Spataru, Dan - Franz Schubert

incd nu publicul larg -creaaliienicesaplue.t sd-gi dea seama de bogd{ia,
varietatea gi valoarea

De aceea nu era po,sibil ca doi compozitori ca Mendels-
9i1s8a4-7i)sluifeSrecheuvmenatnunal(iln8fliu0en-fa.
ssoi-hlnc-Bunaortahsoclddyin(d1e8a0ju9n-s 1856)
Men-
delssohn-Bartholdy vorbegte de el loarte pulin gi in treacli,

iar Sclrumann, entuziast cu privire la crealia lui instrumentali,

nu prea pomene-ste despre lieduri. Crr toate acestea, chiar daca

importanla liedului ca gen i-a aplirut lui Schumann indepen-
dent de creatia lui Schubert, nu se poate ca el si nu-gi Ii
dat seama de rezonanla din ce in ce mai puternicd pe care
capodoperele acestuia incepuserd sd o aibl in rindurile publi-

cului ; iar criticul din el nu putea sd reziste tentaiiei de a le

studia, descoperind asilel cdile creatoare atit de tecunde ale

fnaintagului sdu,'ceea ce l-a ajuiat desigur in propriile-i cdLrtdri.

In toi cazul, daci la Mendelsso'hn-Bartholdy gisim in do-

meniul liedului o predominan{d marcatd a elementului melodic

dIaalrdeadeatcmeol sploeeretiicg-enecrualceoansseecnins{ualufiiregaesncedraal orientdrii spre re-
de-
al textului, in

trimentul imaginilor iprecise ale acesiuia __ la Schum,ann lucru-

rile stau aproape invers. Literat fin qi de gust, el a acordat cu-

vintului o importanld din ce in ce mai mare, mai ales in liedurile

sale din ultima perioadi de creatie, cind textul torl,eazd 9i depd-
gegte uneori limitele forniei ntuzicale.

De aici a decurs in mod logic laptul c5, in timp ce la Men-
delssohn-Bartholdy cintul pur era precumpdnitor, la Schumann,

declama{ia cintatd a ajuns sd prezinte in concep{ia sa tirzie

esenla crea{iei vocale de camer5.

Aceasta nu trebuie sii ducd insh la concluzia eronati cd
Schumann nu a fost un melodist in liedurile sale. Dimpotrivi,

crea{ia sa bogatd in acest domeniu (aproximativ 250 de lieduri),
abundd in idei muzicale admirabile, care insi, am putea sprlne,

sint mai curind subordonate textului decit se intrepdtrr-rnd crr e!,

185

aFa curn se intirnpld la Schubert. Spre deosebire insd de acesta, Este vorba in prirnul rind de lolosirea liedLrlui ca gen in
nir trebuie sd uitdm, pe de altd parte, cd la Schurnann pianul
cintd destul de rnult atunci cind cintdre{ul tace, adicd in intro- muzica instrumentald Ei dcehiajor cinurciepaospimulafornei.cIi,rrcaaEl iddoeilperaezreinnc{al,
ducere, interludii gi in Iinal.
lrecventl a ritrnurilor

Brahms a fost vienez de adoplie gi valsurile sale instrumentale
In privin{a :muzicii instrumentale pi mai ales a celei sint- dragostea pentruViena, poartl in
Ei corale, care-i mdrturisesc ele
fonice, Mendelssohn-Bartholdy gi Schumann att urmat mai muli a valsurilor lui Schubert. Existd de
mireasma poeziei duioase
linia tradifiei beethoveniene, neputindu-se glsi un raport de con- aselllenea irn alt purrct de jn*rdire chiar gi in predilec{ia anin-
tinlitate intre ei gi Schubert. Existd insi un domenitt in care att durora pentrn muzica rnaghiard, care a lisat urme adinci asupra
nrultora din compozi{iile 1or. schubert a iost poate primul com-
rners in aceeagi direcfie cu el 9i este greu de inchipuit cd nu pozitor gerflotl care i-a acordai un loc atit de mare ln creafi'a

i-au' {olosit experienfa gi nu i-au valorilicat cuceririle. tsste

vorba de piesa liricd ilstrurnentald de, canterd, d,e ceea ce editorii ia Ei nu-se poate spune cd aceasta nu a avut o inlluentd asupra

air numit dupi moartea lui, ,,lmprompttt" 9i ,,Moment muzical". unora din urmaEii shi, deci ;i asupra iui Brahms'

Anr aritat la capitolul consacrat rntrzicii pentrtt pian cd Numaipu{inimpoftantdesteprezen}airrlimbajttlnrrrzical
miniatura liricd instrun-rentald a lost abordatd intr-o oarecare brahmsian a unor mijloace expresive care qi-au gdsit pentrLr pri-
din predecesorii lui ma dati o intrebuinlare loarie largd in crealia lLri Schubert 9i
mdsurd .si de unii SchLrbert, dar este cazul ahume, jocul snbtil al modulaliilor, estotnparea contrastelor de
sd srrbliniem incd o data ci aceasta a col,orit ar,monic prin alterari frecvente de intervarle Ei, in sllrEil,
inceprtt si ocupe un loc lolosirea suildtoril0r de alamd ca instrttmente cantabile. Pe '"1e
altd parte, ca gi la Schubert, instrttmentele de percuiie nu depd-
din ce in ce mai mare iu crea{ia compozitorilor de mai lirziu,

in prirnul rind datoriti 1ui.

rVlergind mai deparie, este greu de gdsit la compozitorii ce

i-au urrnat o inrudire creatoare directii cu Schubert. Poate sin- gesc la Brahms iinritele tradifiei clasice'

gurul la care ,a,ceastI filiafiune apare mai e'n'identi este Bmhn+ in nAturzircnaaiinfsitrcuamzterlttdtaelivi oarbliut idBesraprherncsa,raincteserunlscual rdeeparedaopmreicnida

care, in liedLrrile sale (aproximativ 200), a cdutat 9i a izbtrtit sd dacd in corifirrutul ei este nrai mttlt liricd sau dramaticd. Este un
subiect care ar putea iace obiectul unei lucrdri de mari proporfii.
realizeze echilibrul dirrtre muzicd 9i text, conferind pirlii de
Nemdrginip+pentruagdsigiinaceastl.trdsituriolegdttrrd
acompaniament rtn rol activ in conturarea atmoslerei generale
de continuitate cu Schubert - sd enunlim o p5rere personald
a con{inutultti, idrd a ajttnge insd la caracterul descriptiv atit de
carevedeincrea{iainstrumentaldaluiBrahmso.subslan{dli-
pregnant la SchLrbert.

Ilai mult inci, Brahrns l-a studiat indeaproape pe Schubert

(a colaborat de altfel la editarea operei sale complete) gi a pre-

luat desigur de la el o serie de lucruri care all ldcut ca rnuzica rjcimultmaiconsjstentS;inraioriginalidecituneledinpagi-
nile sale dramatice. Ne gindim la numeroasele sale piese pentrti
sa instrumenlald, aqezald pe cele mai arrtentice temelii ale cla- pian, la trio-uri, cvartete qi sextete, I'a Simfonia a II-a Ei a IV-a'
la Concertul al doilea pentnt pian 9i orchestrl' la Concertul pen-
sicismului vienez, sd capete o savoare specifici apropiatE de tnr vibar5, violoncel 9i orchestrd.
aceea a creatiei romanticilor, ceea ce i'a atras pi categorisirea

de postromantie.

186 187

Daci am abordat problema caracterizdrii crealiei insirumeri- un coniinut emc{iona1 mult lntens st profund, per'

tale a lr-ri Brahns, aceasta se datorerste in primul rind faptrrlr,ri sonal, ia primul.

cd il considet:im ca pe unul din compozitorii care l-au urmat In siirqir, existS o iaturd a creatiei lui Schubert care nu a

intr-o oarecare utdsurd gi cu rezultate admirabile pe Schubert putut sd nu aibd o nare iniluen{i asupra compozitorilor vienezi.
contemporani 9i de mai tirztt ;i anune l''alsul. l'rebuie sd ne
pe drumul simfoniet lirice, a carei paternitate credern cI ii apar-
amintirn pentru aceasta cd in primul pdtrar al veacului trecr-Lt.
{ine acestuia in mod necontestat. valsul a devenit unul dtn dansurtle cele rlrai populare ale
\jiener. Era perioada nenumdratelor orchestre de dans, cu diri-
La Anton Bruckner (1824-1896), contrastul tematic devine,
jcri care erau de cele mai multe ori 9i compozitorii pieselor cin-
mai ales in ultirnele sjmlonii, ltn contrast de grupe tematice tate, cum a fost cazul lui Iosei Lanner (1801-1843), prietenul
necesitind ample dezvoltdri, ceea ce il apropre de Schubert iit
1ui Schubert 9i al lui Johann Strauss-tatli (i804-1849). Am mai
ambele privinfi, ca gi faptr-rl de a contert instrumentelor de alamd, aritat cd multe din valsr-rrile lui Schubert au fost pr-rblicate inci
in tirnpui vieiii sale. Frumuse{ea inspira{iei lor 9i plindtatea
in spe{d trompetei gi ccrnulLii, ro1ul unor voci independente trr rle sim{ire ndscutd din {armecul poetic al duiogiei specilic vie-
neze, aLt gdsit in inimile compatriolilor sii acea rezon:in{i pro-
ansamblul orchestral. Jundd care nu putea sd nu trezeascd aten{ia 9i si nu lumineze
calea compozitorilor de muzicd de dans, cum atl iost cei din
E,ste interesant de men{ionat ci predilec!ia lLri Schubert
\rremea sa -si atr{ii ca Johann Strauss-fir-rl (1825-1899), Karl
pentru modula{ii, pentru nuan{ele gi contrastetre armonice, a iost
Zeller (1842-1BgB) 9i a9a mai departe.
p,revestitoare pentru limbajul muzical al lui Liszt (1811-1886)
9i al lui Wagner (1813-1883), dar aceasla teprezintd doar rtrt Iati, in iinii generalc, pczilia iui Schtrbert in istoria inuzicit
aspect limita'c la proccdee. si ne nrai rdrrinc, pcntrLt a incheia, si ponteninr despre locul pe

Linia care purcede de la Schubert in privinta simloniei li- care il ocupi crcaiia sa irt viltirt rttLtzicald contemporand.
rice ajunge pinl la Gustav A'lahler (1860'1911), 1a simloniile lui
saturate de substanld lirich gi in care a sim{it nevoia sd intro' Din picate, irtc:i si 'aslizi, cele mai ntulte din lrtcriirile sale
ducd (in unele din ele) textul poetic gi vocea orneneascd, tocmai
pentru a imprirna o .-si mai mare plasticitate acesiei trdsdturt rnstrurnentale sint ttccLtuoscttte saLt ioarte pulin cunoscrtte. Cauza

fundamentatre. trebLrie cdutatd in printiil rrnd tn pdrerea eronati 9i sLrperliciali
care s-a format ciespre ei in raport crr ileethorten. Pe de altZ
In priviLr{a liedului. ne mai rdmitte sd-l pomenim pe Hugc parte, in cei 60 de ani scursi de ia apari{ia ultirnultti voluur al
Woll (1860-i903) care, in cele peste 250 de lieduri ale sale,
cperelor sale complete, sir-rdiile privitoare 1a creafia schttbertianir
a pus accentul pe textul poetic, cdutind sA tealizeze r'rnitatea de au pus cLt prioritate, clinr era gi jttst, accentr-rl pe lirica vocall,
atmoslerd in partea de acompaniament, ceea ce constituie o apro-
lzisind in Lrlnbri sau men{ioninrl cu timiditate aportrrl sdr.r in
'piere parliald de concep{ia lui Schubert. Mergind insd mai de- mr:zica instrr-rmentali. De abia in ultimii ani au inceput sI
parte pe linia lui Schumann, Woll ajunge la declamalia cintai4.
189
In domeniul muzicii coraie, iirul iiliatiunii se gdsegle tot

la Brahms gi, poate, la A{ax Reger (1873-1916), cr-r deo'sebire cd
aria polifonica, 1a lel de mliastrd ca tehnicl 1a amindoi, exprirni

i88

aparii lucriiri cu catacter gtiinlific, care il situeazi la locul meritat
*i irr ;rccst 6omeniu. De fapt insd, nici chiar vasta sa crealie vo'
calii nu este cunoscutd decit in parte. schubert agteapti inca Ei
rrst2izi sd iie descoperit gi nr,r existd nici o indoiali c5 nenttm5'
sale opere de valoare inci necunoscute, vor cuceri
ratele marele
prrblic de pretutindeni pe mdsurl ce \'or ti rdspindite in rindrr-

rile 1ui.

L,ISTA OPERELOR LL]I SC}{IJBERT

Lieduri

A-(a1b8uen1tAod6bbr-euiIlnldaldeynr,reDh(c1oue8nf1leo.9rs()-c1u8:t1S) 4ril;lbb-eAenrbrt\d)elalni;tetdhAdliisbelsedioinr,(nd1)dli8ei;1ed6E(A-1Cn8b1tleal5cruri-dndt,iueSIslt(o)e1lbr;8e' 2rA(-15gb.)9-e\1n;r5VdA-l.iebdvet(n.oddsSeleicreghdaFtelut(gerlBsentl)li)ri;it;
Abendroth, Das (lBl8 - Sclireiber) : Abendrothe (1820 - Fr. Schlegei) ;
Ascuchbnheeteinneyrddis)dtvae;onrndALcbidhnseecdnih'ei(Ee1(d8rldB1e5l(51,-8m-16BeI-la(ooudsmMreabagme1aEr'rrgthe)o(n;1l)eA8r;)b2e;A5nb-dAPgsbertaesbprltLnohihbi(et1eed8v2Le(41irn8-ad1)7e;M,-AaDbySsriehccolhtu(iie1ebr8da)1r7v;t)o-A:nbeS,ndz\bede-ra-

hiF(sHsc1oeir8ahurfg1erinahf5Sreir)liti--nee;(1ngeBA8)Mr1(el;r1l6osra6tAhcry-Jatllrre6lnmhondl-oStaS)ilsscaec:callrrhih)htsA,;oe)lb(;DiAlBneBAlidaprled5)leelean;(l-1ad(j1Ai6ieid8g2Erl15nee(l6l1rr-rl,8(?-l2liDec87PnhelR14s-)r'oriel;<c(-Hr1ehA8erl(i)1trl1Mtzd;7e8)ea2rA-l;t,6t-lihpe--AeiSbSs2lnelsceejAhoivsrdigneolllerr)se)s;trtri,re;rAlr-tDAndLnien)eieilr2ewr;rFbo(vA(e1llue1d8ms(r811ssu718einB1u-6da5(n-cl2-iE8Mh)m;lea5vKA1rerio'rlrtr:tsr'-i-t-i
1822- Goeihe); Am Glabc Anselmos (1816-Claudius): Am See (1814

-f(e1r8M) 1;a5yr-AhKmodfearnrl)iea;r)(A;18mA15mS-eCeSh(cl1oh8ei2lnl3e-r()l8;Btlr6Atr-cmlhanncrtaeonnbnlii)e);;dAA1m1n81dS4'et-rnorrInj-utetnbg(i1)e8;n17MA-norrp&ghclainayhrrahinoors--
;(-lBAll{6nci-ltHdye)dn;ltFyA'r)ni;ihrAliiennngdM(e1on8n15<Ml-o(nl8Sdlc5hinil-lereC-ioneet2hre versiuni) ; An den
mel (lBl4) H-er2bstvnearcshiutn(i)1:81A8i-t
llond (lBl5

den Mond
Schreiber); An den Schial (1816-Uz): An d& Tod (1E17-Schubart):
An die ApfelbiiuLne (1815-- tloltl'); An clie Diosliuren (Lied eines Schilfers

l9l

-AS(i-1rHrtsSuo1r1clos8b5h1el6m--tryg-ai)SSn;M;ncto)haAlAil;yi)lnernh;Aro)ddnAii;eieernd)ASiNde;noaineAlcdnluhn"iLetsiaigtdiuFslaiitertleelS(uiE((8-1nlntS87dt1ai1ee6-u6r-(tn-1oCSStreR1cln9hao(eoc1u-cb8hude2lniMri2toi)zusa-);-syc;)-rGAuh;tAoo)Anei;netnhrdA)edid)e;niei;eNAd,AiaNLnec"nayhSdt:tdoui.iegtnirean(G(1le1lFe88r((l2ei11e1u.88b26d11t-ee55- -sLkDDeiaaeireApt)hhMr(ni;iD1aoee8t)trDa1e;a5-guDFmq-e'ioult\ihu\Beleerqybaalsurgsaceesmtmh)nememb;((n1leiSbct8Di12h(a-163rn8ant--2aeni3ucgRS-ahtolrpitoilnRcpl(bkn1rieieee8cdrcr2skgtiu2)eie)n-r;(ot;1F)sBDceP;D2uer0laatDnl)pl-seooh;nniwn(ll1De-eGa8tur2aa;23ysisbctD-eavhirsiseodiLrtsoo(se1din-u8i-tie1nen5ie3)d(.R-r1)irenuo;IK6hm46D-a(r1nnrBCeteM2era3ie)n(tS-1za;8iosin1ntDRag4eiaesi)r*tis:o---,;;
A2--MAisr-atnnoivdCgBciudrinmhaasci)ouuieeeudn;irint,cnuifuAi.(n)rsKB1gnt);lai8i;ag;uSA1e'eA;iehinr5lnnveAr-iSeniGEan(ldcldmShoe)(6dwm1e;0,8aSiateiAgh-6oe(nTen1-rd3Shn-e1K2LqcS4nhirrhko(uve-ae1nbenk8naeor1Sssr(dslctiGpi)uSh-e(ne;ai1flislr+)8eKeAa-1r;onMn)-6ige;-angAG,Atdar,tCeo"nrhentieeenissLRtnihsHaH)doeouaeo;)nsrrriai)a;nzAne(A;(o1(rn1s18nb8A1S2-ein4l5S1iitn-i-5gild8eeo-1iMKnnS6(Q1eaoc-Vhut8stuuheee1lG'irzdlng5loeo_esa-n)eOsKrta(o;the1le"'oe8ndAn)1p)i-p6n---;;
Der Echo, Das (1826 -veCrsaiustneil)li); ;EiEnsdaomnleiei(t18(1168-i8-Ktrlloap1sr1to1csli1) .;.; Einsante,
(1825-Lappe-2
; Einsi:-
SdSsE((ArletpnBiohlavterlznu7ecirt,nlieic-M),Dk;AOariSresrnrEciseaghel(s,li1sl'alts8es,Hi1nnouD6ur-mnL-e(ta1srI(urmS81a(r812agaa18lm2n,j72s-,0eD)-nrC-;eite)osStEMlcl;(i-rhnalnEi)1lsE1lS'ei;r6ephord)Eoli-dsefr;eiltieeneSrir)nEl,c,,e;nhDrrMtiueflEleinresernrgrsntt)e)izt(kt;e1Lta(8nicll1BEi(,ks712nLDc58-trhzne1-eigir4ciS-l-V(;(a1LS1lM8r8i.csn11la).g66Stt';irhc--vaoiasEntntsSMlokl-aeLa,nltnai)Hstth'ru)sai;esrd;asrsIuolro,crEnnnleDang)ritlsee!--;'
l_iS_2fZu-..rlilranyri)h;olAeur)i d; eAmtySstr(o1m817(1-82Mga-yRrheolllesrt)a.;b. )A; uAf udledmemSewea(s1s8e1r7 - Goethe sFgHaeeirlieltlietnyn(gF1))e8;a;r1)hE7;Frr-itsEscczrhhMsueteaemirnyr, urVDhHnoegeafr,erdlurDe()s1site;8((11l(B5lE8E1-lr5C7Il5lo<--eo-tnMhGieagKoy)eor(th;1sh8oeeI1frg)e5isar; c)-rEthe:rewnGr)aoll;irreeitnttdEhtdner(esg)1t,ne8;,D1LiD6eEie-ar(b1nSse8ta,e1(l5DlilisEe-)iled5;rS(-1i(cr18ihs81Kci1l5lho6esere-r)-.
singett
zu

lfSZi d-enStT"foiedrg-e)in; eAruNl a<icehntSigieagll d(e1r8l)1eu6ts-clhldenlty.()d;atAa u9li autorul necunos^cut) ;
A.uf
der Bruck (1825-

MK(sISadIla(BEl(Jc1ceunuceate8iilrhlrtlattlr1yineieoodoub9crenNrrdlpBhtezurr,'n()otisae,iaialreSe;l)clMDnic;1slrjsaaheu)oA5aAe;;cndnltly(uuog-ruee(rlAnssA1mlhti(ocnSu(1oaed-uu1s1gsl.i8ctuSee2n()eiku1r5ditlen)-B5ato;H)Dnil-'l2in;-rteeo5;BeGKdnlnCn-liBVrKueoiaBi,rrl(ceme'aplicu1pWeuenrirhoge.8nga1rnaiilhnorie1u'ertseodsR8z,h5rrcSSef)e1eeD-u(rcc_lmM;7F(r)tnoh1)ai-ete;8miatM2nB;NG1ly-es5Beo(a-rr1rvrBfaeh-zySdaret,tbeo1rrelLeruaah5esinDFlineeednloi'-uddreurm-vfkFen)eecroE;aereiF,ern)i1(u)is-r1Dnr(A;;8reeS18'oenBu22ciA1peBsSS1h1s28-a8ultlc2-eVo-os(Dh6lc-r1nMacl1hSdie-leid8t<t1lnageaFe2geM)42ye)rrSo'lrsrl-aR-)P'he;ziMiAil;o(aedauSM1Mlauslter8)chBnaeila1rMhsl)at);no6eytl'ezhtras;r;-ohaDgitBurshporeiBAsineepea{elCol)esgenuvis-'mlrn;ame)(!(L()u(1111e1;id;W8B8M8e8n9i211lub1idia4Ant4n8Dsr8r6duii)-aiel-_aiee-s-nsi;' $lSie.cedlirsilei(e18r()1178;2-F6 l-uSgaSldicshe)lre;cZhFetaiist,-chDe2ersrv(Le1ir8es1bi7uens--gi)lSt;iczle<Icr,llioeDrnifoeis); (1F8l2t7ic-htlLinegiin, eDr)e;r Fischer-
Schlegel) ; I;or leagues along the t'atery wa1
F-ragWm.enStcoatut sdidnem,,PiAraetLsrcl"hy) l;rrsI:'(o1re8l1le6,-tDraiedu(cl8e1r7e (1816 --
(-;GMeFSaslcuayhsfurlsghb,aodDrtfeee-rrr-N(421on8vvn2eea0rrss--ilir'u3tnn2ili):)r7.;;

Freiwilliges Versinlien (1B20-- Mayrhoier): Frcrtde der Kinidlerjahre (lBl6--
-Kn1,K,eoE8lcop1gukpm6neso-notso)nHcctu;o"l<t))lt)y;F;);FrFe;rFiunrFrhidihiiljhvileclloeilnrlLllgidciesuielgb,nrheIdtL,)-iirleeb)lb-ieeee(1i(8d1((11i8vE528ol0-62ll-5-P(-lLrBFaHrlnh5ro.dlla-tsSynte)cdvhIt;'-eleerIzg2)treir;LlrL)'lIehr;ierresonFbihruersGnri,cnir)rhrDi.bt;riee(dF1r-l',e9rirriD1hG7Gliio-neeeglitehs(albelBuiette-ldo5ni
(1815- Klopstock - 2 versirini).
Der(1818-schreiber);Blumenlierl(1816_H61t1');Blumensprache'Die -KS(1oc8rMh2ni1lealeGr-y)rAra)|;no.;yleGmGWre)eeb.id;siivstCo(c'ldehBnheetS7e,ricrD-LnhinieleeGibsg,oe(eelDBil()h1al;9c8s1)C-5;(e1-h8IGet1ri5Imei(.ob-esSesectSgh(rc1alve8hrat2giclh1elnerl-))erG);n:;doCGGedeeteefihashrenteg)Sidm;ecenlGijrerslne,LahicDeeSiiila:mtliesn(n1gi((s1Ee188r1(,1i13568D1--i-e6-
(1El7- Platner) ; Brrider, schrecklich brennt; Bundeslied (1815-Goethe) ;

Biirgschalt, Die (1815 - Schiller).
Come;thoumonarcholthevine(1826_Shaliespeare-Antoniuli
Baumberg) ;
Cleopatra (-181tr6a-ducOesrseiaMn a-yrtlrroaldeur)ce;ieCHoraaroaldn)'die Sonne (1815 -
Cronnan

I {': 13 .- Ftanz Sclrubert. - c. 8591 193

MM(taaSttttlh5hiis-ssCsoconn)e-;thfrGaege-m4isetenvrten)r;s;ihiuGenei)(i1s8;te1G4rtam-nLzMj,gasDtatehmrisk(se1oit8n)1(14;8-1GM5e-aSitstchtehisrotsabonnez)r');D;CeGeriests(e13r8gn1rg2ttsa-so- -- I) Ich sag'es jedem, 2) Wenige wissen, 3) Wenn alle untreu werden
dwnff-"-rvc1cD<ati"Gi"uoelaeWeno1h.ateriGrr)egorf-assHte"reotr';.iett1],yaur'oeee1(rlWtlrtntiG;.nB(.hrmh.sr,1rvi;".(erl;e.i7.lo8ea1;a,ijGGli-ns2uy;8;s-6iii4_rre)loce1aefe;GGhn-t6StA,rtggcGe(trKd-aiel.haEsmgSaeierulsmtiebi*ss1yorfnacnef,)arr6nnsEht(hFnnOeag;e_({iuognAr/mrtSeifubs)G)iGcledhah;aira,ht;lreml.etll)cirniuiz1Gsncistnihfti;n"e)fkego)eSHe;es.lfilG-iigdGasta"r(RS;'esba1genrer6*LcGiaiar8-ginnthbgi(tbece1s1meiSldBbsklSr1-6riaiatser8ee(1eo-lni1G5-lrSdirdUd(Bs7tgsA)r-l)lN5izl-i-gte6lndB;;r)eco-K-edlshCG51rd;GreGeienG8oeirolK-1ecnerlaurM,6oaeetelorhaTDebnt-itCr(eunsthnrvhz,eod)ttee-eeueiteGrsDl;ern)nrzrt')o(heardid1Ceei;(d;Dn8isitFl)brdhrB1e,rGiGae-eoi5;(erel1br),Be1lrG8*,allBFs(;Bldi1-ueeel1te6aaae1siGb'dGrn8janaruna6e-ersngo1dets'-awsgcouceeHt,9aSu.hoaetrr.nDhd-oeanf-hsesSgee'lfeesiiteifssera)hncDeidac;i)tnleHeuhrgoue_(-;(ne)rras11iGnnrlrlng8rll8;og(}Goeie(21n{n11naS18suGrredt8at61-rnho-re)c-!l1b5sed--l5-i-''; 9i 4) \\renn ich ihn nur).

ldens Nachtgesang (lBl5-Kosegarten) ; Idens Schwanenlied (1815
I-mKForseeiegnar(t1e8n2);6I-hSreCidrla);b (1822- Roos); Im Abendroth (1B24- Lappe):
Im Friihling (1826-Schulze); Im Fiaine (1822
Ln Walde
S- cBhrrrlrzcehm):aInnn) ; Im Wakle ((11882016- -JFarc"oSbci)h;leIgnecla) n;to (1825 --
degli occhi,
der Mitternachi L'(1827

C- liMicekta(sI'l8a2s6io-- din --3so\dGn\,ig'enessr;n-Vintergireae)rd):uR;JcefaeIrpgraeheinirgS,-etronuLrihacieelid)(1e(;8Hr1)u.7Jna-tgsemMrsaanyA,'rbhreeonsletdr-l)ie;dlBI2r(d5li8s-c1h6Ues-'

Seidl

Jartllird (lBl7

Scott-din Ellen's
L;ieJbuelisulisedan(1'l8h2e7o-neSc(hlo8b1e6r) -;
Goethe) ; Jagers Johanpa Sebus (1821 --
i{atthisson) ; Junge Nonne,
Coethe-fragment)
D-{&-ld1iLnl8eiaei1Sgtmet7hc(dK1hi-asH8aisml2mloiedS5lpnqrpe)-fB)aer,;ua;lMn,CcDJhDrK-iLaeegliie,nagrn2hgrqDo(e1leivn(n8re1e)1)g8rdr;72s;e{0ial-1u(Jrl8m-nai1iCSi)ng5.cHdege-hrtelieiit(lnrtlSsleegBQncr()bhlaluB6;rimleell-5enllIl(ren'eB)-le,tn-a;irDnl)cStshJye;ctei-hirn,2diJl(gDlt1ierilBnriend)2gvr1ag;el(s-i1nraI8sLg{1Smailua2naungd-lnBisil)id?a)e;S:c;dKch(d1helJ(e8ai,ll1il{rgle5n!Der1Tg-)e2ol(;inr-ldGBJg,o(SillieclnD6althhlgeu9-ie--rl
GI(rloeptcshloecnka)m; Gspruinpnpreadaeu(s18de1m4--TGaorteatrhLers);G(1r8o1ss7e-sHcahlliellleurja);,DGarsu(s1s81a6n--den
Ermin) ; Guarcla che bianca luna (1820 Metastasio -
mai, tvtein (1815 - Gute llirt, -
din 4 Canzone); Der (1816-Uz)' Ol-lesOrs)ti;taenKn-wnatarbalte)d,n;cDeKerenra(lbJ1ea8nro2zlcd0i)t-,F; DrK.ioeSnci(hglSleilgn6el'-)l'h;uHKleon,ltayDb)ee;rin(KlBodllme6r-aGWs oiKeegltaehg,eeD);e(1rK8r(1el58ul*z7-

Hagars Klage (1811 - Sclnicl<ing) ; Hiinllings Liebeswerbung (1817 -
tKraidnudc)e;rHe aAr.k\\,,h'. avrokn,tShcehlleagrekl (-1Ss2ta6n-dsclhteank)e:slpJeeaathreth-disinn"igChitmmbrtesltybneer"n-y
brHlHtTHfrloueeJheeesurniidirsmsstsble,snsiTwseieAntmnelhancbhbl(ieacrsl(,eBih(1ccnND(l8h51dnh8aoi1,ei1c-s9rdDn5hr-n(itSC-e1c(a1r8horieSl1nebMld16(t'1e5esrha8-enrey,-1todr))6h(Hent;So-.:ngiefecIe-llchH(lSer1)lLi)ilai8lrrp;ienei;le2iprHslHdir5oc-)eeMhl_id;ymre2WirtegssFnwrnl.eeLovLSMJhrenioibee,cirgss-sbcoDentileutploaitenl(hnn-[s1idti2)rS(-86(1a1;p(281r8a-2168]2u7uB1H5-nG62Jc-e-loo(e-'rv-ehrbKetPehaSslzCeeysntainortn-klkeoE(ies1eatrhpE)r3cei*2Ss-;k8tlc-ie)eh2-H;2l)Hode2puvvr;Qeemreelil{inei)rrdaienrlsslnnde;sliianuuumtnHrarnneieu.beiir))ln)))ksd;'-:;;: zug, Der (1827 - Leitner).
l{irt, Der (1816_Mayrlrofer); Flir.t aul denr Felsen, Der (1827-W. Mtiller): r,tbDfLgK(lsrn,a,1Ee-iaecee8culengamlbhi2nsodsrme5rtLlcemo)bieeahon(-;eei;lebenbSrnrldetnottWl"L,L,i(e6tdnlre(i-DSrDia.eee1b-lnTnSb6ie8iFek(ercn1H2(er-o.1se8dAnt0(t8(miute11t1n'1S-tl-rd85iy5u6uFnc1vLt2nnh-.-9h-oiteg2irall-vball(-eA21er(.u(rlSlPrSC.lSnt(BS2-cllvovadS6tcllcee5o6t.hrle-rt5Lehlsl2-nSele-ei))u-ccSSi);-dhnhvSc;tov;tielhLSt)eaMaorurLag)tcsdl;oleLlizkuei;)elluteei)llbae))b;Ln)rLseb;)e;;iiit);,eLeana;LLLbsi;dsDneeLcageieoebbbLecLsoi,eeeheiritace(a-nt,enD1heyusbnsD(8er1lssme1,inuoeic8t5er,,rpudhnD1fah-tdD5h(d(ta1i1((Whue118n8iM-8(dce11t8e1a1ea57(8i16snlyir28(-m5-ie1ere8-H1h8-np6CKo1-HdLr(M(5foi1-eeodlsl8ErtRa-orlolnyt)2ltnleytnit3leJ)hnl))G;el;zrsi--)s;d)o:)t;aLseL;LbohRtSaL;hiLtinceieutce-tin)eLichLhbdrt-lbiias<tieee;elfemlrebnebunaIdhredaa-nr*dtgcaisci))r;ndle:--;-lr-,t
standelei (1815-Kdrner) ; Liebhaber in allen Gestalten (1815-Goethe) ;
_IloGcohezethitelie);dH(o18fl1n6u-ngJ(a1c8ob1i9) _: SIlcohffinlluenr)g;l{(u1sldl5ig-u-nSgc(h1il8le1r)5;_KHooslfengunagrte(1n,3)1:5
Fluntsman, rest (vezi Ellen's songs) : l{ymne (lslg - 4 Hymne --- Novalis

194

-IrJllrS-(_-i-li1niei"cien8e,LsehIb2lraaiil,7lFoi,PfgcdMerMhm.-i.ercrpIosecshulehnetlnta5c.gateitr1renlr)o())esllFa;Bs;rdon;nreliiu4g,eLbL"qLe-Dirleu-AoDeine6ecendi)d_olMrrnrse;(o(aukJlJi1rniLtouaatlSihei,rgrlcrLoeisi2,sedbry5s-rlR(lisc-e)(,(Sn1i.v'Ce(;si)8cvleltgatle-;nL0t;usuez,dioi-lL.'Azisn,'rDLierlngesSaa)("))da1;sdyi;lSn;iiLsd2e(oL.1i4eeL.-6iiDe<r-i1elclti7{2Ahodildanes-nev(ukdn1(e.r1uiteCer6ro8Lrissle21lrpiiaLe3un5r(ruby1ni)l--se;8ceilo)ce1SlLiui7S;u(lcein1(ets-1oLohd8d)8slii;1b2ehlcal7ei4reLudnrnr-ntir-ger)tM)(io)s1d;;G|am8Wc;L1tnsnLai6iheieL'neinein-c)isSdeeurdsc;lnrrCoo(o('le1IltansEi-tD6arirc)te1u1*oac;ls5dliss-t) garten) ; Nachthl'rnne (1820 -- Novalis) ; Nachtstiick (lBl9 - Ala1'rho[er) ;
I,Jacht und 'l'f iurne (1825 reNrsaiucnhitv)i;oieNnatn(1e8n2s2ta-gsMiiead1'r(hl{ot2ie0r)--:
Collin) ;
llahe des Geliebten (1815-Goethe-2
; Non t'accostar ali'ur"na (lti2J
l-CitacMrsllaeetnra)gst;a(svNioeaz-tui rIdg-leeinnauth4ssthC(1ia8sn1z5noin-geh)At;{anttNthtriosssntotrtbrc)e, Die f-ireH) t;jltyN) u;r
rly (1815 Normans

becl, rvei' die

Sehnsucht lienn'i (1815, l816 9i lE26 - Goethe - Mignon - 5 versiuni).
NP(1ae8nth1so(aP6,s),a-rJesc(1tsa.oh8tcr1eeao5iqulba-ui,i)e'i;OL'saatsuPosrif-(aili1ssinc8tal1-(r17ntitlrZe-itn)t'(at-1lCd8ltl1-ot3ciMieed-braoeerlrrr\Hlil)(te1o;at8afrPeo1saltr6da)t-)s:r-.i-ovOGo-srobSiisidtaecritrnrr-snfrrLAai(lgec1iitdlflrielen7)an:ct.)-lr derit I]all,:
-g?LirM"reoenramr.;,s-y;rB_irrhh.a"l(aoi1t8cr(fl1:eSor(ibrbl5'-e)il:;l-Igo-I)si_aesou;cibatlolcln-erloerdrtrr,talaei.lchsdettr.rCtnicn(t.c1eiessr8cnepu1et(H)r5ltg:as-lt-r7oKL(-1l,ire\ttl.aI,n5,-nrn-e.SOevcIrsra)hlsr;ullliei-ariigrneede-ndaliri()s)aL;;cFilllul"eLaocusb)eitasrdearleernisdlse'lHioerAiallinSra"toelllv'oeledolrre)rs--nt;
Sr:lrober) l

Perle, Dic

; Pflffgei-

hiioefedr)(1; sPI6ilg-erswaeliisse) ;(1P82h3il-irlSech(o1b8ei6r)-; CPiialgLrrdiniirrs, )D;erP(h18il2o3k-ielS(c1h81il7ler-) :\{41'r--

: Pro'

(ll'15 - liosegarterr)' nretheus (iSlC-Goethe) ; Punschiied (1815- Schilier')'
l1(,t18i1$S5,1e-6Rnha-GestorezeS,tch(Kelhur)rilzel;egbreR-);r$a,R(t/tve.oentSnzftaicinnlolgileletetr-n('.d1'sSDin1s4eonIr-5v1a(s1n8-Al1ul5aHrte-tuh-nisGttssrorondenruai)hcretei,)reRr;e)ost;ltnt)iaIl;tltroezIsclreesd',liielrrDg-sigsieeIcl..nicl(-blhiSetrrbrilr2gei
M:rcht riel Liebe, Die (1Btl Kalchbcrg) ; Midchcn' Das ;(18M19:id-chFern" --sl-SDsss(((s&(vK11t1ecaeSleeel8as8ohohFSh1s2nrlgt1r6ndstc05narghg(;hesf.1sS(niee---osu1g8-uSngb(ris8c1an1cselco1Fc5Kiihrsrgreh(0naGttl1olr-tlede6()re-.-Sr(i.o-n(rgaon;1-lS,e2(Fe)Bleg2sMiSlt2crlnSDrhle.2cl;9)-eKrre-hvlSl6lelie;5l)aeeo-Sc-Pr;gr2thisphdSzseei-rsSce(lgSiS;chel1u[vi)h(rciehogc6n'clene:l5Btrc;1hiee'slrirI)irkrnl5)rl(islru)iel4')So)l).l'ineeecr-;u;r,;c;s.hf-;)nnstt;tDSer-riCsesc)irreGlS(cheiSnrots{;1rehreh2dcorlc-v-guthrsienhhf(aRssldetf1laserhen3sro8evfru,eSeres21s-er-l(,ccneSri15-ishehRzns6HDvic-2eteLe2bedeehi22reras(riinrltl,1naGii,ersr-,iel(er)r<nl1risvoe,edlu,(li8g;ee1I,erBtrD15sIi8tt<(')(hliD7sri11)-eleSluuie,7GL;8-a3(ns;cr)c1r1-ilhsnoh8)J;S((Sn5iM21n)e1:Se(-r7iMc811saa-t;-hcc2h81it-ySailn5ntrK17crenyaSls5he-loir)t-Srn-uoczhCst--a;cggchfoeSeih(rtieoatg1rat2rSeocK[ls)t3reab'lrbtealt2e)(rteolev;aG'th1e0hrrupreM;scu8me)[ors-|eh)1-s)Seot;n,DSo;lB4itatc\uF;,htclet-l)eaSSirn:eleGeDSgrih-}c)c;inslp)ce'ohsihraetho;hS(hwrlel,;tasrleu'etrBSovFneectRrtaSntalr((rllh',tren11ltgietittl3eiDneIe88iigcerhe)s)st21)e)-eerkntdt,;s,51-t"r--';
M:idctrerl arrs ,it' Iiretrrlc, I)as (iSl4- Schiller)
Schlegel) ;

ausderFrentcle,Das(1615-scltillcr);Mitlchensl(lage'Des(1iill-,Sciti1"

d1GnrD;,Hf--aS((en\u..ve1ble<GdteuetccoerSei;earsoe)sd)tolz-nnb1;ariuntoe,,ycsei.9(i&rn_;.$l1lig,Ngh-,d+8n;Hlt51DeLtNli(a)gC(c,i)6r1n;\velorpl82olnaac:ievrr2nMtl.lcehrdazz'1o6Meh(is)eoSoli1rinc-dsir8rnrcS;cGceg)ac1lnlsagilot)5reoln;rrlll2(n'iiai'eet-lI;l1le{laloi,hlMtranMeeosh)ngoDsricrgsFe5ai;re)stlcnl(IrMir;ie,1lm_e-h(eeirDaerlisnrrgEt,oUailsire(inn7BiIcbl1aullrtsrp),lehls..iGi-c(ar(lgr:il;t-I1lhcrterlr(snl-ig,hial8esMcit'o]-vc\ihraii"2D'iriJrrr5!eet'r'rcro7ieirr-ii.:eS)lntgr(n)'-v)r,oi-1c-e1snsrho;*tEr;lii('crortn(1'nllte(tfh'(5l8a-rMtlMe11en--1vicSrli-ec7)alitjil11lle1rrotusil3aidi-:nE6,tErstBst-a-ibollI-l2aM2dnao5GclserLlisrrtrc'Sieo,nr'riregr\Veo.ett11ctdir,n')trebrhi-Bha(sDoiteler1e;1c;slirelrra8r86rsoigrri-re1Lt2tbls)arrn5Ri6at91edsn.j;)(nolri-c)'a1iro()"d:;a;l831gMrl1'1:ig\-1aeK?{8iM5mtoiln(Gori-21liHrdJrd8l-iesge'ln56ieic2eenitesen.tj--d0hegtrilHndiO6)e.nDaerl1l,5-(io-gleer1e;1esnilteel5E1rscneiss)))MyMvd2irtiniK;coie)0a-e)i;a;f(lhr(ltM;oe1h-rs1aa;.lo8oM8isMi-grgi('t1m1irnu1MW1aornena65aeiSseencciro'en)i)'td-ic,h-'iesrrr5-r---tt;; ls(i1igi8ce1h5t\-\rrleeKrlltoLp(ie1stSbo2ec:li(-i-8lS25er-rvne)Kr:stiirinlSfleei)rl)i;g;isieSeiuetliz(1ne8riir6(1g-61e5gH-roiiistllsk')tjlt;(l1')8S2;1el-SnhiaRihL'ti1itcnlkdeurnt)Srle;lvniSrr:rer-r-
lnra*.d1rt;cNe,airlcerlst.llneairtroloelnltctrlL,G)D;ee}rurriirt(ce1hr5t2,(l2Sl)-li7eG-o(e1iih'le8a)i-'trl'1-2'-oll-er;iie:))rs;;irrNNnaai)cc' lhltte' nDsielil(a18n1g7 -dieUsssiiiassr'c'

Larrte(1814);\achtgesang(151'{-Coethe);\ai:htgesang(1815-l{os':-

196 lE7

vsS(cc1lli8lro:t1r:liin5c(c-l'rs(t1Il(8(ll-11o,85p2'-s(1-t)so9l)sceiiril1rn<t8th-2-a26r-dtvrseatGerdsiounieuc)thne;eir)e-S:-HkSMaorloioigelnnd.o()l1nrS;a1-6SI-'2oienvgMde,aerIstltih(eu1insr8si)1o(13;nS-)S2-t4;orlr-erSmtaoMcsraltnaayassrchsihoott-f'medrDii)rcirier: VWoeierlghtaieslatsevmre,enDilnyineficla(hm1te8(11-8623t-rSa-dcuhSciclelheroerb)eH;re)Vr;dioeVlra)e;r(t1ilV8der2ur3snu-gsncl<(h1e8on1b3(e1-8r1)2;P1 o-VpeoGg-eoel,VthDieta)iel; spark
i;li ort; ;speridi) ; Sonrlet (1818 - Petrarca -- Allein. 'ac1.rdehl<lich - tradtr- Vier
crIShtglthrorrcetareesrcrirc)lrclelrnhina;rAc,-ee'eSq-rd.:wAvtceieeAn.e.rSA)rlL.;tvi."ecenv.S,vhr,.cSl.DleIh(clSSrigie.enbhcce)elhh;e(l,(i1lg)Seeln;ge8gSgi1l"i2)e..e5ot68;ii)e_n-;(;Sn1nLSdIo8dere"pcntt,iti5altnn(nDnn-1neeKgaeistreeor.)l(ti8rnlse(;8),1-e.l;SnPS8sDtS1eae-(it'e5rrvtinntr-eeaer(DM'z1nnrraenia8c)n;aHta1tdtceSh5-e'ahAt-i-rertsGehptrs',nN,oiooqDeuehnbl,linatoe)chIm;rl,kei((lSee1.e1)h8l;t8cbhir(5r1s'e1nep9d*8tern--aa2'lMToscDM0eacl-iFa:eyFhdltirtrme-hl('.ii1rs.morrBSsnLlJeeco1i-"elhrn5'b)l-he*)e-;--':
(182C
StimmederLiebe(1816-stolberg);strornrDer{1817-siadler):Sulei],;a
I(1821-Coethe-Wasberleuiettl'iel3cwcgrrng);Srrleiliall(1821_- -W(1SaF1l5lreW.n- sSatcKcehhoilnetseegelersglcaLh)ralt;aengndV,)so;kDmnVeeorctrrhl(i1ttml8eb2eie2diniem-enrSTWAar'uuliaentergli<rae),e;D(1(6W1e28r7a1l-(8d1e8-sL2Fn7eair-tnc.-ehSLrt)ec.(hivtlnceezgrei)l)I;m; WVWaonadnldcerIed)ra';
Dci (lBl6-schniclt v. Ltlbeli-2 versiuni); Wanderer, Der' (1819-Fr"
CT,g-a"ot.iu.tnt"cn,nhT*";e.d'Tr-g,(h*lliDsceAlhel7icrlahz_(,u,1u8eSs1miicnn3hegdi-ei^Gleneerin)ii(es81;tlfe8eaTr1unicc7s-hft-eitmesCSnmlLaceSeuhidcdi(lhi"1luels'8(ir1n)1)8g;3;2c6T-Tni-a)Su'ucscShchchielhlueru'nrlz)gDe;')eTDr;hie(eTlkBisl(a1lr3'h8e-1le-i5nrSlei*e-cG-dhKeil(oils1est8ere1ir5-'; SchlegeJ ) ; Wanderer an den Mond, Der (1826-Seidl) ; Wanderers Naclit-
-TTbOsaooeosuddrnsettse)iosa;nmr}nlnlTiue-resartiramincla<dzudwitnu(oi1erco-r8hier2sd2rec(iee1i-unll8Hut)2sKS;ao5Ticnr,-hicCcsIolllbcdra1eh)(tri;1Sgt)iSiheT5;ed2oT-r7(d-)olM-BduM;.luni5eelcTt-nttlGoagticdrstoaltatloebaesnnestMhrg)iloireeda;-d)ddb;TcTie(nohlroB<weldltne33eO'ins-DGoscpecef(Iesa1{rroa8rlnls82(t1yg'5lDT8)e-1S-)e;4;Ccr-TT(hlalolrBeaudMclttd6ethaein-tturtaghsr)dirisei-r;: lieci (1815-Goethe); Wanderens Nachtlied (1522- Goethe); Wehmuth, Dic
lLlZaieeylrbllheeor()i1;er3T)1r;in61l<-'rlloaiescdtov(b1o8i)r1;7Tde.*ar uSancu.httol,aDrcenhttrc(i(r11nS8o1s15c5u-t-)H;dKTlcirviron)s;eTtr)ar;inn-kT-Elrioleissdat(1((l18B?11l945--*-. (1810*Salis); Wchniuth (1S23-M. v. Collin); Weiberlrerrnd, Der (1815
s-gidcthateudrt?oerr(lISnliesl5caun-nGroliseocieut tt)ehre;g)i;WbtWe(ienvreenzni,ieCDseeasisnanB(g1r8od2de7s-(vIelLazerilitnGneeersrs)a)n;;gWWdeieesdrle{karsarclrnhrefetrisnL)i;e(1bW8e2se-8:'
Matlhisson);TrostimLeirle(1817-Schober);TrostinThrinen(1814-- -Adiu.Ssvc)h.;leWSchcithcagl)eeg;nell\i)e\/;die(W1U8iel2fgr6ue-nlSliiseecdidhl(t)1S(;11B\5\1ri7-ll<-oKmoMrmane1en'rr)huo;nfedWr)ai;ebgsWcehineicidideerri(s1e(1Shiei2'Ir62r --(1C8Co1e5iathu-e-
-H<2tlty)ve; rWsiuonnin)e; dWerin\Vteerhambeunthd,(1D81e5r-C(1Bo2e8th-e)L' eitner) ; Wirrterlied (1816 -
Goethe ). Zufriedene, Der (1E15'- ;(1Z8ii1g6en-Mgldacylirlheionl,eDr)a;sZ(u1rb2N6a-meSnesifdeli)er;
Tuleika (vezi Suleika) ; Zum Reissig)
mP-D-SdKitecauihmlnnnolednUVpre(V1b(,as-18ieetDt81cor2r53ri6ecRa-vm-klee(le-Iirlf(tSsr2Snlaoidculpi6hZennvsuiame--t)olarrzisct;et-.lkeii()Uueirnnd;-nuLiegdj'irUl3e,);uSbmcD;vckeVeUehlaiMrcl(rrset1aheiig(nu'tt19it,emine8e1li2rbn7))dn7;s-tr;a--d'VMcFeUe;halrBrunU,tgyagcnern(uhhltb1fe1efot8lcirrcl2(skne6hlclfBriee(h-c-llllehrBd7aLie)d-lSgilM'ue:cmn-DbhaVgeeuye'nalPrzr(tthfDe)1ee(o)fri81f;elef8;a1el2nt(5rU1J)d1);-en8'--sB.bV2eli6eeneeCrrd-drnalWfiecar(Sohilhrl8letdeilinielttr)5erei;i' Punsch

198 des Herrn Andreas Siller (lBi3--autor necunoscut); Ziirnende Barde, Der
DBZerwurce(h1im8Sac2nen3n)-eM;n.Zavtuir.nsCednoedlleninnt).SDcihaanuas,pDiele,r,L(1a8c2r0im-asM"a(y1r8h2o5fe-r -Sc2hutvze)r-;
(1S23 -;

siuni)

Zrverg,

Cicluri de lieduri

U--PdaneugrHDseBDDaeidel.atuii.ee-illhid-e..VsbM-c-DeinhiattoF&enDdnalkroeerersrbesmgaeieMg.sBngue-aigr-nicirtighutn(Dees1essira8ne.inn2WL-b7daoi(1ee1usI1g8ntJee28eenB3Fn2sbaal8-iaMcer-nbhdWide.Wi.le.-l.e.-.Mr--AsMTimilBrrDloeillueFlcremr)ekrineJ)e:en;ri:ag.GbBe-eDlurun.tmaTd-e.sre6Nn-EtW.reiaf-anDecnrreeisdDrgruetece"rNnn-hreD..tuM--giueiieniMlWdlWreeigoSrienehtt-u.oitnen-l-zrt-?.l
f ah ne.- Ge f ror'ne Trinen.-Ersiarrung.-Der Lindenbaum.-\{asserf lut.-

Akuefitd.-erDn iFeluPssoe.s-t.- IiDiicekrbliGclr<e.is-e Irrlicht. -DiReaKstr.a-he.F-'rLiihelinlzglsetraHunolf.fn- unIr:gn"s-amIn'i

Kopf. -

199

\IIsI\)):'co"riiierririiftelherSds.lS.ithnca-lahlgduatss.(aDR.-nSe,e-ee-rlnlhsAsgntAtanesiilbusrrumca)rt.h!nhi',si_gl.'ec--ehlr(e.l1.S-8Dttla2lDioen8rDdc)gNcree-hernAebn.DteIl'a.n-o-sspLo.pine_ATeebrAlnrgelfnuleisri'nsrbrrcg-othleBtlsauricllIrdt(Jht[,g-e{a-e'r-iti1'ln'DeD-neieea)"rlIsdn{WIrtelilaerlrein'sggnclewDr'hreseeieirrsnAneTahread"ntc'lub-henengnpD'.Aoa--ls;s---t Fnihlingsgesang (Schuber) ; Geist der l-iebe (1822 Matthisson -'cu ghi-
-gZt(a1eu8rncrb2eug)7sg;u-G(htGGeirtnooailnierpNddtahe)arelczl;)aheNh;trr)aNe(tlrua;8.rcglTD{he,trrnehi-nuresklR(lsei1ioe8r((2dh114l8i8(t-z12i}8661;-M3MSa-eia'ritdhthloI)i-fsle;esrroN)Cna;elchIr:m)t';Pgia\:G\1s/1ietdo,gereeDr-lslgiape:,tr'au(Lltc8laiig2t;:lt(St1-t8i\n'2'edUtr:cign2hag3ene)r-;rr
( Seidl ).
Coruri LLarbdlesti a, tr.pella: An derl {'-riitrling; Dorlchcn, Das (ltll7
--FsvtE-heoliiunrsBMnscssi)iahoaiu;rtnmntgtNh)ie()kLia;rseac;)sihptLo;Gtp'(imneSleaE)rb)rabi;sen;l,iisuCskF(in)Meer(;ddus1aeah8MMt2lnlieiho2nogiin),gnsddsidsDcegnRtre(ilieu)1ssGtl8a:;tiete?ne,ELilgisnsni-tece(t'l1(ldtreol8SSnri2iin2rsbe7itiiiereedl-srlnt-)r,rrG;irePeSSlFLnioeeciIclnrlXhlraiino:lk'(adbn)1sEeee,;s3rru;e1)BC;'7rJingletNd-ieinse(agtlec[8li(-Srnhllii78eagta,lnsbi{-ilusz)e))),'ioeG(n;;DSon(SceeLMehcirhoiaureb(lt(iaMzlitic-erida-ihl)s{'ett}-"--:.l
Duete 9i terfete vocale

liccl Duele : t"laiiisder (1815 - llolt1'), -I)ei(rdrlv-nloer-rg) e;n'sl tie-irn-nkli(e1*8i15ir)n' l'-laiJ(rlr8el:i')
(l Bl5) ;
Liitzo*/s *.it,t" .log,1 (i3rS

-- Iic;lt1') ; Der Ilr'iililirrgsrnorgen (1818)' ; l)ls l.ebcrr ( 1815) : Ba|dengesang Sliecdott()18;27W-ehKmluotps(Ato.ckF)li;itSteenhbnrseuncnhetr)(iS:19W-einGuonedtheL)i;e'bireirr(kHliaeudg()18;25W-er fi/'
Te rtete : [(lage trrn A1l,' i3er'
( lslr) isi
(18i5 Holty) : Punschlied (lBl5 - Schillcr) :
c(laBnl5on- Ossian) ; Mailied gross ? ( l8ia) ; Zum Rundetanz (Matthisson t.
a tr.e (1810); l)ie Adrrolialerr (1822); Der Iloclrzeitsb|aten (1827)" CcrurL leminine -' Coroneclt (1825 -- W. Scott); (iott in tlcr Nalur (i[i:)2
*-Gleirn) ; Grosse Hallelrrja, Das (1816-liio,ps',rcil) ; [.cbeil, [)as; Psaimtti

Coruri 23 (1820) ; St?indchen (1827 -- Grillparzeri.

ri(lr1essnz1s6sfCe)i;,ioelZIr.-uraCurzniaannrGtutixaesb!taeorrcci-(ttt1s.t.8ola1irgi2cl).hd;eeI:sseStilcre(itarir:ilCsadeceahrrrstr,Ai(aD1ut8faie2eir2ns)(toCdinahGnoutnalaagtrLaeib(a-1el8,usH2icJ0ohoif-Jfsfrnrre)au'fngSgmpueennndrll)o;Luiefibae' MuzricI bisericeascI

-CSaianeLngdatcaeCstMnegoeLoIrsLtittiantrre.nieigrFrrento(nd1iux8eq.l2lreirl0c(eicl)e-rtse;ten(pC\l,(oeir1aittlt8tlnep1rr::rl5er(Az1r-e8Sr\r2t\),c7'dc;h) lit;i(esl)lcsFeShtrerioro)rhp;lrillleli,nenecerglb:;q(eGm1Qn8oou1srta6gtl;eul-icnnst rtt"(j(lz11lTnt)8ia2g;in7e8)tBt')';;ieDMtGtgeereilrriib:bi;ae(n1tlri8-s-il(2tll1irse58n1dn2-:e4- Auguste jam coelestiuln (t616); Betieciictrts es, [)omine (1815); Im-
nuri (1820); l(}'rie in re ntinoi (1812): K-vrie iri re trtinor (18i3); Ii)"rie ii,
fa major (1S13); Maeniiicat (1316); .[1esse ?n la ritaioi (1614): l\lessa irr
sol major (1815) ; Ilessa irr si bernol rrrajor (X,!i5) ; Messa in do rrrajot'
sMolees,rsrnaisgiellrrltaanbberr(io1iSr2iia7j)c;r'ci{f1e8r1to9ri-rr 1f!32) ; i\1essa in nri bernr'l
(1816) ; Missa
(lB2B); in do rnajor (1810) oler'
major
toriu in fa rnajor (1s15) : olertoriu in la nrajor (18:3) ; olertoriu pentrrr tc-
Schnitzer). rttixle a capello: Clirlist ist crstanden: Psalnr l)2 (1828 - nor, cor gi orchestri (1S2S); Salve Regina in si bernol niajor (1814): Sal"'e

Caruri

text ebraic). Regina in Ia nrajor (lSi6); Salrre lleiinr in r1o rlajor (1824): Salve lle-
gina (1816); Stabat nrater (1EI5); Siabal rttater gerrtan (1t'16 - I(lop.
(,(11.r5bm2217CgC--olarfurJurSG:irSiocbetbiitrtt,blt'hflratLe.t;e),S;ttclectHrtsotltcritPntuL)ant;ttaerlDrrttc:ou(fc1rrnclo8csr2hsrlrt8euic)tnil'-:'gGDheaSistscuahnr(r1ign:c9iedD2d2ecerI-gl)-G!; neIaNilsipartprccscrhertrigrliibee-esd-ar (n1dcg8eu1ning5Wr)h:.ai$lsa1i-saroeilud)rnel-; Tanturn erqo in do major (1816) ; ',l'artitttrr
stock) ; Tanturn ergo in do major; nrajoi (i:'?2); rc |r:j'r
(1821); Tantum ergo irr aio 'lantttrn ergo in
ergo

(1S22); Tanttun ergo (1828).

2Ul

200

LUCRARI DRAMATICE i0 variaJii in ia major (1815); Varia{ii pe o temi de A. Hrittenbrenner
{1817) ; Variatii pe o temd de Diabelli (l82l) ; Wandererfantasie (1832 --
AAIdIoranssto(-undopEersdtr-ellapr(oobpaebri5l -l818lg21-11t8e2xt2d-teexMt adyerhoSfcehrob-er)f.ragment)-
op. t5).

Biirgschaft, Die (operi-1816-autorul textului necunoscut - frag- 12 dansuri germane (1817 op. l7l) ; Dansuri germane din Atzenbrugg
ql82l) ; I)anstri gernane (1823) ; Ecoseze (1814 9i lB15) ; 3 ecosezs (1817) ;
menf). Ecoseze (1820); ll ecoseze (1823); Galopurr gi ecoseze (1825-op. 49);
Claudine von Villa Bella (Singspiel - l815 ** text de Goethe -frag'
Galopuri din Gratz (1827); 8 landlere (1816) ; Lindlere (1823) ; l7 landlere
ment).

FFFireeerrunrnaadbnedraosvo(S(noinpSgeasrbplaiem-l a-n1k8a2l,83lD5- ie-te(StxetixndtgedseJp.iSeKtla-udplleeBrlw)l.Sies-eter)x. t de Mayrhofer)- (1824): 2 menueie (1817) ; Trio dintr-un menuet (lBlB) ; Primele valsuri
V(1a8l1s6ur;i iseanntimii eunrtmaldeto(1ri8-25-oopp..95) 0;) Valsuri, l?indlere gi ecoseze (op. 18) ;
; Valsurile ,,I'lcmrnage arrx belles Vierr-
noises" (op. 67 - Damenldndler und Ecossaisen) ; Valsuri nobile (op. 77)"
llZiusliche Krieg, Der (Singspiel la- 1823 d-e text de J. F. Castelli.) Ptan la patru mtini: Allegro caracteristic in la minor (Lebensstrirme
Qosamunda (muzicd de sceni piesa H. von Chezy- 1823).

Spiegelritier, Der (lBl5-text de l(otzebue- Iragmeni). -mF(p(1la8ea8Sn12rt8Bgt7ee2u)mz8-r;ii.ee.c-3ol(aro1apr8mpan.1,c-8a3tt1ur4)eg4z)r;4ue;is)grFDti;tiaciievneA(ert1enor(t8zdoiisc2iaepse6ne. imt(-n1i1ne28onf12at)o4v;pmiM-ar.orliaa6inp63orh.q)oer n;tn(eg1RFrr)8oo;ao2isinn8cetd6e-(o(z1nimobc84pr2ai.(-llrl5a1l;lt0nlt0o3ort),i)pp;.(p.;516eF486I)urt2;)aeg;5nmDMlt-ieevianezorfripre9tmais.ns(i4cleluSmum0zl)ieletl;rons)ito;2ii;'

VTeeursfechlswluosrtesncehlno,ssD(iefee(raiece-eagl8i lc3u/lBDl4er-Hituesxlticdhee Kotzebue).

Kriegl.

ZVZawieuirbljlreiinrlrhgraisgrbteer,iiPdDoeisert,e(Dnfe,eieDriee(S-r-i(n1Sg8i1ns9gp/1si8pe2il0e-l1-8- 1te9lxB-tdldSuep-Hd-ofotimexaptniends)e.d Th. K6rner).

franluzeasc6).

Doui arii Ia opera .l,a Clot'hette nragique" de Herold. in sol major (1527) ; 3 marguri militare (1826- op. 5l) ; Marq funebru

(1825- op. 55) ; Uverturi in sol minor (l8l9) ; Uverturi in fa major (1819
op. 6l) ; 4 polortcze op. 75) ; Rondo
Muzica pentru pian -ln op. 34) ; 6 poloneze (182G-* in si benrol m(19a2j7or-
la nrajor (1828-op. 107) ; Sonata (1824-op. 30);

Pian la doud mtini: Adagio in sol major (1815); Adagio itt mi tirrjor Sonata in do major (Grand Duo-- 1824- op. 140) ; 8 variatii pe tema unei

romanfe iran{uzegti (lSlB-op. l0); Varia{ii pe o temii proprie in la bem'll
major (1824-op. 35); Variatii in do major pe o temd din opera ,,Marie*
(lBlB); Adagio ;i Rondo in mi maior (1817 d-e op. 145); Allegretto ln do
nrajor; Allegretto in do minor (1827): Foaie albnm (1825) ; 4 Impronrp- -tle I Ierr: l<i ( ! 827 op. 82).

tus (1828-op. 90); 4 Inrpromptus (1827-op. 142); Morncnte muzicale
(1828-op. 94) ; 3 Klavierstiicke (1828) ; Doui Scherzi (1817) ;
Duete instrumentale

Sona|e: in rni nrajor (1815) ; in do major (l8l5); in la bemol majoi Fanlezie pentru pian gi vioarS (op. 159).
c(1((11lu2B88021f)la377;n)-i-t;nezirnoieocp)pm.n;.r1iai1n4jm6o34rdi))n;o(;o1in8mrin2(il'1nal .8o-mr1rni7(ion1)bp;oe8.irm2n58(3o1))sl8;i;m2i5nmian-ajloasjoroornl( pmrl(Ba1.a4j8loTj12or7)r-(;-l(B1in8'2o2o8ip6ap).;-.r11in2n,4a2oj7)pso;.)ri;7bi(i8n1ne8m-2lIa5oalS-mnnor,niiannaojoootparrr.
Introducere qi variafii pe tema licdului ,,Trock'n Blumen' din ciclrri
,,Dic schone Miillerin", pentru pian gi flaut (1824- op. 160).
Rondo brillant pentru pian gi vioard (1826-op. 70).

Sonata in la major pentru pian qi vioari (1817--op. 162).

(1828); irt mi major (firi datd); in fa diez minor -(-l8nln7eetet-errrmnniinenataettird)m;);iinniandtioi)a-; Sonatina in Ia minor pentru pian ,si vioarl (1816- op. 137, nr. 2).
pian q;i vioarl nr. l).
irt re benrol nrajor (neteiminath); in do major (1818 Sonatina in re major pentru pian gi vioari (1(181861-6-oopp.. 137, nr.3).
Sortatina in sol minor pentru 137,
ntinor (IBIB - neterminatZ); in do diez minor (1819
major (1325 - Sonatina pentru pian gi arppegione sau violoncel (1824).
neternrinatd).

202 243

Lucr[ri pentru formafii instrumentale de camerl

C,tariclc de co,arde: in si bemol major (1812); in do rnajor (1812); !n
si benrol major (lBl2) ; in do major (lBl3);ip si bemol maior (lBl3); in
rc maior (l8l3): in re major (l8l4) ; in si bemol major (l8l4- op. 168);
irt s;ol rrrinrir i1815) :in mi benrol nrajor (1817-op. 125, rrr'. l); in mi rna-
jor (l8l7 o- p.o2p9.)1;25i,nnrre.2m);iinnor d(olUr2nti;m-,.rM(1o8a2r0te-a
(1824 o lliscare); in la urirror
Ei fata'') ; in so1 majur
(i826-op. l6l); o ur,erturd pentru cvartct in si bernol major (1812).

Tr!o dc r:oarde in si ltenrol urajor, pentrrr vioaril, violS ;i violorrcel

(r817).

Ctarlel cu ptan. Adagio si Iiondo Conccltani, pentru pian, vioard, BIBLICGRAFIE
r iolar si riolorrcel (tBl4).

Tric:uri cu pittn: in si l;curol n(roapj.orla(BlE)2; ilS-onart,ap.(19891) 2;). in nri benrr,l ll.b-ei Meisier der deutschen ,VtLrsik irt ihrert Briefe.
major (r827 - op. 100); V/ilheinr [-attgeu'iescltc -- Braltc.lt
Nocturni BITANDT Milnchen -- Eircnharrscr;

Cuintete: in la rnajor (,,Piislr:1vul") pentru pian, r'ioarI, I iola, r,ioloncr'l edilia a l-a. -- -1941-)
pi contrabas (1819-op. 114); in r.[rr nrajor, pentru 2 viori, viold si 2 r,io-
CORREDOR J. Ma. -- (lonversaliorrs lrrec Palrlo Casrrls. Par is - r\!birr
Ulovnecert)uerz(ilBp2eBnt-ru op. 163) ; Rondo perrtrrr vioaii ;i cvartet de coarde (lEl6) , ,'\'lichel
cvintet (lBlI). \\'AI-1'I1R.
DAIJMS --- I9515. Berlirr -'Leipzig - Sclittster rrrrd Lrrcf-
Oclele: Menrret ;i final, pentrrr 2 oltoi,2 clarineJi, 2 lagofi 9i 2 cc'rni
Scirrrberl --
(1813); Octet in la nrajor pentlu 2 r'iori, violi, r'ioloncel, contrabas, claiinet,
laqot si corn (IE24-op. Itr{)). DtINCAN 1\\H'dl.le.oLrnd-r-S. c-hJ1r9.r1b,S2&e.c1r.ht.DrtPebanertrits&. (-CS-oollnrlc.scAtL-lictodan.rr,-,T---ltel(]139r42r.3ta. sier rttttsiciarts".) I-r.tit-
GU]IOLD
Nonel: i:ine ltleine Trarrei-mtisili (nruzicd Iunebri), pentrrl 2 ciarine{i,
GOLDSCHI{IDT FI. --- Franz Schubert -'- ein Lebensbild. Berlin. -- Hen-
2 fagoli, I contlaiagot, 2 colni si 2 tromboni (1813).

schelverl ae I 9ll,i.
Lucriri pentru orchestre KV(Se.arlmDagrms. lhu-anngdMlGurrristigsikcgh-eesrcr1)h9i-1c4h.teIlesrleinil
GRUNSKY Bcginn des 11,. Jahllntnderts"
rrnd I-eipzig. G. .1. G'.'schen'sr'1r::

Simfonii: in re major (lBl3) ; in si bemol major (1815) I in re nrajor
(lBl5); in do rninor (1816 .,Tragica") ; in si bemol major (1816) ; in rjo HJrt:Bllll(lER Il. - Irrarz Sclrrrberl. Bcr'lin - Schlesische \ crllgsiinstalt
major (l8l8);in mi minor (1821 - schi{a); in si minor (1822-,,Netermi-
nata") ; in clo major (1825 -,,Gastein" - displrutl) ; in do major (1828). I 92t1.

ISTIlL IDGAIi Dr. - Die Illiitezeit der nrusikalischen llornarriili in l)eutsch-
l-a()n-dFD.raLr.nezi-p-zSigcChcu-s'bceirBrict..lrGBlce. rd1lic'rernt-'tMbSnaoerrqrrur-taerdrtt,{otr,0&rt.
LJoerturi.' in re rnajor (1812) ; in si benrol nrajor (1816) : in re rrnjor liL.ATTII W. (,o. -* 1907. iris ztt:
(lBl7) ; in clo major (1817- in stil italian) ; in re major (1817-in siii l(l,AIr\\tEt-l-
italian); in re minor (1817); in mi nrinor (1819); 2 uverturi (fdri datd). iltrcn r\rilirrger

Konzertstiick pentru vioari $i orchestrd (1816). KLARNF.DTCS)CIiIM'IMY AGlPrRcis.g-eHZne.wll--lacarrt..lGrIKe-cetrip,idcl;unehiicSaqh.ctheRr-rhbdeeBeirnsrt.e-inPtle<auorI-iepsefnip-&zdiegNItltat-.srRcthe.HelIn.:-.vLCoineIa{idllllEeilm.nsdareor'sdr,t-V-Ae1lrbl!a:cSgr.t.

5 dansLtri gennane, cu coda ;i 7 triorrri (1813).

Menue,t.

5 nrenuete cu 0 triorrri (1813).

245

MIES P. - Franz Schubert. Leipzig - VE B Breitkopf & Hdrtel Musikal-
NIGGLI verlag 1954. Verlag
A. Qeclams Universalbibliothek -
-Schubert. Leipzig
- -von Phillipp Reclam jun.

SCHWEITZEBRreAitk. o-pl Johann Sebastian Bach, le musicien-podte. Leipzig -

& Hiirtel.

'WSTHTEEOINF/\{AGPNASROP'NI.NN&-EOeRHw.WFi-i-FrYreta.eogn-lrwTizi-eh-SiDescei1eIhr9nDu0tSV9eboy.eerdmnrrdltaa.p,tghiBMoone-neariaellidn1nC9a&2-y8cc.hloCVpBooee.ldek-itvaheoorvb1fe9an5Mn6.d.uLsediicpezraigBnidi-chMeBurfrsreeiciutilantondpse.i &

TABLA DE MATERII

Viena ln vremea lui Schubert

Viata

I. Primii ani 13

II. Anii de qcoall t7

III. Ajutor la lcoala tatllui slu. Schubert plrdseqte casa

pdrinteascd 27

IV. Prietenii lui Schubert 42

V. Schubert igi lncearci norocul ca artist profesionist 48
VI. Primele lucrlri de maturitate. Inceputul notorietltii.
Boala.Deziluzii..
57

VII. Pe marginea vielii muzicale a Vienei 67

VIII. Ultimii ani. Sflrqitul 73

Liedurile ::'.': 83

Muzica crrall . ll0
ll9
Muzica religioasi
123
Muzica pentru scenl 127

Muzica pentru pian Ei alte instrumente . t45
r58
Muzica pentru lormalii instrumentale de camerd
177
Muzica simfonici
l9l
Schubert gi Beethoven. I-ocul lui Schubert ln istoria.mu-
zicii .:.-.-- 205

Anexe

Lista operelcr lui Schubert .
Bibliografie