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access to The Journal of Musicology
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Some Things Borrowed:
Hugo Wolf's Anakreons Grab
CHRISTOPHER HATCH
1 Hugo Wolf, Letters to Melanie K6chert, ed. Franz Grasberger, trans. Louise McClel-
land Urban (New York, 99'1), 211.
2 Edward A. Lippman, "An Interpretation of Bach's 'Ich folge dir gleichfalls,' " Col-
lege Music Symposium V (1965), 88; rpt. in his The Philosophy and Aesthetics of Music (Lin-
coln, Neb., 1999), 115-
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HATCH
S; 7 F EC[ [E E E F P[ F F ' I
The last line of the text speaks of the shelter granted to Anacreon
by the burial mound. At this point the vocal setting (Ex. 2) marks out
the pentatonic scale steps 1-6-5-6-3-2-1, a succession that, apart from
the recurrence of 6, represents in other contexts the sleep of Brfinn-
hilde and that of a dozing child.
vor dem Win - ter hat ihn end - lich der Hii- gel ge-schiitzt.
3 The New Grove Dictionary of Music and Musicians, XVII, 291, s. v. "siciliana." Wolf's
continuity sketch, in contrast to the song, is in 8 meter and lacks the dotted-note figure of
measure 1 (see Susan Youens, "The Song Sketches of Hugo Wolf," Current Musicology
XLIV [199o], 17) and so in these respects is less siciliano-like.
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THE JOURNAL OF MUSICOLOGY
The first vocal phrases in the Wolf song (Ex. 3a) more closely
resent the course of a conventional lullaby, or so Schumann's Hoc
disches Wiegenlied, Opus 25, no. 14, suggests (Ex. 3b).4
.9r r I
Wo die
I r r r r
wo das Tur - tel-chen lockt, wo
4 In Wolf's sketch of the melody the bracketed notes are G-A. See Youens, "Song
Sketches," 17.
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HATCH
I
- I.
K,
The accompaniment
strumental effect, t
ously the tonic and
toward the end of
marker is the horn call.6
423
For the Goethe text, "perceptions of the past within the present"7
are fundamental; they allow Greek poetry to be folded into the immedi-
acy of nature's beautiful abundance. This way of comprehending land-
scape, with its "double time scale," had become commonplace well be-
fore 1800.8 As for Romantic music, "horn calls come from landscape;
they appear in Schubert and Beethoven with a novel aura of the sub-
lime and the melancholy derived from the new ambitions of landscape
painters and poets."9 Thus the vestige of a horn call in Wolf's music
adds another temporal dimension; a late Romantic song incorporates
a component that was novel some eighty years earlier while setting a
poem that itself contains its own temporal double vision.
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THE JOURNAL OF MUSICOLOGY
(Here where the rose blooms, where vines twine about laurel,/
where the turtledove coos, where the cricket rejoices,/ what
grave is here, which all the gods with life/ have beautifully
planted and adorned? It is Anacreon's resting place./ The
happy poet delighted in spring, summer, and fall;/ in the end
this mound has protected him from winter.
,o Jack Stein, Poem and Music in the German Lied from Gluck to Hugo Wolf (Cambridg
Mass., 1971), 73, esp. with respect to the comment on the mineral, vegetable, and an
succession.
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HATCH
425
cresct pp
Earlier in t
3-2-5-1 ap
EXAMPLE 7
I Youens points out the suitability of mentioning laurel and vine: "the laurel of
poetic accomplishment and grapes for the wine that Anacreon so often celebrated in his
poems" ("Song Sketches," 19).
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THE JOURNAL OF MUSICOLOGY
mf
Iore-
p pp
426 T I
Here
come
scent
Simi
Schu
the
#3
o
--V
: 60
I r:
0F"F
- - -
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HATCH
-~ L I~
i i
M'f.?-
mf IZmf
EXAMPLE 1 la. Wandrers Nachtlied, mm. 4-6 (notes of vocal line only)
1 4 * 2 5
EXAMP
5 8 * 6 2
r F
These mea
scale degr
much the
The subse
fer in leng
the short
setting in
becomes t
night-song
words; by
implies th
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THE JOURNAL OF MUSICOLOGY
contrast, the central section in the Wolf lied darkens the pleasant
ing scene; mystery rather than simple anticipation is here the p
mood. At the words "welch ein Grab" the music that set line 1 (Ex
tries to reappear, but the link of F-sharp to F-natural (and to G-
found in these progressions now initiates a new course (Ex. 12b).1
v .4z.
....,,,, -, h I ? ? "IN
pp____
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HATCH
[Es... Grab.]
429
As is customary in Wol
stems and, where th
a piano line.14 The B-
proceeds through sc
contour by 1-3-(down
these series in G majo
14a & b).
'9. I IW
,
..9 k .
-" "1. ?4
?. ~. .
HI /\o
-" K,)-
14 The extract from the sketch is taken from the transcription that forms the ba
of Youen's commentary on Wolf's sketching of the song, "Song Sketches," 16-23.
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THE JOURNAL OF MUSICOLOGY
, - -P - PJ
Es ist A - na - kre-ons Ruh.
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HATCH
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-4
?Aj
I '),- 0.
_ --
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HATCH
E6M: 5 #4 t4 3
I i M I
EM: 5 6 7
EXAMPLE 16b
EM: 5 #4 4 3?
, L.... Tl l
EbM: 5 6 7
B6M: 5 6 7 8
433
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THE JOURNAL OF MUSICOLOGY
EXAMPLE 17. An dieferne Geliebte, mm. 1-11 (vocal line and piano
with piano interlude right hand in mm. 9-11).
I I
(
4 IRet.
(I Inv. I)
(+8va) ---
IMI I I
IInv..
8 vRet.-inv. )
434
v w w
is answered by the
six pitches in the
about the melody
with unencumber
ing spare.
In Anakreons Grab the three-note succession works to other ends and
p 8-
7 8 3
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HATCH
4 3
,6 The .'at-GE-flat
relationshi of in
inte
prefigured by the F-E- C
Example 19.)
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-4,
?jj
EXAMPLE 19. Anakreons Grab, mm. 7-12 (piano part, notes only)*
F# = G - B B = C - E B6,= B - El B6
SF = E -
A = B - D E = F -A
D E - G D = E = G F# = G - B C# = D-F
i t.i me I 1\ T I
A= G - E G F -
C = B-G
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HATCH
Dorset, Vermont
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