ELENA MARIA ȘORBAN - Mozart, Das Veilchen – Past and Present
Abstract
The young Goethe’s poem “Das Veilchen” is a Zeitgeist expression of the galant mentality, but the metaphor of the flower as a victim of unrequited love was familiar also to the 18th century Wallachian poet Ienăchiță Văcărescu and appeared previously in various folkloric traditions - Arabic and Persian as well as European. The story and the characters present similarities to Werther, Faust, Blonde, and Cherubino amongst others, and the song is through-composed in keeping with the literary dramaturgy, notwithstanding principles of classical sonata form. The tonal trajectory convincingly matches the aesthetics of Chr. Fr. D. Schubart, being balanced in a frame of G major. Further musical analysis reveals the expressive role of Seufzermotive, augmented sixth chords, ornaments, rubato, and symmetry due to a closing text added by the composer as an epilogue. The present-day performances discussed take the reader into the catalysing effect the Romanian Mozart Society has had on local musical life, as well as in the European landscape more widely, from historically informed performance to “punkademics”. Emphasis is placed on one performance by Nina Hagen in particular, which adds to the original and blends in cabaret, Sprechgesang, belcanto and mantra elements – melting apotheosis and caricature. To conclude, a trajectory will be unfolded of “Das Veilchen” from its origins in Volksgeist to a recent appearance in world music
Keywords
origin and reception of the work, tonal aesthetics according to Schubart, hidden sonata form, Mozart reception in Romania, classical and punk performances, from Volksgeist to world music, teaching of music history