's line lengths and accent pattern. This mismatch is

evident from the first line, where Macpherson begins "It is night, I am alone, forlorn

on the hill of storms." This line has fourteen syllables of which seven are accented

syllables. Harold's translation, "Rund um mich Nacht, ich irr' allein, verloren am

stiirmischen Hugel," has seventeen syllables, seven of which are accented. An even

greater incongruity in line length can be found at the beginning of fourth paragraph,

37

where Harold requires thirteen syllables to clarify what Macpherson said in eight. Such

length differences may be difficult to accomodate within Schubert's musical settings.

Sir Walter Scott's Lady of the Lake Songs

Sir Walter Scott's The Lady of the Lake is considered to be one of the finest, if

not the finest, of his poems. First published in 1810, it was also his greatest

commercial success as a poet. Over twenty thousand copies were bought in the first

few months following publication. John Buchan, one of Scott's biographers, stated that

the poem, "brought the Highlands, of which Scott knew next to nothing, inside the

comprehension of the Lowlands and of England."'4 Though not a flawless work,

according to Edward Wagenknecht, it contains,

a number of fine lyrics, such as "Coronach," "Hail to the Chief," "Soldier rest, thy warfare o'er," "He is gone to the mountain, he is lost in the forest," and the "Ave Maria," which Schubert set to immortal music and which John McCormack, Marian Anderson, and many other great singers have made an important part of the vital aesthetic life-experience even of many who have never read Scott's

poem.15

Schubert selected seven of the lyrics from The Lady of the Lake to set to

music, including four of those mentioned above, "Coronach," "Soldier rest, thy warfare

o'er" (Ellens Gesang I), "Ave Maria" (Ellens Gesang III) and "Hail to the Chief'

(Bootgesang). Schubert also wrote music for "Huntsman rest, thy chase is done"

14John Buchan, quoted in Edward Wagenknecht, Sir Walter Scott (New York: Continuum, 1991), 64.

15Wagenknecht, 64-5. "Coronach" and "He is gone on the mountain, he is lost to the forest" are actually the same poem, "Coronach" the title and "He is gone on the mountain," the first line.

38

(.Ellens Gesang II), "Lay of the Imprisoned Huntsman" (Lied des gefangenen Jagers),

and "The heath this night must be my bed" (Normans Gesang). "Coronach" and "Hail

to the Chief' both fall outside the scope of this study because they are both choral

works, "Coronach" for female chorus in three parts and "Hail to the Chief' for male

chorus in four parts.

Of the remaining five songs, Schubert chose to publish four in bilingual

editions and one (Normans Gesang) in German translation only. By examining both

the German translations, all of which are by D. Adam Storck, and Scott's lyrics, the

logic behind Schubert's decision may become clear.

Song

'Soldier, rest! thy warfare o'er,

Sleep the sleep that knows not breaking;

Dream of battled fields no more,

Days of danger, nights of waking,

In our isle's enchanted hall, Hands unseen thy couch are

strewing, Fairy strains of music fall, Every sense in slumber

dewing.

Soldier, rest! thy warfare o'er, Dream of fighting fields no

more; Sleep the sleep that knows not

breaking, Morn of toil, nor night of

Ellens Gesang I

Raste Krieger, Krieg ist aus,

schlaf den Schlaf, nichts wird dich wecken,

traume nicht von wildem StrauG,

nicht von Tag und Nacht voll Schrecken.

In der Insel Zauberhallen wird ein weicher Schlafgesang

um das mude Haupt dir wallen zu der Zauberharfe Klang.

Feen mit unsichtbaren Handen werden auf dein Lager hin holde Schlummerblumen senden, die im Zauberlande bluhn. Raste Krieger, Krieg ist aus, schlaf den Schlaf, nichts wird dich

wecken,

traume nicht von wildem Straufi

nicht von Tag und Nacht voll

39

waking.

'No rude sound shall reach thine ear,

Armor's clang or war-steed champing,

Trump nor pibroch summon here

Mustering clan or squadron tramping.

Yet the lark's shrill fife may come

At the daybreak from the fallow,

And the bittern sound his drum,

Booming from the sedgy shallow.

Ruder sounds shall none be near,

Guards nor warders challenge here,

Here's no war-steed's neigh and champing,

Shouting clans of squadrons stamping.'

Schrecken.

Nicht der Trommel wildes Rasen,

nicht des Kriegs gebietend Wort,

nicht der Todeshorner Blasen

scheuchen deinen Schlummer fort.

Doch der Lerche Morgensange

wecken sanft dein schlummernd Ohr,

und des Sumpfgefieders Klange,

steigend aus Geschilf und Rohr,

Nicht das Stampfen wilder Pferde,

nicht der Schreckensruf der Wacht,

nicht das Bild von Tagsbeschwerde

storen deine stille Nacht.

40

XXXII

She paused, ~ then, blushing, led the To grace the stranger of the day. Her mellow notes awhile prolong The cadence of the flowing song, Till to her lips in measured frame The minstrel verse spontaneous came.

lay,

Song Continued

'Huntsman, rest! thy chase is done;

While our slumbrous spells assail ye,

Dream not, with the rising sun,

Bugles here shall sound reveille,

Sleep! the deer is in his den; Sleep! thy hounds are by thee

lying; Sleep! nor dream in yonder

glen How thy gallant steed lay

dying. Huntsman, rest! thy chase is

done; Think not of the rising sun, For at dawning to assail ye Here not bugles sound

reveille.'

Ellens Gesang II

Jager, ruhe von der Jagd!

Weicher Schlummer soil dich decken,

traume nicht, wenn Sonn' erwacht,

daB Jagdhorner dich erwecken.

Schlaf, der Hirsch ruht in der Hohle, bei dir sind die Hunde wach,

schlaf, nich qual es deine Seele,

daB dein edles RoB erlag.

Jager, ruhe von der Jagd!

Weicher Schlummer soil dich decken, wenn der junge Tag erwacht, wird kein Jagerhorn dich wecken.

As the above parallel translation makes clear, the texts that Schubert set as

Ellens Gesange I und II follow one after the other with only one intervening paragraph

in Scott's poem. Both are intended to lull Fitz James (actually King James V) to sleep.

As one might infer from the text of the second song, Fitz James has been taken in for

the night by Ellen Douglas after he has become separated from his hunting party and

his horse has broken a leg.

41

The translations Storck made for these two songs are faithful to the meaning of

Scott's poems, but in structure they vary from Scott. In Ellens Gesang II, the

differences in form are minor. For example, in line four the German translation begins

with an unaccented syllable while in the English the first syllable is accented, so that

the line has a different accent pattern in German than in English despite having the

same number of syllables. Similarly line six has four stressed syllables in English and

in German, but again the German begins with an unaccented syllable, the English with

an accented syllable, and the German line is one syllable longer.

The differences between the original poem and the translation are more

significant in Ellens Gesang I. Although the opening four lines have identical structure

and very similar meaning in the English and German versions, the next four English

lines correspond to eight lines of German. This is because Storck elaborates on the

meaning of the four English lines, adding images of a "magic harp" and "sweet

flowers of sleep that bloom a magic land" to Scott's poem. Thus, while Storck's

translation is closer to the metrical structure of Scott's individual lines in Ellens

Gesang I than in Ellens Gesang II, his translation of Ellens Gesang I is actually four

lines longer than the original poem.

In addition, in the final four lines of the second stanza (lines 21-24 in Scott,

25-28 in Storck) Storck rearranges the meaning somewhat, placing the list of things

that might disturb Fitz James' sleep in the first three lines rather than in the last three.

This also occurs in lines 13-16 (17-20 in Storck), lines which are very similar to the

42

final four. Schubert, however, apparently felt he could accomodate these structural

differences in his song and so published both of Ellens Gesange in bilingual editions.

Hymn to the Virgin

Ave Maria! maiden mild! Listen to a maiden's prayer! Thou canst hear though from

the wild, Thou canst save amid despair. Safe may we sleep beneath

thy care, Though banished, outcast, and

reviled— Maiden! hear a maiden's

prayer; Mother, hear a suppliant child!

Ave Maria!

Ave Maria! undefiled! The flinty couch we now must

share Shall seem with down of eider

piled, If thy protection hover there. The murky cavern's heavy air Shall breathe of balm if thou

hast smiled; Then, Maiden! hear a

maiden's prayer, Mother, list a suppliant child!

Ave Maria!

Ave Maria! stainless styled! Foul demons of the earth and

air, From this their wonted haunt

exiled, Shall flee before thy presence

fair. We bow us to our lot of care,

Ellens Gesang III: Hymne an die Jungfrau

Ave Maria! Jungfrau mild, hore einer Jungfrau Flehen, aus diesem Felsen, starr und wild,

soli mein Gebet zu dir hinwehen. Wir schlafen sicher bis zum Morgen,

ob Menschen noch so grausam sind.

O Jungfrau, sieh der Jungfrau Sorgen,

o Mutter, hor ein bittend Kind! Ave Maria!

Ave Maria! Unbefleckt! Wenn wir auf diesen Fels hinsinken

zum Schlaf, und uns dein Schutz bedeckt,

wird weich der harte Fels uns diinken. Du lachelst, Rosendufte wehen in dieser dumpfen Felsenkluft.

O Mutter, hore Kindes Flehen

o Jungfrau, eine Jungfrau ruft! Ave Maria!

Ave Maria! Reine Magd!

Der Erde und der Lufit Damonen,

von deines Auges Huld verjagt,

sie konnen hier nicht bei uns wohnen! Wir woll'n uns still dem Schicksal

beugen,

43

Beneath thy guidance da uns dein heil'ger Trost anweht, reconciled:

Hear for a maid a maiden's der Jungfrau wolle hold dich neigen, prayer,

And for a father hear a child! dem Kind, das fur den Vater fleht!

Ave Maria! Ave Maria!

Storck's translation of this song is very faithful to both the meaning and the

structure of the original poem. The furthest Storck gets from copying the metrical

structure of the original is in line four, where he adds an unaccented syllable both at

the beginning and at the end of the line, so that while his fourth line has the same

number of accented syllables as Scott's, it is two syllables longer. He also succeeds in

closely approximating the meaning of the English in the German, though he again

sometimes changes the order of lines. For example, at the end of the second stanza,

Storck's lines seven and eight would more closely match Scott's meaning if they were

reversed. However, Storck is also trying to keep Scott's AB ABB ABA rhyme scheme

intact as much as is possible in the German translation, so in this case the rhyme

scheme wins out. Overall, this is a good translation and probably the best of the three

Ellens Gesange translations at preserving both the meaning and spirit of the original as

well as its poetic structure.

Lay of the Imprisoned Huntsman Lied des gefangenen Jagers

'My hawk is tired of perch Mein RoB so mud in dem Stalle steht, and hood,

My idle greyhound loathes his mein Falk ist der Kapp und der food, Stange so leid,

My horse is weary of his stall, mein miiBiges Windspiel sein Futter verschmaht,

And I am sick of captive und mich krankt des Turmes thrall. Einsamkeit.

I wish I were as I have been, Ach war ich nur, wo ich zuvor bin

44

Hunting the hart in forest green,

With bended bow and bloodhound free,

For that's the life is meet for me.

'I hate to learn the ebb of time

From yon dull steeple's drowsy chime,

Or mark it as the sunbeams crawl,

Inch after inch, along the wall.

The lark was wont my matins ring,

The sable rook my vespers sing,

These towers, although a king's they be,

Have not a hall of joy for me.

'No more at dawning morn I rise,

And sun myself in Ellen's eyes,

Drive the fleet deer the forest through,

And homeward wend with evening dew;

A blithesome welcome blithely meet,

And lay my trophies at her feet,

While fled the eve on wing of glee,--

That life is lost to love and me!

gewesen, die Hirschjagd ware so recht mein

Wesen, den Bluthund los, gespannt den

Bogen, ja solchem Leben bin ich gewogen.

Ich hasse der Turmuhr schlafrigen Klang,

ich mag nicht sehn, wie die Zeit verstreicht,

wenn Zoll um Zoll die Mauer entlang

der Sonnenstrahl so langsam schleicht.

Sonst pflegte die Lerche den Morgen zu bringen,

die dunkle Dohle zur Ruh mich zu singen;

in dieses Schlosses Konigshallen,

da kann kein Ort mir je gefallen.

Friih, wenn der Lerche Lied erschallt,

sonn ich mich nicht in Ellens Blick,

nicht folg ich dem fluchtigen Hirsch durch den Wald,

und kehre, wenn Abend taut, zuriick.

Nicht schallt mir ihr frohes Willkommen entgegen,

nicht kann ich das Wild ihr zu FiiBen mehr legen,

nicht mehr wird der Abend uns selig entschweben,

dahin, dahin ist Lieben und Leben.

This translation is less successful than the last one (Ellens Gesang III) at

retaining the structure of the original poem. Though all the lines of Storck's translation

45

have the same number of accented syllables as in Scott's Lay, Storck's lines frequently

have a greater number of syllables because in positions where Scott has only one

unaccented syllable Storck has two. For example, Scott's fifth line has eight syllables,

of which four are accented (I wish' I were' as I' have been'), while Storck's fifth line

has twelve syllables, only four of which are accented (Ach, war' ich nur, wo' ich

zuvor' bin gew6sen). The meaning, however, is close to that of the original poem,

though, as he did in Ellens Gesange I & III, Storck sometimes rearranges the order of

certain lines to accomodate his rhyme scheme. This is immediately apparent in the first

three lines, because Scott mentions the hawk in the first line, the greyhound in the

second and the horse in the third, while in Storck the order is horse, hawk, and dog

(literally a whippet). I should also point out that the rhyme scheme that Storck uses

(ABABCCDD), is close, but not identical, to Scott's (AABBCCDD).

Normans Gesang

The heath this night must be Die Nacht bricht bald herein, my bed, dann leg ich mich zur Ruh,

The bracken curtain for my die Heide ist mein Lager, head, das Farnkraut deckt mich zu,

My lullaby the warder's tread, Mich lullt der Wache tritt wohl in den Schlaf hinein,

Far, far from love and thee, ach, muB so weit von dir, Mary; Maria, Holde, sein.

To-morrow eve, more stilly Und wird es morgen Abend, laid, und kommt die triibe Zeit,

My couch may be my bloody dann ist vielleicht mein Lager plaid, der blutigrote Plaid,

My vesper song thy wail, mein Abendlied verstummet, sweet maid! du schleichst dann triib und bang,

It will not waken me, Mary! Maria mich wecken kann nicht dein Totensang.

I may not, dare not, fancy So muBt' ich von dir scheiden,

46

now, The grief that clouds thy

lovely brow, I dare not think upon thy vow,

And all it promised me, Mary.

No fond regret must Norman know;

When bursts Clan-Alpine on the foe,

His heart must be like bended bow,

His foot like arrow free, Mary!

A time will come with feeling fraught,

For, if I fall in battle fought,

Thy hapless lover's dying thought

Shall be a thought on thee, Mary.

And if returned from conquered foes,

How blithely will the evening close,

How sweet the linnet sing repose,

To my young bride and me, Mary!

du holde, stifle Braut, wie magst du nach mir rufen, wie magst du weinen laut, ach, denken darf ich nicht an deinen herben Schmerz, ach, denken darf ich nicht an dein getreues Herz. Nein, zartlich treues Sehnen darf hegen Norman nicht, wenn in den Feind Clan-Alpine wie Sturm und Hagel bricht, wie ein gespannter Bogen sein mutig Herz dann sei, sein Fufl, Maria, wie der Pfeil so

rasch und frei.

Wohl wird die Stunde kommen, wo nicht die Sonne scheint, du wankst zu deinem Norman, dein holdes Auge weint; doch fall ich in der Schlacht, hullt Todesschauer mich, o glaub, mein letzter Seufzer, Maria, ist fur dich. Doch kehr ich siegreich wieder aus kuhner Mannerschlacht, dann griifien wir so freudig das Nahn der stillen Nacht, das Lager ist bereitet, uns winkt die stifle Ruh, der Hanfling singt Brautlieder, Maria, hold uns zu.

In translating Normans Gesang Storck adopted an unusual procedure. Storck

translated each line of Scott's poem into two shorter lines of German text. Thus for

each of Scott's lines (all of which have four iambic feet) Stock adds at least two feet

(four or five syllables). As a consequence Storck's translation is forty-eight feet longer

than Scott's. If those feet were placed into lines of four iambic feet (the scansion of

Scott's original poem), they would add twelve lines to the poem, which was only

47

sixteen lines to begin with, thus lengthening it by 75% of its original length. Though

in theory such a disparity between total numbers of syllables might be accomodated by

judicious use of text repetition when replacing the German translation with the

English, in this case, because the individual German lines are actually shorter than the

English, it is impossible to replace the German text with the English without dividing

the English lines in odd places. Therefore, Schubert decided not to publish this song

with the English text because to do so would require rewriting the entire setting.

The Other Scott Songs and One by Andrew MacDonald

The final three English poems that Schubert set in German translations are

appropriately grouped together because they can all be found in the prose novels of Sir

Walter Scott. Schubert's Lied der Anne Lyle is from Scott's The Legend of Montrose,

his Gesang der Noma is from The Pirate and his Romanze des Richard Lowenherz is

from Ivanhoe. The picture becomes more complicated, however, because the text that

Scott inserted in The Legend of Montrose for Annot Lyle to sing is actually by

Andrew MacDonald. Also, all three of the translations that Schubert set were by

different translators. The translation Lied der Anne Lyle was made by Sophie May.

Lied der Anne Lyle

Wert thou, like me, in life's Warst du bei mir im Lebenstal, low vale,

With thee how blest, that lot gern wollt' ich alles mit dir teilen, I'd share,

With thee I'd fly wherever mit dir zu fliehn war leichte Wahl, gale

Could waft, or bounding bei mildem Wind, bei Sturmes galley bear. Heulen.

But parted by severe decree, Doch trennt uns harte Schicksalsmacht,

48

Far different must our fortunes prove;

May thine be joy—enough for me

To weep and pray for him I love.

The pangs this foolish heart must feel,

When hope shall be for ever flown,

No sullen murmur shall reveal,

No selfish murmurs ever own. Nor will I through life's

weary years, Like a pale drooping mourner

move, While I can think my secret

tears May wound the heart of him

I love.

uns ist nicht gleiches Los geschrieben,

mein Gliick ist, wenn dir Freude lacht,

ich wein und bete fur den Lieben.

Es wird mein toricht Herz vergehen,

wenn's alle Hoffnung sieht verschwinden,

doch soil's nie seinen Gram gestehn,

nie murrisch klagend ihn verkiinden. Und driickt des Lebens Last das Herz,

soil nie den matten Blick sie triiben,

solange mein geheimer Schmerz

ein Kummer ware fur den Lieben.

Schubert's song is truly a translation of a translation. Though it is uncertain

who did the first translation, this poem was apparently written by MacDonald in

Gaelic16. It was first published as part of an opera entitled Love and Loyalty, which

was included in a volume called The Miscellaneous Works of A. M'Donald, published

in London in 1791. Sophie May's translation closely follows the structure of the

original poem. Except for a few unaccented syllables in the German that don't appear

in the English, the only variants from the scansion of the original poem appear in lines

eleven, twelve, and fourteen. Line eleven in the translation has the same number of

16See Sir Walter Scott, The Legend of Montrose and The Black Dwarf (Edinburgh: Adam and Charles Black, 1886), 370 for more information on MacDonald.

49

syllables in the German translation as in the English, but the accents fall in different

places (No sul'len mufmur shall' reveal' vs. doch soil's nie' seinen Gram' gestehn').

Similar metrical problems appear between the German and the English in lines twelve

and fourteen, in addition to which both are a syllable longer in the German translation.

The most significant differences between these two poems, however, are are in

their meanings. May's translation waters down MacDonald's images, causing the

emotion Annot Lyle is expressing to seem less sharp than in MacDonald. For example,

in lines seven and eight May's translation literally reads, "My happiness is when joy

smiles on you; I weep and pray for my beloved." In MacDonald's poem happiness for

Annot is never mentioned; she will only weep and pray. Similarly, in the second

stanza, MacDonald's image of "a pale, drooping mourner" is not literally translated but

becomes a more general statement that Annot will not let life's burdens oppress her

heart or cloud her faint eyes. Because of these alterations in meaning, MacDonald's

orignal poem is to be preferred over May's translation.

The translator of Gesang der Norna is Samuel Heinrich Spicker.

Gesang der Norna

"For leagues along the watery Mich fuhrt mein Weg wohl way, meilenlang

Through gulf and stream my durch Golf und Strom und course has been; Wassergrab.

The billows know my Runic Die Welle kennt den Runensang lay,

And smooth their crests to und glattet sich zum Spiegel ab. silent green.

"The billows know my Runic Die Welle kennt den Runensang, lay,~

The gulf grows smooth, the der Golf wird glatt, der Strom wird

50

stream is still; But human hearts, more wild

than they, Know but the rule of wayward

will.

"One hour is mine, in all the year,

To tell my woes—and one alone;

When gleams this magic lamp, 'tis here,—

When dies the mystic light, 'tis gone.

"Daughters of northern Magnus, hail!

The lamp is lit, the flame is clear,--

To you I come to tell my tale, Awake, arise, my tale to

hear!"

still,

doch Menschenherz im wilden Drang,

es weifi nicht, was es selber will.

Nur eine Stund ist mir vergonnt

in Jahresfrist zum Klagenton,

sie schlagt, wenn diese Lampe brennt,

ihr Schein verlischt—sie ist entflohn.

Heil, Magnus' Tochter, fort und fort,

die Lampe brennt in tiefer Ruh.

Euch gonn ich dieser Stunde Wort, erwacht, erhebt euch, hort mir zu.

The scansion and rhyme scheme of Spicker's translation exactly copies that of

Scott's poem, except in line thirteen. This is because Spicker's translation stays true to

Scott's standard line form (each line having four iambic feet), while Scott made his

first foot in that line a trochee. So Spicker is actually more true to the form set by the

first three stanzas than Scott. Spicker's translation, however, also loses some of Scott's

imagery. Noma of the Fitful-head believes that she has supernatural powers and so

refers to her lamp as "magic" and its light as "mystic". German equivalents of those

words do not appear in Spicker's translation, so much of the supernatural atmosphere

that Scott creates is lost in the translation. Since creating atmospheric images was one

of Scott's strengths as a writer, much of what is special about Scott is lost when his

images are translated only in a general way.

51

K. L. Methusalem Miiller translated the Romanze des Richard Lowenherz.

The Crusader's Return

1. High deeds achieved of

knightly fame, from Palestine the champion

came; The cross upon his shoulders

borne, Battle and blast had dimm'd

and torn. Each dint upon his batter'd

shield, Was token of a foughten field; And thus, beneath his lady's

bower, He sung, as fell the twilight

hour:—

Romanze des Richard Lowenherz

Grofier Taten tat der Ritter

fern im heilgen Lande viel,

und das Kreuz auf seiner Schulter

bleicht' im rauhen Schlachtgewuhl,

manche Narb auf seinem Schilde

trug er aus dem Kampfgefilde, an der Dame Fenster dicht

sang er so im Mondenlicht:

2.

"Joy to the fair!—thy knight Heil der Schonen! aus der Feme behold,

Return'd from yonder land of ist der Ritter heimgekehrt, gold;

No wealth he brings, nor doch nichts durft' er mit sich wealth can need, nehmen,

Save his good arms and battle- als sein treues RoB und Schwert. steed;

His spurs, to dash against a Seine Lanze, seine Sporen foe,

His lance and sword to lay sind allein ihm unverloren, him low;

Such all the trophies of his dies ist all sein irdisch Gluck, toil,

Such and the hope of Tekla's dies und Teklas Liebesblick. smile!

"Joy to the fair! whose constant knight

Her favor fired to feats of might;

"Heil der Schonen! was der Ritter tat,

verdankt er ihrer Gunst,

52

Unnoted shall she not remain, Where meet the bright and

noble train; Minstrel shall sing and herald

tell— 'Mark yonder maid of beauty

well, 'tis she for whose bright eyes

was won The listed field at Askalon!'

4.

"'Note well her smile!—it edged the blade

Which fifty wives to widows made,

When, vain his strength and Mahound's spell,

Iconium's turban'd Soldan fell.

Seest thou her locks whose sunny glow

Half shows, half shades, her neck of snow?

Twines not of them one golden thread,

But for its sake a Paynim bled.'

5. "Joy to the fair!--my name

unknown, Each deed, and all its praise

thine own: Then, oh! unbar this churlish

gate, The night dew falls, the hour

is late. Inured to Syria's glowing

breath, I feel the north breeze chill as

death; Let grateful love quell maiden

shame,

darum soli ihr Lob verkiinden stets des Sangers sufie Kunst.

"Seht, da ist sie," wird es heiflen,

wenn sie ihre Schone preisen,

"deren Augen Himmelsglanz

gab bei Ascalon den Kranz.

Schaut ihr Lacheln, eh'rne Manner

streckt' es leblos in den Straub,

und Iconium, ob sein Sultan

mutig stritt, ward ihm zum Raub.

Diese Locken, wie sie golden

schwimmen um die Brust der Holden,

legten manchem Muselmann

Fesseln unzerreiBbar an.

Heil der Schonen! dir gehoret,

Holde, was dein Ritter tat,

darum offne ihm die Pforte,

Nachtwind streift, die Stunde naht,

dort in Syriens heiBen Zonen

muBt' er leicht des Nords entwohnen,

Lieb ersticke nun die Scham,

53

And grant him bliss who weil von ihm der Ruhm dir kam.

brings thee fame."

In translating Scott's Romanze, Miiller adopted a different metrical pattern than

Scott had used in his poem. Scott's basic poetic line was made up of four iambic feet

(High deeds' achieved' of knight'ly fame'), but Mtiller adopted a basic line of four

trochaic feet (Gro'fier Ta'ten tat' der Rit'ter).

This means that though the English and German lines have the same number of

accented syllables, the order of accented and unaccented syllables is consistently

opposite.

Miiller's translation, however, is closer in meaning and spirit to the original

poem than either Gesang der Noma or Lied der Anne Lyle, though some of the

imagery is not literally translated. For example, in stanza two the Miiller's knight is

only returning home from the distance, not from the "land of gold." In addition,

Miiller sometimes puts specific images in different lines than those in which they were

originally found, a compromise we saw earlier in Storck's translations. For example,

the knight's sword is not mentioned in Scott's second stanza until line six, while in

Miiller it appears in line four. Still, Miiller's translation seems to lose less of Scott's

tone than the other two, though it still is less vivid that Scott's original poem.

Conclusions

Now that all the poems and translations have been examined, some general

conclusions concerning them can be drawn. First, the orignal poems are generally

superior to their translations. This is especially true of the Shakespeare and Scott

poems. Two of the poems, The Inconstant and Normans Gesang, however, were so

54

radically changed by their translators that it is inadvisable to replace the German texts

with the original poems within Schubert's settings. All of the other songs will have to

be individually evaluated to see whether the variants in the translations can be

accommodated. In order to discover what kinds of alterations to his music Schubert

might have sanctioned so that the English texts could be used, an in-depth study of the

four songs Schubert himself published in bilingual edition will be the undertaken in

the next chapter.

CHAPTER III

ANALYSES OF SCHUBERT'S BILINGUAL SONGS

When Schubert decided to publish four of the Lady of the Lake songs in

English, he realized that despite the fact that the translations of the three Ellens

Gesange and Lied des gefangenen Jagers were in the same meter as the original

poems, simply replacing the German syllables with the corresponding English syllables

would not guarantee a satisfactory result. Schubert knew no English, and so was

unqualified to undertake the task of editing his settings to suit the English texts. There

is no record of how he got around this difficulty, but it is likely that there were others

in his circle of friends who knew some English and could help make the necessary

changes. The question still remains, however, whether the adaptions made by Schubert

and his unknown collaborator were successful. Before that question can be answered, it

is necessary to examine the kinds of adaptions Schubert made.

Schubert's Editorial Practices

All of the alterations that Schubert made to his settings effect the vocal line

only. The piano accompaniment is never changed, so the original harmony and the

accompanimental figures remain the same. Also, because in each of these songs the

German translation and the English poem have the same meter, most of the alterations

involve accommodating either one more or one less unaccented syllable. These

alterations generally take place within a single bar.

55

56

Schubert used several different strategies to adapt his settings when the English

line was one syllable shorter, fn cases in which the number of notes in a phrase was

greater than the number of English syllables, Schubert kept the music as it was and

assigned one syllable to two notes that previously had separate syllables. This can be

seen in the second vocal phrase of Lied des gefangenen Jagers.

Example l1. Lied des gefangenen Jagers, mm. 9-11.

id - U grty . hound

tt r j> t pgr loathes his food, my horst U wea - ry

Falk ift der Kapp und der Stan-gc so leid, mein mU-fli-gcsWind- spiel sein

In essence what Schubert has done is to make a short melisma in what had

been a syllabic setting. A variation on this idea can be seen in Ellens Gesang I. On

'Unless they are marked as altered, all the musical examples are taken from Franz Schubert, Lieder. Heft 5, Lieder nach Texten von Riickert, Scott, Schlegel und anderen Dichtern, op. 20, 52, 57, 59, 73, 85, 86, 93, 108, Hohe Stimme (Originallage), Urtext der Neuen Schubert-Ausgabe, Herausgegeben von Walther DUrr (Kassel und MUnchen: Barenreiter-Verlag und G. Henle Verlag, 1987).

57

several occasions in this song, the pitches are the same in the German vocal line as in

the English, but an even rhythm is replaced by a dotted one at the same time that a

melisma is used to accommodate fewer syllables.

Example 2. Ellens Gesang I, m. 106-107.

tqua - dron tram ping.

$¥ rurtf dei - nen Schlura-mer fort.

When two syllables on the same pitch are replaced by one syllable, Schubert

frequently adds the note-values together. This can be seen in both measures 9 and 10

of example 1. In these bars the notes added together are of equal value, but Schubert

also added together notes of unequal length, as can be seen in bar 11.

A more radical alteration that includes adding note values in one place and

dividing up a single note in another can be seen in Lied des gefangenen Mgers.

58

Example 3. Lied des gefangenen Jagers, m. 44.

44

3

bit rook my

^ -i' -i'

dunk-le Doh - ie zur

In this example, the first two eighth notes are added together with the first half of the

quarter note to make a dotted quarter. The second half of the quarter is then assigned

its own syllable, and the rest of the bar is as it was in the German version.

There are also a few instances where Schubert added together the values of

notes on different pitches to accommodate a shorter English line. The pitch of the

second note is deleted and its length is given to the first pitch. This occurs only when

the second pitch is either an octave or a third below the first. One example of this can

be found in Ellens Gesang I.

Example 4. Ellens Gesang I, m. 98.

59

98 m clan,

Bin - sen

y decresc.

The same song also shows an interesting variation on this theme. In measure 81,

Schubert has set two German syllables to three notes, the first note being a dotted

eighth on f , the second a sixteenth on d" and the third a quarter note on d". The

sixteenth note functions as an anticipation of the second cT\ which also carries the

second syllable of the word wecken. However, when adapting these notes to the

monosyllablic English word more Schubert eliminates the anticipation and adds its

value to the f (he also shortens the following d") .


60

$i

p U ' J ' l P more , sleep the sleep thai knows not brea - king, morn of

P we - cken, trau-rae nicht von wil-dem StrauiL-, nicht von

1 1 1

Schubert makes the same adjustment in reverse two bars later in measure 83 when the

English word (breaking) is two syllables. Thus, the English vocal line in this measure

shows an anticipation not found in the German vocal line.

Schubert would often simply delete a note if the English poem had fewer

syllables than the German translation. This happens at the beginning and end of

phrases and can be observed in measure 6 of Ellens Gesang III.

Example 6. Ellens Gesang III, m. 6.

61

thou shall seem

from this

r J* i p - p

canst hear thoughfrom the with down of ei - der their won-ted haunt ex

3 3

i Fie s in mo

hen, aus die - sem Fel - sen, stair und ken zum Schlaf, und uns dein Schmtz be -n e n , von dei - nes Au . ges Huld ver «

This example is also significant because it contradicts a statement made by

Richard Capell in his book Schubert's Songs:

A pecularity of Scott's prosody here is that in the first stanza the lines are mostly trochaic, while in the second and third they have a syllable more, becoming regularly iambic. The German translator made the first stanza conform to the rest and he used double rhymes freely; hence some little discrepancies when the English is sung. Schubert's 'anacruses' must not be interfered with. It is better to supplement Scott's lines with 'O,' 'for' and so on.2

Capell does not give a reason why he believes that Schubert's 'anacruses' must not be

interfered with, and Schubert apparently did not feel the same way about his anacruses

since he replaced them with rests on five different occasions in this song.

2Richard Capell, Schubert's Songs, with a preface by Martin Cooper, third edition (London: Duckworth, 1973) 211.

62

A final strategy that Schubert uses to accommodate an English line that is one

syllable shorter is found only in Lied des gefangenen Jagers. In six places in this song

Schubert replaces a three-note figure with a single note equal in value to the three if

their note values were added together.

Example 7. Lied des gefangenen Jagers, m. 76.

m m

Le . ben.

All of the figures that are replaced by a single note have identical pitches and note

values to the one shown above.

In addition to the instances where the English text is one syllable shorter than

the German translation, there are a few cases where the English is two syllables

shorter. In most of these cases Schubert uses the same strategies as described above,

that is, he combines two or more note values, inserts rests or makes short melismas.

He also may combine two of these strategies in a single phrase when the English is

two syllables shorter than the German. In measures 48-50 of Ellens Gesang I, for

example, in beat four of measure 48, Schubert divides up the quarter note of the

63

German version to accomodate two English words. Then, in beats one and two of

measure 49 he adds a quarter and an eighth together, which sets the word isle's to a

dotted quarter. Finally in beats three and four of measure 49 and in beat one of

measure 50 he makes short melismas of notes that were set syllabically in the German

version. All of these alterations work together to make it possible for Schubert to set

both a nine-syllable German line and a seven-syllable English line to the same music.


u in ourUU't en - chart - ted_ kail, hands un-

y ea mit un-sicht-ba-ren HMn-den wer-den

When the English lines are a syllable longer than the lines in the German

translation, Schubert reversed many of the practices above in order to add notes to his

vocal line. For example, in Ellens Gesang I, Schubert gave two English syllables to a

note that with its appoggiatura had previously set only one German syllable.


64

dew - ing, fai - ry

= t R =

bliihn, i

.JTPJ1 = = = * = •ver-den

m= l l l j l

FPP I

XL

Similarly, Schubert divided longer notes into two when the English lines were

longer, sometimes adding a drop of a third or an octave.


ckam - ping, trump nor

P Wort, nicht der

anas j ,j" J ' J

65

Schubert also replaced rests with notes by adding an upbeat on the same pitch

as the first note of a phrase or by adding a final note at the end of phrase, either on

the same pitch as the last note or a third or an octave below.

In only one instance in these songs is the English line two syllables longer than

German translation. When setting Ellens Gesang /, Schubert combined Scott's line

fifteen (Trump nor pibroch summon here) with the first part of line sixteen (Mustering

clan) into a single phrase. It is unclear why Schubert made this adjustment since it

forced him to add several new notes to accommodate the English text. (He also had to

add note values together and create a melisma in the next phrase since it was now two

syllables shorter than the German line it replaced.) Schubert added the additional notes

in measure 97, where he originally had a half note tied to an eighth. Their melodic

shape suggests the trumpet call mentioned in the text.

Example 11. Ellens Gesang I, mm. 96-101.

66

a $ 4 wk & m cham -ping trump nor pibroch summon here music ing clan

mm des-hoer-ne nicnl dei

decresc.

Langsame

j[ if j. !

r

'J* hm—

T T > - . * m— bp • s. h

3 T ^ 1

0

S M >—<

r

7 1

<

r

squa -

-9 hm

: J = :

dron ti

i 1

r

am

0

- t * i ping, nc

to J-

> rude

s h

sch ICU ch( in <

F f r

dei -

: J = :

nen Sch

= t

Lum-me r fon

Lb«

4

L, nic

• • •

:htder

0 -

a b —

^ i

— 0

M

[Mi

N r S

- i t -

n 4

- - 3 — 1

VP

J g J J * 7 " —

a b —

^ i

— 0

M

[Mi

N r S

- i t -

n 4

f VP

• •

- J

7 L <

7 m

J

7 «

1

7 I

l| 4

This melodic material is similar to that of the two previous phrases and with

them forms a series of rising sequences before it reverts to the original melodic

material of the German setting in beats three and four of measure 97. This is the most

significant change that Schubert made in any of these four songs when adapting them

for the English texts.

67

The alterations described above easily account for the majority of the changes

Schubert made to his vocal lines. And except for the last one, they are also easily

attributed to the necessity of accommodating the vocal line to the English text.

However, there are other, less numerous, alterations, some of which are difficult to

account for.

The largest number of these additional changes are places where the same

number of syllables appear both in the German and in the English, but where Schubert

has replaced an even rhythm with a dotted one. One such variation appears in measure

57 of Ellens Gesang I, where the even eighths in the first two beats are replaced with

dotted eighth notes followed by sixteenth notes.


S7

CJr -J LJ strain* of- mat - t i c

I)""" [ip Jjj, h o l - d e _ S c h l u m m e r b l u m e n

y

Hi

68

There are also some instances, though they are fewer in number, where dotted

rhythms are replaced by even ones. However, all these changes seem to be unrelated to

either the meanings of the texts they set (that is, they do not seem to correspond to

places where the meaning of the English is different from that of the German

translation), or to different accent patterns of the English vs. the German.

Schubert was sensitive, however, to differences in declamation. For example, in /

Ellens Gesang II, he was apparently aware that the text, "Huntsman, rest!" could stand

by itself apart from the rest of the line, "thy chase is done." Although he does not

change his music every time this text is sung, he does so several times, using two

different methods. In some instances Schubert emphasized the word rest by

lengthening it from a quarter note to a dotted quarter by stealing an eighth from the

quarter note that follows on the word thy. In other places he also shortens thy,

replacing the quarter note's first eighth with a rest. Both of these variants can be seen

in measures 70-74.

69

Example 13. Ellens Gesang II, m. 70-74.

70

m a p Hunts - man, rest! thy chase is done, hunts - man, rest! thy chase is done.

'• y ' r i r r e r [ r Ja - ger, r u - h e von der_ Jagd, Ja - ger, ru - he v o n _ der_ Jagd

^d- mM.

f p :

PH -p— ,4 .4—z:—z:

# v • •

pp

**& i

p p

l|T ? T

i

In other places, however, similar passages were unaltered, both in this song and

in Ellens Gesang I, though in neither song does leaving the music as it was affect the

English version.

Schubert's attempts to alter his vocal lines to suit the English poems are not all

equally successful, however. For example, in measures 7 and 8 of Ellens Gesang III,

Schubert faces a particularly difficult problem. The German translation Schubert

originally set has nine syllables in this line in all three strophes. Scott's poem has only

seven syllables in this line in the first strophe and has eight syllables in the two

successive strophes. Schubert attempted to remedy this problem by repeating words in

the English strophes and by moving syllables to other notes, but he did not always

make the best choices hence the English lines are awkward.

Example 14. Ellens Gesang III, m. 7-8.

70

m wild,

pi led, iled ,

thou canst save .

if ' / shall flee, shall.

A .

thou - canst save a -thy pro - tec - t ion

flee_- be - fore thy

- ~ 3

£ soil mein Ge - bet zu dir hin-wird— weich der har - te Fels-uns sie kon - nen hier nicht b e i _ u n s

mid. ho pre

de vtr -

spair. ther«.

fair.

Safe The Wt

r r r ^ r r we -diin -woh -

hen. ken. nen!

Wir Du Wir

S

h J h

3 1 . M

i 1

w 1

9 .1

The first verse is the most successful. The placement of the first syllable of the

word despair is the only problem. It is overemphasized by being sung through almost

all of the second beat, and would have been better placed on the last sixteenth note of

that beat. The same problem appears in the second verse (that is, the second syllable of

71

hover would be better placed on the last sixteenth of the second beat), but is also

awkward at the beginning of the phrase, where the word if is stressed by the music

although it is an unaccented syllable in the poem. The third strophe shares these same

flaws. In all of these strophes, Schubert was trying to adapt his setting to fit the

English poetry, but did not know English well enough to make the adaptions

gracefully.

Although Schubert did his best to alter his settings to fit Scott's poems, he was

not above altering the original poem to fit his setting. For example, in Ellens Gesang

II, Schubert seems to have thought that the English word dying had a long vowel,

rather than actually being a two syllable word. Thus, the first two times he set the line,

"how thy valiant steed lay dying," he set dying to a half note. Oddly, he did add a note

for the second syllable of the word lying two lines before this.

Example 15. Ellens Gesang II, mm. 36-37, 41.

£ tUepf thehammdt art by thee ly - img,

\ \ 1 i J1 J- hei dir find die Hun - de wach,

ffgp

dying,

i

72

However, at the end of the B section, when Schubert wants to bring back the

horn call of the introduction as an interlude that returns to the A section, he changes

Scott's word dying. He replaces it with the word dead, which could be set to a quarter

note rather than a half note, and which would emphasize the return of the music of the

introduction.

Example 16. Ellens Gesang II, mm. 47-48.

gal-lant steed lay dead.

ed-les RoB er - Ug.

Overall, the adjustments that Schubert made to the Lady of the Lake songs are

the kind of small adjustments that have been used by many composers to adapt

successive stanzas of text to strophic musical settings , and which can therefore also be

found in Schubert's strophic German Lieder. By examining them in detail, it has

become clear that while in the majority of cases Schubert's alterations do successfully

accommodate the English text, he did not always make alterations that were

73

appropriate for the English poems. It should also be pointed out that merely making all

the correct alterations to accomodate English declamation will not by itself insure that

the English versions of these songs are successful. Each song will have to be

considered as a whole before any judgement can be formed concerning whether

Schubert's music works together with the English poems to create effective musical

compositions.

Ellens Gesang II

Although it may seem odd to begin with Ellens Gesang II, this is the setting

that needs the least alteration for it to be effective in English. With the exception of

the half note Schubert places on the word dying (see Ex. 15 above), his text setting

works perfectly well, and the music suits the English words as well as it does the

German. The half note on dying is easily divided into two quarter notes, and the rest

of the song can be sung as Schubert wrote it.

American speakers of English may find it odd that in Schubert's setting the

second syllable of the word reveille is obviously the accented syllable. It is clear from

Scott's rhyme scheme, however, that he intended reveille to rhyme with assail ye.

Therefore, the proper pronunciation of reveille in this case should be that which is

shown in the Oxford English Dictionary3: xi\ei»\ye. This pronunciation guide clearly

shows that the second syllable is the accented one because it is followed by a dot, the

3 The Oxford English Dictionary, Being a Corrected Re-Issue with an Introduction, Supplement and Bibliography of A New English Dictionary on Historical Principles, Founded Mainly on the Materials collected by The Philological Society (Oxford: Clarendon Press, 1933, reprinted 1961), Vol. VIII, 594-595.

74

symbol this dictionary uses to mark the accented syllable. Therefore, American singers

should simply make the two lines rhyme.

Not everyone agrees that Schubert's music is an appropriate setting for this text

in either German or English. Capell objects to the horn calls that seem to contradict

the fact that this song is a lullaby4. I believe, however, that if the singer and the

accompanist carefully follow Schubert's dynamic markings, the horn calls fade into the

distance, and need not disturb the quiet mood of the song or Fitz James' sleep.

Lied des gefangenen Jagers

Lied des gefangenen Jagers has only one significant declamatory problem. In

measures 18-19 Schubert sets the word hunting to an eighth note upbeat and a dotted

quarter, effectively reversing the natural accent pattern of the word.

4Capell, 209.

75

Example 17. Lied des gefangenen Jagers, mm. 18-20.

J* : •}[j —4

/ have bten, hun - ting the hart in fo - rati green, with

LJ m m m—J c-Jv- h h J

11" -J vor bin ge-we -sen, die Hiitch-jigd m . re to recht me in We . sen, den

siTiii?

J r j|3

This passage would need to be altered in order for it to be sung in English.

One possible alteration is shown below.

Example 18. Lied des gefangenen Jagers, mm. 19-21, altered.

, 20^

I have been Hunt-ingthc hart in fo - rest's green, with

U

76

A similar but less objectionable problem can be seen in measures 60-61. Here the

word the is accented by being on the first beat of the bar.

Example 19. Lied des gefangenen Jagers, mm. 60-61.

60

| | • f ' i - f r - f r J -

El . ten's eyet, drive the fleet deer the

El'- lens Blick, nichl Colg ichdemfliich t i - g e n

i 4 4 i i i 8^ f t

h-p

This problem can be solved in the same way as the one in example 16, that is by

placing the first syllable of the line, drive, on the down beat and changing the

rhythmic pattern of the first two beats to the same rhythm as in measure 19 of

example 17 above.

After making either one or both of the changes suggested above this song can

be sung in English as effectively as it can in German.

Ellens Gesang III: Hymne an die Jungfrau

Of all the songs in this group, this song is the most famous. Unfortunately,

Schubert's attempt to underlay his setting with the original text has serious problems.

As mentioned above, there are declamatory problems in measures seven and eight in

77

all three strophes (see pp. 71-72). In addition there are problems in measures ten and

eleven in the third strophe. There are, however, some possible solutions.

Moving certain syllables to other notes will help solve the declamation

problems in measures seven and eight. In all the stanzas, the syllables in the second

beat of bar eight should be moved to the last sixteenth note. In the second stanza, the

word if should be sung to the two sixteenth notes in the second beat of measure seven,

the word thy to the next dotted eighth, and the second if the following sixteenth.

Similarly, in stanza three shall should be sung to the two sixteenths, flee to the dotted

eighth, the second shall to the sixteenth. After these alterations, these measures would

look like this:

Example 20. Ellens Gesang III, mm. 7-8 altered.

wild, piled, ilcd,

thou canst savc_ , thou_canstsave a if thy, fir thyj^pro-tec-tion

shall flee, shall flee be-fore thy

may we sleep bc-neaththy care mur - ky ca -ventshea*vy air bow us to our lot

m

78

This is clearly not an ideal solution. The repetition of the words if thy in the second

strophe is awkward and does not intensify the emotion in the way that the word

repetitions in the other two strophes do. Eliminating the word repetition, however, is

no better solution because the melismas become even more lengthy, therefore making

the meaning of the line more difficult to follow.

The problem in measures ten and eleven is even more difficult to resolve. In

the third strophe, the words hear for (from the line, "hear for a maid a maiden's

prayer") are set to an eighth-note upbeat and a dotted-eighth downbeat in measure 11.

Again this reverses the natural accent pattern of the two words.

Example 21. Ellens Gesang III, mm. 10-

79

ba breathe

neath

nished, out cast, and re - vtUd; of balm_ if thou— haft smiled; ihy gui - dance re - con - cited;

3 3

schcn noch__ so grau - sam find, ser dump - fen Fel - sen-kluft .

dcin hcil' - ger Trost_ an - weht,

m mat - dent* Pr*X mai . den't pray m a t • detCt prey

frau, sieh der lung - frau Sor ter, ho . re Kin - del Fie frau wol . le hol(^_ dich nei

iJ J j J J - f P -

1 J

Unfortunately, unlike the similar phrases in Lied des gefangenen Jagers, this phrase

does not lend itself to shifting the first word, hear, across the bar line and dividing up

the note on the downbeat to accommodate the accent pattern. So, although the word

for is given unnecessary prominence because of the way that Schubert has set it, I am

unconvinced that any alteration of these bars would constitute an improvement.

A less significant problem is found in bar eleven, where because of Schubert s

unfamiliarity with English, he divided the word prayer into two syllables, and gave

80

each syllable a separate note (with an appoggiatura into the first). This unnecessary

division is easily solved by merely combining the note values, an adaption Schubert

used on many other occasions.

One other place in Schubert's English version may cause some dismay among

performers of this song. In the third line of the third strophe, Schubert reverses the

accent pattern of the word exiled. That is, the last syllable of exiled falls on the

downbeat of bar seven, which means it is more prominent than the first syllable. This

is, however, the accent pattern in Scott's original stanza, where exiled is obviously

intended to rhyme both with stainless styled in line one, reconciled in line six, and

hear a child in line eight. Schubert should not be faulted for retaining the same accent

pattern found in these parallel lines.

Unfortunately, even with the corrections detailed above, some performers may

believe that the declamatory flaws in the English text make it undesirable to perform

this song in English. I, however, believe that these flaws are not greater than those that

can be found in many English strophic songs and hymns and therefore should not

preclude this song from being performed in English. In addition, although Storck's

translation is a good one, it is not a match for the original Scott poem. Because the

original meaning and context of this song are not widely understood, I believe that

performing it with the original text would lead to a greater appreciation of the song as

a part of the longer poem Lady of the Lake, and would only enhance its reputation.

81

Ellens Gesang I

Ellens Gesang I is the most problematic of Schubert's bilingual songs.

Although it contains only one declamatory error, it is seriously flawed because of

liberties that Storck took with his translation.

The first problem is the difference in the lengths of the poems. As noted in

Chapter II, the German translation is four lines longer than the English original

because Storck added four lines to the first stanza between the original lines eight and

nine. This plays havoc with the original twelve-line structure of the two stanzas of this

poem, in which the first four lines form an A section, the second four a B and the

third four a variation of A. Storck's extra lines change the structure of the first stanza

into an ABB'A' form. Thus, when Schubert adapted his setting to the English poem,

he had to use the same four lines of English text in the second B section as he had in

the first B section. In practical terms this means that Schubert has to stretch four lines

of text to cover 34 measures (almost two minutes) of music. This makes the English

version extremely repetitious and monotonous.

A different problem appears in the second stanza. Storck's translation of this

stanza is the same length as the second stanza of the original poem, but, as mentioned

in chapter two, Storck rearranges the order of both the first four and the final four

lines. The rearrangment of the first four lines is shown below. The rearrangement of

the final four is strikingly similar.

82

Scott

'No rude sound shall reach thine ear,

Armor's clang or war-steed champing, Trump nor pibroch

summon here Mustering clan or

squadron tramping.

Storck

Nicht der Trommel wildes Rasen,

nicht des Kriegs gebietend Wort,

nicht der Todeshorner Blasen

scheuchen deinen Schlummer fort.

Literal translation of Storck

Neither the wild crash of drums,

Nor the summons to the battle,

Nor the blaring of death's horns,

Shall frighten away your sleep.

As these parallel translations demonstrate, Scott lists the sounds that might disturb Fitz

James' sleep in lines two, three and four, while Storck lists them in lines one, two and

three. The same rearrangement appears in the final four lines of this stanza. (See p.

39) When Schubert set this stanza of the German translation, at the point when he

reaches both lines four and twelve, the two lines that in the German translation

mention sleep and tranquility, the martial strain that he began this section with changes

to music of a gentler character and a slower tempo. Unfortunately this means that

when the English lines replace the German ones, the gentler music sets the words "or

squadron tramping" and "shouting clans or squadrons stamping."

Example 22. Ellens Gesang I, mm. 98-101.

83

clan, squa - dron tram - ping,

Langsamer

BU - sen scheu - chen dei - nen Schlum-mer fort,

dccrcsc

Richard Capell argues that the fast, martial music is inappropriate for this text in either

German or English , (remember that Ellen is singing this song to lull Fitz James to

sleep) but putting that question aside, certainly the change in character of the music

shown above suits only the German translation, not the English poem.

Because of the contradiction evident between the English words and the

character of the music in the second strophe, as well as the monotony that results when

the first English stanza replaces the first German stanza, I believe that this song should

not be sung to Scott's English poem, but only to Storck's translation.

5Capell, 209.

84

Conclusions

After analyzing each of the Lady of the Lake songs, I believe that three of

them, Ellens Gesang II, Ellens Gesang III and Lay of the Imprisoned Hunstman can be

effectively performed in English. Although slight alterations are required to make this

possible, they are alterations of the same kind that Schubert himself used to edit his

vocal lines for the English poems. I do not agree with Graham Johnson that such

adaptation is "cheating"6 since it is clear that Schubert was willing to alter his settings

in the hope of attracting a wider audience for his songs. Only in the case of Ellens

Gesang I, where there is a clear contradiction between the English words and the

character of the music that sets them, do I believe that performing the English version

is inappropriate.

6Graham Johnson. Program notes for Franz Schubert's Complete Songs, Vol. 13, performed by Marie McLaughlin with Graham Johnson (Hyperion CDJ33013, 1992), 36.

CHAPTER IV

ANALYSES OF SCHUBERT'S OTHER ENGLISH SONGS

Now that detailed analyses of Schubert's Lady of the Lake songs have been

completed, the results can be used to make some decisions concerning the rest of his

English songs. Specifically, this chapter will attempt to determine which of Schubert's

other English song settings can be adapted to their original English poems, using the

kinds of editorial procedures he himself used to adapt the Lady of the Lake songs.

These songs will be discussed in the same order that their poems were in Chapter II.

The Shakespeare Songs

The three Shakespeare songs are the songs to which the original poems can be

returned most easily. Two of them, Standchen and Trinklied, require no alteration in

order for the English texts to be sung. The English syllables can simply replace the

German ones in a one for one exchange. The same is also true for the first and the

third stanzas of An Silvia. In the second verse, however, two alterations are required.

Changes are required because last line of the second stanza is one syllable longer in

Shakespeare's English than it is in Bauernfeld's translation and because Schubert

repeats the final line of each stanza in his musical setting. Therefore, in measure 19

the two eighth notes should each take one syllable of the word being, and in measure

22 an upbeat needs to be added for the word and. These adjustments are shown below.

85

Example 23. An Silvia, mm. 19-26.

86

be - ing might helped lei us

mir - cd ha - bits car - lands

And,

- lands

1 i i i I 1 J1

When the German translations have been replaced by Shakespeare's poems, the

English versions of these songs are actually better than their German counterparts. As

mentioned in Chapter two, none of the translations of these poems approaches the

quality of Shakespeare's poems, particularly in the area of imagery. Shakespeare had

the ability to evoke very clear and precise images with a minimum number of words,

and none of the translators was able to capture that quality of Shakespeare's poems.

Schubert's music, however, does capture the spirit of the original poems, so therefore

there is no reason that these songs should not be performed in English.

87

Der Weiberfreund

Abraham Cowley's poem The Inconstant was significantly altered by Josef von

Ratschky when he translated it into German. As the analysis in Chapter II shows, von

Ratschky's translation only reproduces the meaning of Cowley's poem in a very

general sense, and and it does not reproduce the structure of Cowley's poem at all.

Since von Ratschky's stanzas are considerable shorter than Cowley's original stanzas,

Schubert's musical strophes are also too short to accommodate Cowley's stanzas.

Verklarung

Richard Capell, in his book Schubert's Songs, discusses Verklarung on two

separate occasions. In his chapter on Schubert's poets he writes: "It [Verklarung] is

very early Schubert but still of real interest. Schubert's note-values do not quite fit

Pope. It would be worth editing the song in that sense."1 Later, when examining the

songs of 1811-1814, he elaborates:

In the song Verklarung of 1813 Schubert has set Herder's translation of Pope's Vital spark of heavenly flame. Many grown composers might have been proud to acknowledge this song. The recitatives are telling; the short cantabile sections have upward-striving phrases and a serious pulsing accompaniment. Oddly enough, Pope's last words, 'O death, where is thy sting?' fit Schubert's notes better than does the German. Although not like mature Schubert, it is not immature music. The association of Pope and Schubert is curious enough to make the song memorable.2

'Capell, 25.

2Capell, 82.

88

Clearly Capell believes that this song can and should be edited to accommodate Pope's

poem. Capell also leaves the reader with the impression that such editing would be

relatively simple to do. This turns out to be untrue.

Schubert's setting falls roughly into an ABA'B'A" form in which the A

sections are recitative and the B sections are arioso passages with related musical

material. Unfortunately, these sections do not correspond to the structure of Pope's

poem. The first major problem arises at the end of the first A section. Schubert uses

his first recitative section to set the first five lines of Herder's translation. (As can be

seen on p. 27, Herder's first stanza has eight lines). The remaining three lines of the

stanza are set in the first B section. Pope's first stanza, however, is a six-line stanza.

Though it is possible that Schubert's recitative could be altered to suit Pope's first five

lines, the sixth would still have to be separated from the stanza with which it belongs.

This is particularly troublesome because the sixth line is linked to the fifth by its

opening word and, and because the two lines form a rhymed couplet:

Cease, fond Nature, cease thy strife, and let me languish into life!

Schubert's musical structure is obscures Pope's poetic form and makes it more difficult

for the listener to grasp the meaning of the poem.

A similar structural incongruity between Schubert's setting (whose structure is

based on that of Herder's translation) and Pope's poem occurs in the second B section.

As was noted in chapter two, the final quotation from the Bible, "O grave, where is

thy victory, O death where is thy sting," (which makes up the final A section) takes up

two lines in Pope's poem, but only one in Herder's translation. This means that

89

Herder's translation of this stanza is actually a line longer than Pope's stanza.

Schubert's setting is therefore one phrase too long and that extra phrase appears in the

last B section. Normally, this problem might be overcome by text repetition, but in

text repetition would sound odd in this song because no other text has been repeated,

and because the song is structured around the alternation of recitative and arioso

sections that closely mirror the structure of Herder's translation.

In my opinion, these two major structural incongruities create serious flaws in

this song if it is sung in English. Replacing Herder's translation with Pope's poem

undermines the structure of Pope's poem, which causes the meaning of the poem to

become unclear. Therefore I believe that this song is best left unaltered.

Der blinde Knabe

Critical opinion of this song is split. Capell writes:

The pages, considered without regard for the text, suggest a graceful and placid brook song. The arpeggio figure is one of the prettiest of its kind in Schubert. All is delicacy and suavity. Unfortunately the subject renders the song intolerable. For the sighted complacently to put smoothe words into the mouth of the blind, and to make a comfortable song of unimagined disaster is a sentimentality and an impertinence. The English text fits Schubert's melody3.

E. G. Porter, however, seems undisturbed by the subject of the poem, when he writes

that, "Colley Cibber's 'The Blind Boy,'. . . is one of the great songs of this section4,"

(that is, the section of his book that covers the English songs). Graham Johnson takes

3Capell, 207.

4E. G Porter, The Songs of Schubert (London: Williams and Norgate, Ltd., 1937), 107.

90

a middle road between Porter's unquestioning acceptance and Capell's condemnation

by first mentioning that Schubert's era was, "more susceptible to pathos, and more

moved by melodrama than our own more 'politically correct' century," and then by

stating:

Although Capell was right to point out that Cibber's words . . . were in bad taste, Schubert's music seems to soften the overt process of tear-jerking to show us the same inner radiance and bravery against the odds which make the celebrated Fruhlingsglaube such an overwhelmingly powerful song. . . .This is no more or less than a song encapsulation of the composer's own refusal to become cynical and bitter in the face of tragedy.5

Whether one agrees with Johnson or Capell concerning the appropriateness of

Schubert's song, Capell was right about one thing. Schubert's melody can be easily

adapted to Cibber's words. In the first four stanzas, the German syllables can be

replaced by the corresponding English ones without altering Schubert's melody at all,

as long as Schubert's text repetitions are observed. Only in the final stanza is some

adjustment necessary. This is because Schubert's phrase structure mirrors the

grammatical sense, not the line form of Craigher's translation. Craigher's last two lines

read:

Bin wie ein Konig froh, obgleich [I am happy as a King, although]

Ein armer blinder Knab. [A poor blind Boy.]

5Graham Johnson, Program notes for Franz Schubert's Complete Songs, Vol. 15 performed by Margaret Price with Graham Johnson (Hyperion CDJ33015, 1992), 34-35.

91

Thus, Schubert's first phrase ends at the comma, and the word obgleich is placed in

the same phrase as Craigher's final line. Cibber's original lines, "Whilst thus I sing, I

am a King/Altho' a poor Blind Boy" cannot be divided in the same way. However,

Schubert has written enough notes in the first phrase so that by giving two short

melismas syllables on every note, all of Cibber's word's can be accommodated. Of

course, that means that in the next phrase the German line is two syllables longer than

the English line, but this can also be altered by combining note values and making

short melismas. Both the original version and an English version are shown below.

92

Example 24. Der blinde Knabe, mm. 32, beat 4-36, beat 1.

J> J1 5

p r P P V P ' cm ar -mcr bun -dcr

$ bin wie ein Koe -nig froh

Whilst thus I sing I am a King, ob - glcich a! - though a poor blind_

E f f i ^ 3 ! l J ^ r r f . . P T l k J 3 T l . P J l J 3 3 l J P l l 2E

r * p Knab, Boy!

ein ar -mcr blin- dcr Knab al -though a poor blind Boy!

m [» [» ^

With these changes, which must also be made in measures 38-41, Schubert's

song can be sung in English. The only question that remains is whether it is

appropriate to sing this song at all.

The Ossian Songs

Porter writes the following concerning Schubert's Ossian songs :

This song [Shilrik und Vinvela], like most of this group, may be sung to the original English with little alteration as the translation is practically

93

literal, for although the diction is deeply poetical, there is no regular rhythm and naturally no rhyme. The only difficulty lies in the fact that the translator (Harold) sometimes used German equivalents that had more syllables than the original words.6

What Porter does not mention is that those "difficulties" (that is, German equivalents

that have more syllables than the original words) are quite frequent, several of them

often occuring within a single sentence. The opening of Ossians Lied nach dem Falle

Nathos' is typical. The first lines of Macpherson's original prose poem and Harold's

translation are shown below:

"Bend forward from your clouds," I said, "ghosts of my fathers! bend."

Beugt euch aus eurem Wolken nieder, ihr Geister meiner Vater, beuget euch!

Macpherson's line is fourteen syllables long, while Harold's translation is eighteen

syllables. In addition, neither follows a regular pattern of accented and unaccented

syllables. A similar problem can be seen in the opening of Das Madchen von Inistore.

Here not only is Harold's translation significantly longer than Macpherson's sentence

(seventeen and fourteen syllables respectively), but Harold reverses the order of the

phrases:

Weep on the rocks of roaring winds, O maid of Inistore!

Madchen Inistores, wein' auf dem Felsen der sturmishen Winde.

In the following example from Kolma's Klage, the opposite problem appears. Here

Macpherson's sentence (sixteen syllables) is significantly longer than Harold's

(twelve):

6Porter, 112.

94

Lead me, some light, to the place where my love rests for the chase alone.

Geleitet freundlich mich wo mein Geliebter ruht.

Similar problems appear in all of the Ossian songs and they make replacing Harold's

translation with Macpherson's words extremely difficult. Although at times individual

lines can be easily accommodated, in each of these songs there are one or more

occasions where the alterations must go far beyond any Schubert made when he edited

the Lady of the Lake songs. As the example below illustrates, in many cases, both

because of discrepancies between the lengths of the lines and because of different

accent patterns, Schubert's music can not be adapted for the English text.

Example 25. Kolma's Klage, mm. 25-28.

$ : j j i ^ k * p w

]*ead me,some light, to the

§

place where my love rests from the

k chase (alone)

4 £ ge- lei - tet freund - lich mich, wo mein ge-iieb - ter ruht.

~S A j - >j i T* m * v

i k I*

9 "

9 J 5

f

r

4/

^

' r f l

A & i i

H J 5r

: E i :

\)w —

t o

p , ,|y- 1 J

T3

/

7 . ^

0 L *

J

—i t o

The first half of this phrase, "Lead me, some light to the place," can be easily edited

for the English text. The second half can not, however, because of the greater number

95

of syllables and because of the natural accent pattern that requires the words love, rests

and chase to fall on strong beats. The final word alone can not be incorporated into

Schubert's music.

Because all of the Ossian songs display similar problems to the one shown

above, they would require more significant editorial changes than those Schubert made

when he edited the Lady of the Lake songs. Therefore, I believe that this entire

repertoire is more effectively performed with Harold's German translation.

Lied der Anne Lyle

Sophie May's translation of Lied der Anne Lyle is structurally very similar to

the English version Sir Walter Scott included in The Legend of Montrose. This makes

adaption of the English text to Schubert's setting relatively simple. Although in various

places upbeat notes must be dropped, short melismas must be inserted or divided up,

and rests must be replaced with notes, most of the phrases require only minor changes.

The phrase shown below is typical of the kind of alteration that is necessary.

Example 26. Lied der Anne Lyle, mm. 10-12.

96

TP- L j /i } 1, nM -•"ir;- LTT f • " y-F = t =

fe * b P—* *—«— could

i trh V b

M P P wait, or bound-ing .

«(• m t

Ji—

gal - Icy

* X v -

Jf -

bear.

h = ^ f P U 7 • * •

bei mil-dcm $ {i, p - _ f = ^ = —

—P—P~P—— Wind, bciStur-mcs 1

1*1 1 | U L

J —

3cu Icn.

• i,c i —

j p m mm

• a m, ! * J , — W -

1 _ • 15--4 = 4 r J -

^ r L f — U 1 U - , •

There is, however, one place in this song where there is something of a

discrepancy between the English words and Schubert's music. It appears in bar 24,

where Schubert has written a six-note melisma for the second syllable of the word

Freude C°y)- When May translated this line she moved this word, which appears

earlier in the line in MacDonald, almost to the end. The two lines are given below:

mein Gltick ist, wenn dir Freude lacht, (ich wein und bete fur den Lieben).

[My happiness is when joy smiles on you]

May thine be joy—enough for me (To weep and pray for him I love.)

97

Because of this rearrangement of the word order, the relatively unimportant word for is

sung to Schubert's melisma when the English words replace the German.


P \\ f J\r ir'r*^ May thine be

$ P ijif p joy c

£ nough for_ me

m mcin Glueck ist, wenn dir

U T U

5 " J J|j Frcu - de lacht

71 }} I " j I

Despite the fact that this is a strophic song, the same problem does not appear

in the second strophe where the English and the German words sung at this point,

geheimer and secret, have the same meaning. It is interesting to note, however, that in

both strophes Schubert's melisma appears on an unaccented syllable. In addition, while

in the first strophe the melisma is associated with the word Freude (joy), in the second

it sets the words geheimer Schmerz (secret sorrow). Because of this, I believe that this

melisma should be seen as a melodic embellishment, rather than as an example of

word painting, so that the fact that it appears with the word for when the English text

replaces the German should not be considered to be a significant flaw.

98

This is one of the more beautiful of Schubert's settings of the poems from the

novels of Sir Walter Scott, and should be better known than it is. Since Schubert's

music can be so easily adapted to the English poem, there is no reason not to perform

it in English.

Gesang der Noma

As the analysis in Chapter II showed, Spicker's translation exactly copies the

stanzaic structure and scansion of Scott's poem except at the beginning of line thirteen,

where Scott used one trochaic foot instead of his usual iambic foot. Because of this,

except at the beginning of the fourth strophe, substituting the English syllables for the

German ones is a relatively simple process. The trochee at the beginning of line

thirteen requires one rhythmic alteration in Schubert's setting, that can be seen below.

Example 28. Gesang der Noma, mm. 61-63.

3

Heil, Mag - nus' Toech - tcr, fort und fort,

m mm

Daugh - ters of nor - thcrn Mag - nus, hail!

g £ m 3 ^ t * f

cr< resc.

99

One way in which Spicker's translation does not mirror Scott's poem is in its

phraseology. Within a line, the phrase breaks do not always coincide and while in

most cases this is of no consequence, it creates a problem at the climactic point of

Schubert's setting. Scott's original twelfth line and Spicker's translation of it divide

differently as can be seen below:

When dies the mystic light,'tis gone.

ihr Schein verlischt—sie ist entflohn.

Schubert's music is strophic except in the third verse where, following the

structure of line twelve, Schubert breaks the line into two separate musical phrases. If

the German syllables were replaced one for one with the English syllables in

Schubert's setting, the rests between the phrases would fall between the two syllable of

the word mystic. This difficulty can be overcome by dividing up the tied note Schubert

uses to set the word Schein and by repeating some of the text in the second musical

phrase.

100


i ii i-t l i l Ji ihr Schcin vcr - lischt

^ T l i l^ i 11 .$ When dies the mys - tic light_ 'tis

a m fib f W—w

>

Ililli

I flohn, ist cnt -

B 3 gone , lis gonc_ 'tis gone.

S £ j j'j J> 1 >

t t

m y~»

When Scott's words replace those of Spicker, the haunting quality of this scene

becomes even stronger. Schubert's music is an excellent partner for Scott's poem,

101

since both Schubert and Scott excel at creating the supernatural atmosphere this scene

depends on.

Romanze des Richard Lowenherz

Richard Capell has the following to say about the last of Schubert's setting of

Sir Walter Scott:

Scott's translator turned iambs into trochees, so that the English text and Schubert's music cannot be made to agree. The music, in B minor and major, is all built on a spirited dotted quaver rhythm. . . . As a song, it does not, in its seven pages of hammered quavers, altogether avoid monotony.7

Whether one or not agrees that with Capell that this song becomes monotonous, Capell

has made two important points about this song. First, Mtiller did change the basic foot

that makes up the poetic lines of this poem when he translated it. Since in a trochaic

foot the strong accent is on the first of the two syllables in the foot, when Schubert set

this poem to music he began all the poetic lines on the beat, and often on the

downbeat of the measure. On the other hand, Scott's iambic lines would generally be

set to music beginning on an upbeat.

Capell goes on to state, however, that Schubert's music is based on a dotted

quaver rhythm, that is, a dotted eighth note plus a sixteenth. This figure appears in

nearly every beat (and probably is a major reason Capell considers this song to be

monotonous). Because it does, adapting Scott's iambic feet to Schubert's music is

actually not very difficult. It requires adding a up-beat to nearly every vocal phrase,

but since every phrase is preceded by a sixteenth note, incorporating this note into the

7Capell, 212.

102

following phrase is not difficult. The first phrase is typical of the type of alteration

needed.

Example 30. Romanze des Richard Lowenherz, mm. 6-8.

4 > l l t i ' * S j ) j j ) i ' p - p p i g

Gro-sscr Ta - ten tat derRit - tcr fern im hcil - gen Lan - de viel,

! ! B £ = = E E 5 E = 3 J j j l J ) p p ¥ m m* m

Highdcedsachievedofknight-ly fame,From Pa - les -tine the championcame;

The added upbeat is not required on every phrase because Scott sometimes

substituted a trochee for the first iamb in a line. The quotation, "Joy to the fair!", that

begins three of Scott's five stanzas is a case in point. It begins with a trochee followed

by an iamb, so that two unaccented syllables fall together. In this case modifying

Schubert's dotted eighth plus sixteenth note to an eighth plus two sixteenths can

overcome this problem of differences in scansion. An example of this type of

modification is shown below, though in this case the first words of the line are,

"Minstrel shall sing."

103

Example 31. Romanze der Richard Lowenherz, mm. 51-53.

U 0 (T p J-' J l j ) Hill mm m u

"Schl, da ist sic," wird cs hei- sscn, wcnn sic ih - re Schoc-ne prci - sen

m J) j J-1 > s p- P i' F Minstrel shall sing and her - aid tell 'Mark yon-dcr maid of beau -ty well,

t t t f :

? Mtf e V w TJ

This example shows another modification that must be made in a few phrases.

Because Miiller's trochaic lines are more likely than Scott's iambic ones to have

feminine endings (that is, to end with unaccented syllables) the final note must be

omitted in some phrases, such as the one above.

Because the alterations that Romanze des Richard Lowenherz requires in order

to be sung in English are similar to those made by Schubert for the English texts of

the Lady of the Lake songs, I see no reason for Capell to forbid the singing of this

song in English. And perhaps with Scott's poetry, which is undoubtedly of better

quality than Miiller's translation, performers of this song will be able to avoid the

monotony of which Capell complains.

CHAPTER V

GERMAN OR ENGLISH: THE FINAL EVALUATION

Now that all the analyses are complete, some final conclusions can be drawn as

to which of the songs that Schubert wrote using German translations can be effectively

sung with the original English poems. Of the songs that Schubert himself adapted,

those from Sir Walter Scott's Lady of the Lake, three of the four can be successfully

performed in English. Ellens Gesang II, Ellens Gesang III and Lied des gefangenen

Jagers all require some alterations beyond those made by Schubert, but the changes

are not significantly different from the alterations he himself made in other places in

these songs. These songs should all be sung in English and enjoyed by English

singers and audiences. Only Ellens Gesang I, in which there is a serious conflict

between Scott's poetry and Schubert's music, should be performed exclusively with its

German text.

One could argue that the Shakespeare songs should always be sung in English.

The quality of Shakespeare's poetry is so far above that of his translators, even that of

Schlegel, that the main justification for singing them in German would be so that

German audiences can enjoy them. In any case, these songs should be in every

English-speaking singer's repertoire.

The songs from the novels of Sir Walter Scott can also be sung to their original

texts. Although they require some adaptions, Lied der Anne Lyle, Gesang der Norna,

104

105

and Romanze des Richard Lowenherz can all be altered, using the same editorial

procedures that Schubert used for the Lady of the Lake songs, so that Scott's original

poetry can replace the translations. Since Scott's poetic abilities surpass those of this

translators, these songs can benefit from the exchange of texts.

Of the individual songs, only the music of Der blinde Knabe can be joined

effectively to the original poetry. The music of Verklarung and Der Weiberfreund too

closely follows the structure of the translations to allow the use of the original poems.

Schubert himself recognized that when the structure of his music closely imitated that

of the German translation, and that structure was different from that of the original

English poem, a completely new setting would be required. It is likely that for this

reason he decided not to attempt to adapt Normans Gesang to its original text.

Verklarung, Der Weiberfreund, and all of the Ossian lieder can not be adapted to the

English texts on which they are based and will always have to be sung in translation.

For the sake of clarity, I have listed below all the English songs of Schubert,

recommending whether they can can or cannot be sung effectively with the original

English text.Those that can be performed in English have also been included in the

Appendix, fully edited for performance in English. It is my hope that through use of

the English poems, these songs will become more widely known and loved by both

English-speaking singers and audiences.

Songs that can be sung in English

Ellens Gesang II, D 838 Ellens Gesang III, D 839 Lied des gefangenen Jagers, D 843 Der blinde Knabe, D 833 Lied der Anne Lyle, D 830 Gesang der Norna, D 831 Trinklied, D 888, Standchen, D 889 An Silvia, D 891 Romanze des Richard Ldwenherz,D 907

106

Songs that cannot be sung in English

Ellens Gesang 1, D 837 Verklarung, D 59 Lodas Gespenst, D 150 Kolmas Klage, D 217 Der Weiberfreund, D 271 Ossians Lied nach der Falle Nathos',D

278 Das Madchen von Inistore,D 281 Cronnan, D 282 Shilrik und Vinvela, D 293 Der Tod Oscars, D 375 Lorma, D 376 Die Nacht, D 534 Normans Gesang, D 846

APPENDIX

107

108

Preface

Before and during Schubert's lifetime, as German literature and culture were

first beginning to emerge from the shadows of French and Italian culture, English

literature in German translation was widely available in German-speaking areas and

was frequently used as a model for German literature. Therefore, it is not surprising to

discover that Schubert set twenty-three translations of English poems to music. The

songs included in this volume are intended to be performing editions for English-

speaking singers of those Schubert songs which can be effectively performed when the

original English poems replace the German translations Schubert set.

The first three songs in the collection, Ellens Gesang II, Ellens Gesang III and

Lied des gefangenen Jdgers,are based on Schubert's own English versions. These

songs, along with the choral pieces Coronach and Bootgesang and two other solo

songs, Ellens Gesang I and Normans Gesang, all of which have texts from Sir Walter

Scott's Lady of the Lake, were originally published in 1826 in Vienna by Matthias

Artaria. The changes Schubert made in the three Ellens Gesange and Lied des

gefangenen Jagers in order to permit use of the original English poems were carefully

studied. They became the standard by which Schubert's other songs which had been

composed to translations of English poems were evaluated in order to determine

whether Schubert's music could be successfully edited to accommodate the English

poem. These songs were also evaluated in order to determine whether the English texts

could effectively substitute for the German translations in performance. In editing his

songs, Schubert only made changes to the vocal lines, never to the accompaniments.

109

After careful evaluation, it was determined that of the twenty-three English poems

whose German translations were set by Schubert, ten can be effectively performed

with the music Schubert wrote for the translations.

It should be noted that because Schubert did not know English, there is a high

degree of probability that he collaborated with someone (or several others) in his circle

of friends to prepare the English versions of the Lady of the Lake songs published by

Artaria. It is not known who this collaborator was, but because the collaborators lacked

familiarity with English there are some problems in the English text underlay as it was

published. However, except in the case of Ellens Gesang I, the problems can be solved

by using the same methods Schubert used to correctly adjust for the English text in

other places in these songs. These adjustments have been made in this volume.

Unfortunately, in Ellens Gesang I there are discrepencies between the meaning of the

English text and the character of the music that cannot be resolved, so this song has

not been included.

The remaining songs in this volume appear for the first time with the original

English poems. Although the amount of editing that was required in order to

accommodate the English text varied from song to song, all were edited in accordance

with the practices Schubert and his collaborator(s) employed in editing the Lady of the

Lake songs. It is my hope that through the use of the English texts, these songs will

become more widely known and loved by both English-speaking singers and

audiences.

The basic editorial guidelines used in creating this edition are given below.

110

Specific alterations are not identified within the edition, but can be seen by comparing

this edition with either the Neue Schubert Ausgabe' or the Schubert Werke2. Additional

information concerning Schubert's editorial practices, on which these editorial

guidelines are based, can be found in Chapter III of this document.

I. The accompaniments of the songs are never altered.

II. Whenever possible, the English syllables replace the corresponding German syllables in a one-for-one exchange.

III. Shorter English lines are accommodated in the following ways:

A. The music is unaltered, but only one syllable is assigned to two or more notes that originally had separate syllables.


I ^ J- J P"

ist"" ' ent

p J J flohn, ist cnt -

m flohn.

m gone , 'tis

j 4H I 'tis gonc_ 'tis gone.

2 — :—z; w

J JJ J i it •

IP w •w...

'Franz Schubert, Neue Ausgabe samtlicher Werke, Herausgegeben von der Internationalen Schubert-Gesellschaft, Serie IV: Lieder. Kassel, Basel, Tours, London: Barenreiter-Verlag, 1968-.

2Franz Schubert, Werke, Kritisch durchgesehene Gesammtausgabe, Serie 20, Lieder und GesSnge, in zehn Bande. Leipzig, Verlag von Breitkopf & Hartel, 1884 -1897.

I l l

B. The values of two notes that originally had separate syllables are added together and sung to a single syllable.


(j - V ?=3=

Each dint up - on his bat -ter'd shield Was to - ken of a foughten field;

man-chc Narb aufsei -nem Schil-de trug cr aus dcm Kampf-gc - fil-dc

C. One or more upbeat notes are deleted.


could

bei mil -dem

waft, or bound-ing gal - ley

PPPI Mi E

Wind, bciStur-mcs Hcu

bear.

len.

D. The final note of a phrase is deleted. In the following example, the final pitch is deleted, but its length is given to the previous pitch.

112


- * J] J| |T p J) JU) r pir pJ ' j "Scht, da isl sic," wird cs hei- ssen, wcnn s i te ih - re Schoc-ne prci - sen

Minstrel shall sing and her - aid tell 'Mark yon -dcr maid of beau -ty well,

p i

IV. Longer English lines are accommodated in the following ways:

A. The music is unaltered, but separate syllable are assigned to two or more note that were originally sung to a single syllable.

Example 36. Der blinde Knabe, mm. 32-33.

j n |, | J J »j\, bin wic cin Koe - nig froh , ob

Whilst thus I sing I am a King, >1

-m—m r n r r n . i l r n n

B. Some long notes were divided into two shorter notes of the same total length so that two syllables could be set to a single note.


113

t v 1 C 0* >

ihr Schcin vcr - lischt

^li t u p

When dies the mys - tic light ,

t/ | I7! IT I ^ w J f) J b.

~ ~ | — \ m N = ^ # 1? B 1—1 /

r -jp J P

V,

W •

—t

3 J 1 J >

v 1 ---m

W ~B , 4 y - i : T? 3j: =W :—:£

1 • * •

N r i'

C. Rests at the beginning of a phrase were replaced by an additional upbeat note(s) on the same pitch as the first note of the phrase.


& m m jij) J ' p p i

Grosser Ta - ten tat der Rit - tcr fern im hcil-gen Lan-de viel,

m ^ 5 j) p . J' p~ p P £ p- J1 J

Highdeedsa-chievedofknight-ly fame,From Pa - les -tine thechampioncamc;

V. Declamatory problems in the songs Schubert edited himself were corrected in the following ways:

114

A. Using the methods cited above.

B. Moving syllables to different notes in the phrase. In the example below, Schubert's original text underlay is shown below the corrected version.

Example 39. Ellens Gesang III, mm. 7-8.

thou canst save , thou_ canst save a -mid thou canst save , thou canst save a -mid de_

de-spair. Safe spair. Safe

115

Ellen's Song II (Ellens Gesang II)

Sir Walter Scott Franz Schubert D 838

Etwas geschwind

mm

t f r

p P r j i r

dim.

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Hunts - man , rest! thy chase is done,

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116

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dream not, with the

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117

Hunts-man rest! thy chase is done rest! thy chase is done

P I w I I I I

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Sleep! the deer is in his den_

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118

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ft J V J> J- J M £ J = W f = 7 sleep! the hounds are by thee ly - ing, sleep! nor dream in

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decresc.

119

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48

dream in yon - der glen , how thy gal - lant steed lay dead.

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E=i while our sium-brous hunts - man, rest! thy chase is done,

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dream not, with the ri - smg sun spells as * sail ye,

m- mm

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i Hunts - man rest! thy chase is done, Hunts-

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Ellen's Song III: Hymn to the Virgin (Ellens Gesang III: Hymne an die Jungfrau)


Sehr langsam

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mmmmmmamm ESSESE

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mild! filed! styled!

The Foul

j> , :• T £ = e

123

Li flint de

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may we sleep be-ncath thy care_ mur - ky ca -vem's heavy air_

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bow us to our lot of care

6 6 6

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124

ban - nished,out-cast and_ re - vilcd; breathe of balm if thou hast smiled; neath thy gui-dancere - con-ciled;

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Mo - ther hear a sup -pliantchild! Mo - ther list a sup* pliantchild! for a fa - ther hear a child!

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126

Sir Walter Scott

Lay of the Imprisoned Huntsman (Lied des gcfangcnen Jaegers)

Etwas geschwind

Franz Schubert D 843

p — 4

& l-y , , , , = r-1 -_ = = — y -

P mf

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|> p- J- ^E—gr~^ J-id - le grey - hound loathes his food, my horse is wca - ry of_ his_ stall, and

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127

I am sick of cap4ive thrall

1

wish I were , as I have been Hunt-ingthe hart_ in fo - rest's green, with

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128

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129

40

5= sun - beams crawl, inch af - Cer inch, a - long the wall.

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» I l i J l I ^ 44

J) I J. tf m 6 j> _h j i i * * * f The lark was wont my ma-tins ring, the sa - blerookmy

m {UH i / « •

m j r j i 3 u & j r j p 1

i ves - pers sing; these towers, al - though a king's they be, have

130

48

^ J) .hJ' J' m* 0

not a hall of joy for me,

T J'i J> J^'J' have not a hall of jov for me

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68

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blithe - some wel •m—m #

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^ i J J j ' i £ 1 1 l l 1 i i\{Ull i

132

i ^ J £ 72

i s f J ' l m r on wing of glee, at her feet, while fled the eve

3 L - J U - ^ ^ J T J ' J ? p i £ £ life is lost to love and me, that life is lost to love and

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134

T h e B l i n d B o y

(Der hlindc Knabe)

Colley Gibber Franz Schubert D 833

Maessig

i> J> J> ^

o

B n p n g n B n

say! what is this thingcalledLight,

D T l P T l P T i B ' B m ~mm m v w

PP

' / $ « m m. m

p—p- £ 9—f--m—9

5 * s t f

I ^ » — i p • m > kj 111 MI ft ff ft P ft' m - v - v - ® k - 2 * X _

V

? 1 « fhich I can

- * = J f * * - [ 5 —

ne'er en-joy; What

P I P T I P T I F T I E

...r—r r ? r p ' is the Blessing of theS

p n p n j ? n

ight,0

y ^ — * -

j j j j j j j j .

• •

~« fl fl J J 1 ^ 1 1 |

P1 O f •

- f i l — — * U ^ - —

—\ r~*\

L f i L i * i

J - J -•

* =

• J U J ' — f t " ft ft' k j t f — * H w - ff. - h K _ A

— } — V) y » [ i ^

tell your poor blind Boy? 0

b u > . . p n h T j a n ^

P P * • tell your poor blind Boy

_ i .

: - = f e a -

^ f * * , « v ^ <-

F = — 1 V n n ^

v- ~9

~ i

J 4

V • "" h -i

• • *

1 ' V J «> * J J 7 J 1 'L

il 1 1

•i

—J # - *

9 9

135

i V A i ) J* J) > - J ) ^ h h

You talk of won -d'rous things you see, You

m g m m m

V *

^ 1 2 J> />J) i - h _ n j ) ^ 5

say the sun shines bright I feel him warm, but how can he Then

t fr b tn- S i ?' 0 j j l p make it Day or Night

£ make it Day or Night, Then

w P T | J g ? 1 p ^

i f

r

3 t g : S rallent.

— y

136

Day or Nightmyself I make,

rn m _ i - _ J L I m _m—m

a tempo

PPH mm

And cou'd I cv When-e er I wake, or

keep a -wake,

137

wou d , it wou'd be al - ways

§

— —Ir -tr CO t - W = C ^

ng i' i' hca - vy s

-S d> B T ]

?==¥= ighs, I

ffl"

# = of -

p ' v

ten hear You

— f f l -

-P P"P flf 5 J1-mourp my help - less woe; But

r to • • J

• •

- •

m 4 ra -j- ^

0 : • / ¥ i ' f r = j y

• i if • • . . A-, n - . 3[ i i e t

ng i' i'

sure with p

<S> a a m i

Lk -J , % * !

V V U U 1' w )a-tience I may bear, A

" ~m m — -J— d n

. . J

- F = F

loss I

^ 5 = 4 1 — ^ —

sp^p ne'er a

4 *

»

1 1 1 in know, A

, 1J J J?5^-n

r r 1

138

^ P' P ^ y i ' loss I ne'er can know. Then let not what

m m I can nothav

£ not have my

• • i TjTn FT] P7\ J* ' J f ' J '

0i M

f f £

p p p l f e I

A1 cheer of mindde - stroy Whilst thus I sing, I £on a King,

i t 1 p n " g " t i " n " i m - # — m

t f r if ^

r m m r; p r tho a poor

f ' r • • Al- tho* a poor Blind a poor Blind Boy!

r ~ ~ T ~ f I f f

139

36 K * i J r f i'i-' r Boy! Then let not what I can not

J m

r m e . have, My cheer of mind de

rn r n m r

CJT LLT £

£ r pm £ stroy, Whilst thus I sing, I am a

l

tho' a Blind Boy!

a tempo

141

Drinking Song (Trinklied)

William Shakespeare

Maessig


$

j i r J i n J & i r Come thou mon - arch of the vine

Epz i » £ n

Plum - py

mm i

g : f I'

>

e A £

Bac- chus with pink eyne! In thy fats our cares be drowned,

i m

142

£ With thy grapes our hairs be crowned, Cup

sm us

r)r)r)r) till the world go

i i r e / i r e /

m 42L hz

/

r r r r r r r r

" $ r - = round, 1

a

Cup u

& 1

5

s 1

5 1

I T L T L T C / T till the world go ro

j m m

—.—*

und.

-• , r f f r

i): ft , r ^

H = =

m =

i i T~ 1

3 — 1

? — - ,

r , r r r • j j j j -

-* f r r r r f -r r [ £ J U J

L= = 1 p [ J J L x i - J 1

i i j * ]

Cup us

42-

j E p

till the world go round.

^ i t=h; P

£

j 21

143

I

144

Serenade (Staendchen)

William Shakespeare

Allegretto


>-p—t a • • A*. « —p---• «f* . ^

p

-P- f -W s—

P P " •

i

-J #

=5==« = 1 ^ .

- • • -

n i l

" 7 I f

> P

m -» 3 «=3=

j]

/7N

M I I!

I 1 1 i

Hark!

« = l y m

/ ? s * P

1

r p i r p r

Fine

m 12

) n j i J, p i •m #•

I

m

hark! the lark at heaven's gate sings and Phoe - bus 'gins a - rise__

—$r$rtb

, His

m j |i'» J i IBZZII i l l , * 1 1

145

f r p r p ' r^-1 steeds to wa - ter at those springs On cha - lic'd flowers that lies

cha - lic'd flowers that lies; and wink - 1ng Ma - ry - buds be - gin to

f mm

ope their gold - en eyes With eve - ry -thing that pret - ty is, My

G

p

FLII J f t * Jfl> J S

Ee W 1*

146

28

m t j g ir w p it la - dv sweel a - rise with eve - ry - thing that pret - ty is my

£ a s = = a t = E ' 4 4 -E

133 J f J H m :£

a i r r j > 32

P * • a

«£=*¥

la - dy sweet a - rise_ a - rise , a - rise my la - dy sweet a -

§ k i » . c =1 E=C

R T " M * * * p

r r j> 36 a

j p c J p 'r u m

rise , a - rise , a - rise , my la - dy sweet a - rise!

4 p - p - r

=1 I P-P * i '

n m $ i n " f y 1 r Da capo ai fine

147

To Silvia (An Silvia)

William Shakespeare

I Maessig


m

¥ Who ho

is Then

is she to

Sil - via? kind Sil - via

as

* « 5 8 a 3 I I

vM r VP

3 r J r n m

m

& What she let

is is us

she, fair? sing

that For

That

all our swains com -Beau-ty lives with Sil - via is ex -

mend her? Kind - ness. cell - ing;'

i i u , i , i UJJ j t j H B f

1' f J } J. J m f

148

wise

r 7 f r heav'n such grace did help him of his on the dull earth

lend blind dwell

19 221

i i That she And, be - ing To her

33: if!

might helped l e t u s

y « i ' j J i j r j ^ a

ad -in -

mir ha gar

ed bits lands

'ZTiitTi

J f 1 1 1

be. there. brings

And,

Hi H I -

149

P

u

I h

0 27

i B S B Sr

j - y J i r j r m

150

Anne Lyle's Song (Lied der Anne Lyle)

Andrew MacDonald (from Walter Scott's The Legend of Montrose) Maessig dk=


in life's low Wert thou like

decresc.

With thee I'd blessed that lot I'd with thee how

f j rJTJ D similie

waft or bounding gal

I where- ev - er

151

12

bear. But | part - ed by se

J «J • • mm j

Ul : , t» 1 1 1 »

P

1 1 [ = 1

• J *-4*4 ^ J ^ J ^ J •

* T I J J J r LT

15 • J A 1 | M

: J J J • • • —

J - H- - h • - : T 7 - J |

vcre dc -crec Far

& & — n f t w r - i F m

J- M ' E J P difF - rent must our fortunes

r * i r m — F 5 ! —

= r J

prove May

t- ffl88! P"i f T B -* J ± 1 ^ J ^ J + J . I J J- J 4 =

cresc. -ic—zm: E " J ' J ' J ' J • J ' g

>

Ijp ^ n i r r n - y r y

thine be joy, e -

i i i s n ^ H W —

lough for me to

r* i r m J f f i

weep and

n n r w i — ft =

J '

I m r c _ r . . j = & = J

M J J j J j J J * « r j

h O J

y j j ^ j • j — pp

r i f f u =

pray for him I thine be joy, e

152

nough for mc

n# a n r m r i f f v \

To weep and

: - f > i r m n f m -

pray for

n r m n n n § P~}r+-}* J ' J ' W

< >

# ~ -J -

: "^~J J j J j J pp 4 J d y y J d i d i

27

i t f i — i

him ] [ love.

i 1 ' n . r y p [ J > * *

» i , « *

>

'• *7 T T " T •—— T- . ^

30

4 * • i

J 1 J T T l n ,_r F3 L n r m n P T ^

r J

= U I j J J ' U >

*^_J j R i f i j j v j j

The pangs this tsh heart must

153

36 J > , J }> J1 i

hope shall be for - ev - er flown. No sullen murmur shall re-

n mm P

r'1 r" ",Ji' t m veal No selfish

J_u J uJ r J> mur - murs cv - er

——Ph«n 1**1 Pi h

J I - = own. = n / m r i ft " 'J *J*]' J jJ\l

j cresc.

*1. lb 1 1 • m p p m -£ --v-

J i=i=J J J J J . p p p p p - p E j J EE

= 1 n ^ r r ' • r [_T f LJ 1

42 rJH>i 1 F=h-

r u [ u _lj— r—y—1

—| fc 1 K h -4 r* m -

Nor y

i j Lir, n i tr n rT'n-i vill I through life's

„ •* Jf J J* J

wea - ly years like a n n m T'i rn«J * J jjdjj J

J ' 1'J1^ J n J •!"-]=;

J* J jk J J* J J* J JlJ-E uJ ' ' '' " •••» •# J 11 1 -•

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ijg "j" "J1 J~1 Jt J> ^ k_jL_J J—J—1 1 J J lpff h t ^ r j—i

pale droop-ing mourn-er j , ri pi—

— —p—P— move, While

fc .n ttti rn rm =

-+—F ^ I can think my n PHV F* i—pn ^ U J J* J JtJ Ji J Xji4

] cresc. * J * J" J 'J'?-

>

1 J* J p

1 5 4

48

se - cret tears My

< >

d 1 i

51

jLk r » j n i-

tears may wound the

t J J • V

H J 3 = ,

heart of him I

J J \* J

h? " m i i i

love. While

t \ \ -T] rmri f n v

r T f • 1 can think my

r - i r m J se - cret

n rm tears

I f 5 5 ! r m § L i J •JrJ* J *1*1-•

^ j ^ j y j

c > •

— ^ —

y. ? *-

my tears may

1^ ,n rjrj-n -ca wound the heart of

• • • • w J

him I

>

^ _ , —

155

60

1th—m decresc. r -j fspassa

pp r\ 0

ilr. ° J J 4-

r r c r f f ; f • o Vi/

156

Noma's Song (Gesang dcr Noma)


Nicht zu langsam

M f A

PP

M i « = r 1

I 1 I c * g g M

For leagues a-long the wa - tery way,Through gulf and stream my

3SEEEE M

course has been;

-0 M' M The bil - lows know my

j j J IF P

VT : J'i i - a : a n : i —

* 1 1 « cresc.

=4F j a^jlEaj » • ~

=£

157

12

Ru - nic lay,

i i T T T T B r C

I ^ i J i ^

And smooth their crests to si - lent green.

h- £ b 4 -* 9

>

• h

P And smooth their crests to si - lent green

I j l v •

$ | M *= - f T " -

- * T f -

V"

± = M

The

(fo * V a •_

^ 4 4 :

I J 1

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J h m m±z T 7

i i

>

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t ^ = <

• ^

: 1 :

v l j J5>

? i :

a • i §

w

l r ±

4 = ^ ] m

158

24

m m mm J' r -Jl m bil - lows know rny Ru - nic lay, The gulf grows smooth, the stream is still;

i'''' i i J •> £ * £ Wi £ 5 f * crcsc.

+ t J J* • j jj j> m a = 3

28

* *' j> i j1 j* j J i r p r But hu - man hearts, more wild than they,

5§H i J'j » i J'J 5 m > =5 JM . J* - Ai - I — •

1 1 1 'H crcsc.

V* l> J " J * i

^32t w sir p r p t p>J v i * w g Know but the rule of way - ward will, Know

159

36

m the rule of way - ward will

I i

One hour is mine, in

pi a — i ~ i h 1 1

4 4

M O J ' J * y I. i i i 11, JBL—

*

all the year, To tell my woes; and one a-lone;

£ £ 5 t #

J J' cresc.

I f •* S

J J J J' $ mm

160

48

V i 1 1 £ j J' i f p r * 1 * w P #

When gleams this mag - ic lamp, 'tis here, When

i £ ^ -a—r*1

§ t J cresc. t

£ £ w~* * • ?

<j V p r P F|' M * dies the mys - tic light , 'tis gone , 'tis

p

3 gone_ 'tis gone.

i i=f t t i# >

t t * t *

m

fp>

m t r * H I

161

i r — H — v

D

fl fl fl

augh-ters o

S

k # #

f nor-thern

1 1 L

Mag - nus, hail! The

j ! p (m » g » -J

Jp

iy. L, l J

II

#

- H * - -+ V--

a flJ

-fl -fl St St

— ~f

^ # = #

i J h

: i 3 g §

cresc.

= J J ) . — £

s :

m i

s :

fl fl v W

i fl 9

•

a m1

• 9 9

fl »fl -

• 3 : : _ i _ i - 4 — , 3

^ f nJ ' r J * i J ^ j i 11 m lamp is lit, the flame is clear, To

* £

J J»J J>

m

i a — p ->

J j ' J

= 5 m

E

you I come to tell my tale, A -wake, a-rise, my

162

tale to hear! a - rise, my tale to

m

i

163

Romance of Richard the Lion-Hearted (Rorrtanze des Richard Locwcnherz)


Maessig, doch feurig

1 1114 P * J. # mm M- w m tf 1 1 * i

V: ty « v * S 3

P J»JT3I

High deeds a

g* * | E 1 j -• 5 F

_ V i •« »

» j ) j j ) ^ pp- pip-pjJ> ^ = 5 m* m* m

chievedof knight-ly fame, From Pa - les -tine the champion came; The cross up

itsjf *

1 6 4

10

jj) Jip p 12

:hr l J!*'

on his shoulder borne, bat-tie and blast had dimmedand torn Each dint up

% if § 1

m •P-"3j i <J~3l ^ ^ J ^

14

^ p'• p (S' jj ft Pft ft J. ^ 3 =

- on his bat -ter'd shield Was to - ken of a foughten field; And thus, be

i I : I I : I

*ii 'a! j) J*3 n iii ji P n" i ii rm -neath his la - dy's bower, He sung,_ as fell the twi - light's^

165

20

hour:

i 1) J J) * 0 0 Joy to the fair! thy knight be-hold. Re turn'd from

t ^ n r v r

24

ii >• pB pi J> } f T=zt yon-der land of gold; No wealth he brings,nor weath canneed,Save hisgood

1 1 1

I ^ F IP

26

•H (T p 1 ' J l j ) JU> w arms and bat - tie steed His spurs to dash a-gainst a foe, His lance and

166

H

28 30

sword to lay him low, f —

Such all the tro - phies of his

i cresc.

a

32

V H f p- p Such and the hope of Te - kla's smile!

p

u 34

f h - v p J ) J i l l . '

36

g ^ g

Such all the tro - phies of his toil,_ Such and the

m- m mm I : I I : I 1 I I : 1 3 1 a

cresc. decresc.

s s b p

167

r hope

}L ttjk r

/SS^ >6

p = i ? = ^ i -of Te - kla's sm

« • '"« • • • m * m

M = " lile!

—T*-w - - "• » • f f = r f T J> M 1 * (to " 1 f :

** P

9: i l • l f JP H I

J-di «l- js-

| * 0 0* 0—f^ W~^fi B~

V* m m >

jl :Jt" ± *.• JL .p. »— 9^— B-92— 0-

Mi jl • i _ fl fl fl- * 5 *

Mag ) V i * v-

^ H % =

1 " M • • •*•••

••

T J'

42

i 9

•• 9 = 3 =

2 V J * ^ — * ^1 1 T i l l I I E = f

•> 1—£-p> self 1 i-""S

g 1 JT;

^ 4

1 m w-w-w '41 ifl « • • » 1

JJ= *r Err J

; "if "1 J 5

> > *• i f 1 P »* P

" "It '

$ hfc. . = £

1—J J J' J t L x i — J L-T r i

— = * »

«P ' '1

w * " ' j. 1 " f £ = 4

• vr Joy to the

. f? 1 * > J. • ^ W'W ^

> >

m rrr^ •«»j=g=j; ' ' '

,>

f f L, I J P

- f — | — | »: i

. » • . # — m —

. cf p-J 7 n .

J T J f J 1 J

1 6 8

c p p~ n i fairlwhosccon-stantknight Her fa - vor fired to feats of might; IJn -no-ted

4 t | | f <) J p p p ; p p~ p i c i / c j r shall she not re-main,Where meet the brightand no-ble train; Minstrel shall

p s 1 1 » : » 9 I * • J. I *

m i p- p J-' Jui > ! ' h p- pir 54

—i -f-m '*• m sing and her-aid tell 'Mark yon -der maid ofbeau-ty well, Tisshefor

169

whose bright eyes was

56

T~PT PI P the list - ed field ai As - ka

cresc.

Ion!'

60

-pp-pir rum Tis she for whose bright eyes was

« I I : i

cresc.

J1X3 rp. i m=r 62

a i r m m JE

won The list - ed field at As - ka - Ion!'

in i decresc.

170

4 ^

— • •

_ t = = = _ E

m ' — > - i A r - ,-3-r*

mm —

rg> 1 * i F^H

1 4 •

_ I I I 1 t #

"""' IT *n — t p —w-m-W—w " # ^ • „ • ,a a • a

:

-W •*-

9f J 1—4 4 4

m

p n i i !L-ge: 1

• —

f-4-H i p "•

m - r€ - jh • m -i-S - J; —ii— p* p f»* p

ux; m* J Ji

>

9 J*

i* *i »;

j"" Jp J J

m - -

J." w* a*. 9 =. *s

b j;. j J~J St # •

70 k 72

j j i j i >' j i p - p | r p ?• p i | r > iJ>

•"Notewellher smile! it edged the bladeWhich fif-ty wives to widowsmade,

3=

«—• * W=f=f mmm

m p

r5 J <1 «1 •-— J- JJ- j i i i i m

171

V J i [i- p f f[

When,vain his strength and Ma-houds spell, I - co - ilium's tur - ban'd Sol-dan fell

mm

u 7 6 k k w 7 8 I

*1 - I I 11 I |l "l I' |l I Seestthou her locks whose sun-ny glow Half shows, half shadesher neck of snow?

80

t J ' J j J ' l f p r p p p > i

Twines not of them one gold - en thread, But for its

172

82 84

P sake a Pay - nim bled.'

mm Twines not of

:* 'if 'ZZZZJIZJ

m* m a 0m 0

w r r n n r i » »' r

them one gold - en But for its sake a Pay - nim thread.

173

l j » l

I M i , r r r i i F f i

id.

j : 1 " I j

— B

= F ^

•r"

§ 1 * L — y

L L — E — =

>

, ,r * J J- V

>

P ** til"

> >

1*' f #

\J- T 8 | f — ' — 5 - ^ L

. a * . L 9 4

J J- ^

96 1 L 1 b - •

M

# • — • - l

Joy tonic 'fair! my name un-known,eachdeed, and

all its praise thineown:

un poco ritard.

Then, oh! un - bar this chur-lish gate,the nightdew

100 a tempo

> (i- gf Fr i falls, the hour is ate,

174 *

m J In -ured to Sy - ria's glow - ing

tjl: * * * • i

p breath I feel the north breeze chili as death Let grate-ful

i 106 108

»r p r p i r n n i r ' r r love quell maid - en shame, and grant him bliss who brings thee

175

this chur - lish Then, oh! un - bar

* *

^ *<>% jj j i? «n=(=j 114

*- j i' J gate, The night dew falls, Let grate-fill

m i m m' m

I t j

as f/lf i f=3 116

n g p i r p '»r p r p love quell mai - den shame, and granthim bliss who brings thee

nnni]|,r?rsfiTi * il cresc. «it 5S '>:*h rJ r r r p 3

176

fame.

120

C ~ J I

Let grate - ful love quell maid - en_

I 0 0' 0 + B B cresc.

f f r f r f ' ~ f

a O H

i ^ f | S r p' iii1 p i m f m i shame, And grant him bliss who bririgs thee fame."

m

BIBLIOGRAPHY

Abraham, Gerald. The Music of Schubert. New York: W.W. Norton, 1947.

Ashley, Leonard R. N. Colley Cibber, revised edition. Boston: Twayne Publishers, 1989.

Badura-Skoda, Eva and Peter Branscombe. Schubert Studies: Problems of Style and Chronology. Cambridge: Cambridge University Press, 1982.

Boker, Uwe. "The Marketing of Macpherson: The International Book Trade and the First Phase of German Ossian Reception," Ossian Revisited, ed. Howard Gaskill. Edinburgh: Edinburgh University Press, 1991, pp. 73-93.

Brown, Maurice J. E. Essays on Schubert. New York: St. Martin's Press, 1966.

. The New Grove Schubert, with work-list by Eric Sams. New York and London:

W. W. Norton and Co., 1983.

. Schubert: A Critical Biography. London: Macmillan and Co. Ltd., 1958.

. "Schubert: Instrumental Derivatives in the Songs," Music and Letters xxviii/3 (1947), 207-213.

. Schubert Songs. Seattle: University of Washington Press, 1969.

Brusatti, Otto, ed. Schubert-Kongress Wien 1978, veranstaltet von der Osterreichischen Gesellschaft fur Musikwissenschaft gemeinsam mit dem Wiener Festwochen Bericht: Im Auftrag der Osterreichischen Gesellschaft fur Musik. Graz: Akademische Druck- und Verlaganstalt, 1979.

Capell, Richard. Schubert's Songs, with a preface by Martin Cooper, third edition. London: Duckworth, 1973.

Cowley, Abraham. The Complete Works in Verse and Prose of Abraham Cowley, Now for the First Time Collected and Edited: With Memorial-Introduction and Notes and Illustrations, Portraits, etc. by The Rev. Alexander B. Grosart, LL.D., F. S. A., in Two Volumes. New York: AMS Press, 1967.

deGategno, Paul J. James Macpherson. Boston: Twayne Publishers, 1989.

Ill

178

, "'The Source of Daily and Exalted Pleasure': Jefferson Reads the Poems of Ossian," Ossian Revisited, ed. Howard Gaskill. Edinburgh: Edinburgh University Press, 1991, 94-108.

Deutsch, Otto Erich. The Schubert Reader: A Life of Schubert in Letters and Documents, trans. Eric Blom. New York: W. W. Norton and Co., Inc., 1947.

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RECORDINGS

Schubert, Franz. Complete Songs, The Hyperion Schubert Edition, Vol. 6, performed by Anthony Rolfe Johnson and Graham Johnson. Hyperion CDJ33006, 1990.

. Complete Songs, The Hyperion Schubert Edition, Vol. 10, performed by Martyn Hill and Graham Johnson. Hyperion CDJ33010, 1991.

. Complete Songs, The Hyperion Schubert Edition, Vol. 11, performed by Brigitte Fassbaender and Graham Johnson. Hyperion CDJ33011, 1991.

. Complete Songs, The Hyperion Schubert Edition, Vol. 13, performed by Marie McLaughlin and Graham Johnson with Thomas Hampson and singers from The New Company. Hyperion CDJ33013, 1992.

. Complete Songs, The Hyperion Schubert Edition, Vol. 14, performed by Thomas Hampson and Graham Johnson with Marie McLaughlin. Hyperion CDJ33014, 1992.

. Complete Songs, The Hyperion Schubert Edition, Vol. 15, performed by Margaret Price and Graham Johnson. Hyperion CDJ33015, 1992.

. Complete Songs, The Hyperion Schubert Edition, Vol. 17, performed by Lucia Popp and Graham Johnson. Hyperion CDJ330017, 1993 .

. Complete Songs: An 1815 Schubertiad, The Hyperion Schubert Edition, Vol. 20, performed by Patricia Rozario, John Mark Ainsley, Ian Bostridge, Michael George and Graham Johnson. Hyperion CDJ33020, 1994.

. Lieder, performed by Kathleen Battle and James Levine. Deutsche Grammophon 419 237-2, 1988.

. Lieder, performed by Robert White and Graham Johnson. Virgin Classics VC 90730-2, 1989.