Intimacy, Performance, and the Lied in the Early Nineteenth Century by Jennifer Ronyak

Author:Jennifer Ronyak
Language: eng
Format: epub
Publisher: Indiana University Press
Published: 2018-09-24T16:00:00+00:00

27. Ibid.

28. Ibid., 3.

29. For example, Müller’s Blumenlese aus der Minnesang received a favorable review in Der Freimüthige, July 31, 1816.

30. Gramit, “Schubert and the Biedermeier.”

31. Youens, Schubert, Müller, 24.

32. Cecilia Baumann, Wilhelm Müller, The Poet, 5.

33. Müller, Tagebücher, 20.

34. Youens, Schubert, Müller, 16–17. “The intellectual labor required for [an artist] to construct his compositions was another matter, then as now. Müller knew the difference: Arthur, the semiautobiographical protagonist of his second novella, Debora, may invoke white-hot creation as if seized by divine forces, but his creator told the Leipzig publisher Friedrich Arnold Brockhaus in 1826, ‘I am very scrupulous about style and count syllables anxiously.’”

35. Translation mine. Compare with Youens, Schubert: Die schöne Müllerin, 36. Youens takes “Gesell” to mean simply “lad.” (The online German-English dictionary at www.dict.leo.org, accessed August 13, 2007, supplies “fellow.”) However, given the poetic and social context of this verse, it is just as likely a truncation of “Geselle,” which connotes both the journeyman position of the young miller and the root word at the basis of “Geselligkeit.” In this translation, the young miller may address himself (the most literal possibility), the brook as a new friend, or his audience.

36. Translation mine.

37. Youens, Schubert, Müller, 16.

38. Ibid., 1–43.

39. Ibid., 8. Youens connects this aspect of the gardener’s character to Luise’s particular psychic conflicts (which involved a tendency toward asceticism in the face of more typical social delights), and not to the broader constraints of her position as a young woman in the salon.

40. Ibid., 3.

41. Spiecker, Luise Hensel als Dichterin, 56–57.

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