Portrait by F. H. Müller, engraved by Esslinger.
]
Emanuel Bach and two other pupils of his father, Christian Nichelman
(1717–81) and Johann Friedrich Agricola (1720–74), devoted themselves
considerably to song composing. All the operetta composers we have
previously mentioned composed separate songs, which, together with
single numbers of their operettas, attained widespread popularity. One
of the best song composers of the time was Johann Peter Schulz
(1747–1800). His “Lieder in Volkston” were modelled on the old
folk-songs of Germany. Schulz had true German lyric feeling; he pointed
out the way followed by Schubert a generation later. Schulz’s songs have
long been universal favorites. It is a strong evidence of the innate
naturalness and strength of his songs that they should have retained
their place in the affections of the youth of Germany. They are still
sung in German school-rooms.
As German literature began to free itself from French influence, which
had been so potent during the reign of Frederick the Great, poets arose
who gave voice to true German feeling and sentiment. The lyrics of
Hagedorn, Gellert, Klopstock, Gleim, Kleist and others furnish material
for composers. Bürger, the celebrated author of “Lenore,” enriched
German literature with his ballads, many of which became popular in
musical form. It was Herder who revived true enthusiasm and feeling for
the old Volkslied, and with the rise of Goethe’s genius a new era dawned
on lyric poetry, and inspired song composers to take higher flights.
Johann Rudolph Zumsteeg (1760–1803) was the pioneer composer of ballads.
Reichardt, of whom mention has already been made, was the first to win
general approbation by his settings of Goethe’s lyrics. Carl Friedrich
Zelter (1758–1833) was more closely identified with Goethe, both as
friend and composer. In 1800, Zelter became director of the Berlin
Singakademie. He established the first male chorus club
(Männergesangverein) of Germany, which became the model of the many
similar clubs.
Haydn, Mozart and Beethoven did not devote special attention to song
composing; their life-work was accomplished in a larger field. Yet the
canzonets of Haydn, the charming “Veilchen” of Mozart and the romantic
“An die ferne Geliebte” of Beethoven are songs of much greater merit
than any others of their time, prior to Schubert.
The example and presence of Beethoven inspired Schubert to take the
highest flights in his music. Like his great pattern and guide, he lived
withdrawn from the public, and devoted himself heart and soul to the
pursuit of his beloved calling. Schubert’s numerous symphonies,
quartets, sonatas, masses, cantatas and oratorios are among the
priceless possessions of musical art. It is, however, as a song composer
that Schubert stands forth as a great and original master. In Schubert’s
instrumental music the fecundity of musical ideas, the profusion and
beauty of melody, which never failed him,—in a word, the wealth of his
lyric power,—often stand in the way of the clear and cogent thematic
development of his music.
Schubert speaks the sincere language of the heart, and captivates the
ear with the exquisite beauty of his melody. He gave new significance to
the instrumental accompaniment, using it both to intensify the emotional
expression and to enhance the effectiveness of the vocal part. His
rhythm is manifold and animated; his harmony strong and daring. “He
understood how to make the hearer believe that the keys of C major and F
sharp minor are twin sisters,” says a well-known critic. Nor is it alone
the lyric power which moves us in listening to Schubert’s songs. When
the situation demands it, certain epic and dramatic characteristics come
to light: as in the “Erlking,” perhaps the most popular of all ballads.
The unflagging spontaneity which distinguishes his songs has not been
matched by any of his successors; and his productiveness was something
marvellous. “If fruitfulness,” says Schumann, “be a characteristic of
genius, Schubert is certainly one of the greatest.”
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