8622254

M o s h e r, Allan R o b e rt

A COMPARATIVE ANALYSIS OF THE FOURTEEN LIEDER SET BY BOTH RICHARD STRAUSS & MAX REGER

University of Cincinnati

D.M.A.

1986

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Copyright 1986 by Mosher, Allan Robert All Rights Reserved

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A COMPARATIVE ANALYSIS O F THE FOURTEEN LIEDER SET BY BO TH RICHARD STRAUSS & M AX R EG ER A thesis submitted to the Graduate Thesis and Research Committee o f the U niversity o f C incinnati in p a rtia l fu lfillm e n t o f the requirements fo r the degree o f D O C TO RO F MUSICAL ARTS IN VOICE-PERFORMANCE in the College-Conservatory o f Music 1986 by Allan R. Mosher B.A., San Francisco State U niversity, 1974 B.A., U niversity o f C a lifo rn ia at Berkeley, 1977 M.M., Eastman School o f Music, 1979

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UNIVERSITY OF CINCINNATI

M a rrV i

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I hereby recommend that the thesis prepared under my supervision b y ________ entitled _
Allan R. Mosher__________________

A Comparative Analysis of the Fourteen Lieder

Set by Both Richard Strauss and Max Reger_____________

be accepted as fulfilling this part o f the requirements fo r the degree o f _______

Doctor of Musical Arts_______________

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1986 ALLAN R O BER TM O S H E R

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PREFACE This th e sis--a study o f the fourteen pairs o f Lieder, each o f which comprises the settings o f one o f the same fourteen poems both Richard Strauss and Max Reger chose to set to musicemphasizes p r i m arily the differences in te x t s e ttin g . I t does not purport to be an

exhaustive analysis o f harmonic, melodic, or other technical facets o f these Lieder. Rather, in comparing these songs I have been interested

in showing how these comparisons might answer such questions as why Reger's settings have suffered neglect and why Strauss's have endured in p o p u la rity. I have presented an admittedly subjective analysis o f

the defects and strengths o f the separate in te rp re ta tio n s and offered fo r each p a ir reasons why I consider one o f the songs the b e tte r musical expression o f the poetry. Previous attempts to compare the Strauss and Reger settin gs o f the same texts are rather scanty and cursory, and most are w ritte n in German. I was fru stra te d in m y attempt to obtain what might be the most

important comparative study fo r my purposes: a Staatsexamenarbeit from the Hochschule fu r Musik in Koln by Renate Hofstadt, e n title d "Das Liedschaffen bei Richard Strauss und Max Reger, eine vergleichende Untersuchung," completed in 1955. Copies o f both an a r tic le by Eberhard Otto

e n title d "Richard Strauss and Max RegerAntipoden Oder Gesinnungsverwandte?" in M itteilunqen des M ax-Reqer-Instituts, Bonn (1966) and what proved to be i t s re p rin t as "Max Reger und Richard Strauss" in Neue Beitraqe zur Reqerforschunq und Musikqeschichte Meininqens (1970) were

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located, but O tto's paper does not contain de tailed comparisons and ex amines only th irte e n o f the pairs o f songs. The most inform ative ac

count o f the subject previously published in English is a section o f Barbara A. Petersen's book, Ton und Wort: The Lieder o f Richard Strauss (1980), in which nine pages are devoted to comparing some o f the songs. The sources fo r the texts o f the Lieder and o f th e ir tra n s la tion s in to English are given in the appendixes. The l i t e r a l English

tra n sla tio n s e ith e r by Waldo Lyman and Kathleen Maunsbach in Sergius Kagen's c o lle c tio n o f Strauss's Lieder e n title d 30 Songs fo r Voice and Piano (1961) or by George B ird and Richard Stokes in The Fischer-Dieskau Book o f Lieder (1977) were used fo r most o f the Lieder. When no pub

lished tra n s la tio n was ea sily ava ila ble, I twice turned to my colleague, former professor o f German a t Roberts Wesleyan College, Mrs. Elvera Berry, fo r her expertise, although fo r some o f the songs I did my own tra n s la tin g . I am especially indebted to the chairperson o f my thesis com m ittee, Professor Karin Pendle, who generously undertook the supervision o f th is paper on short notice and, by her ca re fu l and h e lp fu l sugges tions and c ritic is m , greatly improved i t s presentation and re a d a b ility .

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TABLE OF CONTENTS

PREFACE.......................................................................................................... ILLUSTRATIONS ............................................................................................... INTRODUCTION ............................................................................................ "ALL MEIN GEDANKEN"................................................................................. "DU MEINES HERZENS KRONELEIN" .................................................................. "MORGEN!".................................................................................... "TRAUM D U R C H DIE D AM M ER U N G " ...................................................................... "DER NACHTGANG"............................................................................................ "HAT G ESAG TBLEIBT'S NICHT DABEI" .......................................................

ii vi 1 4 12 22 32 40 48 59 68 77 87 96 106 115 125 136 138 141 141 141 142 142

"GLUCKES G ENUG " ............................................................................................ "MEINEM KINDE" ........................................................................................

"WIEGENLIED" ("TRAUME, TRAUM E, D U MEIN SUSSES LEBEN") ................... "LEISE LIEDER" ........................................................................................ .............................................................................

"FREUNDLICHE VISION"

"ICH SCHWEBE"............................................................................................ "WALDSELIGKEIT" ........................................................................................ "WIEGENLIED" ("BIENCHEN, BIENCHEN W IEGT SICH IM SONNENSCHEIN") .

CONCLUSION.................................................................................................. NOTES............................................................................................................. BIBLIOGRAPHY 1. 2. 3. 4. ...............................................................................................

Bibliographies of Works about Regerand Strauss .................... Thematic Catalogues ...................................................................... Collected Editions (Complete) o f Lieder .................................. Comparative Studies o f the Lieder on the Same Text by Reger and Strauss . . .........................................................................

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5. Subject Indexes (by Author)to Selected Bibliography . . . . 6. Selected Bibliography ................................................................... ABBREVIATIONS ............................................................................................ APPENDIXES................................................................................................ APPENDIX A: The Strauss S ettings........................................................ APPENDIX B: The Reger Settings.... ........................................................

144 147 161 162 162 169

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ILLUSTRATIO NS

1. 2. 3. A. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45.

Strauss, " A ll mein Gedanken," m m . 10-11a ............................... Reger, " A ll mein Gedanken," m m . 6-8a ....................................... Reger, " A ll mein Gedanken," m. 10 .............................................. Reger, " A ll mein Gedanken," m m . 12-15........................................ Strauss, "Du meines Herzens K ronelein," m m . 1-2a......... 13 Strauss, "Du meines Herzens K ronelein," m m. 9-11 Strauss, "Du meines Herzens K ronelein," m m . 15b-17 . . ,. . Strauss, "Du meines Herzens K ronelein," m m . 25-26a . . . . Reger, "Du meines Herzens K ronelein," m m . 4-6 ..................... Reger, "Du meines Herzens K ronelein," m m . 13-15a .................. Reger, "Du meines Herzens K ronelein," m m . 24-25a .................. Strauss, "Morgen!" m m . 1 - 2 ......................................................... Strauss, "Morgen!" m m . 14-16a ...................................................... Strauss, "Morgen!" m m . 30-34a ...................................................... Reger, "Morgen!" opening bars ...................................................... Reger, "Morgen!" m m . 4 - 5 ............................................................. Reger, "Morgen!" m m . 8 - 9 ............................................................. Reger, "Morgen!" m m . llb-1 3a ...................................................... Reger, "Morgen!" m m . 14-15a ......................................................... Strauss, "Traum durch die Dammerung," m m . 1-2 ........................ Strauss, "Traum durch die Dammerung," m m . 3-4a .................... Strauss, "Traum durch die Dammerung," m m . 12-14a Strauss, "Traum durch die Dammerung," m m . 23-25a ................ Omitted Reger, "Traum durch die Dammerung,"m m . 3b-5a ......................... Reger, "Traum durch die Dammerung,"m m . 15b-17a ..................... Strauss, "Der Nachtgang," m m . 6 - 7 a ......................................... Strauss, "Der Nachtgang," m m . 10-12............................................ Strauss, "Der Nachtgang," m m . 25-26a ...................................... Strauss, "Der Nachtgang," m m . 2 9 -3 1 ................................. Strauss, "Der Nachtgang," mm. 41-45............................................ Reger, "Der Nachtgang," m m . 9 - 1 0 ............................................... Reger, "Der Nachtgang," m m . 33-35 ............................................... Strauss, "Hat gesagt," m m . 2 - 3 a ................................................. Strauss, "Hat gesagt," m m . 5 - 6 ................................................. Strauss, "Hat gesagt," m m . 1 6 - 1 7 .............................................. Strauss, "Hat gesagt," m. 2 1 ..................................................... Strauss, "Hat gesagt," m m . 25-26 Strauss, "Hat gesagt," m m . 30-31a .............................................. Strauss, "Hat gesagt," m m . 32-34 Reger, "Hat gesagt," opening bars ............................................... Reger, "Hat gesagt," m m . 11b-1 4 ................................................. Reger, "Hat gesagt," m m . 58 b -6 0................................................. Reger, "Hat gesagt," m m . 75-76 Reger, "Hat gesagt," m m . 79-82 ................................................. vi

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46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90.

Strauss, "Gluckes genug," m m . 1 - 3 .............................................. Strauss, "Gluckes genug," m m . 12-14 .......................................... Strauss, "Gluckes genug," m m . 20-22 .......................................... Strauss, "Gluckes genug," m m . 26-29a ...................................... Reger, "Gluckes genug," m m . 1 - 3 .................................................. Reger, "Gluckes genug," m m . 10-12 .............................................. Reger, "Gluckes genug," m m . 16-21 .............................................. Strauss, "Meinem Kinde," m m . 2 - 4 a .............................................. Strauss, "Meinem Kinde," m m . 8 - 9 .............................................. Strauss, "Meinem Kinde," m m . 13-15 ......................................... Strauss, "Meinem Kinde," m m . 18b-21a ....................................... Strauss, "Meinem Kinde," m m . 26-27 Reger, "Meinem Kinde," opening bars .......................................... Reger, "Meinem Kinde," m m . 5 - 7 a ................................................. Reger, "Meinem Kinde," m m . 13-14 .............................................. Reger, "Meinem Kinde," m m . 23-25 Strauss, "Wiegenlied," m m . 3 - 4 ................................................. Strauss, "Wiegenlied," m m . 38-40 .............................................. Strauss, "Wiegenlied," m m . 65-68 Reger, "Wiegenlied" ("Traume, traume, . . . " ) , openingbars Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m m . 4-5 (vocal lin e s o n l y ) ..................................................... Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m m . 9-10 . . Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m. 11 (vocal lin e o n l y ) .................................. Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m. 17 (vocal lin e o n l y ) ............................................................. Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m. 19 (vocal lin e o n l y ) ............................................................. Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m. 20 (vocal lin e o n l y ) ............................................................. Reger, "Wiegenlied" ("Traume, traume, . . . " ) , m. 24 . . . Strauss, "Leise Lie der," m m . 1 - 3 a ............................................... Strauss, "Leise L ie der," m m . 21b-24a ....................................... Strauss, "Leise Lie der," m m . 38-41 Reger, "Leise L ie der," m m . 1 - 2 .................................................. Reger, "Leise L ie der," m m . 17-20 .............................................. Reger, "Leise L ie der," m m . 21-22 Reger, "Leise L ie der," m m . 26-28 Strauss, "Freundliche V is io n ," m m . 1-3 Strauss, "Freundliche V is io n ," m m . 4-7 Strauss, "Freundliche V is io n ," m m . 25-33 ................................ Reger, "Freundliche V isio n ," m m . 1-2 Reger, "Freundliche V isio n ," m m . 5-6 Reger, "Freundliche V isio n ," m m . 7-10 ....................................... Strauss, "Ich schwebe," opening bars ....................................... Strauss, "Ich schwebe," m m . 7 -1 2 a ............................................... Strauss, "Ich schwebe," m m . 82-G6a ........................................... Reger, "Ich schwebe," opening bars ........................................... Reger, "Ich schwebe," m m . 7 - 8 a .................................................. v ii

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91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104 105. 106. 107. 108. 109. 110.

Reger, "Ich schwebe," m m . 11-14 ............................... Reger, "Ich schwebe," m m . 18-19 ............................... Strauss, "W aldseligkeit," m m . 1-6a ......................................... Strauss, "W aldseligkeit," m m . 9-10 Strauss, "W aldseligkeit," m m . 15-17 ......................................... Strauss, "W aldseligkeit," m m . 18-20 ......................................... Strauss, "W aldseligkeit," m m . 24-26 ......................................... Strauss, "W aldseligkeit," m m . 33-38 ......................................... Reger, "W aldseligkeit," m m . 12-14 ............................................. a. Strauss, "W aldseligkeit," m m . 26-32 (vocal lin e only) b. Reger, "W aldseligkeit," m m . 9-11a (vocal lin e only) . . Reger, "Wiegenlied" ("Bienchen, Bienchen, . . . " ) , m m . 1-4 Reger, "Wiegenlied" ("Bienchen, Bienchen, . . . " ) , m m . 9-12 Reger, "Wiegenlied" ("Bienchen, Bienchen, . . . " ) , m m . 1 7 -2 0 ..................................................................................... Reger, "Wiegenlied" ("Bienchen, Bienchen, . . . " ) , m m . 33-36 ..................................................................................... Strauss, "Wiegenliedchen," m m . 1 - 4 .......................................... Strauss, "Wiegenliedchen," m m . 5 - 8 .......................................... Strauss, "Wiegenliedchen," m m . 9 - 1 6 .......................................... Strauss, "Wiegenliedchen," m m . 29-31 Strauss, "Wiegenliedchen," m m . 41-46 Strauss, "Wiegenliedchen," m m . 48-51

112 113 117 117 118 119 119 120 122 124 126 127 127 128 129 130 131 132 133 134

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Introduction Richard Strauss (1863-1949) and Max Reger (1872-1916) were both p r o lif ic composers o f Lieder, composing over two hundred songs apiece. Among these are the fourteen poems which both composers chose to set to music, and which are the subject o f th is study. A ll tw enty-eight o f

these fourteen pairs o f songs were published w ith in the period 18881909. Among German composers at the tu rn o f the century, only Strauss

was more famous than Reger before the la t t e r 's untimely death a t the age o f fo rty -fo u r. Their liv e s were s im ila r in some respects: both were

born in Bavaria, both were excellent p ia n is ts , both became distinguished conductors (indeed, both had b r ie f tenures as leaders o f the famed Meiningen Court Orchestra), and both were p r o lif ic composers, a ctive in an era when the bounds o f tonal music were fa s t d is in te g ra tin g . Although poles apart in s ty le , each man wrote music th a t became the object o f great controversy. Reger's b a ttle cry was "Back to Bach!" He once affirm ed th a t

"Sebastian Bach is fo r m e the beginning and end o f a l l music, the s o lid 1 foundation o f any true progress." Yet w hile h is techniques and forms may have been culled from the past, the sound o f Reger's music was unique, a polyphony described by Paul Henry Lang as "e s s e n tia lly the re s u lt o f ra p id ly a lte rn a tin g harmonic progressions . . . the German equivalent o f impressionism . . . the re a l German counterpart o f Debussy."
2

Strauss, on the other hand, was gre a tly influenced by Wagner

(p a rtic u la rly by Tristan und Isolde) and, as Lang declared, "c a rrie d the

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Wagnerian technique to i t s apogee."3 Austin viewed Strauss's music as "an adventure in poetry and h is to ry and c u ltu re , ra th e r than in harmony and melody."^ Hence, while baroque polyphony formed the basis o f

Reger's fre e ly chromatic s ty le , the rip e romanticism o f Wagner pro vided Strauss's foundation. C ertainly Strauss's place in the h is to ry o f music is fa r more luminous than th a t o f Reger, whose compositionsw ith the exception o f his organ works--are now infrequ ently heard. Yet Reger and h is contem

poraries expected his songs to re ta in th e ir p o p u la rity , and baritone D ietrich Fischer-Dieskau believes many o f them s t i l l worthy o f re v iv a l. As long as Max Reger accompanied his own songs a t the piano, there was a general conviction th a t th is side in p a rtic u la r o f his output would endure. He once said th a t there would come a time when h is Schlichte Weisen would be sung in every German home as a matter o f course. Such optimism has since faded, c le a rly in many cases u n ju s tly . The degree to which taste has meanwhile lagged behind may have been caused by a load o f excessive polyphony and a mania fo r modulation. And Reger was not always ove r-fa stidiou s in h is choice o f te x t. Yet i f we search his numerous volumes o f Lieder fo r substantial poets . . . we see th a t he showed him self capable, especially in the early songs, o f subtly analysing m e tric a l problems, o f sustaining, in close re la tio n to the5poem, a mood s tr ik in g ly captured in both melody and harmony. Seldom, however, are Reger's songs performed. Strauss's songs,

on the other hand, are frequently programmed, and many are considered classics o f the genre. Fischer-Dieskau has suggested a few reasons why The rea

Reger's songs have been neglected, some o f them undeservedly.

sons fo r the lack o f in te re s t in Reger's songs have not yet been th o r oughly investigated, however. Comparing the songs in which both Reger

and Strauss have set the same poems w i l l help determine why Strauss's songs have found favor and may help explain the absence o f any

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s ig n ific a n t place fo r Reger as a composer o f Lieder.

Of p a rtic u la r im

portance in th is comparison w i l l be each composer's treatment o f h is te xts. Among the fourteen pairs o f songs under consideration, several o f Reger's settings were published s h o rtly a fte r S trauss's. That Reger

was keenly interested in Strauss's Lieder we can have no doubt: he a r ranged and published several o f Strauss's songs (in clu d in g some to be discussed in th is thesis) as solo piano pieces.^ Perhaps Reger's in te r

est in se ttin g texts already used by Strauss lay in the fa c t th a t the Lied was among the most popular types o f music in the German-speaking world in the la te nineteenth century. Might Reger have thought he could

do b e tte r than Strauss w ith these poems? Perhaps th is was h is way o f in v itin g comparison w ith h is older and more famous contemporary. What

ever the case, comparison o f the fourteen p a irs o f songs points up the strong and weak points o f both composers' approach to s e ttin g a te x t. Discussions o f the song pairs w i l l be presented in chronological order according to the publication date o f the Strauss s e ttin g .

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A ll mein Gedanken Richard Strauss published h is s e ttin g o f " A ll mein Gedanken," a poem by F e lix Dahn (1834-1912), in 1888; i t was the f i r s t song in his Opus 21, Schlichte Weisen [Simple d i t t i e s ] . 7 The o rig in a l poem and i t s tra n sla tio n follo w . A ll mein Gedanken ( A ll m y Thoughts) A ll mein Gedanken, mein Herz und mein Sinn, Da, wo die Liebste i s t , wandern sie hin. Gehn ihres Weges tro tz Mauer und Tor, Da h a lt kein Riegel, kein Graben nich t vor; Gehn wie die Vogelein hoch durch die L u ft, Brauchen kein Brucken uber Wasser und K lu ft. Finden das S tadtlein und finden das Haus, Finden ih r Fenster aus alie n heraus, Und klopfen und rufen: mach auf, lass uns ein, Wir kommen vom Liebsten und grussen dich fe in , Mach auf, mach auf, lass uns e in . A ll m y thoughts, my heart and m y senses, Are wandering there where m y beloved is . They go th e ir way through w a ll and gate, No locks nor moats can stand in the way; They f l y lik e l i t t l e birds high through the a ir , They need no bridges o 'e r the water and chasms. They fin d the l i t t l e town, they fin d the house, They seek out her window from among a l l others, And knock and c a ll: Open, le t us enter, W e come from your beloved and greet you, Open, open, le t us enter.

Strauss begins and ends the f i r s t four-measure phrase in E major the home key. The dactyls o f the beginning o f the poem f i t nicely

2 3 in to the ^ meter o f m m . 1-2, but Strauss changes to ^ fo r m. 3 to accen tuate the word "Liebste" (beloved), a touch o f romantic ardor. "Lieb

ste" marks the melodic, rhythmic, and harmonic high point o f the f i r s t four measures; fo r here the melody moves above the s ta ff fo r the f i r s t

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time, the f i r s t sy lla b le o f the word is s lig h tly elongated, and the har mony features F#-major seventh chords (V7/V ). Our a n tic ip a tio n o f the

ultim ate destination o f these thoughts is heightened by a ris in g step wise sequence o f sorts apparent in m m . 5-6, 7-8, and 9-10 in the vocal lin e . In the tenth measure a quickly ascending scale in the accompani

ment gives a touch o f tone painting, depicting the sim ile o f thoughts as l i t t l e birds fly in g ("high through the a ir " ) .

Example 1: Strauss, " A ll mein Gedanken," m m . 10-11a

l i u c hd u r c ha l t Lon

So fa r, Strauss has broken h is chordal accompaniment w ith re s ts , but in m m . 13-15 there are none; ra th e r, the steady quarter-note chords in m m . 13-14 underscore the fact o f the sure progress being made towards "die Liebste." In m. 15 Strauss p u lls a rhythmic about-face in the vo

cal lin e , switching from the d a c ty lic rhythm we have come to expect to an anapestic rhythm, the better to emphasize " ih r " (her). The "Gedan

ken" (thoughts) having now arrived a t the beloved's window, Strauss does not allow the momentum to dissipatehe avoids a cadence on the to n ic in the sixteenth measure, surprising us w ith a higher te s s itu ra in the accompaniment and a p a ir o f staccato dominant-seventh chords to be

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played pianissimo.

That these chords are re ite ra te d a fte r an eighth

re st and surround the word "klopfen" (knock) make the tone pa inting very clea r. Another b it o f tone painting is the elongation o f the f i r s t s y l

lable o f "rufen" (c a ll) fo r two f u l l beats (the longest note in the song). For "mach auf, lass uns ein" (open, l e t us enter) in m m . 18-19 Strauss indicates a tempo un poco marcato e calando, keeping the te s s i tura high fo r these words and giving a tone o f mock imperiousness to the fa n c ifu l image o f the poem. Harmonically, F# chordsas V/Vdominate At m. 23 E An un

m m . 19-22, heralding a culmination to th is mental journey.

major does indeed return as the accompaniment states a 1^ chord.

accompanied, cadenza-like melisma lends an e ffu sive q u a lity to the word "grussen" (g ree t), m m . 23-24. A fte r an inconclusive re tu rn to the to n ic

in m. 25, Strauss repeats "w ir kommen vom Liebsten und grussen dich fe in " (we come from your beloved and greet you) as a coda in which parts of m m . 24-26 sound s im ila r melodically to m m . 4-5. The im portunity o f

these "Gedanken" is depicted once again as they repeat th e ir "knocking" in the accompaniment in m m . 27-28. At the end o f the song Strauss re

states in the accompaniment the cadenza-like melisma o f m m . 23-24 o f the vocal lin e , th is time to bring the song gently to a close. Strauss biographer and c r i t i c Norman Del Mar sums up h is opinion o f the composer's se ttin g o f th is te x t in the most glowing terms. A ll mein Gedanken is a captivating song, one o f the very best in his lig h te s t manner. The delicate humour w ith which he matches Dahn's whimsical conception o f the lo v e r's thoughts tra v e llin g lik e so many l i t t l e birds to the loved one's window and clamouring fo r admission, would stand comparison w ith any o f W olf's fin e s t examples o f the kind.

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Strauss does in fa c t s trik e a delicate balance between humor and ear nestness in th is song. The te x t is set in such a way th a t i t is qu ite

accessible, the piano providing a discreet but w onderfully im aginative accompaniment. The m in ia tu ris tic approach to the song does indeed re

mind one o f Wolf; perhaps Strauss is somewhat indebted to him fo r the style o f th is se ttin g . I t was sixteen years before Reger published h is own s e ttin g o f " A ll mein Gedanken," the ninth song o f his Opus 75 ( 1 9 0 3 ) Although bearing the key signature o f F major, th is song is very unstable to n a l ly . Like Strauss, Reger opted fo r a duple meter (g ), the b e tte r to re Zart beweqt; ausdrucksvoll (tender movement;

fle c t the poetic rhythm.

f u l l o f expression) are Reger's admonitions a t the beginning o f the song. Voice and piano s ta r t together (as in the Strauss s e ttin g ), the A fte r a

ton ic barely hinted a t u n t il the end of the fo u rth measure.

pause in the accompaniment at the end of m. 2, Reger beginsbut never developsa sequence, and the texture ra p id ly thickens. Perhaps th is

te x tu ra l thickening is meant to suggest the m u lt ip lic it y o f these thoughts. The F# in the vocal lin e in m. 4 is s u rp ris in g , g iv in g the

f i r s t h in t o f the G major in which Reger w i l l indeed cadencealthough in d e cisive lyin m. 8. Through the wandering to n a litie s Reger c e rta in ly (See Example 2 .)

underscores the wandering te x tu a l imagery.

In the second section o f h is song (mm. 8-12a) Reger seizes upon the in v in c ib le q u a lity o f these "Gedanken" in an accompaniment th a t, w ith octaves in the l e f t hand and steady sixteenth-note chords in the r ig h t, suggests the strength o f a juggernaut as the thoughts overcome

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Example 2: Reger, " A ll mein Gedanken," m m . 6-8a

ipaatoa

any b a rrie r.

The vocal lin e also exh ibits a d riv in g strength as i t

loses it s e a rlie r contour and crescendos twice in ascending phrases, the second ris in g to the highest and loudest note o f the Lied. The mode-

changing D-minor chord at the f i r s t c lim a ctic po in t (m. 10) is p a rtic u la r ly e ffe c tiv e in lending a sense o f strength to th is section. Example 3.) (See

Example 3: Reger, " A ll mein Gedanken," m. 10

Mau

cr undTor,

The next section contrasts greatly w ith the preceding m aterial. Reger p u lls out a l l the stops to depict or portray the image mentioned in the te x t: th a t these importunate thoughts " f l y lik e l i t t l e birds high

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through the a ir . "

The accompaniment moves abruptly to a higher tre b le

range, the rig h t hand w ith pianissimo figures in s ix ty -fo u rth notes. (See Example 4 .) A ll th is tw itte rin g gives way to an embroidered repe^

Example 4: Reger, " A ll mein Gedanken," m m . 12-15

Erstcs Tempo pn rtb m l
M lc fla

t it io n , beginning at m. 16, in the accompaniment o f the theme from the song's opening measures. As the words announce th a t the thoughts have

fin a lly found the house they are seeking, the accompaniment finds the key o f G major once again. The words "klopfen" (knock) and "rufen"

(c a ll) e l i c i t from Reger the same tone-painting devices th a t Strauss used: repeated staccato chords fo r knocking and an elongation o f the f i r s t sylla b le fo r c a llin g . Again, in m. 24, Reger u tiliz e s the rhythm

and a fragment o f his opening theme as the imperious thoughts demand

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10

admittance through the beloved's window.

The same rhythm appears a f i

nal time in m m . 27-28 in the approach to the fin a l cadence, which does indeed, a t long la s t, fin d F major. Unlike Strauss, Reger does not re

peat "mach auf, mach auf, lass uns ein" (open, open, l e t us enter) as a coda, p re fe rrin g instead to get a l l these thoughts to th e ir longed-for destination. D iffe re n t though the songs are in s ty le , Strauss's s e ttin g is cle a rly preferable to Reger's. Strauss's music is te x tu ra lly less en

cumbered than is Reger's and corresponds to the lig h t-h e a rte d nature o f the poetry, whereas Reger seems in te n t on fin d in g some deeper meaning to these lig h t , fa n ta s tic a l verses. Furthermore, Strauss's vocal lin e is For

ce rta in ly easier and rather more g ra tify in g to sing than Reger's.

example, Strauss's beautifully-shaped f i r s t phrase provides the needed sense o f excitement and youthful effervescence in four lean measures, whereas Reger takes seven measures fo r the same te x t. Moreover, h is vo

cal lin e has nowhere near the elan o f Strauss's, and h is melody sounds cloying and sentimental in the extreme. Also, Reger's harmonic approach

is downright tu rg id at times, p a rtic u la rly in m m . 8-12, where the th ic k ness o f the texture seems to take precedence over harmonic fu n ction . Strauss's composition impresses one as the re s u lt o f a s in g le , u n ifie d burst o f in s p ira tio n , whereas Reger's gives the sense o f having been composed in sections th a t have l i t t l e re la tio n to one another. P articu

la r ly capricious is Reger's evocation of thoughts fly in g high lik e " l i t tle birds through the a ir " in m m . 12-14. Strauss's song unquestionably

has greater c o n tin u ity , and the more stable to n a lity o f h is s e ttin g

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11

conveys a sense o f d ire ctio n and ultim ate destination th a t s u its th is p a rtic u la r poem fa r b e tte r than do Reger's rambunctious, overblown ramblings.

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Du meines Herzens Kronelein

The second song in Strauss's Opus 21 is a s e ttin g o f another fa c ile poem by Dahn. "Du meines Herzens Kronelein" is in four iambic Here is Dahn's poem with an

quatrains w ith an abab rhyme scheme. English tra n s la tio n :

Du meines Herzens Kronelein Du meines Herzens Kronelein, Du b is t von laut'rem Golde, W enn andere daneben sein, Dann b is t du noch v ie l holde. Die andern tun so gern gescheut; Du b is t gar sanft und s t i l l e , Dass jedes Herz sich dein e rfre u t, Dein Gluck i s t 's , n ich t dein W ille . Die andern suchen Lieb' und Gunst M it tausend falschen Worten; Du ohne Mund und Augenkunst B ist wert an a lie n Orten. Du b is t, als wie die Ros' im Wald, Sie weiss nichts von ih re r B liite , Doch jedem, der voruber w a llt, E rfreut sie das Gemute. You, l i t t l e crown o f my heart, You are o f pure gold; Surrounded by others You appear even lo v e lie r. When others display th e ir cleverness, You are so sweet and quiet, That every heart is given joy Because o f your charm, not your design. The others seek love and gain With thousands o f false words; You, a rtle s s in speech and glance, Prove your worthiness in every way. You are lik e the fo re s t rose, Which is not aware o f it s blossom's beauty, Yet, to everyone who passes by, I t gives d e lig h t and in s p ira tio n .

For "Du meines Herzens Kronelein" Strauss employs the unusual key o f Gb major. Both voice and piano begin on the to n ic simultaneously
2

(h ig h lig h tin g the f i r s t word "du" [you]) in an andante

Strauss's

accenting o f "du" is a very in s ig h tfu l touch because i t immediately cen te rs our atte n tio n on th is special person, whose v irtu e s the poem is

12

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13

intended to e x a lt.

The composer next jumps an octave to set the second

"du on the to n ic at the midpoint o f the phrase, a leap o f a descending octave concluding th is f i r s t phrase. The song sounds anachronistic a t

the beginning, almost as i f the composer had copied a page o f Schubert: the steady eighth-note figure in the rig h t hand and the c le a r, uncompli cated harmonic structure o f the f i r s t four measures form, in fa c t, a cla ssica l four-bar phrase ending on the dominant. Already in these f i r s t four measures, then, Strauss establishes the feeling o f cla ssica l symmetry and equilibrium (communicating the sense o f time-honored virtu es being e x to lle d ). the p itch parameters fo r the voice as w e ll. Indeed, he establishes

By the s im p lic ity o f the

music Strauss conveys the image o f a person w ith unadorned, na tura l charm. The mood is th a t o f Biedermeier Romanticism, conveyed p a rtic u

la r ly in the l i t t l e melisma on "Herzens" (h e a rt's ), a drawing-room sigh of tenderness th a t becomes the most important m o tif in the song. Example 5.) (See

Example 5: Strauss, "Du meines Herzens Kronelein," m m. 1-2a

Andante Gesang

Piano

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14

In the f i f t h measure the te x t f i r s t mentions "andere" (o th e rs), who cannot begin to compare with "du." Strauss suggests the paucity o f

the others' charm by the sudden thinning o f the texture to a s in g le , re peated tone. As the thought o f the beloved returns, Strauss, a fte r hav

ing a b r ie f f lir t a t io n w ith a secondary dominant harmony, re-establishes G b major by the end o f m. 8, a fte r the voice repeats i t s soothing Gb a r peggio. The steady eighth notes sound very serene a fte r the smaller In the ninth measure the te x t again speaks o f

values that precede them.

"die andern" (the others), who "display th e ir cleverness," such as i t is . I f Strauss's accompaniment is any in d ic a tio n , th is cleverness is

rather lim ite d ; the texture thins once again to a single repeated note, then builds in a Bb-minor sonority. The supremacy o f "du" over "d ie

andern" is again made evident in m. 10, where the voice ris e s to the tonic note while a pianissimo Eb-minor arpeggio ascends smoothly in the l e f t hand. (See Example 6.) Bb minor changes to i t s p a ra lle l major in

Example 6: Strauss, "Du meines Herzens K ronelein," m m . 9-11

--------

T " k r r r ta - darn tua m jp ra

| > i

* i ' 1 _ D ts t|a r u tt g it

::

A 1

r r n

L ijJ i s

k
Mi

V
- 1-

7 d
j

= = = = = f= = p = = t

< 2 fc

m. 13 to re fle c t the thought th a t "jedes Herz sich dein e rfre u t" (every heart takes pleasure in you), then s lip s back to the subdominant o f Gb.

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15

The l i t t l e "Herzens m o tif o f the f i r s t measure, f o r t if ie d by octave doubling, bridges the gap between the end o f the second quatrain and the beginning o f the th ir d . Reminiscent o f m m. 5 and 10, in m. 17

the to n ic and the f u l l texture vanish at the thought o f what "die an dern" attempt. (See Example 7 .) The re ite ra te d , staccato Eb under-

Example 7: Strauss, "Du meines Herzens K ronelein," m m. 15b-17

scores the e n tire three-and-a-half-measure thought, and the key o f Ab major, b r ie fly f lir t e d w ith in the f i f t h measure, fin d s i t s consummation in m. 20. Again, out o f the m ist, as i t were, the lo f t y Gb "du" reap

pears, and the upward arpeggio in the l e f t hand (see Example 6, m. 10) returns lik e a w elling up o f irre p re s s ib le emotion. In m. 22 the "Her

zens" m o tif coincides w ith the return o f the to n ic key, which Strauss quickly extends w ith an in te re s tin g D chord (enharmonically, f l a t V i). He very d e ftly melts the D down to C#/Db, the dominant o f Gb. The tw e n ty -fifth measure bears a ce rta in resemblance to m m . 5, 9, and 17, what w ith i t s repeated notes in the r ig h t hand. 8 .) (See Example

The voice s ta rts th is fin a l section at i t s lowest p itc h (the b e tte r

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16

Example 8: Strauss, "Du meines Herzens Kronelein," m'm. 25-26a

^ .

Oubtst, tliwitdl* ^easB F

Rm1 Im YVUd,

r " v r ir~mr r T r VP

J-

to h ig h lig h t the climax to come), and there is a welcome re turn o f the melodic m aterial in the to n ic key at m. 27. As the voice sings "doch

jedem, der voruber w a llt" (ye t, to everyone who passes by), the composer e ffe c tiv e ly repeats the fa llin g arpeggio. Underneath, the chromatic

bass lin e , in contrary motion to the voice, d iv e rts to a deceptive ca dence in m. 31. The meter change in the follow ing measure stretches out

the de licious suspension in the vocal lin e , and the piano gently con cludes on an echo o f the "Herzens" m o tif in the l e f t hand, blended w ith the fa llin g arpeggios in the topmost voice. This tig h tly constructed song was a fa v o rite a t re c ita ls given by Frau Strauss and her husband. When the song surrounds us w ith i t s The

feelings o f a cozy, domestic tenderness, we can e a s ily hear why.

tenderness is f e l t in the careful accentuation o f the word "du," accent ed rhythm ically at the opening of the song, and la te r by p itc h in the second, tenth, and twentieth measures. Yet Strauss never s a c rific e s

declamation to his harmonic scheme, nor does he need to , fo r the two are p e rfe ctly complementary. Harmonically, the song always maintains a

sense o f tonal serenity, the excursions away from the to n ic only making

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17

it s return more s a tis fy in g , p a rtic u la rly at the conclusion o f the vocal lin e in m. 32. E ffective in giving c la r ity and organization to the song

are the phrases th a t begin th in ly -te x tu re d to describe "d ie andern," then take on broader v e rtic a l dimensions as the contrast w ith the be loved one ("du") is made. The m otifs o f the song are also s k i l l f u l l y

woven in to the fa b ric o f the Lied, most notably the "Herzens" m o tif, which is heard a t the opening o f the song, recurs several times through out, and tenderly concludes i t . Altogether, Strauss's "Du meines

Herzens Kronelein" is a Lied o f refined craftsmanship, fin e ly paced and eminently singable. In 1909, twenty-one years a fte r Strauss's version had appeared, Reger published his Opus 76 (h is famous Schlichte Weisen c o lle c tio n ), putting "Du meines Herzens Kronelein" at i t s head. The song is dedi

cated to his wife ("mein geliebten Elsa") and is directed to be sung a t a "tenderly moving" ( zart beweqt) tempo, which the composer admonishes the performers "never to drag" ( nie schleppend!). key, F major. The meter is gj the

As in the Strauss s e ttin g , voice and piano begin simul

taneously and q u ie tly ; unlike Strauss, however, Reger adheres to the poetic meter and emphasizes the f i r s t s y lla b le o f "meines" ra ther than "du." C h a ra cte ristica lly, Reger's accompaniment texture is th ic k , and Although

his rate o f harmonic movement fa r fa ster than Strauss's.

Reger, too, s ta rts o ff w ith a four-measure phrase th a t has an a rs is and a thesis, he obscures the tonic u n t il the phrase's end. Unlike

Strauss's flowing melody, Reger's vocal lin e takes on a l i l t w ith the use of dotted rhythms. The tune, doubled by the accompaniment and

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18

combined w ith the rocking rhythm of the g meter, is reminiscent more o f a lu lla b y than o f a love song. In the f i f t h measure Reger uses exactly the same note values in the vocal lin e as Strauss, and, lik e Strauss, accents "dann" (then) by setting i t to the highest note o f th is second phrase. Reger's composi

tio n is marked by the use o f a re st in the accompaniment under "dann" to h ig h lig h t the d ivisio n between "andere" (others) and "d u ." Example 9 .) (See

He reuses the m aterial o f m. 5 a whole-step higher in the

Example 9: Reger, "Du meines Herzens Kronelein," m m . 4-6

Gol

vtaa

an dc-n da-i>bnitia,dAti fcUt da nochvitlhtl

da.

mtnof

seventh measure, which also speaks o f "die andern."

Perhaps taking his

cue from Strauss, in the next measure Reger sets "du" to a high p itc h and again places i t very e ffe c tiv e ly over a pause in the accompaniment. What begins as p a ra lle l construction between m m . 5-6 and 7-9 disappears, however, as Reger, since the sentence is not complete, moves toward a surprising deceptive cadence on the downbeat o f m. 10. From thence he

uses an ascending sequence, building to a fo rte climax on "dein" (your) a word Strauss does not emphasize. Again, the expected cadence on the

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19

to n ic never m aterializes, as the accompaniment plunges suddenly in to a hushed A-major chord, beginning a c irc le o f f i f t h s , w hile the voice intones "dein Gluck is t 's " ( i t is your charm), as i f the emotion o f the thought momentarily threatens to overcome the composer.
10 .)

(See Example

Example 10: Reger, "Du meines Herzens K ronelein," m m . 13-15a

poeo a m m r it . .

m
nieht dein W ll-

deinGluck isti,

po to a poeo r it . -

W hen g returns in the follow ing measure, the theme o f the f i r s t four measures emerges trium phantly, as the accompaniment concludes the f i r s t h a lf o f the song w ith a ton ic cadence in m. 16a welcome in te r lude in which to regain some emotional balance, to which the block chords also contribute. The seventeenth measure appropriately repeats

the m aterial o f m. 5, which correlates with the thought o f "d ie andern" in the te x t. Both Strauss and Reger put the f i r s t s y lla b le o f "tausend"

(thousand) at the apex o f th is phrase and use id e n tic a l pitches and du rations fo r "du" (both tie d over the bar lin e as w e ll). The main theme

(in A major) again emerges triumphantly in m. 19, heightening the e ffe c t o f "du." A fte r some very chromatic motion in the piano in m m . 20 and 21

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20

(seemingly the a n tith e sis o f the artlessness in speech and glance de scribed in the te x t), the follow ing two measures repeat the la t t e r part o f the theme from m m . 3-4 to conclude the penultimate sentence, cadencing in F major. As the fin a l quatrain begins (m. 24), Reger u tiliz e s

an accompaniment figu re very much lik e what Strauss has w ritte n a t the opening o f his song. This fig u re may be meant to evoke the fo re s t, as (See

the te x t compares "du" to "die Ros1 im Wald" (the fo re s t rose). Example 11.)

Over th is accompaniment fig u re Reger repeats the mm. 1-4

Example 11: Reger, "Du meines Herzens K ronelein," m m . 24-25a

m o lto t t f r u t .

semprt dole*

theme in i t s e n tire ty , supplying a rounded fin is h to the song and adding emotional weight to th is expression o f love and devotion to th is " l i t t l e crown o f h is h e a rt." The lith e , sparkling charm o f Strauss's song is not shared by Reger's s e ttin g . While Reger's piece is c e rta in ly h e a rtfe lt and even

atta in s n o b ility in certain phrases (p a rtic u la rly the la s t) , i t s emo tio n a l tone seems too regal and overblown fo r the poetry. Perhaps one

o f the reasons fo r th is is i t s greater emphasis on accompaniment

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21

m aterial in the bass c le f.

Strauss's accompaniment, on the other hand,

seldom stresses the bass range; his se ttin g therefore takes on a d e li cacy th a t Reger's only fa in tly achieves. Excessive chromaticism is also

a ju s tifia b le c ritic is m o f Reger's s e ttin g , especially when one consid ers the greater s in g a b ility o f the Strauss song. genius fo r melody is preeminent. Once again, Strauss's

Reger's opening theme cannot compare

in e ffe c t w ith the elegantly simple ideas th a t Strauss serves up, such as the "Herzens" m o tif and the fa llin g ton ic arpeggio, which succeed in small strokes where Reger's more broadly conceived melodic design f a ils . Reger, i t is tru e , demonstrates a great deal more s tru c tu ra l u n ity in th is song than was evident in " A ll mein Gedanken." He reuses

m aterial to good e ffe c t: both the opening theme and the musical fig u re employed whenever the te x t speaks o f "die andern" (in m m . 5, 7, and 17) returnperhaps an influence o f Strauss's s e ttin g . Other possible

Straussian influences may have led to Reger's s ta rtin g piano and voice simultaneously a t the beginning o f the song and h is using s im ila r accom paniment fig u ra tio n at the beginning o f the la s t quatrain (m. 24). Be

th a t as i t may, Reger's song is to n a lly coherent and b e a u tifu lly punctu ated by b r ie f silences. Nevertheless, his harmonies lack the elegance

and soothing s im p lic ity achieved by Straussfo r example, when the la t te r returns enharmonically to the dominant (m. 25). A ll in a l l , while

the Reger version has a modicum o f charm, Strauss's must be judged the more successful, fo r i t is a song tha t sings i t s e l f without a note wasted or out o f place.

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Morgeni The Strauss and Reger settings o f "Morgen!" are inspired by an enigmatic love poem w ritte n by John Henry Mackay (1864-1933), a poem notable fo r it s b re vity and unusual meter. It s two quatrains o f 'r^e gu -

la r iambic pentameter display succinct images and statements th a t subtly express the boundless love between two people and make the poem an id e a l te x t fo r the added dimension o f music. Morgen! (Tomorrow!) Und morgen wird die Sonne wieder scheinen, Und auf dem Wege, den ich gehen werde, Wird uns, die Seligen, sie wieder einen Inm itten dieser sonnenatmenden E rde... Und zu dem Strand, dem weiten, wogenblauen, Werden w ir s t i l l und langsam niedersteigen, Stumm werden w ir uns in die Augen schauen, Und auf uns s in k t des Gluckes grosses Schweigen. And tomorrowthe sunw i l l shine again, And on the path, th a t I s h a ll fo llo w , I t w ill us, the blessed ones, unite again, Amidst th is sun-breathing e a rth ... And to the broad, blue-waved shore, W ill we q u ie tly and slowly go down, Mute we w i l l gaze in to each o th e r's eyes, And upon us w i l l descend, the happiness o f great silence . Composed

"Morgen!" is one o f Strauss's most celebrated songs.

in September, 1894, as a wedding present fo r h is b rid e, Pauline de Ahna, i t was f i r s t published as the fourth song o f Opus 27 (1896). The clas

s ic a l s im p lic ity o f Strauss's langsam (slow) thirteen-measure piano in troduction, w ith it s long, arching melody and arpeggiated chords, cre ates the sense of a very ra re fie d , filte r e d atmosphere. The t r i p le t -

figured arpeggios, th e ir continuous ascending motion dissolving in to

22

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23

stationary h a lf notes, also seem to evoke the rhythm o f the ocean's waves upon the beach. Strauss establishes his key a t once, and resolves (See Example 12.)

a l l nonharmonic tones w ith care.

Example 12: Strauss, "Morgen!" m m . 1-2

Langsam

ttk rtc tn m

This in trodu ction, strongly re fle c tin g the influence o f Schu mann, is repeated note fo r note beginning a t m. 16, re in fo rc in g the cy c lic notion, "Und morgen wird die Sonne wieder scheinen" (and tomorrow the sun w i l l shine again). This thought is made to seem spontaneous, as

the voice s lip s in to the texture on an o ffb e a t, in contrary motion to the melody in the accompaniment, on the rather curious p itc h o f G# (the leading tone o f scale step two). (See Example 13.) This f i r s t vocal

Example 13: Strauss, "Morgen!" m m . 14-16a

Undm orgvnwtrddlSonfi w to drtcht|.n*a

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24

phrase re fle c ts the arch o f the in trodu ction in i t s own m iniature arch, constructed to emphasize "Sonne" (sun). The suspension on "wieder"

(again) and the appoggiatura on "scheinen" (shine)the la t t e r on the downbeatmake the ending o f th is f i r s t phrase extremely s a tis fy in g . To

begin the re p e titio n o f the piano introdu ction underneath the cadence o f "scheinen" is a very subtle touch th a t e ffe c tiv e ly m irrors the meaning o f the te x t. For whatever reason, in m. 19 Strauss changes the o r ig in a l "die Seligen" (the blessed ones) o f the poem to "die Glucklichen" (the happy ones) and sets the f i r s t s y lla b le o f "Glucklichen" to the highest p itc h thus fa radding credence to the descriptio n. The promise made in lin e s

3 and 4 o f the poem th a t the reappearing sun w i l l again u n ite the happy lovers is expressed musically by making "s ie wieder einen in m itte n d ie ser sonnenatmenden Erde" a sing le , u n ifie d phrase, unbroken by re sts and beginning and ending on the same p itc h . In th is same phrase Strauss

also re fra in s from placing any word on a strong beat u n t il "sonnen atmenden" (sun-breathing) in m. 22, the apex o f the phrase. Strauss

also sets o f f th is word by the s trin g o f s ix B naturals th a t precede i t , a pattern he duplicates in m m . 32-33, although w ith d iffe re n t pitches. (See Example 14.) He then sets o f f the conclusion o f t h e . f ir s t quatrain

(m. 23) by the f i r s t extended re s t fo r the voice since i t s entrance and by an unusual quarter re st in the accompaniment. The dominant harmony

and the appoggiatura on "Erde" (e a rth ), reminiscent o f the vo ic e 's ca dence in m. 16, bring the f i r s t h a lf of the song to a f i t t i n g end. In the second quatrain the voice's entrance again has the

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25

feeling of spontaneity, the "und" beginning on an o ff-b e a t.

The upward

movement o f the vocal lin e in m. 24 gives the sense o f a new thought be gun. "Weiten" (wide) is cleverly emphasized by ty in g i t across the bar,

the pitches o f "wogenblauen" (blue waves) take on the contour o f a r o l lin g wave, and a fte r " s t i l l " (q u ie tly ) the voice is s ile n t fo r the only time w ith in th is phrase. Strauss continues h is tone p a in tin g , under

scoring "langsam" (slow ly) by an unusual series o f s ix quarter notes in succession, and "niedersteigen" (descend) by a descending lin e . In m m .

31-32 the piano pauses fo r two bars on a single to n ic n in th chord, and Strauss allows the e ffe c t o f th is sonority to sink in fo r a f u l l three beats before s ta tin g the word "stumm" (mute). The voice continues, in a

r e c ita tiv e - lik e fashion, to re la te what is happening, and Strauss re in forces the meaning o f the lin e , "Stumm werden w ir uns in die Augen schauen" (mute we w i l l gaze into each o th e r's eyes), by the absence o f harmonic movement and the repeated pitches fo r the voice. 14.) (See Example

In m m . 31-36 the quiet chordal accompaniment expands v e r tic a lly

Example 14: Strauss, "Morgen!" m m . 30-34a

la du

Ail-

VP

while the voice lin e ascends to the word "Gluckes" (o f happiness).

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26

Strauss changes the penultimate word o f the poem from "grosses (great) to "stummes (muted), which more a p tly f i t s the hushed mood o f h is set tin g . The f i r s t sylla b le o f the la s t word ("Schweigen [s ile n c e ]) is

given-the tonic p itch on a whole note (the only melodic whole note in the song); the la s t sylla b le drops to the leading tone. A fte r the only

simultaneous re st fo r voice and piano in the piece, the song closes w ith a quiet codetta using m aterial from the in tro d u ctio n . The codetta fu r

ther in te n s ifie s the tra n q u ility between the singer and h is /h e r beloved, now beyond words. The steady ris e o f the piano's melody in m m . 39-40,

the lengthening o f the D across m m . 39-40 and o f the G across m m. 41-42, culminating in the fin a l tonic chord in second version, gives the l i s tener the sense o f having transcended time and space. Max Reger's settin g o f "Morgen!" (Opus 66, no. 10), w ritte n e ig h t years la te r, is a shorter work than Strauss's (seventeen measures, as compared to fo r ty -s ix ), but uses more notes and a c h a ra c te ris tic pletho ra o f accidentals. Reger's in stru ctio n s to the singer and accompanist While es

are so minutely detailed as to require no fu rth e r e d itin g .

chewing metronome markings, his tempo indications are ty p ic a lly fulsome: for example, ziemlich langsam, m it inniqstem Ausdruck (nie schleppend) ( f a ir ly slowly, with fervent expression [never dragging]). The song, in A major, commences w ith a two-measure in tro d u ctio n consisting o f quarter-note block chords th a t provide no sense o f to n a li ty or meter. (See Example 15.) This steady chordal movement ceases as

the voice enters on the upbeat to m. 3, making th is introdu ction seem lik e something o f an anomaly. A harmonic a r riv a l on Ab (m. 3) precedes

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Example 15: Reger, "Morgen!" opening bars

pp

the f i r s t clear downbeat fo r the voice, on the word "scheinen" (shine) in m. 4, where Strauss's f i r s t downbeat fo r the voice also occurred. Another s im ila rity between Reger's and Strauss's versions i s th a t the apex o f the f i r s t phrase coincides with the f i r s t s y lla b le o f "Sonne" (sun). Although Strauss's declamation o f the poem is fa u ltle s s , Reger's

a ttentio n to the durations o f pitches is painstaking, and he seems to be s triv in g fo r the greatest possible f id e lit y to speech in fle c tio n s w ith out resorting to Sprechstimme. Amidst the chromaticism, Reger usually

manages to give the sing er's p itc h p rio r to or co in cid e n ta l w ith an en trance, and usually doubles successive vocal pitches w ith in the chords. In the accompaniment an ascending series o f low chords beginning on the th ird beat o f the fou rth measure is reinforced in m. 5 by the in dication to arpeggiate (or r o ll ) the left-hand chords. This, coupled

with contrary motion in the tre b le c le f, leads in to an F-major chord at the end o f th is bar. Perhaps the steady, narrowing progress o f the ac

companiment in m m . 4-5 is meant as a re fle c tio n o f the words a t th is juncture: "auf dem Wege, den ich gehen werde" (on the path th a t I s h a ll fo llo w ). (See Example 16.) In the s ix th measure Reger, fo llo w in g

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28

Example 16: Reger, "Morgen!" mm. 4-5

poco

und

auf

dem

<

Strauss's example, has substituted "Glucklichen" (the happy ones) fo r the poet's "Seligen" (the blessed ones). Reger fu rth e r emphasizes

"Glucklichen" by d ire c tin g the performers to d e liv e r th is word molto crescendo and molto espressivo, and by s e ttin g the second s y lla b le a minor ninth below the f i r s t . In m. 8 the p ia n is t's l e f t hand plummets

to i t s lowest p o in t, lik e ly to emphasize the phrase "dieser sonnenatmenden Erde" (th is sun-breathing e a rth ). Unlike Strauss's treatment o f the

words, Reger's stresses every accented s y lla b le , using t r ip le t s in a very s k i l l f u l manner. He also makes more out o f the f i r s t s y lla b le o f

"sonnenatmenden, which, on F#, is set to the highest p itc h in the song and is harmonized with a b rig h t F#-major chord. (See Example 17.)

The next stanza o f the poem seems to begin spontaneously on a weak beat, the "und" once more stated on a G n a tu ra l. A sense o f mount

ing excitement emerges as the key pitches on stressed s y lla b le s ascend by half-steps u n til the eleventh measure, where they reach the cre st o f the arc. Reger then breaks the rhythmic pattern to "descend s lo w ly ," The la s t chord

as the te x t says, the voice covering an e n tire eleventh.

o f m. 12 and the f i r s t o f m. 13 are id e n tic a l to the song's opening

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Example 17: Reger, "Morgen!" mm. 8-9

coco a eeeo rila r dan

de.

quail X
poca

a poto r i l a r -

- da

chords.

(See Example 18.)

The accompaniment continues to move in con

tra ry motion to the voice as the la tte r rises very s te a d ily , the s tre s sed syllable s accented by the p ia n is t's chords.

Example 18: Reger, "Morgen!" m m . 11b-13a

dolelttim o

In m. 14 the syncopation on the appoggiatura, resolving unex pectedly to A major, Reger's ultim ate to n ic , is ra th e r su rp ris in g . More surprising is the b r ie f, im ita tiv e passage in the accompaniment th a t follow s, which seems a musical e n tity unto i t s e l f . Perhaps th is

inte rlud e is meant to depict the interplay between the two people o f

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30

the poem as they s ile n tly gaze in to each oth er's eyes. 19.)

(See Example

Then fo r the th ir d time Reger moves the e n tire accompaniment,

Example 19: Reger, "Morgen!" m m . 14-15a

isp r tu it o

once more in quarter-note chords, to the tre b le range, while the voice sings o f "des Gluckes stummes Schweigen" (the muted silence o f happi ness) and the piano fin a lly reaches the longed-for tr a n q u ility o f A major. One's predilections in matters of musical s ty le w i l l probably determine one's subjective response to these two ra d ic a lly d iffe re n t settin gs. Reger's song sounds as though i t belongs to the tw entieth

century, as indeed i t does, while Strauss's is w ritte n in what is clea r ly a la te nineteenth-century s ty le . Both compositions are quite suc

cessful in terms o f the style they represent, but Strauss b e tte r allows the lis te n e r to absorb an atmosphere f i lle d w ith the essence o f poetry. Although Reger has declaimed the poem admirably and his subdued tria d s with th e ir added tones create a fee ling of the m ystical, h is melodic phrases lack the c la r ity and beauty o f Strauss's, which fo llo w "the

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31

contours o f every word, every a lte ra tio n o f the poetic idea, w ithout ever allowing the cantabile phrases to descend to the le v e l o f declama t io n . " 10 Strauss's long, tra n q u il prelude is fa r more successful in cap tu rin g in music the essence o f the poetry than is Reger's sh o rte r, chor dal introdu ction. Strauss's music also evokes the steady motion o f Reger

waves upon the shorea b r il l i a n t achievement in tone p a in tin g .

eschews tone painting altogether and presents the poem as a sh o rt, im p re ssio n istic experience. Strauss's le n g th ie r composition o ffe rs us a Finck, the f i r s t

more tangible, yet more transcendental experience.

American biographer o f Strauss, called "Morgen!" Strauss's greatest song.

11

Even Ernest Newman, one o f the severest c r it ic s o f Strauss's

12

Lieder, gave th is song his approbation.

While Reger has created an

in te re stin g and expressive Lied, Strauss has w ritte n a masterpiece.

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Traum durch die Dammerunq The fourth p a ir o f songs to be compared in th is study are set tings o f a deeply romantic poem, "Traum durch die Dammerung," by Otto Julius Bierbaum (1865-1910). This "dream a t tw ilig h t" consists o f ten

irre g u la r verses divided in to two stanzas o f fiv e lin e s each, w ith the rhyme scheme abaab cdccd. I t is a dream o f gray tw ilig h t; the word These "Dammergrau"

"Dammergrau" appears in four o f the ten lin e s .

lin e s , around which the poem is constructed, co n stitu te the f i r s t and the penultimate lin e s o f each stanza. Traum durch die Dammerunq (Dream through the T w ilig h t) Weite Wiesen in Dammergrau; Die Sonne verglomm, die Sterne ziehn; Nun geh' ich zu der schonsten Frau, Weit uber Wiesen im Dammergrau, T ie f in den Busch von Jasmin. Durch Dammergrau in der Liebe Land, Ich gehe n ich t schnell, ich e ile n ic h t; Mich zieh t ein weiches, samtenes Band Durch Dammergrau in der Liebe Land, In ein blaues, mildes L ic h t. Broad meadows in the tw ilig h t gray; The sun has set, the stars appear; Now go I to the lo v e lie s t o f women, Far over the meadows in the tw ilig h t gray, Deep in to the bushes o f jasmine. Through the tw ilig h t gray to the land o f love, I do not go q u ickly, I hurry not; I am drawn by a s o ft, velve t ribbon Through the tw ilig h t gray to the land o f love, Into a blue, s o ft lig h t .

In 1894 Strauss composed his version o f "Traum durch die Dammerung," set in the key o f F# major. Opus 29, published the follow ing year. I t became the f i r s t song o f h is Dedicated to Weimar Opera b a ri

tone Hermann Gura, i t is a man's song, but Frau Strauss did sing i t in

32

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33

re c ita ls a fte r i t became popular.

The composer establishes the mood o f

the song very e ffe c tiv e ly by the two-bar piano in tro d u c tio n , which l u l l s the lis te n e r in to the gray, dreamy world o f tw ilig h t by repeating the rhythmic figure that pervades almost every measure o f the song. Example 20.) (See

Alan Jefferson's remarks on th is fig u re in h is b r il l i a n t

Example 20: Strauss, "Traum durch die Dammerung," mm. 1-2

Sehr ruhig Gesang

P ia n o

analysis o f Strauss's Lied are worth quoting here. The disposition of note values between the l e f t and r ig h t hands of the accompaniment makes sure th a t there is con tinuous sound, though we are not exactly aware how th is is done, merely by hearing i t , any more than we are aware o f the diminishing degrees o f lig h t at dusk.15 Confining the accompaniment to the low range during the f i r s t four mea sures also helps to evoke the tw ilig h t because o f the darker sound i t gives. Over the re p e titio n o f the music o f the f i r s t two measures,

rhythm ically molded to the bottom lin e o f the accompaniment and out lin in g the F# to n a lity , the voice's ly r ic entrance re-emphasizes the tra n q u ility o f the scene. (See Example 21.) In the f i f t h measure, a l

though the accompaniment begins to emerge from the bass c le f , the voice

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Example 21: Strauss, "Traum durch die Dammerung," mm. 3-4a

pt i .

sings "die Sonne verglomm" (the sun sets) in a low te s s itu ra , and Strauss again makes te llin g use o f music to enhance the te x t. The music continues to respond to the imagery and movement o f the te x t. At m. 7 Strauss changes keya l l the way to Bb major. This

modulation, gracefully effected by means o f an enharmonic change from D# to Eb, underscores the action described in the te x t: "nun geh' ich zu der schonsten Frau" (now I go to the lo v e lie s t o f women). The sudden

pianissimo on the high F at the s ta rt o f the eighth measure (the longest note fo r the voice thus fa r) d e fin ite ly gives an added dimension to the romantic manner in which the single word "schonsten" (lo v e lie s t) is treated. At m. 10 Strauss introduces some chromaticism, the harmonies

continuing to re fle c t the te x t by going "w eit uber Wiesen" ( fa r a fie ld ) to begin a ris in g sequence that culminates in the re-establishment o f F# in m. 15. In th is section the word " t ie f " (deep), curio usly enough, is

the high p o int; fo r Strauss is here evoking the ecstasy o f the journey. Unexpectedly, he gives the voice a quick Gba sensuous tw is tthen straightway descends to end the f i r s t stanza w ith a cadence on Db in m. 14. (See Example 22.)

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35

Example 22: Strauss, "Traum durch die Dammerung," mm. 12-14a

tir.

In the next measure, where the song returns to F# major, Strauss begins the second stanza with musical references to the s ta r t o f the fir s t. The vocal pitches and rhythms in m m . 15-16 correspond to those

in m m . 3-4, although the voice begins each bar a step higher than before to re fle c t the singer's growing excitement as he approaches h is beloved. The vocal lin e in m m . 17-18 begins as did m m . 5-6, but develops in to a slowly bu ild ing phrase suggestive o f the "weiches, samtenes Band" (s o ft velvet ribbon) th a t draws the lover onward toward h is d e s tin a tio n . Con

cu rre n tly, the harmonic rhythm accelerates, becoming tw ice as fa s t in m. 19 and four times as fast in m. 20. fu lly supports the voice as i t ascends. The bass lin e , however, f a ith In m. 21 "Dammergrau" adheres

to the rhythmic pattern that Strauss employs fo r th is key word through out the song. W hen the peak o f the phrase is reached in m. 23, the

t r ip le t motion in the accompaniment ceases fo r the f i r s t tim e, and the voice rests on the downbeat o f the measure. The F# o f "blaues" (blue)

expands in to m. 24, where a syncopation on "mildes" (s o ft) helps to evoke the exquisite feelings o f the moment. (See Example 23.) More

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Example 23: Strauss, "Traum durch die Dammerung," mm. 23-25a

(fr| m ti ft

UcfcL

ste a d ily, the singer then repeats the second, fo u rth , and f i f t h lin e s o f the second stanza, to reinforce the veracity o f the lo v e r's statement that his journey is unhurried. For m m . 26-29 Strauss returns to the ma

te r ia l presented in m m . 15-18, fu rth e r emphasizing the ongoing nature o f th is experience. Once more the vocal lin e ascends, th is time stopping The chromatic B# on "blaues" is a The fin a l phrase

on C#, the f i f t h degree o f the scale.

sensitive and e ffe c tiv e approach to the la s t tone.

sums up the song as, w ith the cessation o f the t r i p le t fig u re fo r the la s t four bars, the s tr o llin g lover seems to fade in to the tw ilig h t. In 1899 Reger composed his settin g o f "Traum durch die Dammer ung" (Opus 35, no. 3) in the key o f Ob major. That he was fa m ilia r w ith

Strauss's se ttin g and arranged i t fo r solo piano is w e ll known, and is fu rth e r attested to by several elements in his own s e ttin g th a t seem inspired by the e a rlie r composition. Not only does Reger use the iden

t ic a l meter, but the right-hand t r ip le t figure th a t Strauss employed continues unabated throughout Reger's version as w e ll. Like Strauss,

Reger also immediately establishes his tonic (Db major) and emphasizes

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37

the strong beats in the vocal lin e .

The accompanist begins a chromatic

descent in m. 3 on "die Sonne verglomm" (the sun s e ts ), continuing through the fourth measure to cadence on the dominant in m. 5. Example 25.) Example 25: Reger, "Traum durch die Dammerung," m m . 3b-5a (See

ZSBZ

.-frW-

IfF

In the second phrase o f the song, however, Reger d iffe r s from Strauss in his treatment o f the word "nun" (now) in m. 6 by placing i t prominently on the downbeat rather than tre a tin g i t as an upbeat. second phrase thus duplicates the rhythmic pattern o f the f i r s t . The In

addition, th is second phrase is quite s im ila r to the f i r s t in melodic contour and ends w ith the same pitches (G-Ab). Reger follow s Bierbaum's

poem exactly in m, 6, avoiding Strauss's interpolated "h in " (th ith e r) between "ic h " and "z u ." Nor does Reger choose to b u ild to a clim a c tic Reger's harmonic rhythm is Reger's

point to h ig h lig h t "schonsten" or " t i e f . "

faster than Strauss's; the vocal lin e generally less sinuous.

protagonist seems more anxious than his Straussian counterpart to get to his destination. At the eleventh measure Reger plunges in to Db minor; from th is

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38

point to the end o f the song the vocal lin e contains no re s ts .

The

melody, supported by a chromatic accompaniment, ascends, crescendoing to the sole fo rte o f the song on "ich gehe n ic h t schnell" ( I do not go q u ickly)a rather odd thought fo r a fo rte . A sudden piu piano marks "N icht" has the

the echoed phrase: "ich e ile n ic h t" ( I hurry n o t).

longest duration o f any p itch in the voice lin e , as i f the love r is t r y ing to re stra in an emotion tha t threatens to become overwhelming. As at the s ta rt o f the phrase at mm. 11-12, in mm. 15-16 Reger uses the A-Bb relationship to begin the new thoughtthe p u ll o f the "weiches, samtenes Band" (s o ft velvet ribbon)which draws the voice to it s highest note on "Band" (ribbon). Simultaneously, the eighth-note

octaves in the bass of the accompaniment, which are evident throughout much o f the song, and lend i t a th ic k , Brahmsian fla v o r, begin th e ir fin a l chromatic descent. (See Example 26.) While Reger does not repeat

Example 26: Reger, "Traum durch die Dammerung," m m . 15b-17a

tw w

B in d

the te x t as Strauss does, he c e rta in ly im itates the ending o f Strauss's version from m. 18 onward, as the voice ascends by h a lf steps through nearly an octave (the "s o ft velvet ribbon" again). The note values in

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39

the voice part are almost id e n tic a l to those in the Strauss version; especially sim ila r are the four eighth notes in succession on "blaues, mildes" and the long-held ppp note at the end. - Reger's s e ttin g o f "Traum durch die Dammerung" has a l o t o f ap peal. While not as m ystical as Strauss's version, Reger's has a con

tin u ity o f thought and a d is tin c tiv e accompaniment texture th a t meshes w ell w ith the vocal lin e , making his song an intensely romantic s ta te ment. The excessive chromaticism of h is la te r songs is absent, and such However,

chromaticism as exists is linked to clear harmonic objectives.

the competition o f such an excellent s e ttin g as Strauss's makes the ne gle ct o f Reger's composition understandable. The main advantages o f the Reger, as usual,

Strauss Lied are i t s pace and i t s melodic q u a litie s .

seems in a hurry to introduce the te x t, whereas Strauss allows the pia no introduction to draw us in to the relaxing, magical atmosphere o f the poem. Strauss w rites twelve measures more than Reger, most o f them due This re p e titio n adds

to the re ite ra tio n o f the la s t four lin e s o f te x t.

credence to the action the words describe: "ic h gehe n ic h t sch n e ll, ich e ile n ich t" ( I go slow ly, without haste). also less rapid than Reger's. Strauss's harmonic rhythm is

Moreover, the re p e titiv e rhythm o f the

Strauss accompaniment helps better to create the ambience o f "Dammergrau in der Liebe Land" (the gray tw ilig h t o f love 's land) than does Reger's likewise re p e titiv e but more intense, less relaxed accompaniment. From

the singer's point o f view, Strauss is more a r t f u l than Reger in making th is poem in to a song because o f his voluptuous vocal lin e s (as in m m . 12-1A; see Example 22).

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Per Nachtganq Otto Julius Bierbaum is also the author o f the poem "Der Nachtgang." Strauss's s e ttin g is the th ird and la s t o f the songs, a l l w ith "Der Nachtgang" complements

Bierbaum te x ts , th a t comprise his Opus 29.

in a sequential manner the f i r s t of these Bierbaum poems, "Traum durch die Dammerung," which depicts a lover walking towards h is beloved's house fo r a tw ilig h t tr y s t . In "Der Nachtgang," a blank-verse poem o f

eleven quite irre g u la r lin e s , the lovers are together, s tr o llin g "durch die s t i l l e , milde Nacht" (through the q u ie t, balmy n ig h t). ing te x t relates what happens to the poet on th a t walk. Der Nachtgang (S tro llin g at Night) Wir gingen durch die s t i l l e , milde Nacht, Dein Arm in meinem, dein Auge in meinem, Der Mond goss silbernes L ic h t uber dein Angesicht, Wie auf Goldgrund ruhte dein schones Haupt, Und du erschienst mir wie eine H e ilig e , Mild und gross und seelenu b ervo ll, H e ilig und re in , wie die liebe Sonne. Und in die Augen schwoll mir Ein warmer Drang wie Tranenahnung. Fester fa s s t' ich dich und kusste, Kusste dich ganz le is e . Meine Seele weinte. W e were s tr o llin g on a q u ie t, balmy n ig h t, Arm in arm, your eyes re fle c te d in mine. The moon shed i t s s ilv e ry lig h t across your countenance, A golden halo seemed to re s t upon your lovely head. And you appeared to me, as i f a s a in t, Gentle and great and overflowing w ith in s p ira tio n , Holy and pure as the beloved sun. And m y eyes began to burn With the warmth o f approaching te a rs, I clasped you more t ig h tly and kissed you, Kissed you very s o ftly . My soul was weeping. The fo llo w

Set in ^ time and in the key o f Ab major, Strauss's version o f "Der Nachtgang" (composed in 1894 or 1895) bears the tempo in d ic a tio n 40

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41

massiq lanqsam (moderately slow), an appropriate walking tempo. is no in tro d u ctio n .

There

The octave sonority accompanying "w ir" (we) a t the

beginning o f the song is perhaps meant to connote the two lovers and th e ir "arm-in-arm u n ity . out h e sita tio n . Strauss establishes the key o f Ab major w ith

The f i r s t harmonic tw is t (the double -flatted B in m. 2)

le ts us know th a t th is is to be more than ju s t a pleasant n ig h t's out ing. At once the melody o f the f i r s t three measures captures the para

doxical feelings o f the person recounting th is experience. W e can fe e l the passion b u ild in g in m m . 4-5 and continuing to grow in m m . 6-7. These phrases are sequentially re la te d , having v ir t u

a lly the same yearning rhythmic and harmonic patterns, and harmonies that do not resolve u n til the fin a l s y lla b le has been stated. The ju x

tap osition o f modulatory harmonies in th e ir move toward C minor in m m . 6-7 (p a rtic u la rly the Fb-major chord as i t moves to the G-dominant-seventh chord) captures the e le c tr ic ity o f "your eyes re fle c te d in mine." The p la in octave G at the end o f the measure momentarily steadies the emotions fo r the entry o f the next phrase. (See Example 27.) The next

Example 27: Strauss, "Der Nachtgang," m m . 6-7a

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42

sentence o f th is blank-verse poem is contained in m m . 8-14.

In m. 10

the accompaniment's echo o f the word "Angesicht" (countenance) helps prepare fo r the climax o f the phrase, as Strauss dispels the ton al ambi guity on the downbeat o f m. 12. (See Example 28.) Here the composer

Example 28: Strauss, "Der Nachtgang," m m . 10-12

wit

auf

Gold -

jcruad

places a dominant chord th a t resolves to Eb major, in which key we catch our emotional breath in m m . 14-15. In the next section o f the song (mm. 16-25), dealing w ith the saintliness o f the beloved, the accompaniment has an e c c le s ia s tic a l so lemnity about i t . F u ll-te xtu re d , sustained chords on the downbeats lend

a cath ed ral-like atmosphere that gives way, in m. 25, to the su n lig h t o f G major, w ith i t s new t r i p le t figure in the rig h t hand o f the accompani ment. Simultaneously, in the bass, the theme o f m m . 1-3 re turn s. (See

Example 29.) That normally astute c r i t i c of Strauss's Lieder, Alan Jefferson, purports to be puzzled th a t in m. 25 "the f a ir ly s ta te ly accompaniment breaks out in to three groups o f three quavers [quarter notes] to a bar at th is p o int, suddenly giving movement, a dancelike movement to the

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43

Example 29: Strauss, "Der Nachtgang," m m . 25-26a

song, though the words express a nearness to t e a r s . C l e a r l y , th is figure is intended to express the "warmer Drang" (warm pressure) o f "Tranenahnung" (approaching te a rs), fo r i t gradually ascends in p itc h to support the climax o f the phrase on the word "Tranenahnung" (mm. 3031). The l e f t hand in m. 30 perhaps depicts the tears w e llin g up from

the deep recesses o f the soul, as an arpeggio rise s from the lowest note th a t the piano has yet sounded. (See Example 30.)

Example 30: Strauss, "Der Nachtgang," m m . 29-31

Wit

The accompaniment predominates over the voice from m. 32 onward,

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44

as the emotions move beyond what words can express.

In the accompani

ment, melodic m aterial previously heard in the vocal lin e in mm. 4-7 forms an e ffe c tiv e bridge to the voice's broken phrases in mm. 32-35. The intimacy o f the kiss is expressed by the piano alone (mm. 36-38), the main m o tif heard in the bass. This three-bar re s t in the vocal lin e

e ffe c tiv e ly isolates the concluding words, "Meine Seele weinte" (my soul wept). A fte r the singer ceases and as a c tiv ity in the accompaniment

slows, echoes o f Wagner's Tristan can be heard in the song's f in a l mea sures. In the bass, the la s t statement o f the m o tif w ith which the song

began comes to rest on a firs t-in v e rs io n to n ic chord, g ivin g a fe e lin g o f eternal transcendence. (See Example 31.)

Example 31: Strauss, "Der Nachtgang," m m. 41-45

wein t.

Reger's "Der Nachtgang" (Opus 51, no. 7 ), composed in the summer o f 1900, was published in 1901, s ix years a fte r Strauss's song had ap peared. Reger's se ttin g looks forward to the tw entieth century as un Reger's har

questionably as Strauss's looks back to the nineteenth.

monic progressions convey no sense o f even remote tonal s t a b ilit y , and

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45

his vocal lin e resembles those in works o f the New Viennese School. "Der Nachtgang" Reger seems to approach the keyboard as an organist might. Looking at the bass lin e , one can often postulate the use o f

In

organ pedals, and one can imagine th a t the many c le f changes might re fle c t the changing of manuals. The key signature is E major, bu t, although the f i r s t chord is the dominant o f tha t key, Reger establishes ne ither th is to n a lity nor any other u n t il the la s t measure o f the songc e rta in ly creating a sense o f longing to a rriv e somewhere, and o f r e lie f when i t f in a lly takes place. Pantonal, perhaps, would be the appropriate term fo r th is ha r. 2 Rhythmically, from the th ir d measure o f th is song in

monic language.

Reger maintains a steady sixteenth-note t r i p le t motion, most often in volving h a lf-step s, in the accompaniment. By these means he conveys a The vocal

sense o f walking without any s p e c ific destination in mind.

lin e is conceived quite ly r ic a lly throughout, the dynamics subdued ex cept fo r a few climaxes. The most noticeable change in texture occurs

in m. 9, where Reger seems to evoke moonlight w ith some Debussy-like w ritin g fo r the piano. (See Example 32.) In the tw e n ty -firs t measure

Example 32: Reger, "Der Nachtgang," m m . 9-10

pp

Der

V to itd

JL

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46

the f i r s t fo rte climax o f the song occurs, placed on the highest note heard thus fa r, appropriately on the word "Wonneiibervoll" (overflowing w ith great jo y )a change from the o rig in a l "Seelenubervoll" (overflow ing with in s p ira tio n ). The fourth and fin a l section o f the Lied con

tains the most torturously chromatic and dense textures to r e fle c t the passion in the poetry. The supreme climax o f the song in the p e n u lti

mate measure on "weinte" (wept) is c e rta in ly a contrast to the great sense o f repose given by the pianissimo E-major chords in the la s t mea sure; the lis te n e r feels th a t some s o rt o f catharsis has been achieved. (See Example 33.)

Example 33: Reger, "Der Nachtgang," m m . 33-35

weir*

Despite Reger's fin e s e n s itiv ity to declamation, musical in t e r pretation o f "Der Nachtgang" is fa r b e tte r served by Strauss's version. Reger's in s p ira tio n fa ils him about halfway through the song and degen erates in to what might be called making music fo r music's sake, a ten dency Strauss himself observed in Reger's com positions.^ While

Strauss's accompaniment only adds to the poetic mood, Reger's te x tu ra l

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47

and harmonic c la r ity disintegrates noticeably from m. 25 on.

Reger be

gins w e ll, however, with an in te re s tin g two-measure introdu ction and a slow, steady ascent in the te s s itu ra o f the accompaniment in the course o f the f i r s t eight measures. The abrupt change o f textures in the ninth

measure w ith it s Debussy-like sound is also very engaging, but the repe t it io n o f that m aterial in m. 17 leads to the spinning out o f tedious chromaticism that serves only to lower the te s s itu ra and our in te re s t. At m. 25 we enter a harmonic tw ilig h tone in which tonal and te x tu ra l c la r ity is lo s t to view u n t il Reger stumbles onto an abrupt and incon gruous-sounding cadence. Strauss's accompaniment, on the other hand, is ty p ic a lly less chromatic than Reger's and contains d is tin c t themes. The older compos

er, though fa r more supportive o f the singer, also allows the piano to sum up the poetic emotion by s ta tin g the theme alone in a Schumannesque postlude. Strauss's vocal lin e is fa r simpler than th a t o f Reger, who Strauss's

seems to want to make e x p lic it every nuance the te x t conveys.

more singable phrases have a greater impact in th e ir naked emotional appeal. Compare, fo r example, the way in which each composer sets the Reger's m elis-

fin a l words, "Meine Seele weinte" (my soul was weeping).

matic approach sounds cloying and contrived, but Strauss's simple, s y l lab ic s e ttin g , coming as i t does between measures fo r solo piano, has the rin g o f honesty and conviction. "Nachtgang is another o f Strauss's

inspired Lieder in which the music f i t s the poetic mood, hand-in-glove. Small wonder th a t Reger was moved to arrange Strauss's s e ttin g fo r solo piano.

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Hat qesaqtb le ib t's n ic h t dabei "Hat gesagtb le ib t's n ich t dabei" is a V olkslied taken from a co lle c tio n o f German poetry e n title d Des Knaben Wunderhorn (The youth's magic horn). This c o lle c tio n was f i r s t published in 1806-8 by Ludwig

Achim von Arnim (1781-1831) and h is brothe r-in -law Clemens Brentano (1778-1842). bic meter. tio n s: "Hat gesagt" consists o f three e ig h t-lin e stanzas in iam Each stanza in turn is divided in to two fo u r-lin e subsec

the f i r s t (w ith a rhyme scheme abcb) s ta tin g the pro p o sitio n ,

the second (w ith the rhyme scheme dded) g iving the sing er's response. This is a poem based on the number three: i t t e lls o f three choices offered by three people, the reward each time being three o f something. The saucy te x t is loaded with p o s s ib ilitie s fo r humor in i t s musical in te rp re ta tio n . Hat qesaqtb le ib t's n ic h t dabei (Saying Is Not Doing) Mein Vater hat gesagt, Ich s o il das K indlein wiegen, Er w i l l mir auf den Abend Drei Gaggeleier sieden; Siedt er mir d re i, Is s t er mir zwei, Und ich mag n ich t wiegen U rn ein einziges E i. Mein Mutter hat gesagt, Ich s o il die Magdlein verraten, Sie w o llt mir auf den Abend Drei Vogelein braten; Brat sie m ir d re i, Is s t sie mir zwei, U rn ein einziges Voglein Treib ich kein V erraterei. My fa th e r's said I'm to rock the c h ild , And in the evening h e 'l l Coddle three I f he coddles m e three, H e 'll eat two fo r me. And I d o n 't care to rock For one sing le egg. My mother's said I'm to t e l l on the maids, And in the evening s h e 'll Roast three fowls fo r me; I f she roasts m e three, S h e 'll eat two fo r me, For one single fowl I ' l l no tra itre s s be.

48

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49

Mein Schatzlein hat gesagt, Ich s o il sein gedenken, Er w o llt mir auf den Abend Drei Kusslein auch schenken; Schenkt er mir d re i, B le ib t's n ich t dabei, W as kummert michs Voglein, W as sch ie rt mich das E i.

M y sweetheart's said I'm to th in k o f him, And in the evening he W ill give m e three kisses; I f he gives me three, I t ' l l not stop a t th a t, W h a t'll I care fo r the fow l, W h a t'll I care fo r the egg.

Strauss published his s e ttin g in 1898, the th ir d song o f h is Opus 36. The key signature is F# minor, the meter and the tempo sim

ply n ich t zu schnell (not too fa s t).

Piano and voice begin sim ulta With th is

neously, the piano doubling the voice in staccato octaves.

one stroke Strauss communicates the simple humor o f the s itu a tio n and the mock g ra vity o f the fa th e r's o ffe r to "sieden" (coddle) three eggs fo r h is daughter in return fo r her rocking the baby to sleep. The sud

den pianissimo and the steady eighth-note undulation o f h a lf steps in m m . 2-3 m irror the tedium th a t w i l l be the g i r l ' s lo t i f she accepts. (See Example 34.) A humorous, p ic to r ia l touch is the t r i l l placed

Example 34: Strauss, "Hat gesagt," m m . 2-3a

KinWein wie -

- ten,

wie -

f- t

in the accompaniment under the repeated word "sieden" (mm. 5-6 ), evoking the bubbling pot o f water. (See Example 35.) As the daughter becomes

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50

Example 35: Strauss, "Hat gesagt," m m . 5-6

independent in her thin king, the vocal lin e f i r s t becomes independent o f the accompaniment (m. 8). Her decision to decline her fa th e r's o ffe r is

reflected in the accompaniment in m. 8, and Strauss d ire c ts the f in a l phrase o f th is f i r s t stanza to be sung in a p f i f f iq (cunning) manner, underscoring the g i r l 's smug, adolescent defiance. A fte r a cadence on Bb minor and a pregnant pause, the g i r l re c a lls the promise of her mother, whose syrupy speech is suggested by the G-major harmony in m. 11. In addition, id e n tic a l rhythms in the vocal The

lin e s o f m m . 1 and 11 establish p a ra lle ls between stanzas 1 and 2.

cool cheekiness o f her mother's request th a t she betray "d ie Magdelein" (the maidservants)--the im plication being th a t they may have trespassed the bounds o f propriety with members o f the opposite sexis q u ite prop e rly directed to be sung in hushed tones (g), the highly chromatic vo cal lin e emphasizing the treasonous character o f such a request. Par

tic u la r ly e ffe c tiv e are the minor s ix th descent on the f i r s t two s y lla bles o f "verraten" (betray) and the culmination o f the phrase on the high A o f "Vogelein" (fo w ls), emphasizing the reward o f three roasted

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51

chickens should she turn inform er.

This temptation the daughter momen

t a r ily ponders, as the vocal lin e is echoed in the accompaniment (mm. 15-16), so that we can almost sense the s a liva tio n taking place a t the repeated thought " ja , braten" (yes, ro a st). Once again the g i r l asserts

her independence (the decision is heard in the accompaniment in m. 17, as i t was in m. 8, while the vocal lin e concurrently breaks free o f p i ano doubling); she haughtily (" s to lz " ) re je cts her mother's o ffe r as a bad bargain, her s tir r in g resolve re fle cte d by the loud dynamics ( f f ) . (See Example 36.)

Example 36: Strauss, "Hat gesagt," m m . 16-17

cresc.

brat tie mir did,

urn da

As the g i r l next re fle c ts upon what her sweetheart has promised her ("auf den Abend drei Kusslein" [three kisses th a t evening]), the p a ra lle l major begins quite serenely u n til the voice's D# pointedly clashes in m. 21 with a s o lita ry D natural in the piano, which re c a lls the sixth scale degree o f the F# p a ra lle l minor key. (See Example 37.)

I t seems an incongruous touch a t f i r s t , but the message sinks in as th is

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52

Example 37: Strauss, "Hat gesagt," m. 21

.win

SchStiUIn ht ge - sigt,.

D natural returns in m m . 22-24 and again in m. 26, always on the la s t beat o f the measure. sweetheart's promise. Something does not altogether rin g tru e about her As yet, the g i r l has not realized what is d if f e r

ent about th is choice, and the ascending melisma on "d re i" (three) in m. 25 aptly evokes the flush o f sexual fantasy she is experiencing. Example 38.) (See

Strauss makes much use o f th is melismatic fig u re in the

Example 38: Strauss, "Hat gesagt," m m . 25-26

drei

Kiiss-lein with sdien

ken.

accompaniment.

Beginning in m. 27, he gradually runs i t up the scale

for three measures as the g i r l re alizes cnat her sweetheart has no

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53

in te n tio n o f stopping a fte r ju s t three kisses.

W e can almost fe e l the

tin g le going up the g i r l 's spine, culminating in the cry o f pleasure at the end o f the phrase (m. 31). (See Example 39.)

Example 39: Strauss, "Hat gesagt," m m . 30-31a

jttu c h ttr td

drri,bfeiblb nicht da-bthbWbta nicht di-bri,

Although Strauss has cle ve rly prolonged a re solutio n to the tonic harmony since m. 27, i t returns in m. 32 as the piano, w ith i t s octave fig u re , b r ie fly re c a lls the parents' attempts a t b rib e ry . From

th is point to the conclusion o f the song the accompaniment (directed to be played enthusiastisch [e n th u s ia s tic a lly ]) leaves no room to doubt th a t the apron strin g s have been cu t. While the g i r l throws caution to

the winds in her f in a l, sustained note (la s tin g through m m. 32-34), Strauss repeats in the accompaniment the melodic m aterial used in m m . 21-22 in connection w ith her sweetheart. (See Example 40.) The piano's

la s t fiv e solo measures, firm ly in F# major, continue to reveal the g i r l 's a n ticip a tio n o f a very happy conclusion. Composed in the autumn o f 1903, Reger's se ttin g o f "Hat gesagt" was published in 1904 as the tw e lfth number o f his Opus 75. Rather than

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54

Example 40: Strauss, "Hat gesagt," m m . 32-34

wm

srhitrt m ich (Us EL

culh u s iu tlm

making th is te x t in to a t i t i l l a t i n g character piece, as Strauss had done, Reger tre a ts i t in a more restrained way in the s ty le o f a simple V olkslied. Oddly enough, he does choose the same key as Strauss (F#
( g ) .

minor) and u tiliz e s a t r ip le meter

While Strauss cautions against

too fa s t a tempo fo r h is song (n ic h t zu schnell) , Reger admonishes ziemlich lebhaft und sehr anmutig (moderately fa s t and very graceful) and adds nie zu lanqsam! (never too slow). The Volkslied s ty le is f e l t immediately in the rhythmic swing o f the rig h t hand and the open f if t h s in the l e f t hand o f the accompani ment. (See Example 41.) Perhaps the move to the p a ra lle l major in m.

Example 41: Reger, "Hat gesagt," opening bars

Z ic in lk h le hhaft u nd sehr

Mem Va-ter h a tg e -ta g t.

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55

11 is meant to re fle c t the momentary appeal o f the fa th e r's bribe o f "three coddled eggs." (See Example 42.) The descending sequences in

Example 42: Reger, "Hat gesagt," m m . 11b-14

the piano (mm. 12-16) predict a less-than-enthusiastic response.

In

deed, beginning in m. 15, we sense the g i r l 's ris in g objections, par tic u la r ly in the chromatic ascent o f the bass fig u re . Having come to

the end o f the stanza, Reger seems to take note o f the fa c t harmonically by cadencing on the tonic (m. 24). In vocal lin e the f i r s t part o f the second stanza the rhythmic shape o f the resembles th a t used at the s ta r t o f the song; otherwise, how In the accompaniment

ever, the strophic format is merely suggested. Reger uses za.

the rhythm J j J> J j - as a un ifying device throughout the stan

Thus the piano provides a rather neutral backdrop fo r the te x t, es

chewing commentary by means o f to n a lity (which is constantly s h iftin g ) and avoiding the p ic to ria l touches th a t are Strauss's fo rte . The only

places where the piano seems to want to portray the meaning o f the te x t occur in m m . 38-40 and 47-48, where ascending lin e s may m irror ris in g emotion. In m m . 52-54 descending m aterial in the piano would seem to

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56

indicate the young sing er's unwillingness to betray her frie n d s.

Per

haps influenced by Strauss's dramatic d ire ctive s in h is score, Reger indicates th a t the long vocal melisma accompanied by th is descending passage is to be sung sehr schelmisch (very im pishly). W hen the th ird and most important stanza begins pianissimo d o lcissimo and etwas lanqsamer (somewhat slower) a t the words "mein Schatzle in hat gesagt" (my sweetheart s a id ), the lis te n e r is led to expect a c o n fid e n tia l disclosure. In m m . 59-62 Reger combines the vocal melody

of m m . 1-5 w ith the rhythmic fig u re th a t was used to give u n ity to the second stanza. (See Example 43.) In m. 63, where the g i r l ha ppily, but

Example 43: Reger, "Hat gesagt," m m . 58b-60

Etwas langsam er
pp J o lc ittim o

M e in

S ih a t z - lr in

sempre dolcissimo, begins to re c a ll her sweetheart's wish th a t she "w o ll sein gedenken" ( w ill thin k o f him), Reger, lik e Strauss, changes to the p a ra lle l major. Reger's interpolated re p e titio n o f the words "d re i

Kusslein auch schenken" (three kisses also give) emphasizes the fe e lin g o f b lis s such thoughts arouse. F in a lly (m. 75) the o rig in a l tempo re

turns, and the dynamic le ve l increases as the g i r l suddenly re a lize s how

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57

the matter is lik e ly to end.

(See Example 44.)

Mm. 75-76 are duplicat-

Example 44: Reger, "Hat gesagt," m m . 75-76

Erstes Tempo
iff I c rt-

(Z itm lic h U b h t f t l)

chmkt ct

m ir

d rd .

m f g crt-

? r _

-1 -

.i bi f r Jif

ed a whole step higher in m m . 77-78, preparing us fo r the climax in m. 80. Reger, lik e Strauss, repeats " b le ib t s n ic h t dabei" ( i t ' l l not stop Instead o f the ju b ila n t cry th a t Strauss gives us, Reger a l

at th a t).

lows the voice to sustain and diminuendo i t s note while the accompani ment arpeggiates an F#-major chord. (See Example 45.) This touch o f

Example 45: Reger, "Hat gesagt," m m . 79-82

itm p r t r i la r ffT

f/p
dan -. tu b ilo

-4

bleibis nicht it *

b rl.
itm p r t r ila r . _ r fa ( 1 .

-d o

itm p r t

con

P td a lt

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58

tenderness contrasts w ell w ith the tempo in d ica tio n fo r the re s t o f the song: sehr lebhaft (very liv e ly ) . Reger's use o f the minor mode fo r the Is the g i r l t r u ly wor

la s t s ix measures seems contradictory, however. rie d about her lo v e r's intentions?

Reger captures none o f the earthy .joie de vivre inherent in th is poem. His rather nondescript protagonist's ch a ra cte ristics come through

nowhere nearly so v iv id ly as do the t r a it s o f Strauss's cle ve r, impetu ous maid. While Strauss's sense o f the th e a tric a l leads him to create

a w itty entertainment, Reger plods through the poem a l l too serio usly in a rather Brahmsian manner (q u a litie s p a rtic u la rly apparent in the so n o ritie s and accompaniment figures o f the f i r s t stanza). Reger employs

a rather sparse, lin e a r texture th a t seems to move mechanically (mostly through the use o f sequences) rather than by any fundamental re la tio n to the poetic ideas. Only in the la s t stanza does Reger begin to show some

s e n s itiv ity to the dramatic p o s s ib ilitie s o f the s itu a tio n and to in d i cate changes in tempo and dynamics to underscore various thoughts. th is e ffo r t is minor compared to th a t required to create the musicci images th a t make up the fa b ric o f Strauss's Lied. Indeed, Strauss ap The cry o f Yet

proaches the te x t as i f he were w ritin g an opera scene.

pleasure in m. 31, fo r example, is a d e fin ite operatic touch (see Exam ple 39). In Strauss's song we are allowed to fe e l the d is tin c t and very

real b a ttle between the g i r l 's emotions; no such c o n flic t characterizes Reger's bland creature.

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Gluckes qenuq The seventh o f the poems both Strauss and Reger set to music is "Gluckes genug" by the North-German poet Detlev von L ilie n c ro n (18441909). This fa c ile poem contains two fiv e - lin e stanzas (rhymed ababc

and dedec), each o f which consists o f four iambic lin e s o f four feet each plus the re fra in , "Gluckes genug." The poet's domestic b lis s , as

represented in his memories o f two intim ate scenes, is the subject o f the poem.16 Gluckes qenuq (Abundant Happiness) W enn sanft du mir im Arme s c h lie fs t, Ich deinen Atem horen konnte, Im Traum du meinen Namen r ie f s t , U rn deinen Mund ein Lacheln sonnte Gluckes genug. Und wenn nach heissem, ernstem Tag Du mir verscheuchtest schwere Sorgen, W enn ich an deinem Herzen lag Und nicht mehr dachte an ein Morgen Gluckes genug. W hen s o ftly in my arms you s le p t, And I could hear you breathe, You, in your dream, d id c a ll my name, About your mouth there beamed a sm ile-Abundant happiness th a t was. And when, a fte r a h o t, hard day, You banished weighty care from me, W hen against your heart I lay And o f a tomorrow thought no more Abundant happiness th a t was.

Strauss gives "Gluckes genug" pride o f place as the f i r s t o f s ix songs o f Opus 37 (published in 1898), a set dedicated to "meiner g e lie b ten Frau" (my beloved w ife ). Composed in 1897, Strauss's s e ttin g bears

the key signature o f F# major and a g meter; i t carries the sing le tempo in d ica tio n , sehr ruhiq (very tra n q u il). l e f t hand lend The many ro lle d chords in the

a sentimental fe e lin g to the song, making the f i r s t

59

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60

four-bar phrase (mm. 2-5) sound somewhat lik e an arrangement o f a popu la r melody. The f is t f u ls of chords w ith th e ir many th ird s and six th s in

contrary motion bespeak the very warm, tru s tin g re la tio n s h ip th a t under lie s the sentiment expressed by the poet. (See Example 46.) Although

Example 46: Strauss, "Gluckes genug," m m . 1-3

ijlV 'i, "

v

;r>

. Wenn

sniift

U da

mir im

fl M t t - y P

'

"I

^
; 1 -

ft

L - T

at f i r s t the piano doubles the singer, in m. 6 the voice begins to take on an independent character, and the harmony a lig h ts on the dominant in m. 8so fa r a most conventional piece. The follow ing measure seems to

be preparing us fo r a cadence on E major, but moves deceptively to C# minor instead. The two measures o f accompaniment (mm. 10 11) seem lik e

a w is tfu l remembrance o f the scene o f tender intimacy ju s t described. At the s ta rt (m. 12) o f the b r ie f re fra in ("Gluckes genug"), the voice enters on an E# over an enharmonic F7 harmony. This p o te n tia l dominant

chord o f Bb never resolves (in d ic a tin g , perhaps, the present aliena tio n ). Instead, i t progresses to G#7, s e ttin g up a cadence in C#, which (See Example 47.)

ends the stanza.

In m. 14 the texture abruptly th in s to the syncopated re p e titio n

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61

Example 47: Strauss, "Gluckes genug," m m . 12-14

G lu k

ge -

naK.

o f a single C#, a kind o f dominant preparation th a t connotes a mental pause between the two stanzas. This syncopated pulse continues through

out the next thought, though the music becomes smoother, appropriately enough, at the end o f m. 19, when care has been banished. The vocal

lin e is independent o f the piano in th is stanza, the declamation excel le n t. The main in te re s t, however, is in the accompaniment. Strauss

uses the melody from m. 3 in m m . 20-21 as the te x t speaks o f "wenn ich an deinem Herzen lag" (when against your heart I la y ), an e ffe c tiv e re cycling o f such sentimental m aterial. This m aterial is thickened,

heightened, and repeated in m. 22 to b u ild to a climax before the in e v i table descent and return to the r e a lity o f "e in Morgen" (a tomorrow). (See Example 48.) A fte r th is sobering thought the voice breaks o f f

again, the sin g e r's u tte r in a b ility to continue re fle c te d once more in an unresolved dominant. Recalling the pattern set in mm. 10-11, the

voice remains s ile n t in m m . 25-26, although th is time the piano's com mentary is made a f i f t h lower in p itc h . In m. 26 the vo ic e 's expected

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Example 48: Strauss, "Gluckes genug," mm. 20-22

and nicht

mriir dt:H - to

E# entrance is now to become a leading tone to the u ltim a te F# to n ic . The length o f the note allows one to savor the memory o f th a t moment as long as possible before the in e vita b le cadence. (See Example 49.)

Example 49: Strauss, "Gluckes genug," m m . 26-29a

= ^ = - J

C ---------- -h, - kc*

Ji ge

^ no*.

>

:If '> L ....

5 2 =

During the la s t s ix measures the piano s o ftly and sentim entally re c a lls the o rig in a l melody o f m m . 2-5. Reger's version o f "Gluckes genug" was published in 1899, only a year a fte r Strauss's, but bears the same opus number, 37. Composed in

the summer o f 1899, th is Lied, the th ird song o f the opus, is dedicated "w ith deepest respect" (hochachtunqsvollst) to h is frie n d Emil Pinks.

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63

Reger's key is not fa r d ista n t from Strauss's (B major ra ther than F# major), and his tempo in d ica tio n , sehr ruhiq und ausdrucksvoll (very tra n q u il and f u l l o f expression), is s im ila r. mentioning are the closeness o f the meters 2 Other s im ila r itie s worth A as opposed to g) and the

voice's entering on the la s t beat o f the f i r s t measure in both Lieder. Inasmuch as "Gluckes genug" is another o f Strauss's songs Reger arranged fo r solo piano, i t is not surprising th a t Reger's own s e ttin g o f the same te x t shows some influences o f Strauss. Reger's accompaniment is quite p ia n is tic , the sixteenth-note mo tio n in the rig h t hand maintained throughout the Lied, the l e f t hand quite sparse. The tension o f the D# in the voice and r ig h t hand o f the

piano against the E in the bass (plus the addition al 6-5 suspension) gives a forward impetus to the second measure and marks the song as a serious expression. (See Example 50.) The figu re in the vocal lin e

Example 50: Reger, "Gluckes genug," m m . 1-3

S e lir r u h ip und uusd rucks vo lt

du mir

Ar

me sihlicfst, Ich

f is ig :
VP__

propels these f i r s t fiv e measures forward as Reger steers h is harmonic progression towards the dominant. The narrow range o f the voice and i t s

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64

re p e titiv e melody and rhythm subtly evoke the p ictu re being described: that o f the closeness o f the singer to h is loved one, and the re g u la rity o f her breathing. Reger musically reproduces the comma a t the end o f

the f i r s t phrase with a re s t on the downbeat o f m. 6, but maintains the momentum o f the poem by avoiding the expected to n ic cadence and going instead, on the second beat o f the measure, to a firs t- in v e rs io n ton ic chord. A temporary change to minor on the downbeat o f the next measure

marks the lin e "Im Traum du meinen Namen r ie f s t " (in the dream you called my name). The texture o f the accompaniment th in s out in the

rig h t hand a t th is p o in t, lightening the atmosphere. A more extended turn to the minor mode is heard a t the eleventh measure. Here, w ith eloquent re s tra in t (u n like the Strauss version a t

th is p o in t), the accompaniment in te rp re ts the e ffe c t th a t observing th is sleeping smile has had on the beholder. Like Strauss, Reger allows time As in

fo r the pause indicated in the poem before concluding the stanza.

the Strauss s e ttin g , the voice enters w ith a high, sustained note on the f i r s t s y lla b le o f "Gluckes," accompanied by the novel sound o f D major. (See Example 51.)

Example 51: Reger, "Gluckes genug," m m . 10-12

Gluk

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65

A fte r the f i r s t stanza ends on the dominant (m. 1A), F# major becomes F# minor in preparation fo r the phrase "nach heissem, ernstem Tag" (a fte r a hot, hard day). In th is section o f the song Reger under

scores the meaning o f the te x t in very simple but f i t t i n g tonal lan guage. One can fe e l the "schwere Sorgen" (heavy cares) th a t "du" (you

the belovedvery e ffe c tiv e ly highlighted in p itc h and dynamics) "verscheuchtest" (smooth away), as the dark harmonies o f D minor, A minor, and G minor are followed in quick succession by the happier sounds o f D major, G major, and C major. The climax o f the Lied occurs

in the tw entieth measure on the word "Herzen" (h e a rt), appropriately the loudest and highest note o f the song. ate, heart-pounding touch. The dotted rhythms add a passion In m. 21 Reger seems to

(See Example 52.)

Example 52: Reger, "Gluckes genug," m m . 16-21

hel

Gem, ern

stem

W U p p F
nn kli an dd non llrr /cn

p in p e r i t .

und n k h t

mchr
-

r it.

rrfl

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66

be heading fo r a cadence on G major, but evades i t w ith an A-minor chord at the s ta r t o f the next bar as the poet re c a lls "a tomorrow," b lis s fu lly forgotten only fo r a moment. Like Strauss, Reger also provides a

l i t t l e break before the words "an ein Morgen" (o f a tomorrow), perhaps to in d ica te a s lig h t unwillingness to th in k about i t . At the fin a l ca

dence (m. 25) the voice finishes w ith a diminution o f i t s rhythmic f i g ure, and the piano ends i t s o s c illa tio n s in the r ig h t hand in a con cluding B-major arpeggio, wrapping up the Lied in a moment o f b lis s fu l repose. Reger's approach to th is te x t is markedly d iffe re n t from th a t to other poems looked at thus fa r. His accompaniment is conceived to pro

vide a re la tiv e ly stable tonal framework, supportive and complementary to the voice. As a re s u lt, the voice is free to be expressive on i t s

own, in phrases th a t are not clu tte re d w ith accidentals as they were in the f i r s t s ix Reger songs analyzed here. What Fischer-Dieskau called

the "mania fo r modulation" th a t detracts from many o f Reger's Lieder is also not present.17 Reger's refreshingly simple, d ire c t approach to "Gluckes genug" has the rin g o f honesty to i t , esp ecially when compared to Strauss's "sugary-sweet rhapsody." 18

Although Strauss's song is s k i l l f u l l y crafted and there is a t least one "very d e ft piece o f S traussian m o d u la tio n " in i t , is overly sentimental in conception. 19 it

P a rtic u la rly uninspired are the

arpeggiated chords and the cadences th a t seem designed to draw a sigh from the salon p u b lic. Reger, on the other hand, seems not to be try in g

to open our tear ducts w ith overwrought cadences or "d e ft pieces o f

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67

modulation," but sets the te x t without any d is tra c tin g f r i l l s in the ac companiment and thus heightens the impact o f the poetry. This d if f e r

ence is p a rtic u la rly apparent when we look a t each composer's f in a l ca dence. Like the poet, Reger ends his song in the knowledge and b e lie f

th a t the words say a l l th a t can be said, whereas Strauss weakens h is fin a l bars by repeating his saccharine theme in the accompaniment. Reger c le a rly outdoes Strauss in s e ttin g "Gluckes genug."

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Meinem Kinde The next two pairs o f songs to be compared are lu lla b ie s . The

f i r s t are settings o f a simple poem e n title d "Meinem Kinde" by another minor North-German poet, Gustav Falke (1853-1916). His te n -lin e poem,

c e rta in ly a f lig h t o f fantasy, is made up o f fiv e rhyming couplets o f irre g u la r meter. Meinem Kinde (To M y Child) Du sch la fst, und sachte neig' ich mich You sleep, and gently I bend CJber dein Bettchen und segne Over your l i t t l e bed and bless dich. you. Jeder behutsame Atemzug Each cautious breath 1st ein schweifender Himmelsflug, Is a wandering, heavenward f lig h t , 1st ein Suchen w eit umher, Is a searching fa r and wide, Ob n ich t doch ein Sternlein w a r', [To see] whether there be not a tin y s ta r, W o aus e ite l Glanz und L ich t Where from id le lig h t and splendor Liebe sich ein Gliickskraut b ric h t, Love breaks o f f a p la nt o f happiness, Das sie g e flu g e lt hernieder tra g t Which, bewinged, she ca rrie s down Und d ir au f's weisse Deckchen le g t. And lays upon your white cove rlet. Strauss composed "Meinem Kinde" in February o f 1897 and publish ed i t the follow ing year as the th ird song o f h is Opus37. The in s tru

mental o rig in a l was set in the key o f Gb major; however, the song is usually performed in G, the key indicated in Mueller von Asow's Thematisches Verzeichnis. 9fl Despite one c r i t i c 's assertion th a t the Gb

to n a lity is " in f in it e ly preferable" fo r it s "p a rtic u la rly apt velvety q u a lity ," key.
21

th is analysis w ill be based on the version in the higher

Themeters are somewhat complicated: g fo r the vocal lin e and the

68

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69

l e f t hand o f the piano, but

fo r the rig h t hand.

Strauss d ire c ts th a t

the Lied should move with a ruhiq gehende Bewequng (peaceful motion) and that the accompaniment should be played sehr qebunden (very smoothly or leg ato). The piano sets the mood in the f i r s t measure, creating an atmo sphere o f tenderness, warmth, and c h ild lik e se re n ity. The melodic in

te re st is centered in the rig h t hand s melody, which the other voices complement over a G pedal in the bass. A fte r th is measure o f introduc

tio n the voice, o u tlin in g a to n ic tr ia d , enters over the id e n tic a l ma t e r ia l in very ly r ic fashion. ly ) is appropriately poignant. The ris e to the high G on "sachte" (gent The G pedal fin a lly dissolves a t the end

o f the th ird measure, and a C-minor chord appears a t m. 4evocative perhaps o f the bending expressed in the te x t, fo r the descent o f the voice lin e in conjunction w ith m aterial in the p ia n is t's r ig h t hand is simple, e ffe c tiv e tone painting. (See Example 53.) Strauss continues

Example 53: Strauss, "Meinem Kinde," m m . 2-4a

schlifst

to play with th is bowing image by s h iftin g the accompaniment's steady

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70

sixteenth-note motion from a lto to tenor in mm. 4-5 and saving the sing e r's lowest note fo r the f i r s t s y lla b le o f "Bettchen" ( l i t t l e bed) in m. 5. As the f i r s t phrase o f the song (s e ttin g the f i r s t couplet o f the poem) cadences on the ton ic in m. 7, the accompaniment pattern changes somewhat, the top lin e no longer in perpetual sixteenth-note motion. This new pattern could w e ll be meant to represent the parent's

"behutsame Atemzug" (cautious breath), to which the te x t immediately refers in m. 8. Here the voice enters and im itates the melody o f the (See Example 54.) The melody in the accompaniment

preceding measure.

Example 54: Strauss, "Meinem Kinde," m m . 8-9

Je - dor be hot*

>

- s i - Tne

A -

. tetn

zag

of m m . 10-11 continues to ascend to describe the "Himmelsflug" (heaven ward f lig h t ) o f each breath o f the blessing. The climax of th is section

comes in m. 14, when a poco crescendo builds to the word "S ternlein" (tin y s ta r), harmonized by a lush E-major ninth chord. nissimo on the voice's high F# adds an ethereal touch. 55.) The subito pia (See Example

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71

Example 55: Strauss, "Meinem Kinde," mm. 13-15

C9 r H a r tt.

ib nicht docheln Stern

Strauss also uses rhythmic va ria tio n in such a way as to high lig h t th is m. 14 climax. The high F# occurs on the second beat in con

junction with the melodic m o tif in the accompaniment th a t, u n t il now, has always occurred on the f i r s t and th ird beats o f the measure. In mm.

16 and 17 the lig h t , c e le s tia l fantasy described in the te x t is a p tly evoked by t r ip le t rhythms and im ita tio n in the piano, w ith th ird s and sixths the prominent sonoritie s. Hemiola rhythms characterize m m . 19-20

perhaps an allusio n to the flapping wings o f "g e flu g e lt Liebe" (winged love [ i . e . , Cupid]). The descent o f the vocal lin e on "hernieder"

(down) in m. 20 introduces a noticeable drop in te s s itu ra , the l e f t hand o f the accompaniment continuing the plunge in the next measure. Example 56.) M m . 24-27 form a bridge to the la s t stanza. In m m . 24-25 (See

Strauss's re p e titio n of m aterial f i r s t heard in m m. 7-8 has a calming e ffe c t. The return to a lo f t ie r tessitu ra is accompanied, in m. 26, by

an explosion of cross-rhythms, leading to a to n ic re c a p itu la tio n o f the song's opening in m. 27. (See Example 57.) This re c a p itu la tio n takes

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72

Example 56: Strauss, "Meinem Kinde," m m . 18b-21a

G liiclci-krtut

brichti

on a more intensely ethereal q u a lity when the composer restates the f i r s t two-and-a-half measures o f his o rig in a l accompaniment an octave higher, then descends to the o rig in a l le v e l in conjunction w ith the "bending" imagery. The la s t seven measures o f the song, which repeat

the f i r s t couplet o f the te x t, bring the piece to a gentle, serene close, b e fittin g the lu lla b y atmosphere.

Example 57: Strauss, "Meinem Kinde," m m . 26-27

| ...

- : -= ^ = g

y t= lk .

Reger's "Meinem Kinde" was composed and published in 1900, the

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73

th ird song o f his Opus 43.

The meter is

the key signature Ab major,

and the tempo in d ica tio n lanqsam, sehr ausdrucksvoll (n ic h t schleppend, le ise beweqt) (slow ly, very e xp re s s io n -fille d [n o t dragging, gently mov in g ]).- "Meinem Kinde" is another o f the seven Strauss songs Reger a r ranged fo r solo piano. Although one might suspect th a t h is intim ate

knowledge o f the Strauss s e ttin g influenced h is own song, there is l i t t le evidence to support such a conclusion. In fa c t, Reger seems to have

been influenced much more by Brahms than by Strauss. Reger's opening is reminiscent o f an organ prelude as sinuous chromaticism dominates the texture ; perhaps the image o f "blessing" triggered such an approach in Reger's imagination. (See Example 58.)

Example 58: Reger, "Meinem Kinde," opening bars

Laiigsant, selir ausdrucksvoll wr//< xchkiwcnd.M se hew tgu

tc M ifs t,

xvniiitv tissai tfc/im/a r ben /cgo/ti

J j p u u f t C.QTtin

The music beginning at m. 5, however, seems inspired by Brahms and bears hallmarks o f th a t composer's s ty le : th ird re la tio n s (an Ab-major ca dence, followed by C minor, Eb major, then G major [mm. 6 - 7 ]); ascending arpeggios; and bare octaves to give s o lid ity and strength to the te x ture. This Brahmsian approach characterizes the re s t o f the song. (See

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74

Example 59.)

Example 59: Reger, "Meinem Kinde," m m . 5-7a

Ut

ein

In ty p ic a l fashion Reger prepares fo r the c lim a c tic moment o f the song w e ll in advance. The eighth measure marks the beginning o f

movement sempre poco a poco crescendo e strinqendo (gradually more v o l um e and urgency). In m. 10 the bass lin e (soon to be doubled a t the oc

tave) begins i t s inexorable h a lf-ste p ascent th a t la s ts almost to the downbeat o f the fourteenth measure, where the fo rtis s im o climax occurs appropriately on the word "Liebe" (lo ve ). At th a t p o in t the bass plum

mets to i t s lowest note, and romantic-sounding arpeggiations ascend as the tempo becomes poco a poco r i t . a l tempo primo (gradually slower, back to the o rig in a l tempo). (See Example 60.) Like Strauss, Reger ends h is The vocal lin e o f

song by repeating the f i r s t couplet o f the poem.

these la s t fiv e measures o f the Lied is roughly s im ila r to i t s counter part at the beginning o f the song. In the accompaniment the l e f t hand

reaches deep in to the bass as i t approaches the f in a l cadence in a c i r c le - o f- fifth s motion th a t is unmistakably Brahmsian. (See Example 61.)

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75

Example 60: Reger, "Meinem Kinde," mm. 13-14

G l n s _ _

Lit
_

b<

poc9 a poco r if. .

^
IH .L

------------ i fllJ P

y H r d r i ! W .;,
.

L a .t - r t n r ~ ' --------------------- --

..... . s

Example 61: Reger, "Meinem Kinde," m m . 23-25

tnorendo

Strauss's se ttin g o f "Meinem Kinde" b e tter captures in music the innocent fantasy o f the te x t. His tonal language once again sounds lik e Reger's neo-Brahmsian

a foreshadowing o f his opera Per Rosenkavalier.

s ty le , on the other hand, lacks the delicacy required fo r Falke's poem. The s t y lis t ic features o f Brahms's music seem to have been imprinted heavily upon Reger's creative imagination while he was composing "Meinem Kinde," fo r the w ritin g occasionally borders on parodyp a rtic u la rly a t the very end o f the Lied. Curiously, the f i r s t four measures o f Reger's

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76

se ttin g seem to depend on a d iffe re n t source o f in s p ira tio n than does the re st o f the song. A fter the Brahmsian section begins, there is fa r

more to in te re s t the lis te n e r: rhapsodic surges; grand, sweeping phrases; and in te re stin g harmonic juxta positio ns -a ll c a re fu lly crafted to h ig h lig h t the singer's arching phrases. In m m . 9-14, fo r example, Also,

Reger builds to the climax on "Liebe" in a very s k i l l f u l fashion. the concluding m aterial (mm. 21f f . ) is very e ffe c tiv e .

Had he begun the

song in a s im ila r s ty le , i t would have been much improved. While Reger's conclusion is e ffe c tiv e , Strauss's more success f u lly in te n s ifie s the focus on the mother's tenderhearted fascination w ith her c h ild . The rounded, tonal balance o f his re c a p itu la tio n , with

it s magical transposition o f the accompaniment, imbues Strauss's song w ith a q u a lity more in keeping w ith the lu lla b y te x t than th a t o f Reger's more active and intense s e ttin g . Strauss uses harmony to good

e ffe c t throughout his song, varying the harmonic rhythm in conjunction with the imagery o f the te x t (p a rtic u la rly during the "heavenward f lig h t " ) , employing rhythmic v a ria tio n to good e ffe c t as w ell (see m m . 19-20), and creating a vocal lin e th a t sounds as i f i t had been w ritte n fo r the Marschallin.

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Wieqenlied The ninth p a ir o f songs to be compared in th is study is also the second p a ir o f lu lla b ie s : settings by Strauss and Reger o f "Wiegenlied." The author is Richard Dehmel (1863-1920), yet another contemporary North-German poet. Each o f the poem's three fo u r-lin e stanzas (rhymed Reger,

abab cdcd e fe f) begins w ith the words "Traume, traume" (dream).

indeed, chose to give h is version the t i t l e "Traume, traume, du mein susses Leben! Wiegenlied." Wieqenlied (Cradle Song) Traume, traume, du mein Von dem Himmel, der die b rin g t. Bluten schimmern da, die Vor dem Lied, das deine susses Leben, Dream, my sweet l i f e , dream Blumen Of heaven th a t brings the flowers. beben Blossoms gleam there which quiver Mutter s in g t. With the song your mother.sings. m y anxiety, dream flower sprouted; blossom morning opened to the

Traume, traume, Knospe meiner Sorgen, Dream, bud o f Von dem Tage, da die Blume spross; Of the day the Von dem hellen Blutenmorgen, Of th a t b rig h t Da dein Seelchen sich der Welt W hen your soul erschloss. world. Traume, traume, Blute meiner Liebe, Von der s t ille n , von der heilgen Nacht, Da die Blume seiner Liebe Diese Welt zum Himmel mir gemacht.

Dream, blossom o f my love, dream Of th a t s ile n t, th a t holy n ig h t, W hen the flower o f h is love Made th is world heaven fo r me.

Strauss composed "Wiegenlied" in August o f 1899 and published i t the same year at the head o f his Opus 41. The key is D major; the meter

fo r the f i r s t and th ird stanzas is a lia breve, while the second stanza alternates between a lia breve and ^ Strauss's "Wiegenlied" is con

ceived very p ia n is tic a lly , a fa c t brought out by i t s length (e ig h ty -s ix

77

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78

bars), almost double that o f most o f the songs included in th is study. Although Strauss d ire cts that the Lied be performed sanft beweqt (w ith gentle motion), the cut time and the pattern o f thirty-second notes in the rig h t hand, meant to be played sehr le ic h t und flu c h tig (very lig h t ly and flow ing), are in d ic a tiv e o f the extremely a g ile performance de manded o f the p ia n is t. C ertainly the tempo must be quick, or the singer

would be unable to do what is demanded by the continuously long, sus tained phrases. The melody o f the song, as b e fits a lu lla b y , is ingra

tia tin g and somewhat re p e titiv e . The vocal lin e begins a fte r an in trodu ction o f two id e n tic a l measures o f t r ip le pianissimo in the to n ic , which provide the proper hushed, dreamy atmosphere. The l e f t hand's crossing over to play a note

in the tre b le c le f occurs on the th ir d beat o f nearly every bar o f the f i r s t stanza. Even though i t seems rather th e a tric a l, the hand-crossing The disso

does add rhythmic and melodic in te re s t to the accompaniment.

nances between voice and accompaniment in m. 4 give a d d itio n a l impetus to the opening phrase. (See Example 62.) Very conventionally the Lied

Example 62: Strauss, "Wiegenlied," m m . 3-4

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79

goes to the dominant halfway through the f i r s t stanza, then wends i t s way back to the to n ic. In the second stanza Strauss is more adventurous. As the te x t

speaks o f the "Knospe meiner Sorgen" (bud o f m y a n x ie ty ), the harmony changes from D major to D minor to color th is one p a in fu l image in the te x t. (See Example 63.) Only occasionally does a cross-over note punc-

Example 63: Strauss, "Wiegenlied," m m . 38-40

tuate a measure in th is stanza.

The hand-crossing pattern does reappear

as a regular feature in the th ird stanza, however, where i t is th ic k ened, beginning in m. 66, to become a cross-over chord. These chords

add to the in te n s ity o f the te x t as "der s t ille n . . . der h e il'g e n Nacht" (th a t s ile n t . . . th a t holy night) is re ca lle d . (See Example

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64.)

At m. 76, the climax o f the song, Strauss appropriately saves his

Example 64: Strauss, "Wiegenlied," m m . 65-68

(uhr mudrmrluutt)

(utrigmO

highest note fo r "Himmel" (heaven).

The la s t lin e o f the poem is re

peated as the Lied s e ttle s down to it s conclusion in an unhurried, tra n q u il fashion. Reger s "Wiegenlied" (Opus 51, no. 3 ), composed in the summer o f 1900 (a year a fte r Strauss's s e ttin g ), was published in 1901. Sehr aus

drucksvoll; ziemlich lanqsam, aber nie schleppend (very expressively; rather slow, but never dragging) are Reger's in s tru c tio n s . For the p ia

n is t he also adds an Ita lia n admonition, sempre una corda, assai d e lic a to e quasi vivacissimo (always with s o ft pedal, very d e lic a te ly and rather q u ickly). The meter is
12
16

throughout.

Reger also w rite s a

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81

busy accompaniment: a t r ip le t pattern o f thirty-second notes w ith a re s t in place o f the f i r s t note is a constant feature o f the r ig h t hand o f the piano part during the f i r s t stanza. The l e f t hand has a steady s ix

teenth-note pattern th a t often anticipates a t the octave a note in the right-hand tr ip le t s . An ascending chromatic m o tif in the tenor range (See Example 65.) This m o tif often

moves through the f i r s t measure.

Example 65: Reger, "Wiegenlied," opening bars

S ch r ausdrucksvoll; ziem lich langsam . alier nie sclileppend

T ritt

t t m p n una corrin, a u a i iletirn/o t i/u m i v ia a c iu in o

t an PtdaU

recurs in s im ila r form (but never exactly) during the course o f the song, and winds up in i t s p u rifie d state at the conclusion o f the piece. The ton ic key is the same th a t Strauss choseD major. Like

Strauss, Reger demands excellent breath con trol from the singer through out the song. Reger's vocal te s s itu ra , however, is higher than

Strauss'sthe highest, in fa c t, o f the tw enty-eight songs compared in th is study. The vocal lin e in m. 4 e xh ib its c h a ra c te ris tic s o f the (See Example 66.)

ascending chromatic m o tif o f the f i r s t measure.

Reger is fond o f using the in te rv a l o f the minor th ir d to approach the highest point o f the phrase in the vocal lin e in th is song, as he does

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on the word "Blumen" (flowers) in m. 5.

(See Example 66.)

Other in -

Example 66: Reger, "Wiegenlied," m m . 4-5 (vocal lin e s only)

_

stances o f th is in te rv a l pattern are the m in o r-th ird leap to high A on the f i r s t s y lla b le o f "Knospe" (bud) in m. 10 and the grace-note F leap ing by minor th ir d to the climax o f the phrase in the tw e lfth measure. The second stanza begins w ith a new accompaniment pa ttern: arpeggios in duplets ascending from the bass. m aterial sounds Brahmsian. The re s u ltin g change in

Also poignant is the C# on the f i r s t s y lla

ble o f "Sorgen" (anxiety) in m. 10 th a t functions enharmonically as the th ird o f a Bb-minor seventh chord (which becomes major when the voice goes to D natural at the end o f the measure). (See Example 67.) In the

follow ing measure the pitches o f the words "von dem Tage" (o f the day) present another fragment o f the m o tif heard previously in m m . 1, 4, and 5. (See Example 68.) Reger s ta rts the th ir d stanza on a high plane, a minor th ir d u tiliz e d once again as he ascends to a high, fo rtissim o A on the f i r s t

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83

Example 67: Reger, "Wiegenlied," mm. 9-10

U n p o c o p iu mosso

3D? *

^
r

Kno*

pe

ncr

iSor

^ ^ .. I

- gen.

...................

'

a r m -l- "

= = l^

Example 68: Reger, "Wiegenlied," m. 11 (vocal lin e only)

tl
-/rrH

m p ^ H lt -

dm i

(l

x tr in

m m u J>

i* fn

~~

MHt

ft* Ta IIP. ll

air

sylla b le o f "Traume" in m. 15.

To provide balance, the same pa ttern, a

th ird lower, is repeated pianissimo fo r the follow ing "Traume" in m. 16. In the seventeenth measure the vocal lin e re c a lls the ascending chromat ic m o tif o f m. 1. (See Example 69.) In m. 18 the texture is reduced

and becomes smoother to bring out the aura o f silence th a t the te x t be gins to describe. The word "h e il'g e n " (holy) in m. 19 is c e rta in ly

highlighted as i t la sts the e n tire nineteenth measure, the pitches

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Example 69: Reger, "Wiegenlied," m. 17 (vocal lin e only)

placed serenely high, a minor th ir d yet again used to leap to the high note. (See Example 70.) In the twentieth measure another fragment o f

Example 70: Reger, "Wiegenlied," m. 19 (vocal lin e only)

xtiH prv ifo/t'issirtio

the chromatic m o tif reappears a t "da die Blume" (when the flo w e r). Example 71.)

(See

Like Strauss, Reger reserves the highest note o f the song

Example 71: Reger, "Wiegenlied," m. 20 (vocal lin e only)

molto tr p r tu . Jt7npr0

mmo;
Nacht,

x tr iu

fo r the word "Himmel" (heaven) in m. 22, approaching the high B by means o f a minor th ird leap. Instead o f repeating the e n tire la s t lin e o f the

poem, as Strauss does, Reger chooses to re ite ra te ju s t "zum Himmel" (again approaching "Himmel" by means o f a minor th ir d ). The melody then

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85

slowly descends to the to n ic , which Reger accompanies, a t la s t, by the tonic harmony. The la s t measure in the l e f t hand contains a very clea r

statement o f the chromatic m o tif th a t has been present in various forms at d iffe re n t points in the piece. (See Example 72.)

Example 72: Reger, "W iegenlied," m. 24

ppp

Reger's song has much to recommend i t : e x c itin g , sweeping phrases (mm. 22-24 a prime example); harmonic boldness (nearly any mea sure shows th is q u a lity ); rhythmic in te re s t; and a texture th a t a t times ju s t avoids being too th ic k . M elodically, however, Strauss's version is

more appealing and, although not one o f h is greatest achievements, is very s k i ll f u ll y crafted to achieve the desired e ffe c t. The s im p lic ity

and modified strophic form of h is s e ttin g are more in keeping w ith the character o f a tra d itio n a l lu lla b y . In both songs the sustained, often

soaring vocal lin e h ig h lig h ts the te x t while the accompaniment provides the contrasting, rapid movement th a t gives the song i t s v i t a l i t y . Reger's through-composed melody, not bound to a predetermined p a tte rn , is at lib e r ty to single out nuances o f the te x t, such as the sudden leap

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86

in m. 12 o f the accompanying grace note to the high Ab a t "dem h e lle n " (th a t b rig h t) . On the other hand, Strauss's vocal lin e , devoid o f ex

cessive accidentals, is rather more singable than Reger's and has a straightforw ard, sentimental charm th a t is c e rta in ly appropriate to Dehmel's te x t. A ctually, these two se ttin g s o f "Wiegenlied" are ex

tremely d i f f i c u l t to compare, fo r Strauss's version is fundamentally orchestral, while Reger's is c le a rly a s e ttin g fo r voice and piano. the end, both versions have appeal, although fo r d iffe re n t reasons. In

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Leise Lieder The tenth poem set to music by both Strauss and Reger is "Leise Lieder" by C hristian Morgenstern (1871-1914), another minor German poet. Its three stanzas, each o f four trochaic lin e s , have the rhyme scheme abab cdcd aeae. love. Leise Lieder (Soft Songs) Leise Lieder sing' ich d ir bei Nacht, Lieder, die kein s te rb lic h Ohr vernimmt, Noch ein Stern, der etwa spahend wacht, Noch der Mond, der s t i l l im Ather schwimmt; Denen niemand als das eigne Herz, Das sie traumt, in tie fe r Wehmut lauscht, Und an denen niemand als der Schmerz, Der sie zeugt, sich kummervoll berauscht. Leise Lieder sing' ich d ir bei Nacht, D ir, in deren Aug' mein Sinn versank, Und aus dessen tie fe n , dunklen Schacht, Meine Seele ewige Sehnsucht trank. Soft songs I sing to you a t n ig h t, Songs no mortal ear perceives, Nor s ta r, watchingspying, as i t were, Nor moon, flo a tin g s ile n t in the sky; Songs which none but one's own heart, That dreams them, harks to , melancholy, And on which none but the pain, th a t Begets them, grows sorrow fully drunk. Soft songs I sing n ig h t, You in whose eyes sunk, And from the deep which, M y soul has drunk longing. to you a t m y senses are dark w ells o f eternal This te x t is a mysterious poem o f p a in fu l, melancholy

According to the d ire ctio n Strauss provides, h is s e ttin g o f "Leise Lieder," in the key o f Eb major, is to "move peacefully" ( ruhig

87

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88

qehend) .

Indeed, i t does begin very q u ie tly , voice and piano together o in a pendulum-like motion in The arpeggiated t r ip le t s in the r ig h t The calm, as

hand produce a hemiola pattern against the other p a rts.

cending motion o f the accompaniment suggests the wide expanse o f space. The Db seventh chord th a t momentarily stops the t r i p le t motion o f the Lied (m. 2) at " d ir " (you) emphasizes the fa c t th a t these "s o ft songs" are sung to a sp e cific person. (See Example 73.) Throughout most o f

Example 73: Strauss, "Leise Lieder," m m . 1-3a

Ruhlg gehend

the song the vocal lin e is sculpted in gentle, r o llin g phrases.

For the

f i r s t two lin e s o f the poem Strauss follows the trochaic pattern almost exactly, but is fa r less fa ith fu l to the poetic meter in the re s t o f the song, preferring instead to h ig h lig h t key words. Strauss seldom remains

in any key fo r long in th is Lied, p a rtic u la rly i f the key is the to n ic . Although there is l i t t l e word painting in the vocal lin e , "schwimmt" (flo a ts ) in m m . 11-12 is set to one o f the highest and longest notes thus fa r. Of some dreamy significance, perhaps, is the harmonic change

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89

o f Eb minor to it s p a ra lle l major on the downbeat o f m. 17 a t the word "traumt" (dreams). m. 1. This marks the f i r s t reappearance o f the to n ic since

The climax o f the song comes on the word "kummervoll" (sorrow ful) Strauss suggests the p a in fu l q u a lity o f th is emotion in the

in m. 22.

dissonance between the E in the voice and the D in the bass o f the accompaniment. (See Example 74.)

Example 74: Strauss, "Leise L ie d e r," m m . 21b-24a

acctfoift/ido

cntnndo

As the fin a l stanza commences in m. 28, Strauss restates exactly the opening measure o f the song; yet a tru e re c a p itu la tio n does not fo llo w . Strauss again sets the word " d ir " to a Db, however, elongating The vo

the note (mm. 30-31) to give i t a personal emphasis once more.

cal te ssitu ra plunges appropriately on "versank" (sunk) in mm. 31-32 and stays low fo r the words "und aus dessen tie fe n , dunklen Schacht" (and from the deep, dark w e lls ). motion on these lin e s . g ra ce fu lly. The accompaniment, too, reverses i t s upward

The la s t two measures allow the to n ic to unfold

The long, steady arpeggio, although major, seems suggestive

o f the "eternal longing" (ewige Sehnsucht) o f which the po et's soul has

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90

drunk deeply.

(See Example 75.)

Example 75: Strauss, "Leise Lie d e r," m m . 38-41

Selin

trunk.

PP.

Reger wasted l i t t l e time before publishing h is version o f "Leise Lieder" (Opus 48, no. 2 ), follow ing Strauss by only a year. Reger also

sets Morgenstern's moody, rather melancholy poem in a major key (D). o The meter 1<ris a rather unusual choice, but surely f a c ilit a t e s the a r16

peggiated accompaniment th a t permeates the song.

Reger's tempo ind ica

tions fo r "Nachtgang" and "Wieoenlied"Sehr ausdrucksvoll; lanqsam, aber n ich t schleppend (very e x p re s s io n -fille d , slow, b u t w ithout drag ging)are his in stru ctio n s fo r th is Lied, too. Given the t i t l e "Leise Lie d e r," one could not very w e ll begin th is song loudly. Reger in s tru c ts the p ia n is t to begin pla yin g t r ip le

piano and places the e n tire accompaniment in the bass c le f fo r the f i r s t h a lf measure. whisper. Over th is texture the voice emerges on the o ffb e a t lik e a

The stress on the f i r s t s y lla b le o f "Lieder" i s made more po

te n t by the diminished-seventh chord's resolution to the to n ic a t th a t po in t. (See Example 76.) Reger avoids emphasizing the downbeat

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91

Example 76: Reger, "Leise Lieder," m m . 1-2

S eh r autidruckavoli; lu gtfm , t b t r n i d i l achlcppend

d<r unit cordn

tin ,

Ich

dir

throughout much o f the song, p referring to t ie notes over the bar lin e , thus creating a stream-of-consciousness e ffe c t fo r th is ra th e r stru c tured poem. The broken chords are also in te g ra l, adding a dreamy, mys

t ic a l atmosphere as they proceed in an upward motion from the bass, a technique reminiscent o f Strauss's s e ttin g . Reger's harmonies, although f u l l o f sevenths, are not muddy or tu rg id , but e x h ib it many th ir d and f i f t h re la tio n s . For the f i r s t eight The f i r s t s ig

measures the vocal lin e is set out in two-bar phrases.

n ific a n t re st fo r the voice occurs at the conclusion o f the f i r s t stan za, a re st most appropriately placed a fte r the singer has ju s t sung about "der Mond, der s t i l l im Ather schwimmt" (the moon, flo a tin g s ile n t in the sky). In the second stanza, when the anguish o f the poet bursts fo rth and the dynamic leve ls as w ell as the vocal te s s itu ra ris e , the voice almost immediately moves above the s ta f f fo r the f i r s t tim e. The

phrases become longer, and Reger stretches the note values in the vocal lin e as the yearning, strinqendo phrases f in a lly culminate in m m. 18-19

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92

on the word "kumtnervoll" (sorrow ful) in a fortissim o clim ax. Example 77.)

(See

A fter the second stanza ends and the dynamic leve ls have

Example 77: Reger, "Leise Lieder," m m . 17-20

become s o fte r once again, Reger a lte rs the accompaniment most s ig n if i cantly in m m . 21-22 by giving the bass an o s tin a to -lik e rhythm. Example 78.) At the beginning o f the th ird stanza (m. 21) Reger reintroduces the vocal m o tif heard e a rlie r on these same words"Leise Lie d e r." suddenly quiescent texture a fte r the fortissim o climax two measures e a rlie r make th is a wonderfully poignant moment. (See Example 78.) The The (See

sudden ris e o f the vocal lin e in m. 23 along w ith the change to a t r i p le t fig u ra tio n in the accompaniment is a dramatic stroke to emphasize

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93

Example 78: Reger, "Leise L ie der," m m . 21-22

I d H Ut

dr

lit* _ _

Ich

dir

b t l N a cht,

una corda

" d ir " (you), sustained fo r s ix beats.

In m. 24 Reger underscores the

word "versank" (sunk) by the accompaniment's to t a l submersion in to the bass c le f, where i t stays through "dessen tie fe n , dunklen Schacht" (those deep, dark w e lls). In m. 26 the accompaniment again breaks in to

tr ip le ts , while the voice begins a chromatic ris e th a t climaxes in the penultimate measure on the word "ew'ge" (e te rn a l). This climax is a l l

the more ca th a rtic since i t occurs on the downbeat (which Reger has tended to avoid), and since i t coincides w ith a return to the to n ic . (See Example 79.) In "Leise Lieder" Reger has surpassed Strauss by s e ttin g Morgenstern's mystical poem in a manner a t once d ig n ifie d and re s tle s s : ju s t the rig h t mixture fo r th is enigmatic te x t. Reger's song b e tte r

re fle c ts the sensitive anguish o f the poetry by weaving in to the accom paniment inner melodies whose frequent half-steps provide a sense o f turm oil without becoming tu rg id or wearisome. This e ffe c t is p a rtly the

re s u lt o f the arpeggiated s ty le o f the accompaniment, a s ty le th a t seems borrowed from a Brahms intermezzo and f i l l e d w ith romantic fla v o r.

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94

Example 79: Reger, "Leise Lieder," mm. 26-28

lem

Schacht

Never is the in te g rity o f the vocal lin e threatened; Reger gives the voice's legato phrases support and contrast th a t allow the poetry to speak w ith in te n s ity . In comparison, Strauss's version seems somewhat uninspired. His

accompaniment, p a rtic u la rly from m. 26 on, sounds mannered and forced. A p a rtic u la rly weak passage in Strauss's s e ttin g is the tra n s itio n a l m aterial between the penultimate and fin a l stanzas (mm. 26-27). The

chromaticism in m. 26 seems awkward, and Strauss's re ite ra tio n o f the words "Leise Lieder" in m. 28 has nowhere near the impact o f the com parable passage in Reger's s e ttin g , w ith i t s abrupt change o f texture and the syncopated, o s tin a to -lik e rhythm. (See Example 78.) La ter, in

m. 27, Reger provides a much more s a tis fy in g climax on the word "ew'ge"

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95

(e te rn a l), having b u ilt up a fa r more passionate in te n s ity in the pre ceding m aterial by means o f hemiola rhythms and melodic and harmonic tension. Strauss's climax on the same words seems pale by comparison, Indeed, the

and the ending to his song sounds as i f based on a formula.

general s ty le o f Strauss's "Leise Lieder" resembles th a t o f h is e a rly and more successful Lied, "A llerseelen" (Opus 10, no. 8 ), which also has a dreamy q u a lity and uses ascending arpeggios and lush harmonies to paint a w is tfu l, i f not so tra g ic , p ic tu re . "Leise Lieder" is the sec

ond of these pairs o f songs in which Reger emerges as superior to Strauss.

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Freundliche Vision A th ird poem by Otto Julius Bierbaum was set to music by both Strauss and Reger: "Freundliche V isio n ." The o rig in a l poem contains "Freund

nine blank-verse lin e s o f trochaic meter and varying lengths.

liche Vision" is another o f Bierbaum's poems th a t has to do w ith a walk in romantic, mystical surroundings ("Nachtgang" and "Traum durch die Dammerung" are s im ila r in nature). The poem, divided in to two parts,

consists o f a b r ie f explanatory preface (lin e s 1-2), followed by a de s crip tio n o f the vision seen by the poet (lin e s 3-9). Strauss version contains two extra, concluding lin e s . Freundliche Vision (Friendly Vision) Nicht im Schlafe hab' ich das getraumt, H ell am Tage sah ic h 's schon vor m ir: Eine Wiese v o lle r Margeritten. T ie f ein weisses Haus in grunen Buschen; G otterbilder leuchten aus dem Laube. Und ich geh' m it einer, die mich lie b hat Ruhigen Gemutes in die Kuhle Dieses weissen Hauses, in den Frieden, Der v o ll Schonheit w artet, dass w ir kommen. [Und ich geh' m it einer die mich lie b hat In den Frieden v o ll Schonheit!] I have not dreamt o f i t in m y sleep, I saw i t in b rig h t daylight before me: A meadow covered w ith daisies. Deep amidst green bushes a white abode; B eautiful statues glimmering in the garden. And I walk w ith the one who loves me, With a peaceful soul, in to the coolness Of th is white abode, where peace, F u ll o f beauty, awaits our coming. [And I walk w ith the one who loves m e Into the peace and beauty.] In addition, the

"Freundliche V isio n ," w ritte n in October, 1900, and published in 1901 as the f i r s t song o f his Opus 48, is another o f Strauss's best

96

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97

achievements as a composer o f Lieder.

Strauss was roundly c ritic iz e d at

the time fo r using a D-major key signature when the f i r s t fiv e measures o f the song were in C /A. In the orchestral version o f the song, however:

. . . the d ire ctio n which Strauss gives to the s trin g s perhaps le ts us in to h is secret reason fo r s ta rtin g in the 'wrong' key. He asks them to mute th e ir instruments u n t il the moment when (w ith scarcely time, even, fo r a f lic k ) they must remove mutes and go in to the key o f D from C sharp. This seems to indicate th a t the beginning o f the song re a lly was a dream, and th a t there is a d iffe ren ce between what is happening and what the poet thinks (or wishes to convince him s e lf) is happening.22 Strauss's "Freundliche Vision" is w ritte n in ^ tim e, w ith a s in gle tempo in d ica tio n : ruhiq (tr a n q u illy ). No fu rth e r in s tru c tio n is
2

given u n til the end o f the song, when the singer is directed to sing immer ruhiqer ( s t i l l more tra n q u illy ) and the p ia n is t is asked to r ita r d when accompanying the la s t s y lla b le o f the te x t. A s in g le accompaniment

figu re pervades the song, giving c o n tin u ity while simultaneously exuding a feeling o f peace and unhurried motion. The la s t note in the r ig h t-

hand m aterial, always an eighth note follow ing a series o f sixteenths and always the highest in p itc h , helps increase the fe e lin g o f awe and solemnity inspired by the lo v e r's v is io n . (See Example 80.)

Example 80: Strauss, "Freundliche V isio n ," m m . 1-3

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98

The vocal lin e seems to appear spontaneously out o f the "e th e r in m. 2 as the love r, in something o f a monotone a t f i r s t , begins to narrate what has happened to him. (See Example 80.) Once begun, the

vocal melody pauses fo r only three eighth-rests u n t il the v is io n comes to an end. As the singer begins to re fe r to the "b rig h t d a y lig h t" ( h e ll

am Tage) in m. 5, the harmony and melody change noticeably: the former moves to the b rig h t key o f D major, while the vocal lin e takes on a more d e fin ite contour. The tin y melisma on "sah" (saw) subtly communicates (See Example 81.) Except fo r another s im i-

the t h r i l l o f th is v is io n .

Example 81: Strauss, "Freundliche V is io n ," mm. 4-7

la r melisma on "ruhigen" (peaceful) in m. 22, the re s t o f the vocal lin e is s y lla b ic . The introductory thoughts conclude in the eighth measure, During the s in g le , sustained tone

where D major is firm ly established.

on "m ir" (me), held through the eighth measure and the f i r s t h a lf o f the ninth, the singer has time to c o lle c t his thoughts and begin, in the second h a lf o f the n in th bar, to re la te the v isio n proper. The vision i t s e l f begins w ith a b e a u tifu l, ly r ic phrase th a t

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99

descends from F# a t the top o f the tre b le c le f, the highest p itc h thus 1 fa r, to E (mm. 11-12) on the word " t ie f " (deep). Here the singer ap p ro p ria te ly reaches the lowest p itc h used thus fa r ; the accompanist plays the lowest o f the left-hand octaves, which have appeared so fa r on the downbeat o f each measure; and the second image o f the v is io n begins. o From " t i e f the phrase builds to the crest o f the next phrase on the F o f "G o tterb ilder" (b e a u tifu l statues) in m. 15, where suddenly a Bb har mony appears ("shining through the fo lia g e " o f sharp keys) fo r a measure and a h a lf. "G o tterb ilder" is given a d d itio n a l emphasis because i t be

gins on the downbeat and introduces the only musical phrase w ith a mezzo -fo rte dynamic; the re st o f the song is to be sung piano o r p ia n is s i mo. At the end o f th is mezzo-forte phrase, which concludes the f i r s t

section (s e ttin g the scene) o f the v is io n , Strauss pauses fo r a second time (mm. 17-18). As in m m . 8-9, the singer holds the la s t note o f the

phrase over a dominant chord fo r three beats before re turn ing to the narrative and the to n ic . In the next section o f the vision Strauss makes considerable use o f m aterial stated e a rlie r in the song. The pitches on the. sylla b le s

"mich lie b hat ruh-" are an augmented retrogade o f "ic h das getraumt" ( I dreamed o f i t ) o f m m . 3-4. Another more obvious re p e titio n o f previous

ly heard m aterial is the melisma on "ruhigen" (peaceful) in m. 22, and the nearly id e n tic a l restatement o f m m . 13-14 in m m . 25-26. la r in te re s t is the augmented chord used in m m . 13 and 25. Of p a rtic u The f i r s t

time the chord is associated with the color green; la te r , w ith the colo r white. (See Example 82.)

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Example 82: Strauss, "Freundliche Vision," mm. 25-33

As the end o f the vision nears and the poet speaks o f walking "in den Frieden, der v o ll Schonheit w artet, dass w ir kommen" (in to the peace, which w aits, f u l l of beauty, u n t il we come), Strauss gives promi nence to the word "Frieden," which is placed on the sing le high G o f the song, held over m m . 28-29. The accompaniment seconds th is serene, p ia

nissimo climax by turning abruptly to a f l a t key (G minor, m. 28, sim i la r to the change o f key at "G otterbilder" in m. 15). The accompaniment

quickly moves to G major (m. 29), but a diminished seventh on B is called in to play fo r the word "Schonheit" (beauty) in the next measure to emphasize the connection with the clim a ctic "Frieden." The conclu

sion o f the fin a l sentence o f the poem in m m . 32-33 o ffe rs yet another example of the re p e titio n o f m aterial previously used in the song: an appoggiatura fo r the voice sim ila r to th a t found in m m . 17-18. (See

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101

Example 82.)

A fte r concluding the se ttin g o f the poem's o rig in a l lin e s , Strauss repeats the main phrases o f the fin a l sentence to form a kind o f coda or epilogue that recapitulates the primary emotion expressed in the song: "Und ich geh1 mit Einer die mich lie b hat in den Frieden v o ll Schonheit!" (and I go with the one who loves m e in to the peace f u l l o f beauty). This seven-measure epilogue (mm. 34-40) is sung over a ton ic

pedal, very s o ftly and immer ruhiqer to create an atmosphere o f tra n scendent peace and quiet. The descending perfect fo u rth on "Schonheit"

in m m . 38-39 re c a lls the previous descent o f the same in te rv a l in m m . 28-29 on "Frieden." A fter the vocal lin e has concluded, Strauss moves Silence seems to be the

the accompaniment in to it s highest te s s itu ra .

only response a fte r th is a tra n sfig u ra tio n has been achieved. Reger's version o f "Freundliche V isio n ," composed during August o f 1902, was published la te r th a t year as the second song o f h is Opus 66. This continues the pattern o f Reger's version appearing a year or That th e ir settings o f Bierbaum's te x t are d issim i

so a fte r Strauss's.

la r is made even more s trik in g by Reger's omission o f the f i r s t two lines o f the poem, his su b stitu tio n o f the word "Sehnsucht" (longing) fo r "Schonheit" (beauty) in lin e 9, and his more concise conclusion. These changes, o f course, seriously a lte r the o rig in a l poem's form and Reger's key is Eb major, as opposed to Strauss's D major, o but the meter is ^ in both versions. In contrast to Strauss's terse tempo in d ica tio n ( ruhiq) , Reger's is more detailed and c a lls fo r a per formance that is Sehr ruhiq v o ll tie fe r Empfindunq (doch nie schleppend) s p ir it .

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102

(very peaceful and f u l l o f deep fe e lin g [but never dragging]). Inasmuch as Reger deletes the prefatory lin e s , which provide a context fo r the re st o f the poem, the lis te n e r simply find s him self in a garden, the slow tr ip le ts in ^ giving a fe e lin g o f contentment. the voice enters, the p ia n is t's rig h t hand moves up in to the tre b le c le f, the lush seventh chords o f the second measure depicting the "Wiese v o lle r Margeriten" ( fie ld f u l l o f d a is ie s ). (See Example 83.) There is
2

As

Example 83: Reger, "Freundliche V is io n ," m m . 1-2

Sehr ruhlg voll tle fe r EmpHndung (doch n it u h lip p m d )
u m p tt dalct

'! -

vol-ler M*r*gcrl

tcnt

sempri dotct

almost a cadence at the end o f the second measure, but the semicolon in the te x t does not c a ll fo r such f in a lit y , and Reger neatly converts the Db in the bass in to the root o f the next chord. At the end o f these

scene-painting phrases (m. 4) a Reger mannerismleft-han d octaves pro ceeding up the scale by ha lf-ste p smakes the tra n s itio n to the fo llo w ing action. What sounds lik e the most c lim a ctic moment o f the Lied occurs in m. 6, in which the word " lie b " (love) appears, fo rtis s im o , on the

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103

highest note o f the song.

Harmonic movement is extremely rapid in m m .

5-6, but there is the sense o f a dominant at the end o f the s ix th mea sure th a t leads back to Eb major in m. 7. (See Example 8 4 .). In the

Example 84: Reger, "Freundliche V is io n ," m m . 5-6

a poto tm p n t l t i n . rcpinoflo u p f t iiic o l a .
-

poco

do rilardando .m o /to

ts p m i io o

ffo .

U nd

ic h

geh*

m il

El

n e r ,d ie

m ic h

lie b .

fr tfl.

gen -

do rila rd a n d o

-3

VP1
'1|

" --------------------------1 jJ -:,

___________________

ff ----------------------- 1

1*1-

T laZ.'.-.ij:E

seventh measure the tonic pedal heard in the f i r s t two measures re tu rn s, and the vocal lin e , too, resembles th a t in m m . 1-2, g ivin g a sense o f co n tin u ity in th is somewhat amorphous song. There is also a s im ila r ity

o f fa llin g f if t h s on "Kuhle" (cool) in m. 8, re c a llin g the la s t two s y l lables o f "Margeriten" (daisies) in m. 2. Following the pattern in m.

2, the Cb in the bass in m. 8 enharmonically becomes the root o f the next chord. Reger builds another climax to the word "Frieden" in the D major is

ninth measure, again u t iliz in g octaves in the l e f t hand. followed by A minor as the word "Frieden" appears.

(See Example 85.)

Hence both composers alternate major and minor harmonies on th is word. In the la s t measure-and-a-half the solemn, deep pedal po in t on the to n ic sounds u n t il the end o f the song, and a fe e lin g o f a yearning soul about

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104

to be assuaged is suggested.

Example 85: Reger, "Freundliche V isio n ," m m . 7-10

a tempo <sehr ru h iq ) sempre espressioo , , p r sempre dotee

ru -

h i gen

G e - mu

le t

in

die

Kuh -

le

die

in

wel

Gen Hau

it s ,

a tempo s e h rru h tg

b#C 3y 1 *3

a 3 a S i r iS1
tempre dolee

_ ^ m o ll o e s p r e s s i ^ m ~

pp

sempre rilardando molto espressioo

In

den

Frle

dent Frle - den,

der

voll Sehn -lu c h t

war

- le t, dad __

w lr

sempre espressioo

d elle tlo sempre rila rd a n d o

Several hallmarks o f Reger's s ty le are present in th is Lied: the octaves in the bass, chromatic f is t f u ls o f chords in the rig h t hand, a well-declaimed vocal lin e . The usual harmonic in s ta b ility fo r long

stretches is , moreover, ameliorated to a great extent by the presence o f pedal points. Nevertheless, Reger's "Freundliche Vision" lacks the sure

hand o f a master song-composer, p a rtic u la rly in the vocal w ritin g . Whereas Strauss's phrases exude the beauty and serenity o f the poem,

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105

Reger's seem pedestrian.

Compare, fo r example, Reger's phrasing o f

"lie b hat" in his s ix th measure w ith Strauss's more subdued se ttin g o f the same words in h is m. 21. Strauss's music conjures up the image o f a

person walking along w ith a "peaceful so u l," while Reger's music makes his narrator seem about to b o il over w ith a red-hot passion. Strauss's b e a u tifu lly-s tru c tu re d accompanimental fig u re is in keeping w ith the pace o f the poem: steady, serene, unhurried. Because

o f Strauss's harmonic ingenuity, one's in te re s t in th a t fig u re never p a lls even though i t pervades the Lied from beginning to end. P articu

la r ly e ffe c tiv e in Strauss's accompaniment are the changes in mode in m m . 27-30, which enhance the c lim a ctic phrase. In contrast, the many

semitones in Reger's texture cause his accompaniment to seem over wrought. Despite Reger's fa ilu re to match Strauss's in s p ira tio n , the

performer, in paying scrupulous atte n tio n to the dynamic and expressive ind ica tion s, w ill lik e ly grow to appreciate Reger's s e ttin g more and more as he or she works w ith i t . In "Freundliche Vision" Reger created

a Lied th a t manages to avoid tu rg id ity and has a peculiar charm a l l i t s own. Yet i t is a song more successful in parts than as a whole, and

there can be no room fo r doubt th a t Strauss's version is the more suc cessful se ttin g . As Ernst Krause has declared, Strauss's song repre

sents "an absolute musical-poetic e n tity ," in which the melody "can never be separated from the poetic word."
23

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Ich schwebe The next p a ir o f songs portrays quite another kind o f v is io n a vision o f "sm iling love" (lachelnd Lieb1) recalled to the lover-poet by the echoing memory o f h is beloved's melodic fa re w e ll. "Ic h schwebe" by

Karl Henckell (1864-1929) is a happy love ly r ic w ith a straightforw ard form: three iambic quatrains, rhymed abab cdcd e fe f. Ich schwebe ( I Float) Ich schwebe wie auf Engelsschwingen, Die Erde kaum beruhrt mein Fuss, In meinen Ohren hor' ic h 's klingen Wie der Geliebten Scheidegruss. I flo a t as i f on angel's wings, M y feet barely touch the ground, I hear a sound in my ears Like the farew ell o f my beloved.

Das to n t so lie b lic h , mild und I t sounds so sweet, so s o ft and le is e , gentle, Das sp rich t so zage, za rt und I t speaks so shy, tender and re in , clea r, Leicht l u l l t die nachgeklung'ne Weise The echo o f i t s melody l u l l s m e In wonneschweren Traum mich e in . To sleep in an enraptured dream. Mein schimmernd' Aug', indess mich fu lle n Die sussesten der Melodien, Sieht ohne Falten, ohne Hullen, Mein lachelnd Lieb' voruberziehn. M y gleaming eye (w hile I am f il l e d With the sweetest o f melodies) Sees, without disguise o f robes and v e ils , M y sm iling love pass by.

Composed on September 25, 1900, and published as the second num ber o f Opus 48 (the f i r s t was "Freundliche V is io n "), "Ich schwebe" is the f i r s t o f four settings o f poems by Henckell in th is opus. Because

Strauss's "Ich schwebe" is indebted to the Viennese waltz fo r i t s s ty le , i t sounds as though i t has come from the pen o f the composer o f Per Rosenkavalier. N atu rally, the meter is and the key a most b rig h t

106

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107

and happy A major.

In number o f measures (n in e ty -fiv e ) i t is the long The texture is gleamingly transpar

est Strauss song here considered.

ent: major s ix th son oritie s predominate in the accompaniment, which at once states a high, cuckoo-like c a ll (perhaps an in te n tio n a l touch to suggest the tra d itio n a l poetical associations o f th is b ird spring, youth, love, and ad ultery~as w e ll as connotations o f f l i g h t ) . The l e f t

hand adds to the ris in g motion by i t s ascending pattern follow ed, on the la s t beat o f the measure, by a moment o f a iry nothingness. Consequent

ly , the eight-measure introdu ction is h ig hly e ffe c tiv e in s e ttin g a mood o f jo y fu l ecstasy~as i f one were indeed walking on a ir . 86 and 87.) (See Examples

Example 86: Strauss, "Ich schwebe," opening bars

P a y d

am

= = ] *--1 = ^ pp r '
p i^ iiS #

L=TJI

HE^fcgjE
8 *

As the voice enters on the th ir d beat o f m. 8, Strauss repeats the f i r s t eight measures as an accompaniment, over which the voice, in a b r illia n t , sweeping arpeggio motion, dazzles us w ith a high A in i t s very f i r s t phrase. (See Example 87.) In the next phrase the voice

jo in s the accompaniment in conveying a sensation o f weightlessness

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Example 87: Strauss, "Ich schwebe," mm. 7-12a

"b e a u tifu lly expressed in the phrase 'kaum beruhrt mein Fuss' by the placing o f a quaver [q u a rte r] re s t before 'b e ru h rt,1 thus suspending the word fo r a moment." 24

The th ir d re p e titio n o f the opening m aterial in the piano begins the second stanza (m. 29) on V/A, in which the vocal lin e moves in a more confined range than heretofore. There are no rests in the vocal

lin e fo r the e n tire twenty measures o f the second stanza, as the ener g e tic accompaniment keeps re sta tin g the cuckoo m o tif. In m m . 38-49, as

the lover sings " l u l l t die nachgeklung'ne Weise in wonneschweren Traum mich ein" (the echo o f i t s melody l u lls m e to sleep in an enraptured dream), Strauss stretches out the note values, the s e ttin g o f "wonne schweren" (enraptured) spanning four measures. M m . 49-52 bear the same

melodic and rhythmic pattern as m m . 41-44, and serve to bridge the gap to the la s t stanza. The tonal center moves to F# major fo r the beginning o f the la s t stanza. Perhaps Strauss chose the new key fo r the b rig h t q u a lity i t A fte r

gives on the words "mein schimmernd' Aug'" (my gleaming eye). disappearing fo r a w hile, F# major returns in m. 73, i t s b rig h t

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109

q u a litie s called upon once more to h ig h lig h t "mein lachelnd Lieb' voruberziehn" (my sm iling love pass by). Strauss gives the "sm iling love"

plenty o f time to pass by: he dire cts th a t the la s t lin e be sung and played allm ahlich wieder fliessender (increasingly smoothly). At the

end o f the song the piano q u ie tly re c a lls the main melody, the cuckoo theme switching from F# major back to A major in midstream. Example 88.) (See

Example 88: Strauss, "Ich schwebe," m m . 82-86a

PPr

im

Strauss's "Ich schwebe" is c e rta in ly an exuberant se ttin g of Henckell's verses. Norman Del Mar maintains th a t Strauss has made the

song so expressively joyous that i t "cavorts in a f r is k ie r way than even the light-hearted poem warrants." 25 While Strauss cavorts in Viennese Reger's

fashion, Reger imbues his se ttin g w ith Teutonic seriousness.

version, composed in 1901, is the fourteenth Lied in his Opus 62, pub lished in 1902, a year a fte r Strauss's Opus 48. Like Strauss, Reger

ju s t happens to select A major as his key, although not once does he give the singer a high A (a fa ct somewhat in d ic a tiv e o f how l i t t l e time is spent in the to n ic ). As the accompaniment is syncopated over the

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bar, the voice's notes f a l l in between the th ic k , steady eighth-note a chords (in 8 meter, a l l in the tre b le c le f) tha t are d ire cted to proceed le ise beweqt, sehr ausdrucksvoll (moving s o ftly , very expressively), and, o f course, doch nie schleppend (but never dragging). These very

s o ft chords seem to be s triv in g to lend an other-w orldly atmosphere. (See Example 89.)

Example 89: Reger, "Ic h schwebe," opening bars

L c ls e a a t!

b e w e jft.

s e h r

a u s d r u c k s v o ll = =

'doch nie sehleppendi

= = =

PP

sempre

Ic h

ic h w c

b r w ic a u f

En

g d - ic h w ln

*rn ,

d ie

p p p ana cotda e sempre assai deliealo

sempre \rp p

Like Strauss, Reger uses high p itc h and duration to accent "Engelsschwingen" (angel's wings). (See Examples 87 and 89,.) The ac

companiment remains high throughout the f i r s t stanza to r e fle c t the a e ria l images o f the te x t, the bass c le f fin a lly making i t s appearance as the stanza concludes in m. 6. Quite in te re s tin g is Reger's use o f

sixths in the la tte r pa rt o f m. 7 (an unconscious im ita tio n o f Strauss?) as he begins to rhapsodize over h is beloved's pa rting words. Example 90.) (See

In m. 11 the voice begins a chromatic ascent, reaching i t s

apex on a fortissim o climax in the next measure on "wonneschweren"

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111

Example 90: Reger, "Ich schwebe," mm. 7-8a

mtno

Das tont

so

u m prt con Pedali

12*

(enraptured), a word th a t both composers set m e lism a tica lly.

Underneath

th is elongated word the accompaniment's texture is once again thickened and clu tte re d w ith accidentals, w hile two-against-three rhythms in te n s ify the fee ling o f romantic ecstasy before s e ttlin g down a t the end o f m. 13. (See Example 91.) The la s t stanzabeginning s o ftly in m. 14 (see Example 91)is also the genesis o f a passage o f ascending octaves (perhaps "d ie sussesten der Melodien" [the sweetest o f melodies] to which the te x t re fers) amidst a w h irl o f arpeggios, w ith hemiola rhythms present in most measures. At m. 17 an A-major chord follow s the D-minor chord o f

the previous measurere c a llin g a s im ila r progression in mm. 13 and 14. Later, at the song's end (mm. 18-19), Reger approaches the concluding A-major chords by means o f a D diminished chord. (See Example 92.)

This repeated emphasis on the plagal D-A re la tio n s h ip may have some significance vis-ci-vis the "m ild und le is e " (s o ft and gentle) q u a lity o f the beloved's farew ell. Reger's "Ich schwebe" sounds lik e an overblown Brahms-Wagner

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112

Example 91: Reger, "Ich schwebe," mm. 1 1 - U

II

" " S

sirin

Sin - d o

to c o

fl

pcco

J f tilatdaiulo

a te m p o

L c K lit lu J litik o U r| - k lu n * ne
poco ( Q u a s i u a p o c o p in m oss m a non

W cl
-

*e
-

In

ua

iln n

gen

poco

poco

rilardanJo

a tempo

tro

iA j

- j

- J j- J l*

- i

"

J& fa

iiPruEnv

&
d c /c u s .

tW
mten cin.

&
p p scmpn poco a poco crt
A k in u.him incrnd A u p _ in dcs m irh

a o m s ic o

?\S "T V
PP scmptc p o c o
a

'
'p c c o

crc

hybrid, whereas Strauss's leaner, lig h t-h e a rte d composition, w ith it s Viennese fla v o r, is q u intesse ntially his own and communicates the te x t w ith verve and imagination. That Reger seems to be th in k in g more o r-

ch e stra lly than Strauss in h is approach to th is poem is somewhat iro n ic , but Reger does appear to want to burst the bounds o f the keyboard (see especially m. 18 o f his se ttin g [Example 92]) in his attempt to be expressive. For a l l his try in g , however, Reger's te x tu re , p a rtic u la rly

at the beginning and the end o f h is Lied, is too th ic k and therefore inappropriate fo r th is lig h te r-th a n -a ir te x t. The w altzing c la r it y o f

Strauss's approach suffuses h is song w ith a youthful enthusiasm that

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113

Example 92: Reger, "Ich schwebe, mm. 18-19

dan

bcr

scmpre poco ri

< fo

ppp

makes the te x t sparkle.

From i t s opening measures Strauss's version en The beginning o f

velopes us in the gay, carefree mood of a happy love r.

Reger's Lied, on the other hand, sounds as though the composer is tre a t ing the poet's sim ile o f "Engelsschwingen (angel's wings) lit e r a lly . The use o f melody in Strauss's song is ravishing. A ll one need

do is compare the f i r s t vocal phrase by each composer to see th a t, while Reger's te x t is admirably declaimed, his vocal lin e is subservient to the fa r more in te re stin g accompaniment, where harmony succeeds harmony in rapturous fashion. (See Example 89.) Strauss, on the contrary,

places voice and piano in a complementary re la tio n s h ip , but allows the voice to dazzle us with sweeping phrases. (See Example 87.) Compare

also Strauss's settin g o f " le ic h t l u l l t die nachgeklung'ne Weise in wonneschweren Traum mich ein" w ith Reger's treatment o f the same lin e s . Despite Reger's c a re fu lly constructed climax fo r the voice, his accompa niment's th ic k texture and his harmonic a c tiv ity dominate h is s e ttin g . (See Example 91.) Strauss maintains a balance o f in te re s t between voice

and piano and manages to give a fa r b e tter impression o f being " lu lle d

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114

to sleep in an enraptured dream by the echoing melody through the lengthening o f the voice's note values and the tone painting so obvious in the piano.

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W aldseliqkeit The settings o f another poem by Richard Dehmel make up the next p a ir o f songs to be compared. In "W aldseligkeit," a short, e ig h t-lin e

poem divided in to two stanzas (rhyming abab cdcd), the simple iambic lin e s evoke the solitude o f the forest at night to make a declaration o f fa ith fu l love. W aldseliqkeit (Forest B liss) Der Wald beginnt zu rauschen, Den Baumen naht die Nacht; Als ob sie s e lig lauschen, Beruhren sie sich sacht. Und unter ihren Zweigen Da bin ich ganz a lle in . Da bin ich ganz mein eigen: Ganz nur dein, ganz nur dein. The forest begins to ru s tle , The trees are approached by the night; As i f they happily lis te n , They gently caress themselves. And under th e ir branches There I am e n tire ly alone. There I am e n tire ly m y own s e lf: E n tire ly only yours.

Strauss's se ttin g o f "W aldseligkeit" was completed on September 21, 1901, and dedicated to "meiner lieben Frau" (my beloved w ife ); i t was published the next year as the f i r s t number o f Opus 49. Strauss

seems to have ta ilo re d the song to his wife Pauline's voice, allowing ample opportunity fo r the legato phrasing and diminuendos on high notes fo r which she was renowned. Since "W aldseligkeit" was orchestrated in

1918, Strauss may have been thinking o rchestrally when he wrote the piano accompaniment fo r th is song. Norman Del Mar has th is to say: I t is only natural w ith so magical a tone-painting th a t the elaborate orchestral version has a q u a lity only hinted a t in the piano o rig in a l. Indeed th is is one o f the many songs which give In comparing the two versions,

115

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116

the impression o f being only temporarily set fo r piano u n t il Strauss was able to fin d time to give them th e ir true orchestral re a liz a tio n .26 I t is hard to exclude the fa r superior orchestral se ttin g from consid eration when try in g to assess properly the merits o f the solo piano accompaniment. Nevertheless, since the la tte r version must be used fo r

comparison with Reger's s e ttin g , the follow ing analysis concerns i t s e l f only w ith the o rig in a l se ttin g o f "W aldseligkeit. At the beginning o f Strauss's Lied the piano in tro d u ctio n , w r it ten completely in the bass c le f, straightway conveys the low ru s tlin g o f the fo re st at n ig h tfa ll. Without careful attentio n to the dire ction s

za rt ausdrucksvoll (tenderly expressive) and molto legato, and the pia nissimo dynamic, th is introduction could sound muddy. The Gb pedal

anchors the ton ic fo r nine measures while the rig h t hand's h o rn -fifth figu re (establishing the atmosphere o f the German fo re s t) sets the scene fo r the song: The g meter is reinforced by a five-note m o tif (M o tif 1) This

f i r s t heard in steady eighth notes in the l e f t hand in m m . 1-2.

m o tif is passed back and fo rth between handsin the rig h t hand embedded in the texture o f a t r i p le t fig u re . Strauss repeats h is four-measure A p a rtic u la rly p ic tu r

introduction under the voice's calm entrance.

esque touch occurs on the word "Wald," which Strauss places on a ton ic p itch and sustains fo r fiv e beats to portray the serenity o f the fo re s t. (See Example 93.) At m. 9 the c le f switches to tre b le fo r the rig h t hand o f the accompaniment, but the te s s itu ra continues to be low. In the same mea The

sure the l e f t hand begins a new five-note m o tif (M o tif 2 ).

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117

Example 93: Strauss, "Waldseligkeit," mm. 1-6a

Andante

ascending arpeggio plus the dotted rhythm give th is second m o tif a q u a lity o f increasing excitement th a t reaches great heights by the end o f the song. (See Example 94.) In smoothly ly r ic a l fashion Strauss's

Example 94: Strauss, "W aldseligkeit," m m . 9-10

Bla

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118

vocal lin e moves to a high Gb on "Nacht" (n ig h t) in m. 13 (d ire cte d to be sung pianissimo) in conjunction w ith a return to the to n ic . In th a t

same measure M o tif 2 also makes i t s second appearance in the bass, an octave higher than before, adding to the romantic atmosphere. Just as

smoothly the vocal lin e descends, and the harmony turns to the dominant o f Ab major in m m . 15-16. In these measures a th ir d five -n o te m o tif (See Example 95.)

(M otif 3) also appears, again in the l e f t hand.

Example 95: Strauss, "W aldseligkeit," m m . 15-17

At the Ab-major cadence in m. 17 the steady pattern o f s ix teenth-note tr ip le ts moves from rig h t hand to l e f t . (See Example 95.)

The rig h t hand then reinforces the Ab-major to n a lity in a l i t t l e m o tif that is im itated by the vocal lin e before a magical change o f key and mode in m. 19. This h a lf-ste p descent to G minor in the accompaniment

is an appropriately sensuous touch fo r the word "beruhren" (caress), fo r which Strauss allows three measures (mm. 19-21). Strauss also varies

the bass pattern at m. 19, adding broken octaves, above which M o tif 1 reappears, harmonized in sixth s . (See Example 96.) M o tif 3, f i r s t

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119

Example 96: Strauss, "Waldseligkeit, mm. 18-20

heard in m m . 15-16, is repeated as the voice re sts between stanzas (mm. 24-25); i t is especially prominently displayed when the l e f t hand crosses over the rig h t hand to play i t , as once again the hands exchange patterns. (See Example 97.)

Example 97: Strauss, "W aldse lig keit," m m . 24-26

HAT -= Und

In the second stanza the high range in which M o tif 3 appears contrasts e ffe c tiv e ly w ith the low range o f the vocal entrance in m. 26. The re la tio n sh ip o f the voice and accompaniment s u ita b ly underscores the fact th a t the singer is "unter ihren Zweigen" (underneath th e ir branches). From the return to the to n ic in m. 27 Strauss proceeds to a

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&

120

cadence on Ab major in m. 31.

This cadence coincides w ith the return o f

M o tif 2, which begins in the bass and continues up an octave in the rig h t hand as the hands once more exchange m aterial. the t r i p le t fig u re in m. 33, however. Both hands have

This fig u re o u tlin e s an Eb seventh

chord over an Ab pedal u n t il Strauss, as he is fond o f doing, abruptly raises the to n ic a h a lf-ste p (to E major). Simultaneously, M o tif 2

bounds up from the bass and continues an octave higher in the rig h t hand (mm. 35-36). (See Example 98.) On the downbeat o f m. 39 a grandi-

Example 98: Strauss, "W aldseligkeit," mm. 33-38

yr * *

Da

ir bin

ioh

m
I T'Tj r jT r jT r j'

\ {n r = ^

5*

ose, Straussian arpeggio begins deep in the bass and moves in to the tre b le , as the singer holds the high Gb. The vocal lin e then descends

to the cadence in melodic contours somewhat reminiscent o f those th a t

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end the f i r s t o f Strauss's Four Last Songs.

M otifs 1 and 2 also reap

pear: M o tif 1 in m m . AO-41, followed immediately by M o tif 2, which ascends to i t s highest pitch in a triumphant fin is h . " Reger's se ttin g o f "W aldseligkeit," the second song o f h is Opus 62, was probably composed in the summer or autumn o f 1901 (perhaps ear lie r ) and was published the same year as Strauss's version (1902). It

seems reasonable to suggest that Reger did not know Strauss's version, fo r both composers must have been s e ttin g the poem at approximately the same time. Consequently, Reger's "W aldse lig keit," unlike some o f the

other songs in th is study, bears no h in t o f influence from i t s Straussian counterpart. For his version Reger uses a Db-major key, but pays

scant a tte n tio n to h is chosen to n a lity except a t the beginning and end o f the Lied. Reger d ire cts th a t the piece be performed ausserst z a rt,

ausdrucksvoll (as tenderly as possible, f u l l o f expression); doch nie schleppend (but never dragging) is , as usual, appended to these d ire c tio n s. The accompaniment consists o f four ro lle d , h a rp -lik e , e ig hthnote chords per ^ measure.
2

These ro lle d chords are meant to connote

the ru s tlin g woods, and th e ir high te s s itu ra (both hands in the tre b le c le f most o f the time) provides the atmosphere o f magical transcendence the poem conveys. The fo rte dynamic is reserved fo r ju s t a sing le Reger

measure (m. 12) o f th is very short song o f only nineteen bars.

decorates these chords with added s ix th s , which generally appear in the top voice. Rarely are the harmonies in root p o sitio n . Hence we have

color chords providing a backdrop fo r the te x t, which is set w ith

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careful a tte n tio n to the stress o f the words, but w ith l i t t l e in the way o f melody. Reger seems p a rtic u la rly interested in seeing how many non-

harmonic tones in the vocal lin e he can resolve by h a lf-s te p . In the second stanza the noticeable ris e in te s s itu ra , p a rtic u la r ly in the rig h t hand in m m . 9-10, is perhaps in response to the te x t, sig n ifyin g the t a l l tree branches. Reger shows th a t he, too, can use a His subito piano comes in

subito piano to good e ffe c t in his climaxes.

m m . 12-13, a fte r the only fo rte o f the song, making the Bb on "ganz" (e n tire ly ) even more o f a surprise as i t s its atop an Ab seventh chord. (See Example 99.) The dominant must w ait three measures before being

Example 99: Reger, "W aldseligkeit," m m . 12-14

a tempo - motto espressioo j . poco r t t . motto
[ P . _____ ^

poco rita rd a n d o f
= =

a tempo

Ic h _

g a n z m einct -

ganz

poco rila rd a tid o .

a tempo poco r i t . a tempo

subito p

motto

allowed to resolve to the ton ic as the words "ganz nur dein" echo q u ie t ly , resolving w ith the vocal lin e 's conclusion on the downbeat o f m. 16, a Bb (added s ix th ) crowning the chord in the r ig h t hand. From th a t

point on, the to n ic descends through i t s d iffe re n t inversions, the accompaniment fading from pianissimo to t r ip le piano u n t il the

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concluding chords sound deep in the bass c le f.

The Bb, however, is l e f t

to resonate in the tre b le to the very enda lin g e rin g reminder o f th is experience in the fo re s t. These are obviously ra d ic a lly d iffe re n t settin gs o f "W aldselig k e it," but both are successful in evoking the mood o f the poetry: Reger in an im pressionistic manner, Strauss more r e a lis t ic a lly . Upon hearing

Reger's "W aldseligkeit," one is reminded o f Lang's statement th a t Reger's music is "e s s e n tia lly the re s u lt o f ra p id ly a lte rn a tin g harmonic progressions . . . the German equivalent o f impressionism." 27 C e rta in ly

Reger's harmonic rhythm is fa r more rapid than Strauss's in h is s e ttin g o f th is te x t. Reger's chord structures are also fa r more complicated

than Strauss's and must be considered " v e rtic a l s o n o ritie s in t h e ir own r ig h t." 28 Reger's h a rp -lik e accompaniment does conjure up the atmo

sphere o f the gently ru s tlin g fo re s t, and h is unusually high te s s itu ra helps produce the fe e lin g o f transcendent ecstasy. Strauss, to o , con

jures up a ru s tlin g fo re s t, but in darker-sounding tones, as exem plified by the hunting-horn fig u re in the bass c le f. Strauss's vocal lin e , w ith i t s many s ta tic moments,, bespeaks a q u a lity o f tra n q u il so litu d e , whereas Reger's vocal lin e has more move ment and chromaticism, and, as a re s u lt, is not as in g ra tia tin g to the lis te n e r or singer as is the Strauss version. (See Example 100.)

Strauss shows h is compositional craftsmanship to advantage as he works out c le a rly defined m otifs in th is song. His conception, however, u l

tim ately c a lls fo r an orchestral re a liz a tio n , as did h is s e ttin g o f "Wiegenlied," another song he la te r orchestrated. Consequently, as

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Example 100: a. Strauss, "W aldseligkeit," m m . 26-32 (vocal lin e only) b. Reger, "W aldseligkeit," m m . 9-11a (vocal lin e only)
nA r ruhig

f * ~ --- ? Und u n -te r Ih -re n Z w e lftn

w ith "Wiegenlied," the e n tire ly d iffe re n t natures o f the songs make possible no d e fin ite judgment about the comparative merits o f these two settings.

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Wieqenlied Only once did Reger's s e ttin g o f a poem predate th a t o f Strauss. Reger's "Wiegenlied," Opus 43, no. 5, was published in 1900; the fo llo w ing year, Strauss wrote his own s e ttin g , e n title d "Wiegenliedchen." This th ird p a ir o f lu lla b ie s , settings o f yet another poem (e n title d "Lied der M utter") by Richard Dehmel, con stitute the fourteenth and la s t o f the comparisons undertaken in th is study. Wiegenlied (Lullaby) Bienchen, Bienchen Wiegt sich im Sonnenschein, S p ie lt urn mein Kindelein, Summt dich in Schlummer ein, Susses Gesicht. Spinnchen, Spinnchen Flimmert im Sonnenschein, Schlummre mein Kindelein, Spinnt dich in Traume ein, Ruhre dich n ich t! Tiefedelinchen S chliipft aus dem Sonnenschein Traume mein Kindelein Haucht d ir ein Seelchen ein: Liebe zum L ic h t. L i t t l e bee, l i t t l e bee Rocks i t s e l f in the sunshine, Plays around m y l i t t l e c h ild , Hums you to sleep, Sweet s ig h t. L i t t l e spider, l i t t l e spider Sparkles in the sunshine G o to sleep, my l i t t l e c h ild Enfolds you in dreams Do not move! Deep l i t t l e noble one S lips out o f the sunshine Dream, m y l i t t l e c h ild A l i t t l e soul inspires fo r you: Love to the lig h t .

Reger's Lied is dedicated to Frau Kammer-Sangerin L i l l i Lehmann, one o f the great sopranos o f her generation. Eb major is the key, g the

time signature, and the song is to be performed Leicht, anmutiq, schnell ( lig h tly , g ra ce fu lly, q u ickly), but n ich t zu sehr (not too much). Lied commences pianissimo, without any piano in trodu ction. The

A dotted

rhythmic fig u re (c e rta in ly a hallmark o f cradle songs) pervades the ac companiment, usually appearing in the f i r s t h a lf o f the measure. The

125

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staccati add a certain quaintness to the accompaniment.

Reger estab

lishes the to n ic at once, though the re la tiv e minor puts in an appear ance on the downbeat o f the th ir d measure in conjunction w ith a thicken ing o f the texture and an upward movement th a t seems evocative o f "Sonnenschein" (sunshine). (See Example 101.) The f i r s t s y lla b le o f

Example 101: Reger, "Wiegenlied," m m . 1-4

Leicht, anmutig, schnell (ahtr nicht u nhr)
p g r a tio to ^ ^

B ltn - chtn, Blm -chcn, B ltn d t l ic a t o 4 g r a i i o t o

chen

"Susses" (sweet) is held throughout the eleventh measure (Reger is fond o f sustaining the vocal lin e on a single p itc h in th is song). At th is

cadence the l e f t hand moves in to the tre b le c le f, the te s s itu ra o f the rig h t hand becomes noticeably higher, and the dotted rhythm momentarily ceases. (See Example 102.) As at the opening o f the f i r s t stanza, a t the beginning o f the second Reger has the l e f t hand moving back and fo rth between bass and tre b le c le fs u n til the end o f the f i r s t phrase, which, as in the f i r s t stanza, conventionally cadences on the dominant. Instead o f returning

to his home key, however, Reger opts fo r a th ird -re la te d key (Gb minor,

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Example 102: Reger, "Wiegenlied," mm. 9-12

a ttm p o

t in .

a lampo

I V s

m m . 18-19), a coloration th a t suggests the slumber re ferred to in the te x t. (See Example 103.)

Example 103: Reger, "Wiegenlied," m m . 17-20

" icheln, ichlum m -

7 9 ""
re, mein K in je - le in .

- f a f c ---------( T J _

- j= 3 - r

\h.

. n

...

--------------

aJZ

l'S r

'

fJ- A ---

A fte r the to n ic returns a t the end o f the second stanza, the th ird stanza begins w ith a turn to G minor, another th ird -re la te d key. Reger quickly reestablishes the major mode, however, fo r the mention o f sunshine brings the b rig h te r sound o f C major and an ascending lin e in the vocal p a rt. The se ttin g (mm. 33-35) o f "traume mein Kindelein"

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(dream, my l i t t l e c h ild ) resembles th a t o f "schlummre mein Kindelein (slumber, my l i t t l e c h ild ) in m m . 18-20 (see Example 103), b u t, u n like the e a rlie r te x t phrase, releases the previously pent-up emotion, w ith both voice and piano making a crescendo to the lane fo rte o f the song. (See Example 104.) Reger repeats "traume mein Kindelein" in m m . 41-45

Example 104: Reger, "Wiegenlied," m m . 33-36

to conclude the song, e ffe c tiv e ly removing the piano from a l l but a minimal involvement in what is b a sically a vocal codetta. Reger's "Wiegenlied" is a worthy composition. I ts harmonies are

occasionally bold, but are neither excessively modulatory nor p a rtic u la r ly su rprising . The accompaniment texture is not overburdened and

maintains a momentum w ith the help o f the u n ify in g rhythmic fig u re , which seems inspired by the poetic meter. The vocal lin e is w ell-con Reger

ceivednot awkward, but a llie d closely w ith the accompaniment.

is p a rtic u la rly successful in creating s a tis fy in g cadences by sustaining a note across a measure in the voice w hile underneath the piano moves toward a conclusion (fo r example, in m m . 8-9, 11-12, 24-26; see

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Example 102).

The stacca ti and the careful a tte n tio n to dynamics help

give the song the necessary fe e lin g o f hushed playfulness th a t surrounds the scene. Strauss's "Wiegenliedchen," Opus 49, no. 3, is the second Dehmel se ttin g from th is opus. In F# major, i t also sways to a g time signa The piano nearly avoids

ture in a le ic h t beweqt (easily moving) manner.

the bass c le f altogether, and the dynamics are never louder than piano (even th a t ind ica tion appears only tw ice ), the bulk o f the song being marked pianissimo or s o fte r. As the piano begins, the lu lla b y fe e lin g is evident in the l e f t hand's fig u ra tio n . The harmony changes from F# major on the f i r s t h a lf

o f the measure to E minor on the second h a lf, c e rta in ly suggestive o f a regular, swaying motion. This constant a lte rn a tio n o f major and minor

modes helps establish a solemn mystique before the words begin over the same music (m. 3). (See Example 105.) Strauss uses harmony to depict

Example 105: Strauss, "Wiegenliedchen," m m . 1-4

Leicht bewegt

Bien chtn

PP

the image o f sunshine, allowing the ton ic chord to ru le fo r m m. 5-6.

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The voice, meanwhile, matches the l e f t hand's lin e in m. 5 in an arpeg gio tha t comes to dawn on "Sonnenschein" in the next measure. This sun

shine is soon clouded over w ith sounds o f the F# major and E minor chords in alte rna tion restoring the mood o f the beginning, and the voice, a fte r it s wide sweep, is confined to a narrow range. Example 106.) (See

Example 106: Strauss, "Wiegenliedchen," m m . 5-8

a

lich In

Sea - nenichein,

plait.

am mtla

K la -

. de . loin,

The melisma on the word "summt" (hums) in m. 9 is a suita ble touch o f tone painting, and the general fe e lin g o f passive observation is reinforced by harmonic sta sis. Like Reger, Strauss furnishes the

voice with a high note on which to expand the word "susses" (sweet), providing a preparation as w ell fo r the coming cadence. A lo f t y , lone,

quite high C# in the accompaniment in m. 13 breaks the heretofore con stant rocking rhythm and marks the conclusion o f th is f i r s t stanza. (See Example 107.) The s ta rt o f the second stanza shows s im ila r itie s w ith the fir s t. M m . 17-18 show a marked resemblance to m m . 3-4, except th a t

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Example 107: Strauss, "Wiegenliedchen, mm. 9-16

riia rd .

anmmt

dich

in Sehlnm-ner cia,

sii -

- mm

Ge-

r it a r d

c Itmpo

a icmpo

Strauss reverses the d ire c tio n o f the l e f t hand's lin e .

The reference

to sunshine once more banishes the minor chords fo r two measures (as i t did in the previous stanza), and the voice again is reduced to a narrow range. A melisma in the vocal lin e (analogous to the melisma on "summt" Strauss begins to deviate

in m m . 9-10) marks the word "spin nt" (spins).

from the strophic pattern by elongating the cadence (perhaps in defer ence to the unhurried message o f the te x t), and allows the note values o f the vocal lin e to lengthen. The imagery o f spinning perhaps accounts The voice

fo r the re p e titiv e nature o f the accompaniment in m m . 26-30.

concludes before the Fb half-dim inished seventh resolves chrom atically to g V ) in m. 30, heralding the cadence on C major in the follow ing

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measure.

(See Example 108.)

Example 108: Strauss, "Wiegenliedchen," m m. 29-31

Strauss again soars above the s ta ff in the rig h t hand to sound a single C in m. 31, h a ltin g the dotted rhythm, but o ffe rin g l i t t l e else in the way o f a tra n s itio n to the fin a l stanza. Unlike the accompani

ment fo r the f i r s t two stanzas, th a t o f the th ir d continues the arpeggio figu re in the rig h t hand. This device adds an ethereal halo around the The sun shines once again in

"Tiefedelinchen" (deep l i t t l e noble one).

C major (mm. 35-36), as the vocal lin e ris e s in an arpeggio-like fashion c e rta in ly a connection between 5-6 and 19-20 is made. Unlike the previous stanzas, the th ir d takes double the time to re fle c t on the next thought, allowing a long melisma o f two-and-one-half measures fo r the f i r s t sylla b le o f "Traume" (dreams). M. 41 f u l f i l l s

the function o f a false cadence, as Strauss again u tiliz e s the m aterial of m m . 13 and 31. As in m m . 14 and 32, Strauss chrom atically fans out

chords, although th is time in augmentation, stre tch in g fo r three mea sures in what seems to be a re fle c tio n o f the t e x t s reference to

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breathing.

Both voice and accompaniment reach a very s a tis fy in g cadence

in m. 47, the bass c le f called in to play fo r m m . 45-47, the dominanteleventh-to-tonic-chord progression crowned by a high F# in the r ig h t hand, continuing the pattern o f the previous stanzas (mm. 13 and 31). (See Example 109.) The coda, p a rtic u la rly m. 49, sounds as though taken

Example 109: Strauss, "Wiegenliedchen," m m . 41-46

hancht.

poco ritard.

from Per Rosenkavalier. (See Example 110.) In "Wiegenliedchen" Strauss's music has again captured the aura of wonder and awe th a t surrounds a sleeping c h ild . C ertainly the high

te ssitu ra of the accompaniment is a factor in his success, as is the harmonic scheme th a t holds our attention through i t s alte rna tions o f major and minor modes, i t s tw ists and turns o f key, i t s chromatic

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Example 110: Strauss, "Wiegenliedchen," mm. 48-51

colorations, and i t s melodic ingenuousness.

Amidst a l l th is s h iftin g ,

however, the modified strophic form, as w ell as the re p e titiv e rhythmic fig u re and ove ra ll harmonic scheme, keeps the song from rambling. Strauss brings out te xtu a l p a ra lle ls in his strophic design, p a rtic u la r ly those between the f i r s t two stanzas: fo r example, the melismas descriptive of "summt" (hums) and "spinnt" (sp in s), and the turn to the major mode each time "Sonnenschein" (sunshine) is mentioned. In the

la s t stanza the strophic design is ce rta in ly expanded, but in a way th a t enhances the transcendent feeling inherent in the te x t. Here Strauss

allows the chromaticism o f m. 14 to germinate and flow er, granting a sense o f in f in it e space to the la s t four measures. Strauss must have been aware o f Reger's "Wiegenlied" when com posing his own version. That he chose the same meter might be c o in c i

dental, but his extensive use o f the same rhythmic fig u re as Reger, plus h is emphasis on s o ft dynamic le v e ls , show some influence o f the e a rlie r composition. Of course, there are many d is s im ila ritie s as w e ll. Re

ger's song repeats a phrase from the la s t stanza as a coda, whereas Strauss u tiliz e s the piano alone to sum up h is song. Reger uses a

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fa ste r harmonic rhythm, more cadences, and a higher vocal te s s itu ra than Strauss and does not e x p lo it the minor mode nearly so much or pay q u ite so much a tte n tio n to tone p a inting . Strauss seems to e x p lo it the s tro

phic design o f the poem more than Reger, bringing out parallelism s in the te x t. Both composers have w ritte n vocally demanding songs th a t c a ll

fo r great dynamic con trol on the pa rt o f the performers, but achieve splendid re su lts when performed w e ll. Each song is worthy o f acceptance

as an example o f the best in Lied composition.

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Conclusion To most lis te n e rs the la te romanticism o f Strauss's songs is more accessible and b e a u tifu l than the so-called "German impressionism" th a t Reger employs. Whether or not one find s Strauss's songs more beau C ertainly the a t

t i f u l than Reger's is , o f course, a matter o f ta s te .

titu d e s towards Strauss's songs (not to mention the works o f h is most decadent period) have changed profoundly since the times th a t produced the most scathing denunciations o f his works by contemporary c r it ic s , among them Ernest Newman. People who take a malicious d e lig h t in dwelling upon the uglinesses in Strauss's orchestral works should spend a day or two w ith his songs; they would fin d sins enough against not only beauty but 2g against sanity to provide them w ith te x ts fo r a year's sermons. Such remarks are d i f f i c u l t to comprehend from our h is to r ic a l perspec tiv e . One ra tio n a liz a tio n fo r such vociferous attacks as Newman's comes

from the pen o f Strauss's biographer Ernst Krause, who explained th a t "the manner in which Strauss apparently reduced every poem to prose and employed a heightened form o f the declamation pattern thus obtained gave ris e to a good deal o f unjust c r itic is m ." 3^1 Time, however, has vindicated Strauss, but not Reger. The in

dictment th a t Paul Henry Lang levels against Reger has yet to be refuted successfully. In his landmark book Music in Western C iv iliz a tio n , the

eminent musicologist wrote: While his colleagues were strongly affected by lite r a r y currents, Reger remained curiously " i l l i t e r a t e , " liv in g in a neobaroque vacuum. This is especially notable in h is two hundred odd songs among them a number o f fin e and moving oneswhich disclose a to ta l lack o f fe e lin g fo r lite r a r y values. This explains why

136

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Reger's works, no matter how in te re stin g and remarkable in many ways, a ffe c t one's nerves rather than one's soul. 1 Lang's words are very apt and do indeed point out the crux o f the problem w ith Reger's Lieder. Much o f his songwriting seems to con

s is t o f musical exercises w ith l i t t l e regard fo r musico-poetic values. Although Reger's declamation never f a ils him, and his harmonic, melodic, and rhythmic ideas occasionally coalesce in to a phrase or section th a t communicates through and beyond the te x t, he infrequently sustains such in sp ira tio n s throughout an e n tire song. c e rta in ly fa r b e tte r. Lied melodies: Examination o f the character o f h is melodies shows th a t they can never be separated from the poetic word. The fa c t th a t so many o f his songs (fo r example "Morgen," "Traum durch die Dammerung", and "Freundliche V ision") represent an absolute musical-poetic e n tity in the minds o f those who know them, emphasizes t h is . 32 I t does indeed prove a d i f f i c u l t task to appreciate Reger's Lieder when one compares them w ith the work o f a master o f vocal genres such as Richard Strauss. Strauss's "c la s s ic " songs w i l l continue to Strauss's ra tio o f successes is

As Ernst Krause so succinctly states o f Strauss's

enrich the re pertoire o f Lieder exponents fo r the foreseeable fu tu re , while Reger's Lieder w ill hardly, i f ever, be remembered.

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NOTES

1William W . Austin, Music in the 20th Century; From Debussy through Stravinsky (New York: W . W . Norton, 1966), p. 144. 2 Paul Henry Lang, Music in Western C iv iliz a tio n (New York: W . W . Norton, 1941), p. 995. 3Ib id ., p. 998. ^Austin, p. 143. 5 D ie trich Fischer-Dieskau, "German Song," The Fischer-Dieskau Book o f Lieder (New York: A lfred A. Knopf, 1977), p. 24. 6For a table lis tin g these tra n s c rip tio n s and providing b ib lio graphical information about them, see Table 1, "Reger's Transcriptions o f Strauss's Lieder and His O wn Lieder on the Same Texts," in Barbara A. Petersen, Ton und Wort. The Lieder o f Richard Strauss. Studies in Musi cology, no. 15 (Ann Arbor, Mich.: UMI Research Press, 1980), p. 22. See also, ib id . , p. 21 and pp. 211-12, n. 5. I t seems th a t Eugen Spitzweg, head o f the Munich publishing company o f Joseph A ib l, suggested to Reger th a t he make these piano arrangements o f Strauss's Lieder. They were published in two volumes, each containing s ix songs, as Ausqewahlte Lie der von Richard Strauss. Fur K lavier a lle in . . . ubertraqen von Max Reger. Seven o f these twelve Lieder by Strauss were among those also provided with settings by Reger: "Morgen," "Traum durch die Dammerung," "Gluckes genug," "Meinem Kinde," " A ll mein Gedanken," "Du meines Herzens Kronelein," and "Nachtgang." In other words, o f the p a irs o f songs in th is study h a lf the Strauss settings had been provided w ith solo piano arrangements by Reger before he composed his own s e ttin g s . See pp. 1213, ib id . , fo r more information about these and other piano-arrangements o f Strauss's Lieder by Otto Taubmann and Walter Gieseking. ^ A ll fiv e songs o f Strauss's Opus 21 are from Dahn's c o lle c tio n o f verse also e n title d Schlichte Weisen. Reger chose the same t i t l e fo r his best-known Lieder c o lle c tio n , h is Opus 76. For bib lio gra phica l and other p e rtine nt inform ation about th is and each o f the other th irte e n Strauss songs included in th is study, see appendix A, in which these fourteen Strauss Lieder are lis te d alphabeti c a lly . O Norman Del Mar, Richard Strauss: A C r itic a l Commentary on His L ife and Works, 3 vols. (Vols. 1-2: London: B arrie & Jenkins, 1962-69; Vol. 3: Philadelphia: C hilton, 1973), 3:278. a For bib lio gra phica l and other p e rtine nt inform ation about th is

138

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and each o f the other th irte e n Reger songs included in th is study, see appendix B, in which these fourteen Reger Lieder are lis te d alphabeti c a lly . 18Ernst Krause, Richard Strauss: The Man and His Work, trans. John Coombs (London: C o lle t's , 1964), p. 268. "That Morgen is the lo v e lie s t o f a l l h is songs is an opinion I have already expressed." See Henry T. Finck, Richard Strauss: The Man and His Works (Boston: L i t t le , Brown, 1917), p. 289.
12

11

A lfred

Ernest Newman, Richard Strauss . . . w ith a Personal Note by Kalisch (London: John Lane: TheBodley Head, 1908), p. 99.

Alan Jefferson, The Lieder o f Richard Strauss, Books That Matter (New York: Praeger, 1971), p. 87. 14Ib id ., p. 101. 15Donald M itc h e ll, "Max Reger (1873-1916): An Introductory Musi cal P o rtr a it," The Music Review 12 (November 1951):279. 16I t is in te re s tin g to note th a t both L ilie n c ro n and Strauss married a m ilita ry general's daughter. The regimentation o f Strauss's l i f e (and d is tru s t o f his f id e lit y ) by his w ife Pauline has been w e ll documented. Although th e ir marriage lasted h a lf a century, Strauss and his w ife apparently did not enjoy the s o rt o f domestic happiness talked about in th is poem. For an assessment o f Pauline Strauss's person ality, see Petersen, p. 143. 17 Fischer-Dieskau, p. 24. 18Del Mar, 3 (1973):309. 19Jefferson, p. 38. 20 Erich Hermann Mueller von Asow, Richard Strauss: Thematisches Verzeichnis, 3 vols. (Vienna and Wiesbaden: L. Doblinger tB . Herzmansky], 1959 [ i . e . 1955]-74), 1:227. 21Del Mar, 3 (1973): 311. 22Jefferson, p. 67. Krause, p. 268. Krause includes "Morgen!" and "Traum durch die Dammerung" as other examples o f "absolute m usical-poetic e n titie s " com posed by Strauss.
24 23

13

Jefferson, p. 41.

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25Del Mar, 3 (1973):339. 26Ib id ., 3 (1973):342. 27 Lang, p. 995. 28M itc h e ll, p. 287. 29 Newman, p. 97. 30Krause, p. 268. 31Lang, p. 995.
32

Krause, p. 268.

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BIBLIOGRAPHY 1. Bibliographies o f Works about Reger and Strauss a. Max Reger Bachmair, Josef. "Das Reger-Schrifttum." In Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reger e in schliesslich seiner Bearbeitunqen und Ausqaben. pp. 567-604. Compiled by F r itz S tein. Leipzig: B reitkopf & H artel, 1953. A selected bibliography o f works about Reger published up to ca. 1950. Krause, Peter. "Das Max-Reger-Schrifttum 1945-1965: B ib lio g ra p h ie ." In Max Reger: Beitraqe zur Reqerforschunq, pp. 121-58. Edited by Max-Reger-Festkomitee. Meiningen, 1966. A bibliography o f works about Reger published 1945-1965. Not e n tire ly superseded by the Max-Reqer-Biblioqraphie. q.v. Max-Reqer-Biblioqraphie: Das internationale Schrifttum uber Max Reger. Veroffentlichungen des Max-Reger-Institutes, Elsa-Reger-Stiftung, Bonn, 5 and 9. (Dummlerbuch 8625 and 8633). 2 vols. Bonn: F. Dummler, 1968-83. Contents: Vol. 1 (1893-1966), compiled by Helmut Rosner. Vol. 2 (1967-1981), compiled by Susanne Shigihara, with a supplement to 1966 and a l i s t o f rare m aterials held by the Max-Reger-Institut. A bibliography o f works about Reger published 1893-1981. b. Richard Strauss Richard-Strauss-Biblioqraphie. Museion: Veroffentlichungen der o ste rreichischen N ationalbibliothek, N.F., 3 Reihe: Veroffentlichungen der Musiksammlung, Bd. 2. 2 vols. Vienna: Georg Prachner, 1964; Bruder H ollinek, 1973. Contents: Vol. 1 (1882-1944), compiled by Oswald Ortner and edited by Franz Grasberger. Vol. 2 (1944-64), compiled by Gunter Brosche, with a supplement lis t in g separately published works issued 1965-72. A bibliography o f works about Strauss published 1882-1964 and o f separately published works about Strauss published 1965-72. 2. Thematic Catalogues a. Max Reger Stein, F ritz Wilhelm. Thematisches Verzeichnis der im Druck
1&1

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erschlenenen Werke von Max Reger e in schliesslich seiner Bearbeitunqen und flusqaben. M it systematischem Verzeichnis und Reqistern . . . Biblioqraphie des Reqer-Schrifttums von Josef Bachmair. Leipzig: Breitkopf & H artel, 1953. Abbreviation: Stein b. Richard Strauss Mueller von Asow, Erich Hermann. Richard Strauss: Thematisches Verzeich n is . Completed and edited by Alfons O tt and Franz Trenner. 3 vols. Vienna: L. Ooblinger (B. Herzmansky), 1959 [ i . e . 1955]-74. Abbreviation: Asow 3. Collected Editions (Complete) o f Lieder a. Max Reger Reger, Max. Samtliche Werke. Unter M ita rb e it des Max-Reqer-Institutes (E lsa-R iqer-S tiftunq), Bonn. Edited by F r itz Wilhelm S tein. Vols. 31-34: Soloqesanqe m it K la v ie r. Wiesbaden: B reitko pf & H artel, 1955-67. Abbreviation: S W b. Richard Strauss Strauss, Richard. Lieder: Gesamtausqabe. Edited by Franz Trenner. 4 vols. London: Boosey & Hawkes, 1964-65. Abbreviation: GL 4. Comparative Studies o f the Lieder on the Same Text by Reger and Strauss Hofstadt, Renate. "Das Liedschaffen bei Richard Strauss und Max Reger: Eine vergleichende Untersuchung." Staatsexamens-arbeit, Staatlichen Hochschule fu r Musik in Koln, 1955. (Typew ritten.) Cited from Max-Reqer-Biblioqraphie, 2:80, no. 1091. I t has not been possible to examine a copy. Otto, Eberhard. "Richard Strauss und Max RegerAntipoden Oder Gesinnungsverwandte?" Mitteilunqen des Max-Reqer-Instituts, Bonn 16 (1966):35-58. Reprinted as: "Max Reger und Richard Strauss." In Neue Beitraqe zur Regerforschunq und Musikqeschichte Meininqens (Sudthuringer Forschungen, Bd. 6), pp. 43-66. Meiningen: Die s ta a tlichen Museen Meiningen, 1970. Abbreviation: E O

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Petersen, Barbara A. Ton und Wort: The Lieder o f Richard Strauss. Studies in Musicology, no. 15. Ann Arbor, Mich.: UMI Research Press, 1980. Abbreviation: PL Contains "The Treatment o f Id e n tic a l Texts by Strauss and Reger," pp. 81-89, which was, u n til now, the most inform ative study in English o f i t s subject.

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5.

Subject Indexes (by Author) to Selected Bibliography

These indexes bring together by author (main entry) a l l the per tin e n t sources on the subject lis te d in the Selected Bibliography below, where complete entries fo r the works may be found. a. Works about Reger Abendroth B ., G Bachmair Bagier Batka Bie Brand Braungart Brockt Bucken Oettelbach Fischer-Dieskau Fleischer Grabner Grassmann Grove's D ictionary o f Music and Musicians Gunther Hasper Hasse Hehemann Hess Heldt Hofstadt Holle The In te rn a tio n a l Cyclopedia o f Music and Musicians Jinkertz Johnson K eller Krause (Peter) K ra v itt Law Liepe Lindner "Max Reger als vocaal componist." Max-Reqer-Biblioqraphie Max Reger 1873-1973 Max-Reger-F estkomitee Mies M itch e ll Moser Muller-Hartmann Die Musik in Geschichte und Geqenwart Nedden The New Grove D ictionary o f Music and Musicians Newman Otto Petersen P it t Pownall Rabich Reger (Elsa) Reger (Max) Schmid-Lindner Schreiber Sievers Stein (F ritz Wilhelm and Max M artin) Straube Thiessen Truscott Unger Valentin Wagner Wehmeyer Wirth Wurz

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b. Works about Strauss Baum Bie Broesike-Schoen Cowe D., F. Del Mar Deppisch Erhardt Finck Fischer-Dieskau Gerhardt Grove's D ictionary o f Music and Musicians Guttmann Gysi Hamburger Hofstadt The In te rn a tio n a l Cyclopedia o f Music and Musicians Jefferson Kennedy K ra lik Krause (Ernst) K ra v itt Kusche Lehmann Lienenluke Mann Marek Marschalk Mercier Mies Moore Muller-Hartmann Mueller von Asow Mungersdorf Die Musik in Geschichte und Geqenwart The New Grove Dictionary of Music and Musicians Newm an Orel O ttich Otto Panofsky Petersen P fis te r Potter R ., B. Richard-Strauss-Biblioqraphie Rudder Samson S a v ille Scanzoni Schmidt (Leopold) Schmidt (R.) Schuh Schumann Segnitz S te in itz e r Sternberg Strauss Tenschert Thomas Urban Vienna. N ationalbibliothek

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c. General Works Austin Hartog K ra v itt Lang Mellers The Oxford Companion to German L ite ra tu re Salazar Salzman Schmidt (Leopold) Taylor Tuchman

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6.

Selected Bibliography

The present bibliography includes in one alphabetic l i s t a l l publications c ite d in any part o f th is study as w ell as a l l works con sulted in i t s preparation and as many publications s p e c ific a lly about the Lieder o f e ith e r Reger or Strauss as could be (w ith in lim ita tio n s o f time and geography) located b ib lio g ra p h ic a lly or p h y s ic a lly . See parts

1-5 above o f m y Bibliography fo r special l i s t s and subject indexes to the follow ing selected bibliography, and see the Table o f Abbreviations below fo r a guide to the most frequently used sources o f inform ation about the twenty-eight Lieder o f th is study, which are given special bib lio gra phica l treatment in the appendixes below. Abendroth, Walter. Vier Meister der Musik: Bruckner, Mahler, Reger, P fitz n e r. Munich: P restel, 1952. See pp. 74-105, "Die Entlarvung der vorgetauschten Werte. Max Reger," and pp. 142-43, "Kurzbiographie." Austin, W illiam W . Music in the 20th Century: From Debussy through Stra vinsky. New York: W . W . Norton, 1966. B., G. "Max Reger: 'Zwolf Lieder fu r eine m ittle re Singstimme, Op. 6 6 . " ' Schweizerische Musik-Zeitunq 43 (1903):194. Bachmair, Josef. "Das Reger-Schrifttum." In Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reger e in s c h lie s s lic h seiner Bearbeitunqen und Ausqaben, pp. 567-604. Compiled by F r itz S tein. Leipzig: B reitkopf & H artel, 1953. Bagier, Guido. Max Reger. S tu ttg a rt: Deutsche V erlags-A nstalt, 1923. See, especially, "Das Lie d," pp. 217-37. Batka, Richard. "Max Reger als Liederkomponist." Deutsche Gesanqskunst 2 (1902):146-48. _______ . "Wolf und Reger." Der Kunstwart (Munich) 19 (1906):517. Baum, Gunther. "Hugo Wolf und Richard Strauss in ihren Liedern." Neue

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Z e its c h rift fu r Musik 130 (December 1969):575-79. Bie, Oskar. "Regers L ie der." Die Weltbuhne 22 (21 September 1926):469. _______ . "Richard Strauss' L ie d e r." B la tte r der Staatsoper, B e rlin 7, no. 4 (November 1926):15-17. Brand, Erna. Max Reger im Elternhaus. Munich: A lb e rt Langen, Georg M uller, 1938. Braungart, Richard. Freund Reger: Erinnerunqen. Von deutscher Musik, Bd. 71. Regensburg: Gustav Bosse, 1949. . "Max Reger a ls Liederkomponist." Die F re is ta tt (Munich) 20 (July 1902). Brockt, Johannes. "Max Reger a ls Vokalkomponist. 11.5.1916." Deutsche Sanqerbundes-Zeitunq 28 (1936):275-76. Broesike-Schoen, Max. "Das Straussische L ie d ." Die Musikwelt (Hamburg) 4, no. 6 (June 1924). Bucken, Ernst. "Zum Wort-Ton-Problem im Liede Regers." M itteilunqen der Max-Reqer-Gesellschaft (Leipzig) 14 (1937):3-4. Cowe, George. "The Songs o f Richard Strauss." Musical Opinion 32 (January, 1909):25 D.,F. "Les lie d e r de Richard Strauss." S.I.M . Revue musicale mensuelle 7 (November 1911):85-87. A monthly music jou rna l published by the Societe In te rn a tio nale de Musique (Section de P a ris ). This a r tic le is signed "M. D .," but on the issue t i t l e page and in i t s ta b le o f contents the author is given as "F. D." On pp. 86-87 is published the score o f "Freundliche V ision" w ith a French tra n s la tio n by Louis Schneider. Del Mar, Norman. Richard Strauss: A C r itic a l Commentary on His L ife and Works. 3 vols. Vols. 1-2: London: Barrie & Jenkins, 1962-69; Vol. 3: Philadelphia: C hilton, 1973. Abbreviation: D M See, especially, chap. 22, "A Lifetim e o f Lieder W ritin g ," in vo l. 3, pp. 246-404. Deppisch, Walter. Richard Strauss in Selbstzeuqnissen und Bilddokumenten. Rowohlts Monographien, 146. Reinbek bei Hamburg: Rowohlt, 1968 Dettelbach, Hans Herbert. "Entwicklungswege des deutschen Liedes." Die Musik 18 (1926):733-40.

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Erhardt, Otto. Richard Strauss: Leben. Wirken, Schaffen. Musikerreihe in auserlesenen Einzeldarstellungen, Bd. 13. Olten and Freiburg im Breisgau: Otto Walter, 1953. Finck, Henry Theophilus. Richard Strauss; The Man and His Works. Boston: L i t t l e , Brown, 1917. Fischer-Dieskau, D ie tric h . The Fischer-Dieskau Book o f Lieder: The O rig in a l Texts o f over Seven Hundred and F ifty Songs Chosen and Introduced by D ie trich Fischer-Dieskau with English Translations by George B ird and Richard Stokes. New York: A lfred A. Knopf, 1977. Abbreviation: F-DL Includes ten o f the fourteen songs studied in th is th e sis. Fischer-Dieskau's introductory essay "German Song," pp. 11-28, provides b r ie f accounts o f both Strauss (pp. 23-24) and Reger (p. 24) as composers o f Lieder. Fleischer, Hugo. "Brahms-Einflusse bei Max Reger." Per Merker 8, no. 12/13 (1 July 1917). Gerhardt, Elena. "Strauss and His Lieder: A Personal Reminiscence." Tempo, no. 12 (Summer, 1949), pp. 9-11. Grabner, Hermann. Regers Harmonik. 2d ed. Wiesbaden: B reitko pf & H artel, 1961. Grassmann, Herbert Hans. "Max Reger und das L ie d ." Signale fu r die Musikalische Welt 96 (1938):409. Grove's D ictionary o f Music and Musicians, 2d ed. S.v. "Reger, Max," by H. V. Hamilton. 3d ed. S.v. "Reger, Max," by K arl Hasse (trans. C ecil Lewis). 5th ed. S.v. "Reger, Max," by E ric Blom. See also The New Grove D ictionary o f Music and Musicians, 6th ed., below. _______ . 2d ed. S.v. "Strauss, Richard," by J. A. F u lle r Maitland. 3d ed. S.v. "Strauss, Richard," by A lfred Kalisch. 5th ed. S.v. "Strauss, Richard," by A lfred Kalisch (re v .). See also The New Grove D ictionary o f Music and Musicians, 6th ed., below. Gunther, Ernst. "Max Reger als Liedercomponist." Neue Z e its c h rift fu r Musik 69 (4 June 1902):326-28. Guttmann, A lfre d . "Richard Strauss als L y rik e r." Die Musik 4 (January 1905):93 101. Gysi, F r itz . Richard Strauss. Die Grossen Meister der Musik. Edited by Ernst Biicken. Potsdam: Akademische Verlagsgesellschaft Athenaion,

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1934. Hamburqer, Paul. "Strauss the Sonq W rite r." Music & Musicians 12 (June 1964):14 and 35. Hartog, Hcward, ed. Eurcpean Music in the Twentieth Century. Bcoks That Matter. New York: Praeger, 1957. Hasper, Ccrnelia. Max Regers Liedschaffenunter bescnderer Berucksichtiqunq neu aufqefundener Lieder. S c h riftlic h e Hausarbeit zur Staatsprufung fu r das kunstlerische Lehramt an Gymnasien, Frank fu r t a.M. Frankfurt a.M., 1968. Typewritten. Hasse, K arl. Max Reger. Die Musik: Sammlung illu s t r ie r t e r Einzeldarstellungen, Bde. 42-44. Leipzig: C. F. W . Siegel (R. Linnemann), 1921. _______ . Max Reger: Entwicklunqsqanq eines deutschen Meisters. Grcsse Deutsche: Volkstumliche Darstellungen vcm Leben und Werk grosser deutscher Manner. Leipzig: F. Brandstetter, 1946. _______ . Max Reger: Mensch und Werk . . . Herausqeqeben anlasslich des Deutschen Reqer-Festes 1938 im ftuftraq der Leitunq der B erliner Kunstwochen. B e rlin : E. Bote & G. Bock, 1938. Includes contributions by K arl Hasse, Hermann Unger, Otto zur Nedden (q .v .), and Sophie Maur. _______ . "Warum w o llte und konnte Max Reger den letzte n S c h ritt zu Ric hard Strauss nicht tun?" M itteilunqen der Max-Reqer-Gesellschaft (S tu ttg a rt) 2 (1921):3-5. Hehemann, Max. "Max Reger als Liederkomponist." Neue Z e its c h rift fu r Musik 72 (25 October 1905):871-72. . Max Reqer: Ein Leben in Musik. 2d e n l. ed. Munich: R. Piper, 1917. Hess, Ludwig. "Vom Liederkomponisten Reger." M itteilunqen der Max-ReqerGesellschaft (S tu ttg a rt) 5 (1926):12-13. Heldt, Gerhard. "Hermann Ungers K la v ie rlie d e r: Versuch einer Standortbestimmung des deutschen Liedes nach Max Reger." In Reger Studien 1: F e stsch rift fu r Ottmar Schreiber zum 70. Geburtstaq am 16. Februar 1976 (Schriftenreihe des Max-Reqer-Instituts Bonn-Bad Godesberg, Bd. 1), pp. 135-58. Edited by Gunther Massenkeil and Susanne Popp. Wiesbaden, 1978. Hofstadt, Renate. "Das Liedschaffen bei Richard Strauss und Max Reger: Eine vergleichende Untersuchung." Staatsexamens-arbeit, Staatlichen Hochschule fu r Musik in Koln, 1955. (Typewritten.)

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Cited from Max-Reqer-Biblioqraphie (q .v .), 2 (comp. Susanne Shigihara):80, no. 1091. I t has not been possible to examine a copy o f th is comparative study o f the Lieder o f Strauss and Reger. The Staatlichen Hochschule fu r Musik in Cologne refused to s e ll or lend a copy; no American lib ra ry seems to contain one. H olle, Hugo. "Reger als Liederkomponist." M itteilunqen der Max-ReqerGesellschaft (S tu ttg a rt) 4 (1924):8-12 . "Max Reqer als Liederkomponist." Neue Musik-Zeitunq 49 (1928): 150-55. The Intern ation al Cyclopedia o f Music and Musicians, ed. Oscar Thompson. 9th ed. (1964). S.v. "Reger, Max"; "Richard Strauss," by E ric Blom. Jefferson, Alan. The Lieder o f Richard Strauss. Books That Matter. New York: Praeger, 1971. Abbreviation: JL As noted in the appendixes below, Jefferson discusses seven o f fourteen Strauss Lieder included in th is study. See also his appendix D, "Poems Set by Strauss and Other Composers" and appendix E "Poets Represented in This Book." _______ . Richard Strauss. The Musicians. London: Macmillan, 1975. Jinke rtz, W illy Maria. Mit Reqer an zwei Fluqeln. M it einer Einfuhrung und einem Nachwort von Walter Trienes. Dusseldorf: Die Faehre, 1951. Johnson, T. A. "The Music o f Max Reger." The Music Teacher and Piano Student 31 (March 1952):139. K e lle r, Irmgard. "Das Lied bei Max Reger." S c h riftlic h e Hausarbeit zur Prufung fu r das kunstlerische Lehramt an hdheren Schulen, Koln. Cologne, 1951. (Typewritten.) Kennedy, Michael. Richard Strauss. The Master Musicians Series. London: Dent, 1976. K ra lik , Heinrich. Richard Strauss: Weltbiirqer der Musik. Vienna: W ollzeilen Verlag, 1963. Krause, Ernst. Richard Strauss: The Man and His Work. Translated by John Coombs. London: C o lle t's , 1964. Abbreviation: EK See, especially, "Songs and Choral Works," pp. 263-75. The "L is t o f Works," arranged by opus number, includes information about a l l fourteen Strauss songs o f th is study (pp. 493-99).

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Krause, Peter, comp. "Das Max-Reger-Schrifttum 1945-1965: B ib lio graphie." In Max Reqer: Beitraqe zur Reqerforschunq, pp. 121-58. Edited by Max-Reger-Festkomitee. Meiningen, 1966. K ra v itt, Edward F. "The Ballad as Conceived by Germanic Composers o f the Late Romantic Period." Studies in Romanticism 12 (1973):499-515. _______ . "The Late Romantic Lied. Performance, the L ite ra ry Approach, and the N a tu ra lis tic Movement." Ph.D. d is s e rta tio n , New York U niversity, 1960. Kusche, Ludwig. Richard Strauss im K ulturkarussell der Z e it 1864-1964. Munich: Suddeutscher-Verlag, 1964. Lang, Paul Henry. Music in Western C iv iliz a tio n . New York: W . W . Norton, 1941. Law, Frederic S. "Max Reger." The Musician 10 (November 1905):455. Lehmann, Lotte. Singing w ith Richard Strauss. London: H. Hamilton, 1964. Lienenluke, Ursula. Lieder von Richard Strauss nach zeitgenossischer L y rik . Kolner Beitrage zur Musikforschung, Bd. 93. Regensburg: Gustav Bosse, 1976. Liepe, Emil. "Vom Musikalienmarkt: Max Regers neue Gesangswerke." Allgemeine Musik-Zeitung 30 (1903):532. Lindner, Adalbert. Max Reger. Ein B ild seines Jugendlebens und kunstlerischen Werdens. Deutsche Musikbucherei, Bd. 27. 3d e d ., e n l. and rev. Regensburg: Gustav Bosse, 1938. Mann, W illiam S. Richard Strauss. A C r itic a l Study o f the Operas. London: Cassell, 1964. Marek, George R. Richard Strauss: The L ife o f a Non-Hero. New York: Simon and Schuster, 1967. Marschalk, Max. "Richard Strauss iiber das L ie d ." Osterreichische M u sikze itschrift 16 (May 1961):220. Reprinted from the author's "Gesprache m it Richard Strauss," published in the Vossische Zeitung o f 15 October 1918. "Max Reger als vocaal componist." Symphonia (Hilversum) 19 (1936):75-76. Max-Reger-Bibliographie: Das in te rna tiona le Schrifttum iiber Max Reger. Veroffentlichungen des Max-Reger-Institutes, Elsa-R eger-Stiftung, Bonn, 5 and 9. (Dummlerbuch 8625 and 8633). 2 vo ls. Bonn: F. Dummler, 1968-83. Contents: Vol. 1 (1893-1966), compiled by Helmut Rosner. V o l.2

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(1967-1981), compiled by Susanne Shigihara, w ith a supplement to 1966 and a l i s t o f rare m aterials held by the M ax-Reger-Institut. Max Reqer 1873-1973: Ein Symposion. In Verbindunq m it dem Max-ReqerIn s titu t (Elsa-Reqer-Stiftunq) Bonn-Bad Godesberq und der In te rnationalen Orqelwoche Nurnberq. Edited by Klaus Rohring. Wiesbaden: B reitkopf 4 H artel, 1974. Max-Reger-Festkomitee. Max Reqer: Beitraqe zur Regerforschung. Herausqeqeben von dem Reqer-Festkomitee aus flnlass der 50. Wiederkehr des Todestaqes von Max Reqer am 11 Mai 1966. Sonderveroffentlichung der "Sudthuringer Forschungen." Meiningen, 1966. Includes (pp. 121-58) Peter Krause's bibliography on Reger: "Das Max-Reger-Schrifttum 1945-1965." M ellers, W ilfrid Howard. Romanticism and the 20th Century, from 1800. Man and His Music, 4. F air Lawn, N. J .: E ssential Books, 1957. Mercier, Adalbert. "Richard Strauss e t ses nouveaux lie d e r." La revue musicale 4 (10 September 1904):418-21. The "nouveaux lie d e r" (new Lieder) were the 25 Lieder von Richard Strauss published (under th a t t i t l e ) by Adolph Furstner (B e rlin , 1903). None o f the fourteen songs o f th is study is mentioned. Mies, Paul. "Zu S t il und Auffassung bei Richard Strauss und Max Reger." In Colloquium Leos Janacek e t Musica Europaea. Brno 1968, pp. 3036. Edited by Rudolf Pecman. Brno: In te rn a tio n a l Musical F e s tiv a l, 1970. Concerned mainly w ith instrumental music. M itc h e ll, Donald. "Max Reger (1873-1916): An Introductory Musical Por t r a i t . " The Music Review 12 (November, 1951):279-88. _______ . "Max Reger (1873-1916)." In The Music Masters, 4 ("The Twenti eth Century"):281-90. Edited by A lfred Louis Bacharach. London: Cassell, 1954. Moore, Gerald. Singer and Accompanist: The Performance o f F ift y Songs. New York: Macmillan, 1954. Includes, as one o f the f i f t y , Strauss's "Morgen!" pp. 182-86. Moser, Hans Joachim. "Max Reqer und Johann Sebastian Bach." Kulturwarte 3 (1957-58):290-92. Muller-Hartmann, Robert. "Reminiscences o f Reger and Strauss." Music and Letters 29 (A p ril 1948):153-57. No discussion o f Lieder. Mueller von Asow, Erich Hermann. Richard Strauss: Thematisches

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Verzeichnis. Completed and edited by Alfons O tt and Franz Trenner. 3 vols. Vienna: L. Doblinger (B. Herzmansky), 1959 [ i . e . 1955]-74. Abbreviation: Asow Vol. 1 (Vienna: L. Doblinger, 1959 [ i . e . 1955]) includes Opuses 1-59 and therefore is the only volume used fo r th is study. I t was issued in parts 1955-59, but paged continuously. Mungersdorf, Theodor. "Richard Strauss als Vokalkomponist, I . " Die Stimme: C e n tralb la tt fu r Stimm-und Tonbildunq 18 (1924):125-26. Die Musik in Geschichte und Geqenwart. ed. F riedrich Blume. S.v. "Reger, Johann B aptist Joseph M ax(im ilian," by Helmut W irth; "Strauss, Richard," by Wilhelm Pfannkuch and W illi Schuh. Nedden, Otto zur. "Max Reger als Liederkomponist." M itteilunqen der MaxReqer-Gesellschaft (Leipzig) 13 (1936):2-4 and 14 (1937):1-3. Reprinted in Max Reqer: Mensch und Werk, pp. 51-55. Edited by Karl Hasse. B e rlin : Bote 4 Bock, 1938. The New Grove Dictionary o f Music and Musicians, 6th ed. S.v. "Reger, (Johann Baptist Joseph) M ax(im ilian)," by Helmut W irth; "Strauss, Richard (Georg)," by Michael Kennedy and Robert B ailey. Newman, Ernest. Richard Strauss. London: John Lane: The Bodley Head, 1908. _______ . "The Songs o f Max Reger." The Musician 10 (November 1905): 454-55. Orel, A lfred . "Richard Strauss als Begleiter seiner Lieder: Eine E rin nerunq." Schweizerische Musikzeitunq 92 (January 1952):12-13. O ttich, Maria. "R. S. som sSngkomponist." Musikrevy 19 (1964):97-98 and 103. Otto, Eberhard. Max Reqer als Mensch. Weidner heimatkundliche Arbeiten, Nr. 11. Weiden: (Knauf), 1966. _______ . Max Reqer: Sinnbild einer Epoche. Wiesbaden: B reitkopf 4 H artel, 1957. _______ . "Richard Strauss und Max RegerAntipoden oder Gesinnungsverwandte?" Mitteilunqen des M ax-Reqer-Instituts, Bonn 16 (1966):35-58. Reprinted as: "Max Reger und Richard Strauss." In Neue Beitraqe zur Reqerforschunq und Musikqeschichte Meininqens (Sudthuringer Forschungen, Bd. 6), pp. 43-66. Meiningen: Die s ta a tlichen Museen Meiningen, 1970. Abbreviation: E O C itations in the present work w ill be to the 1970 Meiningen

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a r tic le : "Max Reger und Richard Strauss." O tto 's a r tic le compares only b r ie fly and usually in general terms th irte e n (om itting "Nachtgang") o f the fourteen pairs o f songs th a t are the subject o f th is thesis. The Oxford Companion to German L ite ra tu re . Edited by Henry and Mary Gar land. S.v. "Falke, Gustav." Panofsky, Walter. Richard Strauss: P a rtitu r eines Lebens. Munich: R. Piper, 1965. Petersen, Barbara A. Ton und Wort: The Lieder o f Richard Strauss. Studies in Musicology, no. 15. Ann Arbor, Mich.: UMI Research Press, 1980. Abbreviation: PL An indispensable and invaluable study o f Strauss's Lieder. Contains "The Treatment o f Id e n tica l Texts by Strauss and Reger," pp. 81-89, which was, u n t il now, the most inform ative study in English o f i t s subject. Petersen's appendix A, "Chronological L is t o f Strauss's Lieder w ith Dates o f Composition and P ublication (Including an Index to S ig n ific a n t References in the Text o f This Study)," not only provides the most recent inform ation on dating Strauss's Lieder, but also has made i t possible o rd in a rily to c ite only one page reference to PL in m y appendix and yet ensure th a t no "s ig n ific a n t references" are overlooked. P fis te r, K urt. Richard Strauss: Weq, G estalt, Oenkmal. Vienna: Berglandverlag, 1949. P it t , M artin. "Max Reger (Born Bavaria 1873Died Leipzig 1916." The Canon: Australian Music Journal 8 (December 1954):213-14. P otter, Robert W . F. "The Songs o f Richard Strauss," The Gramophone (March 1936):407. Pownall, Denis. "Max Reger." Musical Opinion 74 (September 1951):633. R., B. "Richard Strauss' Liederkompositionen." Neue Musik-Zeitunq 22 (1901):157-58, 173-74, 202-3. Rabich, Franz. Reqerlieder: Studie. Musikalisches Magazin, Heft 58. Langensalza: Hermann Beyer & Sohne (Beyer & Mann), 1914. Seem to be re p rin ts o f a rtic le s published in B la tte r fu r Hausund Kirchenmusik (Langensalza) in the years 1912-14. Reger, Elsa. Mein Leben m it und fu r Max Reqer: Erinnerunqen. Leipzig: Koehler & Amelang, 1930. Reger, Max. B riefe eines deutschen Meisters: Ein Lebensbild. Edited by Elsa Hase-Koehler. Leipzig: Koehler & Amelang, 1928.

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_______ . "Max Reger iiber seine Liedertexte. B erichtet von Hermann Unger. Entnommen dem Max Regerbrevier, hrsg. v. A dolf Spemann, S tu ttg a rt." In M itteilunqen der Max-Reqer-Gesellschaft (S tu ttg a rt) 5 (1926):13. '"Richard Strauss is fu r mich die glanzende E rfu llu n g der Kunst, die ein Franz L is z t anqebahnt h a t." ' Allqemeine MusikZeitunq 39 (1912):1070. . Samtliche Werke. Unter M ita rb e it des M ax-Reqer-Institutes lE lsa-R eqer-S tiftunq). Bonn. Edited by F ritz Wilhelm S tein. Vols. 31-34: Soloqesanqe m it K la v ie r. Wiesbaden: B re itk o p f 4 H a rte l, 1955-67. Abbreviation: S W Provided the scores used fo r the analysis o f the fourteen Reger Lieder o f th is study. The Reger musical examples were a l l taken from th is c o lle c tio n . Richard-Strauss-Biblioqraphie. Museion: Veroffentlichungen der o s te rreichischen N ationalbibliothek, N.F., 3 Reihe: Veroffentlichungen der Musiksammlung, Bd. 2. 2 v o ls . Vienna: Georg Prachner, 1964; Bruder H ollinek, 1973. Contents: Vol. 1 (1882-1944), compiled by Oswald O rtner and edited by Franz Grasberger. Vol. 2 (1944-64), compiled by Gunter Brosche, w ith a supplement lis t in g separately published works issued 1965-72. Rudder, May de. "L'oeuvre lyriq u e de Richard Strauss." Le guide musical (Brussels and Paris) 60 (15 February 1914):127-32. Salazar, Adolfo. Music in Our Time: Trends in Music since the Romantic Era. Translated by Isabel Pope. New York: W . W. Norton, 1946. Salzman, E ric . Twentieth-Century Music: An In tro d u ctio n . P ren tice-H a ll H istory o f Music Series. Englewood C lif f s , N. J .: P re n tic e -H a ll, 1967. Samson, In g rid . "Wort und Ton bei Richard Strauss." Musik im U n te rric h t (Ausgabe A) 55 (1964):218-19. S a v ille , Richard. "Songs o f the Twentieth Century: Richard Strauss." The Musician. IX (1904):430-31; X (1905):19. Scanzoni, Signe von, and Trenner, Franz, comps. Kataloq der Ausstellunq Richard Strauss und seine Z e it, veranstaltet vom F re is ta a t Bayern und der Landeshauptstadt Munchen. Munich, 1964. Schmid-Lindner, August. "M it Max Reger im Gefolge J. S. Bachs." M itteilunqen der Max-Reqer-Gesellschaft (Leipzig) 12 (1934):2-4.

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Schmidt, Leopold, flus dem Musikleben der Geqenwart: Beitraqe zur z e itqendssischen K u n s tk ritik . . . M it einem G eleitw ort von Richard Strauss. B e rlin : A. Hofmann, 1909. See "Strauss als Liederkomponist," pp. 278-80. Schmidt, R. Review o f Op. 49. 8 Lieder fu r eine Sinqstimnie m it Beqleitunq des Pianoforte, by Richard Strauss. Z e its c h r ift der In te rnationalen Musik-Gesellschaft 3 (June 1902):379. Schreiber, Ottmar. "Max Regers erste Lie der." M itteilunqen des MaxR e q er-Instituts, Bonn 7 (1958):28-29. _______ . "Zur Datierung der ersten Reger-Lieder." M itteilunqen des MaxR e q er-Instituts, Bonn 9 (1959):17-18. _______ , ed. Max Reqer. Zum 50. Todestaq am 11 Mai 1966: Eine Gedenks c h r ift. Edited by Ottmar Schreiber and Gerd Sievers. V eroffentlichungen des Max-Reger-Institutes, Elsa-Reger-Stiftung, Bonn, Heft 4. Bonn: Dummler, 1966. Schuh, W illi. Richard Strauss: A Chronicle o f the Early Years 186A-1898. Translated by Mary W h itta ll. Cambridge: Cambridge U niversity Press, 1982. See, especially, "The Poets o f Strauss's Songs," pp. A35-60, and appendix 3: "The Songs o f the Munich Years, 1894-8," pp. 50911

Schumann, Elisabeth. "Richard Strauss: Morgen: A Master Lesson." Etude 69 (February 1951):2 6, 38-39, 56. Includes a score o f "Morgen!" pp. 38-39. Segnitz, Eugen. "Lieder und Gesange von Richard S trauss." In " K r it ik , " Musikalisches Wochenblatt 32 (28 November 1901):647-48. B rie f review o f Opuses 39, 43-44, 46-47, by Strauss. Sievers, Gerd. "Zur Harmonik Regers." M itteilunqen des Max-ReqerIn s titu ts , Bonn 7 (1958):15-20; 8 (1958):5-12. Stein, F r itz Wilhelm. Max Reqer, 1873-1916: Sein Leben in B ild e rn . Meyers Bildbandchen, 45. Leipzig: Bibliographisches I n s t it u t , 1941. _______ , comp. Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reqer e in sch lie sslich seiner Bearbeitunqen und Ausqaben. M it systematischem Verzeichnis und Reqistern . . . B iblioqraphie des Reqer-Schrifttums von Josef Bachmair. Leipzig: B reitkopf & H artel, 1953. Abbreviation: Stein Contains a bibliography, compiled by Josef Bachmair, o f p u b li cations about Max Reger published up to ca. 1950.

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Stein, Max M artin. Der heitere Reqer; Heiteres von und um Max Reqer. Wiesbaden: B reitkopf & H artel, 1969. S te in itz e r, Max. Richard Strauss: Bioqraphie. Klassiker der Musik. 3d ed., rev. S tu ttg a rt: Deutsche Verlags-Anstalt, 1927 _______ . Richard Strauss in seiner Z e it, m it einem flbdruck der auf der Strausswoche zu S tu ttg a rt im Kql. Hoftheater qehaltenen Rede und einem B ild n is . B reitkopf & Hartels Musikbucher - Kleine Musikerbiographien. 2d ed., enl. Leipzig: B reitkopf & H artel, 1922. Sternberg, B. "Richard Strauss als Liederkomponist." Die redenden Kunste (Leipzig) 6 (1900):27-30. Straube, K arl. "Max Reger." Die Gesellschaft 18 (1902):169-81. Strauss, Richard. Dokumente seines Lebens und Schaffens. Edited by Franz Trenner. Munich: C. H. Beck, 1954. _______ . Lieder: Gesamtausqabe. Edited by don: Boosey & Hawkes, 1964-65. Abbreviation: G L Because the collected e d itio n o f opus number, only vols. 1 and 2 have study. Provided the scores used fo r Strauss Lieder. The Strauss musical th is c o lle c tio n . Franz Trenner. 4 vo ls . Lon the Lieder is arranged by been used in the present the analysis o f the fourteen examples were a l l taken from

_______ . Recollections and R eflections. Edited by W illi Schuh. Trans lated by L. J. Lawrence. London: Boosey & Hawkes, 1953. A tra n sla tio n o f Strauss's Betrachtunqen und Erinnerunqen (Zurich, 1949), which was published in a second, enlarged e d itio n (Zurich, 1957). . 30 Songs fo r Voice and Piano. Selected by Sergius Kaqen. Tlow). L ite ra l Translations by Waldo Lyman and Kathleen Maunsbach. New York: Intern ation al Music Company, 1961. Abbreviation: 30 Songs Includes eight o f the fourteen Strauss songs studied in th is thesis. The o rig in a l poem w ith i t s l i t e r a l English tra n s la tio n is printed a t the beginning o f each Lied. Taylor, Deems. Of Men & Music. New York: Simon & Schuster, 1937. Tenschert, Roland. Dreimal sieben Variationen uber das Thema, Richard Strauss. 2d ed. Vienna: W . F ric k , 1945. . "Freundliche Vision. Betrachtungen zu dem Lied op. 48, Nr. 1 von Richard Strauss." Allqemeine Musikzeitunq 62 (10 May 1935): 303-5.

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. Richard Strauss und Wien: Eine Wahlverwandschaft. Orpheus Bucher 5. Vienna: Bruder H ollinek, 1949. _______ . "Das Verhaltnis von Wort und Ton. Eine Untersuchung an dem Richard Strauss'schen Lied 'Ic h trage meine M inne'." Z e its c h rift fu r Musik 101 (June 1934):591-95. Thiessen, K arl. "Max Reger in seinen neuen Liedern." Siqnale fu r die musikalische Welt 61 (4 February 1903):155-58. Review o f Reger's Opuses 48, 51, 55, and 62. _______ . "Neue Lieder." Siqnale fu r die Musikalische Welt 62 (1904): 1153-56. Review o f Reger's Opus 75. _______ . "Neues von Max Reger." Musikalische Rundschau 1 (1905): 87-91. Includes review o f Reger's Opus 76. Thomas, Walter. Richard Strauss und seine Zeitqenossen. Langen-Muller Paperbacks. Munich: A lbert Langen/Georg M uller Verlag, 1964. Truscott, Harold. "Max Reger." The Music Review 17 (May 1956):134-52. Tuchman, Barbara (Wertheim). The Proud Tower: A P o rtra it o f the World before the War, 1890-1914. New York: Macmillan, 1966. Unger, Hermann. Max Reqer. Velhagen & Klasings Volksbucher Nr. 156. B ie le fe ld : Velhagen & Klasing, 1924. _______ . Max Reqer: Darstellunq seines Lebens, Wesens und Schaffens. Zeitgenossische Komponisten 2. Munich: Drei Masken Verlag, 1921. _______ . "Max Reger, Wagner und Richard Strauss." Rheinische Musik- und Theaterzeitunq (Cologne) 15, Nr. 1 (3 January 1914). Urban, Erich. "Richard Strauss in neuen Liedern." Die Musik 1 (September 1902):2137-41. Valentin, Hans E. "Max Regers bayerische Jahre: Eine Betrachtung uber einen altbayerischen Musiker zu seinem 100. Geburtstag." Bayerland 75 (1973):51-55. Vienna. N ationalbibliothek. Richard-Strauss-Ausstellunq zum 100. Geburtstag. Compiled by Franz Grasberger and Franz Hadamowsky. Vienna: Osterreichische N ationalbibliothek, 1964. Wagner, Hans. "Volksliedsatze von Max Reger." Neue Musikalische Presse (Vienna) 1 (1905):3-4. Wehmeyer, Grete. Max Reqer als Liederkomponist: Ein Beitraq zum Problem

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der Wort-Ton-Bezlehunq. Kolner Beitrage zur Musikforschung, Bd. 8. Regensburg: Gustav Bosse, 1955. _______ . "Max Regers Auseinandersetzung m it dem L ie d ." In Beitrage zur Reqer-Forschunq. Max Reqer. F e s ts c h rift aus Anlass des 80. Geburtstaqes des Meisters am 19. Marz 1953, pp. 53-58. Edited by the Max-Reger-Archiv, Meiningen. Leipzig: F rie d rich Hofmeister, 1953. W irth, Helmut. "Der E influss von Johann Sebastian Bach auf Max Regers Schaffen." In Max Reqer 1873-1973. Ein Symposion, pp. 3-20. Edited by Klaus Rohring. Wiesbaden: B reitkopf 4 H a rte l, 1974. _______ . "Johannes Brahms und Max Reger." In Brahms-Studien 1:91-112. Edited by Constantin Floros. Hamburg: Brahms-Gesellschaft Hamburg, 1974. _______ . Max Reqer in Selbstzeuqnissen und Bilddokumenten. Rowohlts Monographien, 206. Reinbek (bei Hamburg): Rowohlt, 1973. _______ . "Max Reger und seine D ic h te r." In F e s ts c h rift fu r Ottmar Schreiber zum 70. Geburtstag am 16. Februar 1976, pp. 47-57. Edited by Gunther Massenkeil and Susanne Popp. Reger Studien 1. Wiesbaden: B reitkopf 4 H artel, 1978. Wurz, Richard^ ed. Max Reqer: Eine Sammlunq von Studien aus dem Kreise seiner personlichen Schuler. 4 vols. Munich: Otto H albreiter Musikverlag, 1920-23. No more published. Contents: Heft 1: Regers Harmonik von Dr. Hermann Grabner. Heft 2: Regers P ersonlichkeit: Der Lebensgang von Richard Wurz. Reger a ls Lehrer von Josef Haas. Reger a ls Mensch von Dr. Hermann Unger. Heft 3: Regers Chorwerke von Hugo H olle. Heft 4: Reger und die Orgel von Hermann K e lle r.

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ABBREVIATIONS The most frequently c ite d sources in appendixes A and B below are referred to by means o f the follow ing abbreviations. Complete b ib

lio g ra p h ica l entries fo r each o f these sources may be found in the bibliography above. Asow D M EK EO Erich Hermann Mueller von Asow. Richard Strauss. Thematisches Verzeichnis. Norman Del Mar. Richard Strauss: A C r itic a l Commentary on His L ife and Works. Ernst Krause. Richard Strauss: The Man and His Work. Eberhard Otto. "Max Reger und Richard Strauss." In Neue Beitrage zur Reqerforschunq und Musikqeschichte Meininqens. D ie trich Fischer-Dieskau. The Fischer-Dieskau Book o f Lieder. Richard Strauss. Lieder: Gesamtausqabe. Alan Jefferson. The Lieder o f Richard Strauss. Barbara A. Petersen. Ton und Wort: The Lieder o f Richard Strauss. F r itz Wilhelm Stein. Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reqer e in s c h lie s s lic h seiner Bearbeitunqen und Ausqaben. Max Reger. Samtliche Werke.

F-DL GL JL PL Stein

S W

30 Songs Richard Strauss. 30 Songs fo r Voice and Piano. Selected by Sergius Kaqen.

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APPENDIXES Appendix A and Appendix B are intended to provide the technical and bib lio gra phica l background information used fo r the id e n tific a tio n and study o f the twenty-eight Lieder by Strauss and Reger examined in th is thesis. t itle . In each appendix the Lieder are arranged alphabetically by

For each se ttin g the follow ing information is provided: t i t l e ,

opus number, and f i r s t lin e o f song; key, tempo, meter, and number o f measures in o rig in a l e d itio n ; date o f composition or completion o f set tin g ; dedication ( i f any); t i t l e o f opus and publication data fo r i t s f i r s t e d itio n ; orchestrations ( i f any); arrangements ( i f any); author and t i t l e o f poem set, source used fo r te x t o f song, source used fo r English tra n sla tio n o f te x t o f song; e d itio n o f song used fo r analysis; references to the lite ra tu re (lis te d chronologically) about the song; pertinent anecdotal or c r it ic a l information about the song. A table o f

the source abbreviations used in these appendixes may be found on page 161. APPENDIX A The Strauss Settings " A ll mein Gedanken.. . , " Opus 21, Number 1. F ir s t lin e : " A ll mein Gedanken, mein Herz und mein Sinn." Key: E major. Tempo: "A lle g re tto ." Meter: 2/4. Measures: 31. Date: 12 February 1889. Dedication: Johanna Strauss (h is s is te r ). F ir s t p u b lic a tio n : In "Schlichte Weisen." Funf Gedichte von F e lix Dahn fu r eine Sinqstimme m it Beqleitunq des Pianoforte (Munich: A ib l, 1890). Arrange ment: fo r piano solo by Max Reger. Text: The poem " A ll mein Gedan ken" from Schlichte Weisen by F e lix Dahn (1834-1912). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 12. See also F-DL, p. 38. Edition used: GL, 1:87-88. References: GL, 1-346, 349; Asow, 1:97, 100; EK, pp. 269-70, 493-94; D M (No. 70), 3:277-78; E O (No. 11a), p. 62; PL, p. 190.

162

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"Du meines Herzens Kronelein," Opus 21, Number 2. F ir s t lin e : "Du meines Herzens Kronelein." Key: Gb major. Tempo; "Andante." Meter: 2/4. Measures: 34. Date: 7 A p ril 1889. Dedication: Johanna Strauss (h is s is te r ). F irs t p u b lica tio n : In "S chlichte Weisen." Funf Gedichte von F e lix Dahn fu r eine Sinqstimme m it Beqleitunq des Pianoforte (Munich: A ib l, 1890). Arrangement: fo r piano solo by Max Reger. Text: The poem "Du meines Herzens Kronelein" from Schlichte Weisen by F e lix Dahn (1834-1912). Source used fo r te x t and tra nsla tio n : 30 Songs, p. 20. See also F-DL, p. 196, and JL, pp. 31-32. E dition used: GL, 1:89-90. References: GL, 1:346, 349; Asow, 1:98, 100; EK, pp. 493-94; D M (No. 71), 3:277-79; EO (No. 13a), pp. 64-65; JL, pp. 31-33; PL, p. 190. "Freundliche V isio n ," Opus 48, Number 1. F ir s t lin e : "N icht im Schlafe hab ich das getraumt." Key: D major. Tempo: "Ruhig." Meter: 2/4. Measures: 40. Date: 5 October 1900. Dedication: none. F ir s t pub lic a tio n : In Funf Lieder nach Gedichten von Otto J u liu s Bierbaum und Karl Henckell fu r eine Sinqstimme m it Klavierbeqleitunq (B e rlin : Furstner, 1901). Orchestration: Richard Strauss (1918). Arrange ment: fo r piano solo by Walter Gieseking. Text: The poem "Freund lic h e Vision" by Otto Julius Bierbaum (1865-1910). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 88. See also F-DL, p. 218; EK, p. 272; and JL, pp. 66-67. E dition used: GL, 2:141-43. References: GL, 2:358-59, 361; Asow, 1:280, 283-85; EK, pp. 271-73, 499; D M (No. 138), 3:338-39; E O (No. 9a), p. 60; JL, pp. 66-68; PL, p. 194. Strauss seemed to fin d a ric h vein o f in s p ira tio n to mine in Bierbaum1s poems (as witnessed by the previously composed "Traum durch die Dammerung" and "Nachtgang"), but "Freundliche V ision" was, re g re ttab ly, the la s t o f Bierbaum1s ly r ic s to in s p ire Strauss. W hen the poet c ritic iz e d one o f Strauss's choral pieces, the composer took offense and set no more Bierbaum poems to music. See DM, 3: 338, and PL, pp. 32-33. The score o f Strauss's "Freundliche V ision" w ith a French trans la tio n by Louis Schneider was published in S.I.M . Revue musicale mensuelle 7 (November 1911):86-87. A detailed technical analysis by Roland Tenschert o f th is song was published in Allqemeine Musikzeitunq 62 (10 May 1935):303-5. "Gluckes genug," Opus 37, Number 1. F ir s t lin e : "Wenn sanft du mir im Arme s c h lie fs t." Key: F# major. Tempo: "Sehr ru h ig ." Meter: 4/8. Measures: 34. Date: 8 February 1898. Dedication: Pauline (de Ahna) Strauss (h is w ife) on 12 A p ril ( f i r s t birthday o f th e ir son Franz). F irs t p u b lica tio n : In Sechs Lieder fu r eine Sinqstimme m it K lavier beqleitunq (Munich: A ib l, 1898). Arrangement: fo r piano solo by Max Reger. Text: The poem "Gluckes genug" from Per Haideqanqer (1890) by Detlev von Lilien cron (1844-1909). Source used fo r te x t and tra n s la tio n : F-DL, p. 232. See also 30 Songs, p. 22, and JL, p. 38. Edition used: GL, 1:257-59. References: GL, 1:347, 351; Asow, 1: 226, 230; EK, p. 497; D M (No. 106), 3:309; EO (No. 2a), pp. 53-54; JL, pp. 37-38; PL, p. 192.

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Barbara Petersen (PL, p. 83), one o f the few scholars who have previously attempted to study and compare the Strauss and Reger set tin g s o f the same poems, used "Gluckes genug" to illu s t r a t e the differences between the methods o f the two composers: "The mood established by both voice and piano in such songs [as "Gluckes genug"] is sustained throughout, not broken up by a succession o f te xtu a l descriptions. Karl Straube [ in h is "Max Reger," p. 178] claimed th a t in Gluckes genug Strauss painted a p ic tu re o f a n ig h t time scene, or the outward aspects o f the poem, w hile Reger de scribed only the inner mood, the overflowing emotional expression o f a loving h e a rt." See also EO, p. 54, which c ite s Adalbert Lindner, Max Reger, p. 211, which c ite s K arl Straube (as above). "Hat gesagtb le ib t's n ich t dabei," Opus 36, Number 3. F ir s t lin e : "Mein Vater hat gesagt." Key: A major. Tempo: "N icht zu s c h n e ll." Meter: 3/4. Measures: 39. Date: 31 March 1898. Dedication: Raoul Walter (Munich Opera ten or). F ir s t p u b lic a tio n : In V ier Lieder fu r eine Sinqstimme m it Klavierbeqleitunq (MunichT-ftib l, 1898). Text: The fo lk poem "Hat gesagtb le ib t's n ich t dabei" from Des Knaben Wunderhorn (1806-8), ed. Ludwig Achim von Arnim and Clemens Brentano. Source used fo r te x t and tra n s la tio n : F-DL, pp. 236-37. E dition used: GL, 1:243-46. References: GL, 1:347, 351; Asow, 1: 223-25; EK, p. 497; D M (No. 104), 3:304, 307; EO (12a), p. 63; PL, p. 192. "Ich schwebe," Opus 48, Number 2. F ir s t lin e : "Ich schwebe wie auf Engelsschwingen." Key: A major. Tempo: "Z art bewegt." Meter: 3/4. Measures: 95. Date: 25 September 1900. Dedication: none. F ir s t P ublication: In Funf Lieder nach Gedichten von Otto J u liu s Bierbaum und Karl Henckell fu r eine Sinqstimme m it K lavierbeqleitunq (B e rlin : Furstner, 1901). Text: The poem "Ich schwebe" by K a rl Henckell (1864-1929). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 80. See also JL, p. 41. E dition used: GL, 2:144-47. References: GL, 2: 358-59, 361; Asow, 1:280-81, 283-85; EK, p. 499; D M (No. 139), 3: 338-39; E O (No. 8a), p. 59; JL, pp. 40-41; PL, pp. 194,-221 (n. 62). In his discussion o f th is song Norman Del Mar (DM 3:339) makes the follow ing in te re s tin g observations: "The s w ift, tin k lin g w altz w ith i t s rows o f sugary consecutive sixths accompanies a flo a tin g voice lin e which is vocally so g ra te fu l th a t i t has endeared the song to countless a r tis ts , while the turn o f phrase iri the opening bars was emulated by Dohnanyi fo r the enchanting Scherzo o f h is F sharp minor S u ite ." Alan Jefferson (JL, pp. 40-41), while s ta tin g th a t "Ic h schwebe" is "one o f the fro th ie s t l i t t l e love-songs Strauss ever w rote," also points out th a t " i t is no song fo r a beginner, fo r not only does i t l i e uncomfortably high fo r most o f the time but i t c a lls fo r a cle a r and sparkling delivery th a t must completely hide the d if f ic u lt ie s in placing and breathing; th is only a very accomplished singer can provide."

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"Leise L ie d e r, Opus 41, Number 5. F ir s t lin e : "Leise Lieder s in g ' ich d ir bei Nacht. Key: Eb major. Tempo: "Ruhig gehend." Meter: 2/4. Measures: 41. Date: 4 June 1899. Dedication: (Frau) Marie (R itte r) Rosch (younger daughter o f Alexander R itte r ) . F ir s t p u b lic a tio n : In Funf Lieder fu r eine Sinqstimme m it Pianoforte (Leipzig: Leuckart, 1899). Text: The poem "Leise Lieder by C hristian Morgenstern (1871-1914). Source used fo r te x t and tra n s la tio n : F-DL, p. 279. E dition used: GL, 1:341-44. References: GL, 1:348, 351; Asow, 1: 257-58; EK, p. 498; D M (No. 121), 3:318, 321; EO (No. 3a), p. 55; PL, p. 193. "Meinem Kinde," Opus 37, Number 3. F ir s t lin e : "Du s c h la fs t, und sachte neig' ich mich." Key: G major. Tempo: "Ruhig gehende Bewegung." Meter: 4/8 (vocal and l e f t hand), 12/16 (r ig h t hand). Measures: 36. Date: 7-8 February 1897. Dedication: Pauline (de Ahna) Strauss (h is w ife) on 12 A p ril (birthday o f th e ir son Franz). F ir s t p u b lic a tio n : In Sechs Lieder fu r eine Sinqstimme m it Klavierbeqleitunq (Munich: A ib l, 1898). Orchestration: Richard Strauss (1897no la te r than 8 July 1900). Arrangement: fo r piano solo by Max Reger. Text: The poem "Meinem Kinde" by Gustav Falke (1853-1916). Source used fo r te x t: GL, 1:264-67. Source used fo r tra n s la tio n : Elvera Berry (see Preface, above). E dition used: GL, 1:264-67. References: GL, 1: 347, 351; Asow, 1:227-230; EK, p. 497; D M (No. 108), 3:309-11; E O (No. 4a), pp. 55-56; PL, p. 192. Strauss may have composed "Meinem Kinde" (7-8 February 1897) in earnest a n ticip a tio n o f a c h ild , which turned out to be h is son Franz, born 12 A p ril 1897, when th is song was dedicated to the new mother. This is the only Lied th a t Strauss ever composed to the verse o f the minor North German poet, Gustav Falke, whose work was characterized by "smooth and simple verse o f folk-song or romantic character." See The Oxford Companion to German L ite ra tu re , ed. Henry and Mary Garland, s .v . "Falke, Gustav." Norman Del Mar c a lls "Meinem Kinde" (DM, 3:310) "a ra p t cradle song" and declares i t "one o f Strauss's most b e a u tifu l songs . . . especially so in i t s delicate s e ttin g fo r a chamber ensemble o f ten solo instruments. . . . the mood o f id y l l i c wonderment created by the poem is caught in sounds which look forward to the most a ffe c t ing moments o f the M arschallin's music in Per Rosenkavalier." This is one o f the three orchestrated "mother songs," the "D rei M u tte rlie d e r," the other two being "Wiegenlied" and "M utterta n d e le i," th a t Pauline Strauss presented on many o f her concerts. See PL, p. 150. "Morgen!" Opus 27, Number 4. F ir s t lin e : "Und morgen w ird die Sonne wieder scheinen." Key: G major. Tempo: "Langsam sehr getragen." Meter: 4/4. Measures: 43. Date: 21 May 1894. Dedication: Pauline (de Ahna) Strauss (h is wife) on 10 September 1894 (th e ir wedding day). F ir s t p u b lica tio n : In Vier Lieder. Gedichte von K. Henckell, H. Hart. J. H. Mackay fu r hohe Stimme m it Pianofortebegleitung (Munich: A ib l, 1894). Orchestration: Richard Strauss (1897).

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Arrangement: fo r piano solo by Max Reger. Text: The poem "Morgen!" from Dichtunqen by John Henry Mackay (1864-1933). See PL, p. 221, n. 59. Source used fo r te x t: F-DL, p. 301. Source used fo r trans la tio n : A llan Mosher. For d iffe re n t tra n sla tio n s (w ith accompanying te x t), see 30 Songs, p. 46; F-DL, p. 301; and JL, pp. 33-34. Edi tio n used: GL, 1:143-44. References: GL, 1:346, 350; Asow, 1:15255; EK, p. 495; D M (No. 84), 3:287-88; E O (No. 10a), p. 61; PL, pp. 190-91. See also Elisabeth Schumann, "Richard Strauss: Morgen: A Master Lesson," Etude 69 (February 1951):26, 38-39 (score), 56, and "Morgen" in Gerald Moore, Singer and Accompanist. The Performance o f F ifty Songs (New York: Macmillan, 1954), pp. 182-86. The four songs o f Opus 27 were Strauss's wedding present to his bride Pauline de Ahna, a dramatic soprano, who was the composer's fa v o rite in te rp re te r o f h is Lieder u n t il her retirem ent. As noted above, Strauss orchestrated "Morgen!" in 1897, which version, i t is in te re stin g to observe, was featured on a golden-wedding-anniversary concert conducted by Strauss in Vienna in September o f 1944. For an objective (and f a ir ly recent) account o f Pauline's influence on Strauss's Lieder, see Barbara Petersen's Chapter V I, e n title d "The Strausses as Performers o f His Lieder" in PL (pp. 141-61). "Nachtgang," Opus 29, Number 3. F irs t lin e : "Wir gingen durch die s t i l l e , milde Nacht." Key: Ab major. Tempo: "Masssig langsam." Meter: 3/4. Measures: 45. Date: 7 June 1895. Dedication: Eugen Gura (Weimar Opera ba riton e). F ir s t p u b lic a tio n : In Drei Lieder nach Gedichten von Otto Julius Bierbaum fu r eine Sinqstimme m it Klavierbeqleitunq (Munich: A ib l, 1895). Arrangement: fo r piano solo by Max Reger. Text: The poem "Nachtgang" by Otto Ju liu s Bierbaum (1865-1910). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 43. See also F-DL, pp. 303-4, and JL, p. 100. E dition used: GL, 1:15456. References: GL, 1:346, 350; Asow, 1:179, 180-81; EK, p. 496; D M (No. 87), 3:288-91; JL, pp. 100-101; PL, p. 191. Norman Del Mar (DM, 3:290) c a lls th is song "a piece o f re a l Ger man nineteenth century romanticism o f the Schumann/Heine v a rie ty ," and thinks th a t in "Nachtgang" Strauss's music "re v e rts -to something o f his e a rlie s t Schumannesque s ty le ." "Traum durch die Dammerung," Opus 29, Number 1. F ir s t lin e : "Weite Wiesen im Dammergrau." Key: F# major. Tempo: "Sehi ru h ig ." Meter: 2/4. Measures 33. Date: 4 May 1895. Dedication: Eugen Gura (Weimar Opera baritone). F ir s t p u b lica tio n : In Drei Lieder nach Gedich ten von Otto Julius Bierbaum fu r eine Sinqstimme m it K lavierbeqlei tunq (Munich: A ib l, 1895). Orchestration: Robert Heger. Arrange ment: fo r piano solo by Max Reger. Text: The poem "Traum durch die Dammerung" by Otto Julius Bierbaum (1865-1910). Source used fo r te x t: F-DL, p. 381. See also 30 Songs, p. 68, and JL, p. 87. Source used fo r tra n s la tio n : Allan Mosher. See also F-DL, p. 381; 30 Songs, p. 68; JL, p. 87; and EK, p. 265. E dition used: GL, 1: 147-49. References: GL, 1:346, 350; Asow, 1:178, 180-81; EK, pp. 265, 268, 496; D M (No. 85), 3:288-90; EO (No. 1a), pp. 50-52; JL,

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pp. 86-88; PL, p. 191. An oft-repeated anecdote about the composition o f "Traum durch die Dammerung" comes from K arl Bohm (according to PL, p. 213, n. 25): "According to Karl Bohm, Strauss happened upon the Bierbaum poem, read i t through, conceived the idea fo r the music, and immedi ately began to w rite i t down. At th is moment, Pauline informed him that he was to accompany her on a walk. A fte r being to ld th a t he was at work, she allowed him twenty minutes to continue, a t the end o f which time he had completed the s e ttin g ." Among others, W illiam Mann repeats the story in h is Richard Strauss. A C r itic a l Study o f the Operas (London, 1964), p. 317. Petersen, in n. 25, c ite d above, refers to a " s lig h tly d iffe re n t" version o f the s to ry , which can be found in W illi Schuh, Richard Strauss: A Chronicle o f the Early Years 1864-1898, trans. Mary W h itta ll (Cambridge: Cambridge Univers ity Press, 1982), pp. 455-56. See also JL, pp. 86-87. Although, according to Barbara Petersen, Bierbaum's "Traum durch die Dammerung" is "a rather mediocre l i t t l e poem," i t nevertheless "provided the in s p ira tio n fo r one o f Strauss's most successful works, a song th a t has remained popular from the time o f i t s appear ance in 1895 up to the present day." See PL, p. 27, where s t i l l another anecdote about i t s composition is recounted: "Once during an inform al evening at the V illa Wahnfried, a fte r Strauss had accompa nied th is song, Cosima Wagner remarked on how comical the phrase 'das samtene Band' ('th e velve t rib b o n ') was in i t s context o f ja s mine, stars, fie ld s , and tw ilig h t. Strauss's reply was th a t he chose the poem fo r th a t very reference." Ernst Krause (EK, p. 265) c a lls th is Lied a "treasure" th a t "pours fo rth poignant melancholy, re fle c tin g the a r t is t ic atmosphere o f the dying century and i t s so c ie ty ." Del Mar (DM, 3:289) c a lls Bierbaum's poem "an outstandingly b e a u tifu l l i t t l e piece o f nostalgic nothingness" th a t "Strauss turned in to one o f his most haunting Lieder." What Strauss thought o f his song is indicated by the fa c t th a t he selected i t to "repre sent him in the 'Works o f Peace' section o f Heldenleben." (DM, ib id .) According to A lfred Kalisch, the song "was sold to the publisher A ib l fo r the equivalent o f t h ir t y s h illin g s . Within the f i r s t two years i t brought in four hundred pounds, none o f which went to the composer." See PL, p. 208, n. 10. "W aldseligkeit," Opus 49, Number 1. F irs t lin e : "Der Wald beginnt zu rauschen." Key: Gb major. Tempo: "Andante." Meter: 4/8. Measures: 45. Date: 21 September 1901. Dedication: Pauline (de Ahna) Strauss (h is w ife ). F ir s t p u b lica tio n : In Acht Lieder fur eine Sinqstimme m it Klavierbeqleitunq (B e rlin : Furstner, 1902). Orchestration: Richard Strauss (1918). Arrangement: fo r piano by Otto Taubman (1903). Text: The poem "W aldseligkeit" by Richard Dehmel (1863-1920) from h is c o lle c tio n e n title d Erlosunqen [Redemp tio n s ]. Source used fo r te x t : GL, 2:161-64. Source used fo r tra n s la tio n : Allan Mosher. E dition used: GL, 2:161-64. References: GL, 2:359, 361-62; Asow, 1:286, 290-91; EK, p. 499; D M (No. 143),

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3:342; EO (No. 7a), p. 58; PL, p. 194 (also pp. 48, 108, 119, 171). Norman Del Mar (DM, 3:342) thinks "W aldseligkeit" is "a study o f deep s e lf-fu lfilm e n t in the face o f nature's beauty" th a t "has some thing o f that serene loveliness which Strauss was to fin d again in the Vier Letzte Lieder at the very end o f h is l i f e . " "Wiegenlied," Opus 41, Number 1. F ir s t lin e : "Traume, traume, du mein susses Leben." Key: D major. Tempo: "Sanft bewegt." Meter: 4/4 (alternates with 3/2 in second stanza). Measures: 86. Date: 22 August 1899. Dedication: (Frau) Marie (R itte r) Rosch (younger daughter o f Alexander R it t e r ) . F ir s t p u b lic a tio n : In Funf Lieder fu r eine Sinqstimme m it Pianoforte (Leipzig: Leuckart, 1899). Orchestration: by Richard Strauss (1901). Arrangements: fo r piano, v io lin and piano, c e llo and piano, and horn and piano by Otto Singer; fo r mandolin orchestra by Ferdinand Kollmaneck; fo r salon orchestra by Curt Goldmann. Text: The poem "Venus Mater" from Die Verwandlunqen der Venus [The transformations o f Venus] by Richard Dehmel (1863-1920). Source used fo r te x t and tra n s la tio n : F-DL, p. 402 (w ith minor change)"! E dition used: GL, 1:313-24. References: GL, 1:348, 351; Asow, 1:254-55, 258; EK, p. 498; D M (No. 117), 3: 318-19; E O (No. 6a), pp. 57-58; PL, p. 193. This "Wiegenlied" is from a rather ris q u e -fo r-its -tim e co lle c tio n o f poems, part o f which was heavily censored by government o ff ic ia ls in the complete e d itio n o f Dehmel's works (1913). The poem "Venus Mater," however, seemed innocently maternal and fu rn ish ed the te x t fo r three Lieder: Strauss's, Reger's, and one composed by Hans P fitzn e r. P fitz n e r retained the o rig in a l t i t l e o f "Venus Mater" fo r his s e ttin g , published as Opus 11, No. 4, in 1903. Perhaps guessing th a t th is song would be a h i t w ith the p u b lic , Strauss put his se ttin g a t the head o f h is Opus 41 and orchestrated i t the following year. Together w ith "Meinem Kinde" and "M uttertandelei" (Op. 43, No. 2 ), which was composed a week before "Wiegen lie d ," th is lu lla b y made up a group o f three M utterlie der (songs o f a mother) fo r his w ife Pauline to sing a t th e ir orchestral concerts in 1900 and 1901. See DM, 3:318, and PL, p. 150. "Wiegenliedchen," Opus 49, Number 3. F irs t lin e : "Bienchen, Bienchen wiegt sich im Sonnenschein." Key: F# major. Tempo: "Leicht bewegt." Meter: 6/8. Measures: 51. Date: 20 September 1901. Dedication: (Frau) Grete Kraus. F ir s t p u b lic a tio n : In Acht Lieder fu r eine Sinqstimme m it Klavierbeqleitunq (B e rlin : Furstner, 1902). Arrangement: fo r piano by Otto Taubmann (1903). Text: The poem "Lied der Mutter" by Richard Dehmel (1863-1920) from h is c o lle c tio n Der Kindergarten (according to PL, p. 20). Source used fo r te x t: GL, 2:171-74. Source used fo r tra n s la tio n : Elvera Berry (see Preface, above). E dition used: GL, 2:171-74. References: GL, 2: 359, 361-62; Asow, 1:287, 290-91; EK, p. 499; D M (No. 145), 3:34243; EO (No. 5b), p. 57; PL, p. 194. The c r i t ic R. Schmidt, reviewing the f i r s t p u b lica tio n of Strauss's Opus 49 in 1902, singled out No. 3, "Wiegenliedchen," as

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h is fa v o rite number: "welches ich als die Perle der ganzen Sammlung bezeichnen und alie n berufenen Konzertsangerinnen angelegentlichst empfehlen mochte" (which I would lik e to designate as the pearl o f the whole c o lle c tio n and recommend most ardently to a l l professional concert singers). See the review in Z e its c h rift der Internationalen Musik-Gesellschaft 3 (June 1902):379. And Norman Del Mar (DM, 3: 343), seventy years la te r, also thinks i t a gem o f a song: " I t is hard to know why Wiegenliedchen . . . is so seldom heard as i t is a delicious l i t t l e song. . . . Strauss's exquisite handling has much o f the taste and subtlety o f Hugo Wolf especially when the rocking berceuse motion hesitates in order to allow fo r a series o f in tr ig u ing variants o f th is chromatic cadence: [mm. 13-15a]." APPENDIX B The Reger Settings "A H ' mein Gedanken," Opus 75, Number 9. F ir s t lin e : "A H ' mein Gedan ken, mein Herz und mein Sinn." Key: F major. Tempo: "Z a rt bewegt; ausdrucksvoll." Meter:- 6/8. Measures: 29. Date: Autumn 1903. Dedication: none. F ir s t p u b lic a tio n : In Achtzehn Gesange fu r eine hohe (bzwT m ittle re und tie fe ) Singstimme und K lavier (Leipzig: Lauterbach & Kuhn, 1904). Text: The poem " A ll mein Gedanken" from Schlichte Weisen by F e lix Dahn (1834-1912). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 12. See also F-DL, p. 38. E dition used: SW , 32:171-72. References: SW , 32:X V III; S tein, pp. 140, 144; DM, 3:777; EO (No. 11b), p. 62; PL, pp. 21-22, 81-84. "Du meines Herzens Kronelein," Opus 76, Number 1. F ir s t lin e : "Du mei nes Herzens Kronelein." Key: F major. Tempo: '''Zart bewegt (n ie schleppend!)." Meter: 6/8. Measures: 31. Date: Winter 1903-4. Dedication: Elsa (von Bagenski) Reger (h is w ife ). F ir s t publica tio n : In Vol. 1 o f Schlichte Weisen fu r eine Singstimme und K lavier (Leipzig: Lauterbach 4 Kuhn, 1904). Text: The poem "Du meines Herzens Kronelein" from Schlichte Weisen by F e lix Dahn (1834-1912). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 20. See also F-DL, p. 196. E dition used: SW , 33:2-4. References: SW , 33:XV; Stein, p. 147; E O (No. 13b), pp. 64-65; PL, pp. 21-22, 81-83. "Freundliche V isio n ," Opus 66, Number 2. F ir s t lin e : "Eine Wiese v o lle r Margeriten." Key: Eb major. Tempo: "Sehr ruhig v o ll t ie f e r Empfindung ( doch nie schleppend) . " Meter: 2/4. Measures: 12. Date: f i r s t h a lf o f August 1902. Dedication: Elsa (von Bagenski) Reger (h is w ife) on th e ir wedding day 25 October 1902. (This dedi cation appears on the manuscript and the f i r s t separate issues o f the Lieder o f Op. 66, but was eliminated from i t s p u b lica tio n as a volume and from succeeding separate issues.) See S tein, p. 608. F ir s t p u b lica tio n : In Zwolf Lieder fu r eine m ittle re Singstimme und, K lavier (Leipzig: Lauterbach & Kuhn, 1902). Text: The poem

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"Freundliche Vision" by Otto Julius Bierbaum (1865-1910). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 88. See also F-DL, p. 218, and JL, pp. 66-67. E dition used: SW , 32:54-55. References: SW , 32:XVI; Stein, pp. 110-11; E O (No. 9b), pp. 60-61; JL, p. 68; PL, pp. 86-87, 221 (n. 60). "Gluckes genug," Opus 37, Number 3. F ir s t lin e : "Wenn sanft du mir im Arme s c h lie fs t." Key: B major. Tempo: "Sehr ruhig und ausdrucksv o ll. " Meter: 2/4. Measures: 25. Date: Summer 1899. Dedication: Emil Pinks. F irs t p u b lica tio n : Published separately as No. 3 o f Funf Gesanqe fu r eine m ittle re Stimme m it Beqleitunq des Pianoforte (Munich and Leipzig: A ib l, 1899). Orchestration: Max Reger (1916). Arrangements: fo r harmonium by Max Reger (1903); fo r lu te by Otto Schick (1908). Text: The poem "Gluckes genug" from Der Haideqanqer [The heath-walker] (1890) by Detlev von L ilie n cro n (1844-1909). Source used fo r te x t and tra n s la tio n : F-DL, p. 232. See also 30 Songs, p. 22, and JL, p. 38. E dition used: SW , 31:118-19. Refer ences: SW , 31:V I; Stein, pp. 50-52; E O (No. 2b), p. 54; PL, pp. 22, 83-85. For a comparison o f the Strauss and Reger s e ttin g s , see Appendix A, above, under "Gluckes genug," p. 164. "Hat gesagtb le ib t's n ich t dabei," Opus 75, Number 12. F ir s t lin e : "Mein Vater hat gesagt." Key: F# minor. Tempo: "Ziem lich lebhaft und sehr anmutig (nie zu lanqsaml)." Meter: 3/8. Measures: 91. Date: Autumn 1903. Dedication: none. F ir s t p u b lic a tio n : In Achtzehn Gesanqe fu r eine hohe (bzw. m ittle re und tie fe ) Stimme und Kla v ie r (Leipzig: Lauterbach & Kuhn, 1904). Text: The fo lk poem "Hat gesagtb le ib t's n ich t dabei" from Des Knaben Wunderhorn (1806-8), ed. Ludwig Achim von Arnim and Clemens Brentano. Source used fo r te x t and tra n s la tio n : F-DL, pp. 236-37. E dition used: SW , 32:17780. References: SW , 32:XVIII; S tein, pp. 140, 145-46; EO (12b), pp. 63-64; PL, pp. 88-89. "Ich schwebe," Opus 62, Number 14. F ir s t lin e : "Ich schwebe wie auf Engelschwingen." Key: A major. Tempo: "Leise bewegt, sehr ausdrucksvoll (doch nie schleppend)." Meter: 9/8. Measures: 19. Date: Autumn 1901. Dedication: Joseph L o ritz . F ir s t p u b lic a tio n : Published separately as No. 14 o f Sechzehn Gesanqe fu r eine Sinq stimme m it Beqleitunq des Pianoforte (Munich and Le ipzig: A ib l, 1902). Text: The poem "Ich schwebe" by K arl Henckell (1864-1929). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 80. See also JL, p. 41. E dition used: SW , 32:43-45. References: SW , 32:XV-XVI; Stein, pp. 99, 114; E O (No. 8b), pp. 59-60; PL, pp. 87, 221 (n. 62). "Leise Lie der," Opus 48, Number 2. F ir s t lin e : "Leise Lieder sing ich d ir bei Nacht." Key: D major. Tempo: "Sehr ausdrucksvoll; langsam, aber n ich t schleppend." Meter: 9/16. Measures: 28. Date: 28 Feb ruary 1900. Dedication: (Frau) Marie (Katzmayr) S eyff. F ir s t pub lic a tio n : Published separately as No. 2 o f Sieben Lieder fu r eine

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m ittle re Stimme m it Beqleitunq des Pianoforte (Munich and Leipzig: A ib l, 1900). Text: The poem "Leise Lieder by C hristian Morgenstern (1871-1914). Source used fo r te x t and tra n s la tio n : F-DL, p. 279. E dition used: SW , 31:150-53. References: SW , 31 :V II; Stein, pp. 6769; E O (No. 3b), p. 55; PL, p. 33. "Meinem Kinde," Opus 43, Number 3. F ir s t lin e : "Du s c h la fs t, und sachte neig' ich mich." Key: Ab major. Tempo: "Langsam, sehr ausdrucks v o ll (n ich t schleppend. le is e bewegt)." Meter: 2/4. Measures: 25. Date: Summer 1900. Dedication: Otto Hintzelmann. F ir s t publica tio n : Published separately as No. 3 o f Acht Lieder fu r eine Sing stimme m it Beqleitunq des Pianoforte (Munich und Leipzig: A ib l, 1900). Arrangement: fo r harmonium by Max Reger (1903). Text: The poem "Meinem Kinde" by Gustav Falke (1853-1916). Source used fo r te x t: GL, 1:264-67. Source used fo r tra n s la tio n : Elvera Berry (see Preface, above). Edition used: SW , 31:131-33. References: SW , 31: VI; Stein, pp. 60, 62; EO (No. 4b), p. 56; PL, p. 22. "Morgen," Opus 66, Number 10. F irs t lin e : "Und morgen w ird die Sonne wieder scheinen." Key: A major. Tempo: "Ziemlich langsam, m it innigstem Ausdruck Tnie schleppend)." Meter: 4/4. Measures: 17. Date: f i r s t h a lf o f August 1902. Dedication: Elsa (von Bagenski) Reger (h is w ife) on th e ir wedding day 25 October 1902. (This dedi cation appears on the manuscript and the f i r s t separate issues o f the Lieder o f Op. 66, but was eliminated from i t s publication as a volume and from succeeding separate issues.) See S tein, p. 608. F irs t p u blicatio n: In Zwolf Lieder fu r eine m ittle re Sinqstimme und K lavier (Leipzig: Lauterbach & Kuhn, 1902). Text: The poem "Morgen!" from Dichtungen by John Henry Mackay (1864-1933). See PL, p. 221, n. 59. Source used fo r te x t: F-DL, p. 301. Source used fo r tra n s la tio n : Allan Mosher. For d iffe rin g tra n sla tio n s (w ith accompanying te x t), see 30 Songs, p. 46; F-DL, p. 301; and JL, pp. 33-34. Edition used: SW , 32:75-76. References: SW , 32:XVI; S tein, pp. 110, 113; E O (No. 10b), pp. 61-62; PL, pp. 21-22, 84, 86-87. "Nachtgang," Opus 51, Number 7. F ir s t lin e : "Wir gingen durch die s t i l l e Nacht." Key: E major. Tempo: "Sehr ausdrucksvoll, langsam, aber nie schleppend." Meter: 2/4. Measures: 35. Date: Summer 1900. Dedication: Hugo Wolf. F ir s t p u b lic a tio n : Published sepa ra te ly as No. 7 o f Zwolf Lieder fu r eine Sinqstimme m it Beqleitunq des Pianoforte (Munich and Leipzig: A ib l, 1901). Text: The poem "Nachtgang" by Otto Julius Bierbaum (1865-1910). Source used fo r te x t and tra n s la tio n : 30 Songs, p. 43. See also F-DL, pp. 303-4, and JL, p. 100. E dition used: SW , 31:187-90. References: SW , 31: V II; Stein, pp. 71, 73; PL, p. 22. "Traum durch die Dammerung," Opus 35, Number 3. F ir s t lin e : "Weite Wiesen im Dammergrau." Key: Db major. Tempo: "Sehr ruhig und lang sam." Meter: 2/4. Measures: 21. Date: Summer 1899. Dedication: Arthur van Eweyk. F irs t p u b lica tio n : Published separately as No. 3

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o f Sechs Lieder fu r eine m ittle re Sinqstimme m it Beqleitunq des Pianoforte (Munich and Leipzig: A ib l. 1899). Arrangement: fo r harmonium by Max Reger (1903). Text: The poem "Traum durch die Dammerung" by Otto Julius Bierbaum (1865-1910). Source used fo r te x t: F-DL, p. 381. See also 30 Songs, p. 68, and JL, p. 87. Source used fo r tra n s la tio n : A llan Mosher. See also F-DL, p. 381; 30 Songs, p. 68; JL, p. 87; and EK, p. 265. E d itio n used: SW , 31: 104-5. References: SW , 31:VI; S tein, pp. 48-49; EO (No. 1b), pp. 52-53; PL, pp. 22, 87-88, 221 (nn. 64-65). According to Barbara Petersen (PL, p. 88), "This lie d ["Traum durch die Dammerung"] and several others illu s tr a te Straube's claim tha t Strauss is more concerned w ith the sense o f in d iv id u a l stanzas and w ith providing a musical tra n s la tio n fo r s in g le words, w hile Reger enwraps the poem in a 'g e n tle , idealized aura th a t gradually and peacefully un folds."' Petersen c ite s (PL, p. 221, n. 65) p. 178 o f an a r tic le by K arl Straube: "Max Reger," Die G esellschaft 18 (1902):169-81, which is mainly concerned w ith "Gluckes genug." See the entry fo r "Gluckes genug" in Appendix A, above. See also Grete Wehmeyer, Max Reger als Liederkomponist, Kolner Beitrage zur Musikforschung, Bd. 8 (Regensburg: Gustav Bosse, 1955), pp. 293-95, esp. n. 1, p. 294, which guotes a t length from the Straube a r t ic le . Adalbert Lindner, Max Reger, Deutsche Musikbucherei, Bd. 27, 3d ed., enl. and rev. (Regensburg: Gustav Bosse, 1938), pp. 210-11, also guotes extensively from the Straube a r tic le on the Reger and Strauss settings o f "Gluckes genug. "Traume, traume, du mein susses Leben! Wiegenlied," Opus 51, Number 3. F irs t lin e : "Traume, traume, du mein susses Leben." Key: D major. Tempo: "Sehr ausdrucksvoll; ziemlich langsam, aber nie schleppend." Meter: 12/16. Measures: 24. Date: 20 August 1900. D edication: Hugo Wolf. F ir s t p u b lica tio n : Published separately as No. 3 o f Zwolf Lieder fu r eine Singstimme m it Begleitung des Pianoforte (Munich and Leipzig: A ib l, 1901). Text: The poem "Venus Mater" from Die Verwandlungen der Venus [The transformations o f Venus] by Richard Dehmel (1863-1920). Source used fo r te x t and tra n s la tio n : F-DL, p. 402 (w ith minor change). E dition used: SW , 31:172-77. References: SW , 31:V II; Stein, pp. 71-72, 75; EO (No. 6b), p. 58; PL, p. 20. "W aldseligkeit," Opus 62, Number 2. F ir s t lin e : "Der Wald beginnt zu rauschen." Key: Db major. Tempo: "Ausserst z a rt, ausdrucksvoll (doch nie schleppend)." Meter: 2/4. Measures: 18. Date: 18 Decem ber 1901. Dedication: Joseph L o ritz . F irs t p u b lic a tio n : Published separately as No. 2 o f Sechzehn Gesange fu r eine Singstimme m it Begleitung des Pianoforte (Munich and Leipzig: A ib l, 1902). Text: The poem "W aldseligkeit" by Richard Dehmel (1863-1920) from the c o lle c tio n e n title d Erlosungen [Redemptions]. Source used fo r t e x t: GL, 2:161-64. Source used fo r tra n s la tio n : A llan Mosher. E dition used: SW , 32:8-9. References: SW , 32:XV; S tein, pp. 99-100; EO (No. 7b), pp. 58-59.

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"Wiegenlied," Opus 43, Number 5. F ir s t lin e : "Bienchen, Bienchen, Bienchen wiegt sich im Sonnenschein." Key: Eb major. Tempo: "L e ich t, anmutig, schnell (aber n ic h t zu seh r)." Meter: 6/8. Mea sures: 45. Date: Spring 1900. Dedication: (Frau) L i l l i LehmannKalisch (dramatic coloratura soprano). F ir s t p u b lic a tio n : Published separately as No. 5 o f flcht Lieder fu r eine Singstimme m it Beqlei tunq des Pianoforte (Munich and Leipzig: A ib l, 1900). Orchestra^ tio n : Max Reger (1916). Text: The poem "Lied der Mutter" by Richard Dehmel (1863-1920) from his c o lle c tio n Per Kindergarten (according to PL, p. 20). Source used fo r te x t: GL, 2:171-74. Source used fo r tra n s la tio n : Elvera Berry (see Preface, above). E dition used: SW , 31:136-38. References: SW , 31:V I; S tein, pp. 60-62; EO (No. 5a), pp. 56-57. In his biography o f Reger, Adalbert Lindner wrote th a t he owned the f i r s t d ra ft o f th is "Wiegenlied" (Op. 43, No. 5 ), which Reger had given him and on which Reger had w ritte n : "Nachts von 2 - 2 \ Uhr im Bette geschrieben!" (w ritte n in bed a t nig h t in 2 to 2 i hours). See Adalbert Lindner, Max Reger, Deutsche Musikbucherei, Bd. 27, 3d ed., e n l. and rev. (Regensburg: Gustav Bosse, 1938), p. 239.

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