377

JOHANN FRIEDRICH REICHARDT

AND HIS LIEDERSPIEL

LIEBE UND TREUE

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Daniel F. Peacock, B. A.

Denton, Texas

iay, e1979

Peacock, Daniel F., Johann Friedrich Reichardt and His

Liederspiel Liebe und Treue. Master of Music (Musicology)

May, 1979,. 127 pp., bibliography, 18 titles.

The purpose of this investigation is to examine

Reichardt's reasons for his development of the genre

Liederspiel.

A brief biographical sketch of Reichardt reveals an

innovative character who was responsible for several devel-

opments within the history of music. The Liederspiel was

particularly affected by the French vaudeville. However, an

investigation into the character of each shows that they are

really quite different.

A translation of an article by Reichardt from the

Allgemeine Musikalische Zeitun discloses the purpose of the

composer in his presentation of the Liederspiel to the pub-

lic. The first Liederspiel was Liebe und Treue and was a

complete success. The libretto and piano vocal score shows

the construction of liebe und Treueand an English trans-

lation aids in its understanding.

TABLE OF CONTENTS

LTST OF ILLUSTRATIONS . . . . . . . . . . . . . .

Chapter

I. A BIOGRAPHICAL SKETCH OFJOHANN FRIEDRICH REICHARDT . . . .

II. THE VAUDEVILLE AND THELIEDERSPIEL . . . . . . . . . . . . . .

The VaudevilleThe Liederspiel

III. THE LIEDERSPIELLIEBE UND TREUE . . . . . . . . . . . ..

Piano and Vocal ScoreWith Libretto

APPENDIX A . . . . . . .

APPENDIXB .

BIBLIOGRAPHY . . . . . . .

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LIST OF ILLUSTRATIONS

Example Page

1. A Vaudeville Air............. 9

iv

CHAPTER I

A BIOGRAPHICAL SKETCH

OF

JOHANN FRIEDRICH REICHARDT

Johann Friedrich Reichardt was born at Koenigsberg,

Prussia in 1752. He studied violin with Franz Adam Veichtner

and piano with Carl Gottlieb Richter. Reichardt was so tal-

ented that at the age of ten he toured several cities in

northern Europe to perform the violin and piano. He studied

jurisprudence, at the encouragement of Immanuel Kant, at the

University of Koenigsberg in 1769 and 1770. In 1771 through

1772 he continued his studies at the University of Leipzig,

after which he toured Germany supposedly to see the world be-

fore deciding on a profession. However, he had almost decided

to become a musician before his travels. During his tour he

met important musical, literary, and political people. He

published his impressions of his journeys in Vertraute Briefe

eines aufmerksamen Reisenden. When he returned to Koenigsberg

he received an appointment to a government office.1

In 1776, Reichardt applied for the position of chapel

master and court composer to Frederick the Great, after it had

111J. F. Reichardt," A Dictionary of Musicians from theEarliest Times, 2nd ed., edited by John~S. Sainsbury, Vol.~II.TLondon, 1827), pp. 344-347.

1

2

been vacated by the death of Johann Gottlieb Graun. He re-

ceived the position although he was only twenty-four years

old.2 After entering the service of Frederick the Great,

however, he found himself surpressed to carrying on the tra-

ditions of Graun. 3

Reichardt was a follower of Gluck and desired to apply

his methods to the creation of German grand opera. He often

expressed the desire to write an opera but was forced to re-

strict his activities to the rewriting of parts of other

composers' music in a style that was not his own. However,

he resigned himself to his position, married Juliane Benda,

the daughter of Georg Benda, in 1777, and concentrated on the

composition of papers, songs, and instrumental works.5

Between 1777 and 1783 he traveled to Hamburg, Dessau,

Weiamar, and Koenigsberg, before finally arriving in Italy.

In Italy he was influenced by the Italian song-culture and

the style of Palestrina.6

2A. Maczewsky, "Reichardt, Johann Friedrich," Grove'sDictinr of Music and Musicians 5th ed., edited by EricBlom, Vol. VII.7TLondon,7q-4t-61t, p. 108.

3Alan Yorke-Long, Music at Court (London, 1954), p. 142.

4Ibid.. p. 142.

S"Reichardt, Johann," Die Musik in Geschichte und Geen-wart edited by F. Blue, Vol. XI. (Kassel and Basel, 197~9-79iGI ,p. 1.52.

6 bid., p. 152.

3

His wife died in May 1783, leaving him two children.

Seven months later he married Johanna Dorothea Alberti-

Hensler, who bore him five children. 7

Reichardt received a leave of absence in 1785 and went

to England where his enthusiasm for Handel was augmented.

Handel's oratorios exemplified the "traces of a new spirit,"

which he strove to emulate. During his stay in Paris he was

impressed with the "true grand opera style" of Gluck.8

While in Paris he was engaged to compose two operas. In 1786

he had prepared his opera Tamerlan, but was forced to return

to Berlin because of the death of Frederick the Great.9

Frederick William II was more open to new musical styles

and Reichardt took this opportunity to make many innovations.

He developed the finest orchestra in Berlin. He combined the

"scenic effect and truth of declamation of Gluck, with the

beauty and richness of the Italian Vocal School, and the

powerful orchestral accompaniments of Germany," and produced

several operas. 1 0

Reichardt's progressiveness received much criticism from

those who were more conservative. Their distrust of Reichardt

7Ibid., p. 152.

8 Ibid., p. 152.

9Sainsbury, _p. cit., p. 345.

1 0 Ibid., p. 345.

4

was enhanced because of his sympathy with the French Revo-

lution. Their captious attitude eventually led to Reichardt's

submission of his resignation. The King refused it, however,

but allowed him to take a three-year leave of absence.11

In 1792 he went to Paris again. When he returned he

published some letters about his travels. Soon afterwards

he was suspected of having revolutionary ideas and was con-

sequently dismissed, without pension, from his positions at

the end of his leave. He moved to Hamburg where he edited a

journal called "Frankreich." In 1796, when the political

charges against him were dismissed, he received his lost wages

and was appointed director of the salt works at Halle, where

he owned a country estate. After Frederick William II died

Reichardt received additional employment as composer to the

Italian and the National Theater. He composed several operas

and Singspiele, the latter of which have made the most impres-

sion on the history of German opera.12

A trip to Paris in 1802 dampened his enthusiasm for the

French Revolution. He was shocked by the brutal treatment

given to the aristocracy by the masses. Because of the sei-

zure and plundering of his property by the French soldiers he

became a bitter enemy of Napoleon. He fled to Prussia where

he participated in its defense against Napoleon. It was not

11Maczewsky, op. cit., p. 108.

12Sainsbury, op .cit., p. 346.

5

until 1807 that he returned to his devastated estate, which

was under the control of Jerome Bonaparte. In 1808 he accept-

ed the position of chapel master to King Jertme that had been

refused by Beethoven. He was able to exist in this intoler-

able position for only ten months, when he pretended to go to

Italy to enlist singers. After returning to Halle his crea-

tivity as a composer gradually diminished. In 1811 he

received an insufficient pension of 800 Taler. He died in

1814 of an incurable stomach disease.13

As a musician Reichardt was somewhat innovative. He was

one of the first to remove the harpsichord from the orchestra.14

His opera Brenno was the first ever sung in German in Berlin

(1798). Reichardt was Goethe's favorite composer and the

first prominent composer to set many of his poems,, (116).15

The greatest musical contribution by Reichardt was in the

form of the development of the German Lied, although he was

not a major composer of this genre. The Italian influence on

the Lied was strong. Reichardt reacted against this influ-

ence. He was a member of the first Berlin School of Composers,

whose ideals concerning the Lieder were that they "should be

in strophic form with melodies in a natural, expressive style

1 3 Blume, . ci. p. 154.

14Paul Henry Lang, Music in Western Civilization (NewYork, 19411), p. 718.

15 Jack M. Stein, Poem and Music in the German Lied fromGluck to Hugo Wolfe (Massachusetts, 1971T7p. 267.

6

like folksong, having but one note to a syllable; only the

simplest possible accompaniments held completely subordinate

to the vocal line.91 6 These ideals were part of the philoso-

phy of the expressive style. They eventually led to artifi-

cial restrictions on the Lied. Composers such as Reichardt

gradually overcame them, especially in the area of making the

form more varied and the accompaniment more significant.17

Reichardt expanded the scope of the Lied considerably.

He was sensitive to literary values, more so than any pre-

ceding and most composers after him, although many of his

1500 songs contained mediocre texts. The accompaniments of

many of his early songs are so slight that they tend to be

boring. However, most of them are good examples of Haus-

musik, which he intended them to be.1 8 He began to occupy

himself with experiments in developing accompaniments that

could be "made picturesque such as by suggesting a brook

rippling over pebbles, or made variable by minor colorings

in succeeding strophes." 19 Reichardt was one of the first com-

posers to develop a fully written out accompaniment to his

songs.20 He used varied harmonies and his forms were flexible,

16Donald Jay Grout, A History of Western Music (New York,1973), p. 474,

17Tbid., p. 474. 1lStein, p. cit., p. 32.

19Johannes Riedel, Music of the Romantic Period (Dubuque,1969), p. 31.

20Holmer Ulrich and Paul A. Pisk, A History of Music andMusical Style (New York, 1963), p. 44.

7

although he was most successful with the simple strophic

form.2 1

The relation between text and melody were of utmost im-

portance to Reichardt. He was very concerned with the combi-

nation of words and tones.22

His experiments with accompaniment and the blending of

text and melody released the Lied from the restrictions of

the First Berlin School. This moved the Lied closer to the

area of Schubert, who was greatly influenced by Reichardt,

especially in the development of his strophic songs.23

To defend Reichardt's Lieder when compared to those that

have been composed since his time would be difficult. How-

ever, no composer of the eighteenth or nineteenth centuries

has written songs that exemplify a better blending of text

and music than Reichardt. If a distinction is made between

songs that are successful or popular and ones that represent

a good balance of text and music, then Reichardt produced more

of the latter than anyone else. Although his songs are musi-

cally less, the fact that they are rarely performed is a real

loss.24

21Riedel, OP. cit., p. 31.

22Stein, op. cit., p. 32.

23Ulrich, op. cit., p. 440.

24Stein, OP..21-t., P. 47.

CHAPTER II

THE VAUDEVILLE AND THE LIEDERSPIEL

The Vaudeville

The terms "vaudeville," "opera-comique," "comedies

vaudevilles," and various other designations had very am-

biguous and even identical definitions, between the period

1660 and 1760. To help alleviate any confusion that may

arise in a discussion of the vaudeville, the term vaudeville

will be used to indicate any work that makes use of the

vaudeville tunes.

Grove's Dictionary of Music and Musicians defines

vaudeville in four different ways: "(1) a popular song, gen-

erally satirical; (2) couplets inserted into a play; (3) the

play itself; (4) a theater for plays of this kind, with

songs."i

The derivation of the term "vaudeville" is uncertain,

but most etymologists feel that the word was derived from

"Vaux de Vire." This was the name of a type of song sung in

the valleys near Vire, that was written by the composer

Basselin, who lived around 1400. Another opinion is that the

1Gustave Chouquet, "Vaudeville," Grove's Dictionary ofMusic and Musicians, 5th ed., edited by Eric Blom, Vol. VIII(London, 1954-61), pp. 692-693.

8

9

term comes from "voix de ville."1 This supposition is sup-

ported in the preface to airs de cour written by Adrien Le

Roy in 1 571. In this work he states that airs such as these

were formerly known as "voix de ville." Jean Chardavoine

maintains this theory in his Recueil de plus belles et

excellentes chansons _e~a forme de voix de villes of 1575.2

In the sixteenth century, the term "vaudeville" denoted

a song with a popular tune concerning a town. Near the end

of the sixteenth century, the vaudeville began to adopt a

more dramatic quality. The text began to be more concerned

with a specific topic.3

The general character of these melodies was one of sim-

plicity. They were usually short and tuneful.

Example 1. A vaudeville air from Theatre de la Foire,Vol. 1 as cited in A Short History of Opera byDonald Jay Grout, P.255.

In the last quarter of the seventeenth century, Louis

XIV imposed many restrictions on the performance of spoken

2Ibid., p. 692. 3 Ibid., p. 693.

10

plays and works that were sung throughout. The Comddie

Francaise and the Academie Royal de Musique virtually had

monopolies over these types of entertainment. Because of

these restrictions, opera companies such as the Italian

Theater in Paris were forced to modify their productions,

so that they would not infringe upon the restrictions set

by Louis XIV. They used the simple popular vaudevilles, to

which new words were added, in their plays and thus circum-

vented the restrictions of Louis XIV.4

When the Italian Theater was banished in 1697, it left

its repertoire, which was by then performed entirely in

French. This collection of works was incorporated into small

companies that performed popular works and played at the two

large fairs in Paris (the Theter de la Foire).

The repertoire, which was already suffering in quality,

had to be further modified so that the actors could perform

the songs and also to appeal to a different type of audience.

The new texts were usually in the form of a parody of a

serious opera done in a satirical manner.5 An example of

this mockery is the text from Lully's Armide "The more I ob-

serve these places, the more I admire them" which becomes

1Donald Jay Grout, A Short History of Opera, 2nd ed.(New York, 1965), p. 254.

5Ibid., p. 254.

11

"The more I observe this roast the more I desire it" in the

parodied version.6

The craze for this type of entertainment eventually led

to works entirely in verse and parodies of serious opera.

The Thieatre de la Foire grew in fame and wealth. In 1715,

the small fair theaters combined under one management and

established the Theatre de l'0pera-Comique.7

In the preface to Lesage and d'Ornerial's Theattre de la

Foire ou le de l'Opera Comique (1721), there is the following

definition of the vaudeville:

"These works are characterized by the vaudeville,a sort of poetry peculiar to the French, esteemedby foreigners, and loved by everyone, being themost proper means to demonstrate the sallies ofwit, to hold up the ridiculous and to correctmorals. "8

The main competition for the Theatre de l'Opera-Comique

was the New Italian Theater which re-established itself after

the death of Louis XIV in 1715. This competition was one of

the main reasons for the advancement of the quality of the

vaudeville.9 It stimulated the development of comic opera in

which original airs were used along with old vaudevilles.10

6David Dodge Boyden, An Introduction to Music, 2nd ed.(New York, 1970), p. 200.

7Grout, 2p. .c~i_., p. 254. 8 Boyden, 2.. .it., p. 200.

9Holmer Ulrich and Paul A. Pisk, A History of Music andMusical Style (New York, 1963), p. 347.

10Paul Henry Lang, Music in Western Civilization (NewYork, 1941), p. 550.

12

Charles-Simon Favart (1710-1792) was responsible for

raising the vaudeville to its highest level in the 1740's.

He introduced original music in place of the old vaudevilles

and discouraged their improvisational tone.11 It was Favart

who was mostly responsible for the evolution of the vaude-

ville into the opera comique.12 His translation of La serva

padrona brought the vaudeville closer to the Italian opera

buffa. As a result, almost all the vaudeville tunes were re-

placed with all new music; but still in the style of the old

vaudeville. The most famous example of this type is Jean

Jacques Rousseau's Le Devin du village (The Village Soothsayer)

of 1752.13

The vaudeville co-existed with serious opera. It became

so popular that in 1762 a special theater was built for it in

Paris. Through composers such as Dalayrac (1753-1809),

Isouard (1775-1818), and Gretry (1741-1813), it lost its low-

brow character. Still the vaudeville style remained with its

jokes, parodies, and satires. It involved all aspects of

French life. These qualities, along with the formal structure

of the Vaudeville plays, were the features that attracted

Reichardt.14

1 1 Grout, op. cit., p. 256. 1 2 Lang, op. . it., p. 551.13Theodore E. Heger, Music of the Classic Period

(Dubuque, 1969), p. 53.

14 Ludwig, Kraus, "Das Liederspiel in den Jahren 1800 bis1830," unpublished doctoral dissertation, University of Halle,East Germany, 1921, p. 13.

13

The Liederspiel

The Allgemeine Musikalische Zeitung published an article

by Reichardt in its forty-third edition (1801). In it he

stated his reasons for his development of the Liederspiel.

A complete translation of this article appears in Appendix B.

Reichardt made frequent visits to the theater during his

travels in France (1791-1793). He was particularly stimulated

by his exposure to the French vaudeville. The general charac-

ter of these vaudevilles as viewed by Reichardt is expressed

by Walter Salmen in his biography of the composer:

These spectacles, at times quite trivial, were com-bined with music and reflected plainly the everydaylife. The simple and modest soul, the naturalpeople, were exposed in Vaudeville in part by meansof the sensitive style (Empfindsamkeit). The up-right people, the world of the little people (pettybourgeois) saw in them their own likeness displayedon the stage in sometimes plain, idyllic entertain-ment in which they could take pleasure.1 5

The style of the intimate theater (Kleinkunst) and the

play with musical insertions were greatly admired by Reichardt,

especially after he had been relieved of his court positions.

1lWalter Salmen, Johann Friedrich Reichardt (Frieburg,1963), p. 272: "Diese zuwelen recht trivialen Schauspielemit Musik spiegelten ungeschminkt das taegliche Leben. Dieschlichte Seele, der nateurliche Mensch wurde in ihnen z. T.mit Mitteln des empfindsamen Stils freigelegt. Das brave,nuetzliche Volk, die Kleinbuergerwelt sah hierin in manchmalhausbackener, idyllischer Unterhaltungsart sein Konterfei aufder Buehne dargestellt, woran es sich behaglich erfreuenkonnte."

14

It was at that time that he sought to win the admiration of

the middle class public.16

It was not his intention to transfer the vaudeville to

the German stage.

Just as he did not want to give with the wordLiederspiel a German translation of the Frenchword vaudeville, so the whole Liederspiel shouldbe considered an attempt to create for the Germannation a popular piece as the vaudeville had beenfor the French. Just as the wit, the satire, andthe parody had been a mirror image of the Frenchsoul, so in the last analysis the Liederspiel wasto reflect the German soul in its depth of senti-ment, joy in nature and grass-root humor.17

Reichardt became the father of the Liederspiel. He

used the term Liederspiel, because "song and nothing but song"

should comprise "the musical contents of a piece" and thus

"the public would not expect anything more.?18

Reichardt opposed the superiority of the Italian opera.

Through his Liederspiel, he wanted to make "the theater-going

public" responsive "again to the simple and the purely

16Ibid., p. 272.

17Kraus, OP. cit., p. 13: "Wie er mit dem Worte "Lieder-spi" eine Verdeutschung nicht eine woertliche Uebertragungdes "Vaudeville" hat geben wollen, so ist das ganze Liederspielals ein Versuch zu betrachten, dem deutschen Volke ein Volks-stueck zu schaffen in der Art, wie es das Vaudeville fuer dieFranzosen war. War der Witz, die Satire and die Parodie desVaudeville ein Spiegelbild der franzoesischen Volksseele, sosollte letzten Endes das Liederspiel die deutsche Volksseelein ihrer Gemuetstiefe, Naturfreunde und dem urwuechsigen Humorwiderspiegeln."

18Johann Friedrich Reichardt, "Etwas ueber das Liederspiel,"Allgemeine Musikalishe Zeitung, XLIII (1801), 709-717.

pleasant."19 He wanted the Liederspiel to surprise the

listener, not with unusual and new things, but just the

opposite: "to make that which was already familiar more

accessible."20

The song interludes were the center of the Liederspiel.

The play was loosely constructed and only slightly signifi-

cant. The libretti were insufficient, scanty, one-act works

that were built on French models. Their scope was very

limited, since they had to be built around only those songs

that Reichardt wanted the piece to contain.2 1

As indicated by its title, the main feature of the

Liederspiel was that the sung parts consist of songs of a

popular nature. Therefore, old folksongs, more recent popu-

lar songs, and new songs which the composer felt would have

a similar effect, could all be used in the same Liederspiel.

In his first publication of a Liederspiel, Reichardt

stated under the title: "A Liederspiel after melodies by

Johann Friedrich Reichardt." This indicates that the songs

were not new compositions, but had been previously written by

the composer. Recitatives and arias were not used.

The Liederspiel's greatest contrast to the German Sing-

spiel was in the style of its songs. These stylistic charac-

teristics adhered to the demand for the greatest simplicity.

19Ibid., p. 717. 20Salmen, op. _cit., p. 273.

21Salmen, op. _cit., p. 273.

16

Not only did this apply to the melodic and formal structure,

but also to the poetry. It is especially noticeable in the

orchestral accompaniment which is extremely elementary. This

was very much in line with the attitudes of the Berlin School

of Lieder. It was because of this simplicity that the means

of expression in the Liederspiel were rather slight. Since

the songs were thoroughly lyrical, the play had to depend on

lyrical scenes.22

Simple, unpretentious, but inwardly experiencedlove scenes will always have the best chance to bepresented exhaustively through song compositions.Like-wise, also the style of the simple man, es-pecially that of the peasant or soldier, can alwaysbe well presented. Battle and mass scenes are outof the question, just as is the presentation ofspecial characters will hardly ever be accomplished.Kings, princes and princesses have not the samechance of success as the man and girl from thecountry.23

This also was a contrasting element with the Singspiel in

which it was possible to present actions from the fields men-

tioned above.

It would be senseless to compare the size of a Liederspiel

to that of an opera or a Singspiel, because of the simplicity

22Kraus, 2p. cit., p. 923Kraus, 2E. cit., p. 9: ?"Einfache, schlichte, aber inn-

erlich erlebte Lebesszenen werden immer die meiste Aussichthaben, durch Liedkompositionen erschoepfend dargestellt zuwerden; desgleichen wird der stil des einfachen Mannes, be-sonders des Bauern oder Soldaten, immer gut getroffen werdenkoennen. Schlacht- und Massenazenen sind ausgeschlossen,ebenso wie die Darstellung ausgepraegter Charaktere meistnicht gelingen wird. Koenige, Feureten und Prinzessinnenhaben bei weitem nicht die Aussicht auf Erfold, die er ein-fache Mann oder das Maedel vom Lande hat."

17

and artlessness of the actions and means of expression. The

Liederspiel was almost always in one act. If it were any

longer, it would either have become too complicated for its

simple character or the drawn out action would have been ex-

ceedingly boring*.24

24Kraus, c_ t., p. 10.

CHAPTER III

THE LIEDERSPIEL LIEBE UND TREUE

The first Liederspiel was Liebe und Treue (Love and

Loyalty); its debut was on March 31, 1800, in the National

Theater in Berlin.1 It was originally composed for a family

festivity. Music composed for family celebrations was a

common practice during this period.2 In Liebe und Treue,

Reichardt describes a birthday celebration in his family.

The names of his family are easily recognized. Richard, the

father, is clearly an allusion to Reichardt.3

Reichardt uses only songs that he had previously written

and published. He could easily pick songs that could be suit-

ably employed within the context of the play, because the

number of his songs was so enormous (about 1500). The songs

are varied in style because they come from the different cre-

ative periods of his life. He was quite careful in their

1Walter Salem, Johann Friedrich Reichardt (Frieburg,1963), p. 274.

2Ludwig Kraus, "Das Liederspiel in den Jahren 1800 bis1830," unpublished doctoral dissertation, University of Halle,Halle, Germany, 1921, p. 17.

3Ibid, p. 24.

18

19

selection so that they would adhere to the requirements of

simplicity.4 It is seldom that any of the songs are in any-

thing other than one-part form.5

A song serves as the overture. It was familiar to the

public, therefore it prepared them for the content and mood

of the Liederspiel.6

Reichardt's use of the orchestra is slight, which was

completely in accord with the :ideals of the Liederspiel.

Often the singer is accompanied by only a single instrument.

The choice of instrumentation is usually adapted to the

situation, with the mood and character of the song given much

consideration. The accompaniments of the songs are entirely

in the manner of the Berlin Song School. When Reichardt uses

a song, he almost always has the orchestra play the beginning

of the melody before the singer starts. This is probably the

only characteristic that the Liederspiel had in common with

the Singspiel. His purpose was to remind the actor of the

melody to be sung; because it was customary that the Lieder-

spiel be performed by musically untrained actors.7

The setting for Liebe und Treue is a small cottage in

the woods. A birthday celebration for the mother is being

prepared. The first two songs are sung by the children,

"Wie lieb' ich euch ihr Nachtigallen" (How do I love you,

4Ibid., p. 25. 51Ibid., p. 26.

6Ibid., p. 26. 7Ibid., p. 27.

20

you nightingales) and "Sah ein Knab ein Roeslein stehn" (A

boy saw a little rose standing). The first song is accom-

panied by flutes and horns, thus presenting a tone color re-

flecting life in the forest. In the second song the orchestra

is subdued and supports it only with chords of stringed in-

struments.

The proceeding action is as follows: through the con-

versation, we gather that Richard (the father) is the tenant

of a land owner (the count). The count and his wife became

victims of the guillotine during the French Revolution. The

children of the count have never been heard from since the

dreadful experience. It is for them that Richard remains to

take care of the estate. During the preceding night, two

Swiss boys asked for a night's lodging in Richard's house,

but received only a monetary contribution. Richard's oldest

daughter Rose is saddened by this. One of the boys sang a

song that reminded her of Louis (one of the count's children),

who had formerly conquered her heart. Now, through her re-

freshened memory, a powerful longing has been aroused in her.

She remembers the Swiss folksong so often sung by Louis, "Es

ist nit lang dass's g'regnet hat" (It is not long that it has

rained) and feels that she must sing it as an expression of

her mood. Although the song is somewhat cheerful, her long-

ing for Louis is expressed through the plaintive tone of the

oboe.

21

Richard and the children leave the scene to get the

gifts for the mother. When they have gone, the two Swiss

boys appear. Through the conversation, we are informed that

in reality they are the disguised children of the count,

Louis and Henriette. They have come home because Louis wants

to see Rose once more. He expresses his feelings through the

song, "Tm Walde schleich' ich still und wild" (In the field

I sneak quiet and confused). He cannot leave before he has

spoken to her. His feelings for home and the love of nature

are well expressed with the use of two French horns as ac-

companiment. In these surroundings, his longing for Rose is

increased and finds its expression in the song, "Wann, o

Schiksal, wann wird endlichmir mein lezter Wunsch gewaehrt?"

(when, 0 fate, when will my last wish be fulfilled?).

When the family returns, the two children hide behind a

bush. Two hunter boys appear with bugles to give more solemn

splendor to the occasion. Richard and his wife are very

pleased with the efforts of the children in the decoration of

the cottage. They praise their married happiness in the song,

110 selig wer Liebt" (0 happy who loves). Reichardt describes

the fullness of their love with a reserved delicate instru-

mentation. The children enter with a joyous song, "Will-

kommen, schoener froher Tag" (Welcome, beautiful, joyous day).

Supported by the horns of the hunter boys, it expresses "the

genuine festive glamour and jubilation of the occasion."8

8Ibid., p. 31.

22

Louis can no longer remain in control of his emotions.

From his hiding place, he feels the urge to sing one of the

songs that he sang with Rose previously. He wishes to see

if Rose will recognize his voice. The song "Wenn ich ein

Voeglein waer'" (If I were a little bird) is followed by two

other songs, which through their structure present an oc-

casion for duets.

At this point Reichardt takes the opportunity to insert

some of his best known songs. Although good in quality,

they are not beneficial to the play. They do not sufficiently

illustrate the tension between Rose and Louis and between the

count's children and Richard. A further weakness is that they

do not serve as a means by which Rose and Louis recognize one

another. This recognition takes place through the offering

of a glass of wine. The climax to the whole work is not

through a song at all.9 After all doubts have been removed,

Richard returns the estate to the count's children. Louis

marries Rose and their joy is brought forth as everyone sings

"Seht wie die Tage sich sonnig verklaeren" (Behold how the

days appear in sunny transfiguration).

9Ibid., p. 31.

LIEBE jUND T1EUE

Piano and Vocal Score

with libretto

The Liederspiel,Liebe und Treue has not been pub-

lished since the time of Reichardt. The following edition

is a composite of several sources. The songs were taken

from a hand written copy entitled Lieder us dem Liederspiel

.I*.ebeund Treue, which is not dated, and a printed copy with

the same title that was published in Strasbourg in 1804.

Another copy which was not used, but is of interest, was by

Charlotte Boeheim. It consists of an edited edition with

all the introductory music. The libretto was taken from a

book which was published in Berlin by Johann Friedrich Unger

in 1800. It contains all three of the Liederspiele written

by Reichardt and is printed in "Fraktur." These sources are

available from the Staatsbibliothek Pressischer Kulturbesitz

in East Berlin.

23

LIEBE UND TREUE

Ein Liederspiel

in

Einem Auf zug e

von

Johann Friedrich Reichardt

25

Spielende und singende Personen.

RICHARD Ein Gutspaechter.

:DESSEN FRAU

ROSE

OOLLIN deren Kinder.

JEANNETTE

LOUISjunge Fleuechtlinge als Schweizerbuben gekleider.

HENRIETTE)

ZEI JAEGERBURSCHE

De: Schauplatz ist auf dem Lande in Frankreich an der

S chweizergrenze.

(Dieses Lied wird als Einleitung gespielt.)

blinkend im Thau, wie Per len-schwer diepcocres

~. h_:;-t--A* w . .

Pflanzen urnher! wie 'durchs Ge,-busch die VWin-de' so frisch vvie lautim e-e

F

/ y

Sonnenstral die siis-sen Voglein all-zumal! Ach a-ber da, wo Liebchen ich sah im?- a f-I * A

8

h

K'immerlein, so nie-der und klein, so roD . q_0 0

r K~i N~ I ~

wings be - dekt, der Son-ne verstekt; wo

I - - --k - I

blieb die Er - de weit und breit mit al - ler ih - rer Herrlichkeit!

-* -- .-) n - ,- - - L , I

Massig.

26

Vie Field und so

" I8 a

V

.1T

"LJ.. i

Raw

IMF f I

Au'

AM I -Am- An --- As - - -

8- -~~~""

7.

Pow

A--L

mom An

Ll

Fl Fy

27

ERSTER MIFTRITT

Ein freer Platz im Walde, in der Mitte eine

mahlerisch rusticke Huette, deren Borderseite sich in

grossen mit Berkenstaeben bekleideten Thueren ganz oefnet.

Anmuthig geschlaegelt Gaenge fuehren von beiden Seiten ohne

Symmetric auf die Huette zu. An beiden Seiten frei

hingeworfne Klumbs von bluehenden Strauechern und hohen

Blumen.

Die Kinder sind eben beschaeftigt, das Vordergesims

der Huette mit Blumengewinde zu bekraenzen.

Collin auf dem Dache der Huette sitzend.

Rose neben der Huette sitzend mit einem Blumenkranz

beschaeftigt, den Schooss voll Blaetter und einzelner Blumen.

Jeannette ihr zur Seite anmuthig knieend, der Schwester

die Blumen zureichend.

Alle drei muessen eine wohlgeordnete angenehme Gruppe

bilden.

28

Rose singend.

Liebe und Treue.

M ssig. Rose.

r KwVVie lieb' ich euch ihr Nachti - gallen, ihr kommt so treu uns wieder her!Ver-kun-det hier in grtinen Hallen des hol -den Fruhlings VViederkehr!

Das -se1-be Nest, lasst ihr er-schallen, bleibt treuer Liebe Auf-fent -'halt! und

tre uer Liebe mildes VVallei be- le bet neu den gri nen VVald.

COLLIN Es Iebt und webt in allen Zweigen,"nd jede Staude lebt und liebt!Und jede Blume mags bezeugen,wie Liebe neues Leben giebt.

29

"Vergiss mein nicht" toents in den Leuften,das Veilchen haucht ein suesses Achund Ros' and Geisblatt suesser duefienum unser liebes Huettendach.

ROSE Dem schoensten Feste treuer Liebeand schwillt dieser Kranz in unsrer Hand:COLLIN 0 dass ihr ew'ger Fruehling bliebe,

mit jedem Leiden unbekannt!Lasst frueh das Morgenlied erschallen,ihr Ler chen voller Fr oehlichkeit,singt spaet, ihr holden Nachtigallen,der treuen Liebe Ewigkeit.

ROSE Mit meinen Blimen geht's zu Ende.

COLLTN Ho ho! Mir fehlt noch Ein Kranz.

ROSE LaufT, Jeannette, pflueck' noch Jasmin und Geisblatt.

JEANNETTE (aufspringend) Aber Rosen bring ich nicht mehr,

die stechen! (sie geht seitwaerts an Straeuchern und Ranken

pflueckend.)

ROSE Eli sieh doch! Kannst du dich nicht hueten?

COLLTN Nein, Jeannette, lass du mir die Rosen; das ist

keine Maedchensache.

Die Musik spielt die Melodie vom folgenden Liede erst

einmal durch: dann singt:

30

Collin.

Sah ei nKnab' en ROs iein stehn, Rs -leIn uf der Fei den,

7- --

-

.-war so jung und mor genr-schbn lief er schnel es nah zu sehn

sal 's. mit vie len Fe enis le, 7,li1R~ ei oh-4--- den.__R - 0- j -i r

4VT-

-.auf der .ei - den.

31

COLLTN Knabe sprach:ich breche dich,Roeslein auf der heiden!Roeslein sprach:ich steche dich,dass du ewig denkst an mich,und ich will's nicht leiden.Roeslein, Roeslein, Roeslein roth,Roeslein auf der Heiden.

Und der wildeKnabe brach' sRoeslein auf der Heiden:Roeslein wehrte sich und stach,half ihr doch kein Weh und Ach!Musst' es eben leiden.Roeslein, Roeslein, Roesleii roth,Roeslein auf der Heiden.

(Waehrend dem Liede bringt Jeannette Blumen und reicht

sie wieder der Schwester zu, die ihren Kranz vollendet.)

JEANNETTE Still! da koemmt was!

2OLLTN Wenn's nur nicht die Mutter ist. Lauf, sieh hin

Jeannette!

ROSE Hast du denn dem Vater nicht gesagt, dass er sie nicht

hergehen laesst?

COLLIN Nein! er schlief noch. War's doch kaum Tag, als

ich herlief. Er soll die Huette auch erst fertig sehn.

JEANNETTE (auf der Lauer.) Es ist der Vater.

COLLIN Geschwind den Kranz her!

ROSE Gleich, gleich!

32

ZWEITER AUFTRITT

Richard und die Vorigen.

RICHAR3D Was treibt ihr so frueh im Walde, ihr Kinder?

COLLTN (von der Huette herabrufend.) Sieh her Vater.

RICHARD Dacht' ichs doch! Nun das lass ich gelten. Wie

habt ihr das aber zu Stande gebracht?

COLLIN Der Foerster hat uns mit seinen Burschen geholfen.

Die wollen uns auch Eins blasen.

RICHARD Das habt ihr gut ausgedacht. (zu Rose) Dahin ging

auch wohl all dein Zeichnen die Tage her.

ROSE Ja Vater.

COLLIN Die Huette hat sie mir vorgezeichnet, das ist wahr.

Die Gaenge hab' ich aber selbst abgesteckt, und selbst

bepflanzt.

RICHARD Recht brave.

COLLIN Schlaeft die Mutter noch?

RICHARD Nein, sie badet den Kleinen.

ROSE Wenn sie nur nicht herkoemmt!

33

RICHARD Wie sollt' ihr das einfallen! Ich konnt' es wohl

vermuthen.

COLLIN Hast du ihr auch nicht gesagt, dass wir heute im

Walde fruehstuecken wollten?

RICHARD Kein Wort. Sie scheint noch gar nicht an ihren

Geburtstag zu denken.

COLLINROSE Dest besser! Das ist schoen! Praechtig!JEANNETTE2

RICHARD Nun muesst ihr aber auch fortmachen: denn ist sie

mit dem Kleinen fertig, sucht sie uns gewiss zum Fruehstueck.

COLLUN Hier soll alles den Augenblick in Ordnung seyn.

(Befestigt den letzten Kranz, den ihm Rose gereicht.)

ROSE Vater, willst du uns helfen Milch und Kuchen

herschaffen?

RICHARD Gern.

JEANETTE Und -meine Erdbeeren nur nicht vergessen.

COLLIN (herabsteigend.) Wir wollen das schon alles besorgen.

Versuch' du hier' mal den Sitz unterdess, Vater.

RTCHARD Doch nicht da oben?

34

COLLIN He, da koennt'st du auch wohl noch hinan. Du bist

letzt wohl hoeher auf den Baum geklettert, um der Mutter den

Cana," ienvogJ wieder zu holen. Nein, da drinnen hab' ichs

euch recht bequeni ygeaeht.

RICHARD Nun gehl du nur, und vergiss auch nicht ein paar

Flaschen von unserm jaehrigen Rothen. An solchem Freudentage

trinkt ihr doch wohl alle gern ein Glas Wein mit.

COLLIN Da kommst du denen recht, Vater. Sieh nur wie sie

die Maeuler schon verziehn! (Vertraulich. ) Ich will dir

aber wohl was Sagen, Vater. Wenn du so eine Flasche von dem

schoenen suessenr. Weine aus dem Schlosskeller holtest!

RICHARD (ernsthaft.) Was wisst ihr davon?

COLLrTT 0 der alte Foerster erzaehltenoch letzt, der wein

schmeckte wie tausend Blumen.

JEANNETTE Ja Blumenwein, den moecht' ich wohl trinken.

COLITN simmerr vertraulicher.) Komm, Vater, hol' eine Flasche

er verdirbt ja doch!

RICHARD Aber Collin! kannIMst du das immer noch nicht

begreif en?

COLLTN Nein, Vater.

RICHARD Wir sollten uns an dem Gute unsers ungluecklichen

Herrn erlaben koennen?

35

COLJLIN Er kann ihn num doch nicht mehr trinken, ihn haben

sie nun doch einmal gUillotinirt.

RICHARD Und diesel Grausamkeit seiner Henker sollten wir

uns erfreuen?

COLLIN Das versteh' ich nicht, Vater.

RICHARD Nun du weisst denn doch, dass er Kinder hinterlassen

hat?

COLLEN Von denen hoert und sieht man ja nichts mehr.

RICHAIRD (lebhaft auffahrend.) 0 sie finden sich gewiss

ieder ein. Ganz gewiss.

COLLIN (die Schwester bedeutend ansehend.) So? --- Nun

meineswegen; ob sie denn aber Eine Flasche mehr oder weniger

finden...

RICHARDg o sieht jeder Dieb die Reichen an, meirn lieber

Jung e!

COLLTN Und dann Vater, wenn nun die Kinder gar nicht wieder

kommen, so gehoert ja Gut und alles dir.

RICHA13D Meinst du? Wo hast du denn so was her.

COLLTN He!..,. Du denkst wohl, Vater, weil du uns nichts

von all' dem sagst, erfuehren wir auch nichts!

36

RICHARD (fuer sich.) -Da bilde sich einer ein, sein Haus

rein zu halten!

COLLIN icht wahr, Vater, dann ist alles unser?

RICHARD Giebt's denn keine andre Verwandte mehr?

COLLIN Der Foerster sagt die waeren alle davon gelaufen und

duerften gar nicht weider ins Land.

RICHARD Nun dann gehoert alles der Nation.

COLLIN Dass ist mir wieder zu hoch.

ROSE Die kuemmert sich aber doch nicht drum, lieber

Vater.

RICHARD Gluecklicher Weise glaubt man noch immer--- (schnell

abbrechend, fuer sich) Bald haette-mich der mueste Junge

verleitet.... Wie? Sollte Gerechtigkeit und Edelmuth dem

Naturmenschen so fremde seyn?--- Doch er begreift die ganze

Sache wohl nicht! Weiss ich mich selbst doch kaum darein zu

finden; ob ich laenger schweige, oder lieber mein Gewissen

rein spveche---

ROSE (zu Collin halb leise.) Warum schwatzt du nun aber

auch eben davon? Machts den guten Vater wieder betruebt?

COLLIN (halb laut.) Ich weiss auch nicht, wie der Vater

ist! Darueber gleich so boese zu werden! Immer nur fuer

37

die alte Herrschaft zu sorgen!

RICHARD So? sorg' ich nicht auch fuer euch?

ROSE (ihm die Hand drueckend.) Nimm's ihm nicht so genau,

Lieber Vater!

RICHARD (zu Collin fortfahrend.) Leb' ich euch darwm nicht

gerne zT Gefallei mit allem, was Aei st?

COLLIN 0 nicht immer, Vater! Noch gestern Abend warst du

ganz unerbittlich. Die armen Schweizerburschel Die haettest

du wohl die Nacht herbergen koennen! sie baten so sehr, wir

alle baten dich darum!

RICHARD Man kann nicht alles fuer alle thun. Fuer die Buben

wars genug, dass wir ihnen Geld gaben, ihre Zeche in der

Herberge zu. bezahlen.

COLLIN 0! das Geld wollten sie erst gar nicht; ich sollte

sie nur zur Nacht einlassen.

RICHARD Gerade das machte sie mir verdaechtig.

COLLIN Ich haette sie so gerne in meine Kammer genommen!

RICHARD Auf dem Lande, wo man sich selbst beschuetzen muss,

darf man nicht so jeden Fremden ins Haus nehmen. Dazu geht's

auch bei uns im Lande noch nicht wieder ordentlich genug her.

Wie man erst streng bis ziur Grausamkeit war, ist man nun

zu nachsichtig.

38

JEANNETTE Vater! Die haettest du immer eins nehmen koennen;

der eine orgelte so allerliebst, und sang dazu, ach so gut,

so fein!

RICHARD (ironisch.) Ja das laesst sich hoeren! Die

Musikanten, die fein singen und spielen, sind auch immer

recht feine brave Leute!

ROSE Heute haetten wir sie auch recht gut brauchen koennen,

lieber Vater'! Die Mutter hoert so 'was so gerne.

RICHARD Euch hoert sie am allerliebsten; und wenn unsre

braven Jaegerbursche noch dazu blasen, gehts wohl lustig

genug.

COLLIN (davon laufend) Poss Stern! Wo bleiben die?

RICHARD Habt ihr euer Lied recht gut inne?

ROSEaand 0 ja, Vater! Ja wohl!JEANNETTE

RI CIARD Geht' s gut zusammen?

ROSE WAnrin du noch den Bass dazu singst, soll' gewiss recht

gut gehn.

RICHARD Lasst' s is versuchen.

ROSEandA Gerne! Recht gern!

TE ANETTE

. 39

RICHARD Aber ja recht freil und del Worte recht deutlich;

so~nst ist der beste Gesang nicht mehr werth als ein

huebscher Dudelkasten.

ROSE Die Mutter soll uns schon verstehn.

RICHARD Wo Ist nun Collin wieder?

ROSE Da kommt er schon mit den Waldhornisten.

RICHARD Nun dest' besser, koennen's die auch gleich mit uns

versuchen.

COLLIN (der die Waldhornisten seitwaerts hinter eiaen

Blmenklumps halb versteckt.) Hier! Sol and wenn ihr sie

kommien seht, fangt ihr an.

RICHARD Nun eiinmal zur Probe angefangen.

Etwas lebhaft.Rose, Collin, Jeannette u. Richard.

VVill kom-men, scho-ner fro -her Tag, will-kom - .men un - srer Liebe!Vas Gold und Sil- ber nicht ver-mag, ge - wah -ren siis- se Triebe

Villkom-men, scho-ner fro-her Tag

A Ii _T_

Nicht sch6 - nern Trieb die Stim - me singt als der uns heut die

Brust durchdringt, der siis sen Kin des - lie be.

der sitis-sen Kin - des - lie be.

(Die Waldhoerner fangen. noch einmal an, die Melodie zu

blasen.)

40

I I I I

41

RICHARD Schon gut, schon gut! die folgen Verse werden auch

wohl gehn.

ROSE Fuer die ist mir nicht bange, wenn die ersten nur

gluecklich heraus sind.

RICHARD Es geht ja recht gut! Nur eben so frei, wenn die

Mutter dabei ist.

JEANNETTE Ach! wenn mir dann nur nicht die Kehle so eng

wird.

ROSE Mir treten schon die Thraenen in die Augen, wenn ich

mir ihre Freude nur denke.

RICHARD (fuer sich.) Gute liebe Kinder! (laut) Nun so

kommt, lasst uns das Fruehstueck holen.

COLLIN Geh doch nur mit den Maedeln voran, Vater, ich will

hier noch einen Kranz festmachen.

RICHARD So komm, Jeannette (Die Kleine bie der Hand nehmend.)

ROSE Ich komm' auch gleich nach, Vater ich will nur unst'e

Geschenke hier zurecht legen.

JEANNETTE (abgehend) Nur ja mein Strumpfbaender recht vorn'

an!

ROSE Ja! ija! geh du nur!

DRITTER AUFTRITT

Rose and Collin

COLLIN Leg du nichts zurecht; ich habt mir das Ding ganz

anders ausgedacht, und so solls dem Vater selbst Spass

machen.

ROSE Nun lass hoeren!

2OLLTN Wir treten alle in die Huette, halten die Thueren

zu.

ROSE Nun und dann!

COLLIN Wern der Vater die Mutter daherbringt, geht die

Musik im Busche los, und hoeren wir die da drinnen, treten

wir mit unsern Geschenken heraus.--- Nun machts dann nur,

wie ichs euch sagen werde. (Er putzt noch an der Huette).

ROSE Gut, wir wollen dir diesmal folgen. Aber Collin!..

Wernn du doch die Schweizerbursche aufsuchen wolltest!..

es waere doch was Neues...

COLLTN Ho! Die sind gewiss lang ueber alle Berge.

ROSE Ach, dass die Bursche auch gerade das liebe Lied singen

mussten: "Wenn ich ein Voeglein waer!"

COLLIN (nachspoettelnd). Ach!

ROSE Und der Eine hatte eine Stimme! ach solche liebliche

Stimme, wie...

COOLLIN (wie oben) Wie Monsieur Louis.

ROSE (seufzend fuer sich). Ja!... "wenn ich ein Voeglein

waer', und auch zwei Flueglein haett'!"...

COLLTN (wie oben und mit den Haenden affektirt nachahmend).

"Floeg' ich zu Dir!t"...

ROSE (ohne auf ihn zu achten). Mir warb's so warm um's

herz! Die ganze Nacht ists mir nicht aus dem Sine gekommen!

COLTJN Ach! Wie empfindsam!

ROSE Ja du weisst viel davon! Haettest du nur den Louis

recht gekannt.

COLLTN 0 Ich besinne mich wohl recht gut, wie er in unserm

Garten den Wachteln Dohnen stellte.

ROSE (halb fuer sich.) Und wenn er dann frueh morgens

darnach sehn kam!

COLLTN Ja da thaten der empfindsamen Mamsell die armen

Wachteln eben nicht leid.

ROSE 0 wie kannst du das sagen? Collin.

COLLIN Hast du nicht oft genug mit mir gezankt, wenn ich

ihm heimlich die Dohnen zerstoerte? Was?

ROSE Das war auch gar nicht artig von dir.

COLLIN 0 freilich! das war viel artiger, wenn er sich nur

um dich bekuemmerte, die armen Dingerchen da zappeln liess,und ihr gar nicht hinsaht, und gar zaertlich mit einander

sangt: "Wenn ich ein Voeglein waer', floeg ich zu dir."

ROSE (sich wegwendend). 0 schweigel

COLLIN Oder: "Es ist nit lang dass's g'regnet hat."

ROSE Ach das liebe Lied! Tag und Nacht moecht' ichs singen.

COLLIN Solch dummes Zeug!

ROSE (halb fuer sich.) Jeder Thautropfe auf den Blaettern,erinnert mich an das liebe, zarte Lied.

COLLTN Nur Thautropfen giebts hier genug, sing' du nur

immer zu, Ich hol' indess das Fruehstueck. (ab, denJaegerburschen winikend, die ihm folgen).

(Die Musik spielt das Lied eimal durch.)

Schvveizervolkslied.Langsamn. Rose'

Es 1st nit Jangdass s g're - gnet hat, die Lu tb tr7vpf e noch ch

hab e-ma e Schz ghat, ich oe :ch hott! es noch

-7 7

7 AVeses-

-2-7.- r

VIERTER AUFTRITT

(Die Waldhoerner blasen das folgende Lied. Louis koemmt inGedanken vertieft und singt).

Louis.Langsam und Leise. - I e y

m Valde schleich' ich still nd wild men Her nc on h er d

schwebt so licht dein liebes Bild, dein s iisses Bud vor mix.

LOUIS Du wandelst jetzt wohl still und milddurch Feld und Liebesthal;und ach, mein schnell verrauschend Bild,stellt sich Dir's nicht einmal?

Des Menschen, der in aller Welt nicht findet Ruh,noch Raft,'dem wie zu Haufe so im Feld seinHerze schlaegt zur Last.

Mir ist es, denk' ich nur an dich,als saeht den Mond ich an;ein suesser Friede kommt auf mich,weiss nicht, wie mir gethan!

FUENFTER AUFTRITT

HENRIETTE (voller Angst). Mein Gott! Bruder! Du kannst

hier herum schleichen und singen! ich zittre am ganzen

Leibe.

LOUIS Ich less dich ja ruhig im Schlafe.

HENRIETTE Und wie ich erwachte... mich allein unter fremden

Menschen fand... Ach Gotti wenn's noch fremde Menschen

waeren! Aber alte Dienstleute wie die aergsten Feinde

fuerchten muessen!

LOUIS Du treibst die Furcht zu weit, liebe Schwester! Mir

vergeht hier alle Furcht.

HENRIETTE Gerade hier erschreckt mich jedes Blatt.

LOUIS Mich erinnert hier alles zu lebhaft an die lieben

treuen Seelen, mit denen ich meine Kinderjahre so froh

verlebte.

HENRIETTE Du denkst nur immer an deine Rose.

LOUIS Henriettel wenn ich an Rose nrur daechte, wuerde mich

deine Angst dann wohl einen Augenblick zurueckhalten? Wuerd'

ich nicht gerade zu ihr gehen, mich ganz in ihres Vaters

Hae.ide geben, was auch daraus erfolgte?

HENRIETTE Damit sie uns den Moerdern unsers ungluecklichen

Vaters ueberliefern? Die auch uns hindschlachten wie ihn?

Ist nicht alles was ihm angehoert fuer vogelfrei erklaert?

LOUIS Das wird unsern braven Richard gewiss nicht bewegen

uns auszualiefern.

HENRIETTE Gerade ihn fuercht' ich am meisten. Hat er nicht

gleich nach unsers Vaters Tode in Paris vor Gericht behauptet,

dass uiser Vater ihm die Gueter verkauft habe? dass ihm

alles ganz und gar zugehoere?

LOUIS Er soll's mit Quittungen von unsers Vaters Handbewiesen haben; und wir koennen freilich nichts dagegenbeweisen. Was wuerd' es uns jetzt auch helfen? WLe

erhielten es ja doch nicht wieder.

HENRIETTE Nun darum so lass uns doch nur sortmachen, dasswir nur erst zu ehrlichen deutschen Leuten kommen: wir sindja jetzt nah an der Schweizergraenze.

LOUIS Hoere nur, Henriette, ich bin fest entschlossen,nicht eh' weiter zu gehen, als bis ich Rose gesprochen habe.Von ihr erfahr' ich alles rein und Klar, wie's hier steht.

HENRIETTE Dacht' ichs doch!

49

LOUIS Dir zu gefallen will ichs noch einmal hunter dieser

Verkleidung versuchen.

HENRIETTE Hast du dich noch nicht genug abweisen lassen?

War nicht gestern Abend alles Bitten vergebens?

LOUIS Bei Tage lassen sie uns wrohl ehl' ins Haus, oder

wenigstens auf den Hof. Wir singen dann lauter Lieder, die

ich einst mit dem lieben Maedchen sang.

HENRIETTE Nein, ich bring' gewiss keinen Ton heraus.

LOUIS Nimm die Orgel denn (er giebt sie ihr) und fall nur

mit der Stimme ein, wenn du siehst, das es besser geht, als

du dachtest. Komm, wir sind nicht weit vom Pachterhaufe.

Schon das allein, dass der ehrliche Richard immer noch seine

alte Pachterwohnung bewohnt, giebt mir guten Muth.

HENRIETTE Da sieh nur hin, ob es noch seine alte

Pachterwohnung ist! Stand hier wohl sonst solche zierliche

Lusthuette? Fuehrten sonst wohl geschlaengelte Gaenge hier

durch zierliche Straeucher und Blumen?

LOUIS Daran erkenn' ich die feine Hand meiner Rose, die mirso gern bei haeuslichen Festen half. Gewiss begehendie

Gluecklichen heute ein solches Fest! Vielleicht gar den

Geburtstag der trefflichen Mutter, die auch mir so oft eine

zweite Mmtter war. Wiesst' ich doch nur, welch ein Tag im

50

Kalender heute ist! Kaim weissioch, in welchem Monate wir

lebenl 0 das aengstliche Leben!

HENRIETTE Ja, viele Jahre lang duenkt michs, seit wir so

traurig umherirren!

LOUIS U1nd nun wir durch Hunger und Mangel, durch

tausendfache Lebensgefahren hindurch, wirklich das

erwuenschte Ziel erreicht haben, nahe an der Graenze sind,

nun sollten wir aus Feigheit, aus niebrigem Misstrauen,

beim vaeterlichen Haufe voebeischleichen?

HENRIETTE Wer konnte auch denken, dass manarme unglueckliche

Fluechtlinge so unmenschlich strenge verfolgen wuerdel

LOUIS Hier in der grossen Entfernung von Paris nimmt das ja

auch schon sehr ab.

HENRIETTE Und dass sich der Paechter so in Besitz von allem

gesetz haben wuerde.

LOUIS Wer weiss, wie viel von all dem wahr seyn mag! Die

ehrlichen Leute werden oft am schlimmsten belogen.

HENRIETTE Mir sagt dieser zierliche Plass schon genug.

LOUIS Nun so mag er denn alles genommen haben, mag alles

behalten. Eine Huette wird er mir doch wohl abgeben, und

habt ich die nur auf dem lieben vaeterlichen Boden! - Seit

ich ihn, den edlen Vater verlor, seufzt mein Herz nur darnach!

51

Langsam. Louis. 67 eeFs

'S Jo

VVann, o Schik - sal, wann wird end - lich mir mein lez - terVie -les vviinscht' ich sonst ver ge 'bens, je zo nur zum

IL

I 1 --

W,0

3

ge'wahrt! nur - ein Hitt chen, stillten mal, fur - die Ta - ge mei

und 1ind lich,- -nes Le bens

V V unschlez - -

nur em klei -ner eig -nerHr !ude nFrund e~

ir ged vvo emn Frie 'den. tha1! Ed le M uss' in

_* tli -i-I - iL

AdNL

M WAW" 4 "WIN

I k I I. I

52

wahrt und wei'-se, Frei'-heif Hei ter keit und Ruh! Ach undeig - ner Vohnung und en VVeib voll Z rt -lich keit, die der

Sie das seufz' ich lei se, zur Ge f hr-tin Sie da. -zu!Treu - e zur Be - loh-nung, auf mein Grab ein Veil -chen streut

(2m

HENRIETTE Wenn du wuesstest, Bruder! wie dein

ungluecklicher Gesang mich aengstet! Man wird uns daruebernoch fangen. Horch, da kommren Leute, ich bitte dich umalles in der Walt, komm!

53

LOUIS Die sind es selbst! Festlich geschmueckt.

HENRIETTE Alle Haende voll Schuesseln md Flaschen!

Glaubst du noch nicht, ungluecklicher Verblendeter?

LOUIS (kaum auf die Schwester hoerend). 0 wie oft, wie

froh genoss ich einst solche haeslichen Feste mit ihnen!

Waer'st du nur wie ich hier aufgewachsen! du fasstest

gewiss auch Herz zu den guten frohen Menschen. Aber du

lebtest deine schoene Jugend im dumpfen Kloster, unter

kalten, hartherzigen Menschen! --- Kann ich's dir verdenken!

HENRIETTE Ich bitte dich, komm! lass uns wenigstens hier

in's Gebuesch treten!

LOUIS Nun das noch. Meinetwegen! Aber du musst mir auch

wieder folgen, wenn mir's Zeit duenkt. (Beide treten

seitwaerts von der Huette, dem Platze der Waldhornisten

gegenueber ins Dickigt; fuer den Zuschauer nur halb

verborgen.)

SECHSTER AUFTRITT

Collin voran, mit einem grossen Kuchen, in dessen Mitte ein

voller Blumenstrauss; die beiden Schwestern folgen mit

zierlichen, weiss mid gruen geflochtenen Koerben voll

frischen und trocknen Fruechten, dann die Jaegerbursche mit

feinen ehernen Milchnaepfen und einigen Weinflaschen.

COLLIN Noch alles ganz?

DIE ANDERN Ja wohl, ja freilichl

JEATNETTE Weit trug' ich's aber nicht mehr.

COLLIN Nun wir sind ja auch da. Nur alles hier herein.

(Er oeffnet die Huettenthueren; sie setzen alles nach und

nach auf den rustiken mit Birkenborke beschlagen en Tisch.

Collin will gleich ordnen und ruft.) Reicht mir nur immer

zu!

ROSE Das lass du mir nur ueber: ich will schon zierlich

ordnen.

LOUIS (im Verborgenen zur Schwester). Sieh, dass ist sie,

die liebe Rose. (Die Schwester haelt ihm die Hand vor den

Mund).

COLLIN Ich habe am liebsten recht bunt durch einander.

LOIJIS (wie oben.) Immer noch der kecke Junge. (mit

eifersuechtiger Unruhe.) Aber wer moegen die andern

huebschen Bursche seyn? ich zittrel

HENRIETTE (leise.) Gott weiss, ich auch!

ROSE 0 mit deinen torcien Fruechten!

COLLIN Was? hab' ich sie nicht selbst gezogen? selbst

getrocknet? fuer heute aufbewahrt?

ROSE Es fehlt aber an Raum.

COLLIN Nur recht dicht an einander! Ein lustiger Tisch

kann gar nicht zu voll seyn!

ROSE Es iunss aber doch zierlich aussehnl

COLLIN Ich denke, wenn's nur schmeckt. Die Flaschen

muessen auch auf den Tisch. Wenn wir uns erst so ein

Weilchen recht ungestoert hunter uns gefreut haben, wie's

der Vater am liebsten mag, dann ruf' ich den alten braven

Foerster, der soll sich's schon mit dem Vater schmecken

lassen: und seine Jungens kann ich zum Ballspiel brauchen.

ROSE Still! ich glaube, sie kommen. (zu den Jaegerburschen).

Fort, ins Holz!

COLLIN (halb leise). Fort, ihr Burschen, ins Holz. (Er

versteckt sie, wie am Anfange, den Verborgenen gegenueber.)

Ihr alle hinein! ich mache nun zu, da kannst du noch immer

schieben und ruecken, bis du das alles recht gepaart hast.

LOUIS (will hervor). Ach, ich halte mich nicht laenger!

HENRIETTE (ihn zurueckhaltend). Ums Himmelswillen, Bruder!

LOUIS (hoechst unruhig). Ich muss wenigstens wissen, wer

die Bursche da sind.

HENRIETTE Sieh doch, da kommen ja schon die Andern.

56

LOUIS 0 martervolle Ungewissheit! Wa:?um verbargen sich die

jungen Bursche bei der Ankurnft der Eltern?

SIEBENTER AUFTRITT

Richard und dessen Frau kommen singend aus der Ferne.

Etvvas langsan.L L

Richard und dessen Frau.

sehgwe leb! hm ti -net der VVald, ihni be- seelt sich'die

Flur ihn ie- bet die gan ze be - leb -te Na - tur, o se-g wer ebt

-- L -- -11 L ... -O L

o selig, wer liebt!In lieblichen Kindern,im zaertlichen FreundtFuehlt er sich mit Himmel und Erde vereint.o selig, wer liebt!

|- || -

5,7

DIE FiVAU 0 ihr lieben Mensofhen! Vie ihr diesen schoenen

Fleck imer n zu U verschoenern wiss't.

RICHARD Ja, dabei bleibt's, so lange wir leben, mein liebes

Weib! Der heutige Tag muss in jedem Jahre seine eigne

schoene Spur zuruecklassen.

DIE FRAU Ist denn heute mein Geburtstag?

RICHARD Du siehst es.

DIE FRAJ Mit keinem Gedanken dacht' ich noch daran. (Die

Waldhoerner fangen an zu blasen). Auch die lieben

Waldhoerner hier im Holzel (Sie wird die Huette beim

Unsehen gewahr). 0, und die liebliche Huette!

RICHARD Collins Werk!

DIE FRAU Wo ist der liebe Junge? Wo sind die lieben

Kinder alle?

ACHTER ANFTRITT

Die diuette oeffnet sich, und die Kinder treten mit ihren

kleinen Geschenken an Schleier und Baendeln in den Haenden,

hervor und singen, Der Vater geselit sich zu ihnen.

Etvvas lebhaft. Rose, Collin, Jeannette u. Richard.

_ _ S __t-

VViI kom-men, sch-nerYVas Gold und Sil -ber

fro,-her Tag, will -kom -rmen un - srer Liebe!nicht ver-mag, ge wih - ren siis- se Triebe!

0-p

Willkom-men, sch6-ner fro-her Tag

I E t17-1 _AM

Nicht sch6 - nern Trieb die Stim - - me singt als

" -w -- Ider uns heut die

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _

rust durchdringt, der sus - sen Kin - des - lie be.

der sis-sen Kin - des - lie - be

58

-77.

3

777D---PLao_.,moo at

59

Doch Mutterliebe ist wohl schoen!wir sehn'Ts an deinen Blicken,nichts schoentres kann die Sonne sehn---Als dieses Tags Entzuecken.0 dass er ewig wieder kam'uns stets in Liebesarmen naehm',Was konnt' uns mehr begluecken!

(Zur Mutter vortretend, die kleinen Geschenke reichend.)

Empfang' der Liebe Zeichen hier,der treuen kindesliebe!Wir briigen keine Schaetze dir,des Herzens reiniste Triebe.Auch dieser Schleier, dieses Band,gewebt von liebevoller Hand,gewaehr' dir Lust, du Liebe!

DIE FRAU 0 ihr lieben guten Kinder! (Sie umarmt Rose, und

reicht dem Collin die Hand, Jeannette haengt sich fest an

die andre Hand, mit der sie Rose einen Augenblick

umschlungen haelt.) Wie dankt euch mein Herz!

ROSEand Liebe Mutter! Beste Mutter!JEANSIETTE

COLLIN (der die Mutter unverwandt mit zaertlichen Augen

angesehen). Mutter! Nun hinein in die Huette. Du sessest

dich mit Vater in die Mitte, Mutter!

DIE FRAU Eine allerliebste Huette! (In die Huette gehend

und sich setzend, der Vater sesst sich zur Mutter, Rose neben

ihn, zu ihr Collin auf die Ecke.)

60

JEANNETTE (Sich zur Mutter setzend). Ich muss bei Mutter

sitzen.

DIE FRAU Komm, mein Kind! Welche koestliche Erdbeeren!

JEANNETTE Iss die zuerst, Mutter, die hab' ich fast alle

allein gepflueckt.

RICHARD (legt der Frau Erdbeeren vor). Jeder nehme, wozu

er Lust hat. (Es geschieht. Die Waldhoerner blasen das

Lied: "Wenn ich ein Voeglein waer).

RICHARD Das passt nun eben nicht; sie haetten wohl ein

lustigeres Liedel anstimmen koennen.

COLLIN Gewiss hat's die empfindsame Mamsell bestellt; seit

gestern Abend denkt sie an nichts als an, das Liedel.

ROSE Gerade das blasen sie am besten.

LOUIS (zur Schwester). Lass uns das Lied singen!

HENRIETTE Wenn ich's nur vermoechtel Mir zittern alle

Glieder.

LOUIS Noch immer? Sieh dich hin, und fasse Muth. (Sie

singen erst leise, dann immer staerker.)

61

Schwveizervolkslied.Langsam. Henriette u. Louis.

VWenn ich ein V6glein wvr', und auch zwei Flglein hatt, flog ich zu dir;

t~~ Z. ~ ~ zT T T-t -- _ ____ ___0

V100

VVeil's a-ber nit kann seyn, weil's a-er nit kann seyn, bleib' ich all hier

.7_____ _

c~.

Es vergeht kein Stuntd in der Nacht,Ohn' dass mein Herz erwacht!fUnd an dich gedenkt!WIfe dufmir viel tausend Mahlidein Herz geschenkt.

(In der Laube hat immer einer nach dem andern aufmerksamer

darauf gemerkt.)

ROSE (die aufspringen will). 0 da sind die lieben

Sch weizerbuben wieder!

Utoer Md'ui

Am

I N

62

COLLIN (der sie nicht durchlaesst). Bleib du nur sitzen:

ich will sie schon herholen.

RICHARD Nein, lass sie immer etwas in der Ferne: so klingt's

anmuthiger. Lass sie aber ein lustigeres Liedel singen.

DIE FRAT Gieb ihnen doch Kuchen und Obst.

COLLIN Das sollen sie vollauf haben, (er nimmt beide

Haende voll).

RICHARD Ich will dir helf en.

COLLIN Gar nicht noethig.

RICHARD Bleib du lieber hier, mein Kind, der lustige Tisch

muss riicht gleich wieder so leer werden.

COLLIN (zu den Fremden, die ihm ein wenig entgegen treten,

doch nicht ganz ins Freie). Da, das ist gut, dass ihr noch

hier send.

LOUIS Jns freut's auch!

COLLIN Da, nehmt doch hin. Heute solls euch besser gehn,

als gestern Abend.

HENRIETTE Das hoffen wir.

LOUIS (ihn bedeutend ansehend). Kennt ihr uns noch?

63

COLLIN Ihr war't ja gestern Abend mit demselben Liedel da.

Aber nun singt auch was Lustigers.

HENRIETTE Ach! die lustigen Lieder haben wir alle verlernt.

LOUIS Was habt ihr denn fuer ein Fest?

COLLTN Es ist der Mutter Geburtstag.

LOUIS Der lieben Mutter?

COLLIN Drum singt auch so lustig ihr's koennt.

LOUIS (zur Schwester). Singen wir: "Freuden und Leiden

wie wechselt ihr so?"

COLLIN Gut, gut, da koennen wir alle mit einstimmen.

LOUIS Das were schoen: ihr koennt das Lustige daraus

singen, wir singen das Traurige. (Die Schwester bei der

Hand nehrmend). Komm!

COLLIN Nein, bleibt ihr nur hier stehn. Der Vater liebt

das so aus der Ferne.

LOUIS Ach immer aus der Ferne!

COLLIN (nach der Huette zurueckkehrend). Nu, immer nicht!

Hernach koennt ihr euch auch zu uns setzen. (zu den andern

in der Huette.) Freuden und Leiden wollen sie singen. Wir

singen das Chor.

64

Louis.Etwas langsam.

C71/Chbr?

Chor

Ver-schwundern ist sie mei-nemr Blik, werd ich sie vie-der sehnP VerOft werd' ich vvenden mei-nen Blik: war - um, ist sie nicht hier? Dann

%~AAA L %-wl i L Vwirst - sie wie - der 'n- V .Qru - - fet dir der Hain zu - rtik: sie keh '- ret neu zu dir.

.Ak .

V erfs nden air.Dann ruft der Hainl

-

jo

schwunden it7ieitdir 7z1M (Glik d 7Tis e4*e- T T - %ALV w ALA& JLAJ 16 Q A %.R

65

Henriette.Etwas lebhaft. C

p

Freuden und Lei-den wie wechselt ihr so? Es vVech - sein die

Louis

F"

Freuden zu mil- dern die Lei -den;Lei- den zu schioi-ne ren Freuden; set froh sei froh, sei froh, sei- froh!

~crq

ROSE (zu Collin sehr bewegt). Lieber Collin! alle unsreschonen Lieder singen ja die guten Bursche.

RICHARD Ich wo11tt aber, sie saengen uns was lustigeres.

COLLIN (aus der Huette halb hervortretend). Was lustigeres,ihr Bursche!

LOUIS (zu Henrietten, etwas naeher tretend). Lass Uns dasLied von der Hofnung singen, das kann sie auch. Ach! sollte

66

sie meine Stimme ini all' den Liedern nicht wieder erkennen!

Kannst du nicht gewahren, wer auf der andern Seite bei Rose

sisst!

HENRIETTE Nein, neitn Halte dich doch ja hier seitwaerts.

COLLIN (aus der Huette refend). Nu wird's?

LOUIS Ich bitte dich, fang' an!

Erst Henr. und Louis allein, dann im Chor wiederholt,Mssig.

Hoffnung, Hoffnung, im - mer Gr in! wenn dem Ar-men al- les fehiet,.

A -AM

m-mer grin1

al les weicht, ihn al les qu -let, du, o Hoffnung la best

-les

91

67

inn, du o H oil' nung la best ihn.

Lois.

ales mag das GIuk uns rau-ben, Freunde, Freuden, VVur de, Gut;

nur ur sonst ist Glu- kes Schnauben, wenn uns Hoff - nung

t-_ _ _ _ _ _

gut-lich tfhut

f

e-

F 9 N

-11

-A Z7 I V I-I --.I

-fm.w- 1- -ew- w -.

Von Anfang .

68

DA 3 CHORin der (refrain)IHuette

LOUIS Ist des Lebens Baum verdorret,Will die letzte Bluthe flieh'nTritt die Trosterin zum kranken,Zeigt ihm noch die Wurzel gruen.

ALLE (refrain)

ROSE (zu Collin seitwaerts). Auch das Lied! Das liebe

Lied! Ich halt's nicht laenger aus.

RICHARD Gieb den braven Saengern auch ein Glas Wein. Die

Saenger versteh'n sich schon frueh darauf.

COLLIN 0 jedem einst (Er giesst zwei Glaeser ganz voll.)

ROSE Lass mich eins nehmen!

COLLIN Kannst du denn nicht ruhig sissen bleiben?

DIE FRAU (zu Collin). So lass sie doch, Collin; sie geibt

so gerne wie du. (Rose nimmt ein volles Glas, zittert aber

so, dass sie den Wein verschuettet.)

COLLIN Seh't doch nur, wie sie sich anstellt, sie verschuettet

ja den Wein (Er nimmt ihr das Glas ab). Fruechte mag sie da

nehnen. (Sie geh'n beide auf die Schweizerbursche zu,

unterdess der Vater ein's trinkt.)

LOUIS (der Rosen entgegen tritt). Leibe Rose!.... Ach,

endlich einmal!...

69

ROSE Gott! Louis, lieber Louis! (Sie will hinsinken.

Louis fasst sie auf, und Haelt sie mit dem rechten Arm

umschlungen.)

COLLIN (der Henrietten das Glas gereicht, dreht sich um).

Was soll das?... Rosel Vater! Mutter!---

RICHARD (mit den andern aus der Huette stuerzend.) Was

giebt's? (Zu Louis) Bube, bist du toll?

DIE FRAU 0 mein Himmel! Liebe Rose! (Um Rosen beschaeftigt,

sie dem Louis abendhmend.)

LOUIS Liebe Mutter!

ROSE (halb ohnmaechtig). Seht ihn doch an! Es ist ja

Loui s!

LOUIS Ja, ich bins.

HENRIETTE Wir sind's, erbarmt euch unser.

LOUTS Ich gebe mich ganz in eure Haende, braver Richard!

RICHARD Ist's moeglich? Ihr, der Sohn meines theuern, alten

Herrn? In dieser Verkleidung? (Er besieht ihn genau.) Ja,

er ist's.

DIE FRAU Gewis, er ist's! Das noch zu diesem Tage!

RICHARD Wer ist das?

70

LOUIS Meine Schwester, die ich aus dem xefaengniss rettete.

HENRIETTE Habt Mitleiden mit uns! Ueber gebt uns nicht

unsern Henkern!

RICHARD Ums Himmels willen, was soll die Furcht hier!

ROSE (zur Mutter halb laut.) Ach, er ist noch so ganz

derselbe!

LOUIS Ja, ganz derselbe! Mit Leib und Seel' derselbe! (Er

will Rosen bei der Hand fassen.)

RICHARD (der ihn bei der andern Hand leise zu sich zieht.)

Nein, ganz derselbe, der ihr ehmals meinen Kindern war't

koennt ihr nun nicht seyn. Die Zeiten sind vorueber.

LOUIS 0, lasst das, lieber Richard! Ich fordre nichts von

euch, als...

HENRIETTE (immer noch aengstlich.) Lasst uns bruederlich

theilen.

LOUIS (Rose mit Heftigkeit bei der Hand ergreifend und

festhaltend. Roeschen lass ich nicht! Sie habt ich mit

Lebensgefahr aufgesucht, sie hab' ich mir wiedergefunden.

Nur mit dem Leben koennt' ihr sie mir entreissen! Gebt mir

Roeschen und ein stueck Land dazu, das uns ernaehrt, alles

uebrige moegt ihr fuer euch behalten.

71

RICHARD (geruehrt, und mit Gewalt an sich haltend) Und die

Schwester?

LOUIS (in hoechster Bewngung). Wo i3t euer Wilhelm? Der

brave schoene Junge?

RICHARD Er ist in den Pyrenacen gegen die Spanier.

LOUIS Ficht er mit Ruhm?

RICHARD Ja, wie ein Franzose ficht.

LOUIS Gott! Und ich muss verbannt in Lumpen umherschleichen!

HENRIETTE Lieber Mann, sind wir hier auch sicher?

RICHARD Wie in eurer Mutter Schooss. Ich bitt' euch, fasst

euch und hoert mir einen Augenblick ruhig zu. (Alle, auch

die Kinder, draengen sich naeher an ihn, und formiren eine

Gruppe der hoechsten Aufmerksamkeit und Theilnahme.) Als

euer Vater sah, dass er den Nachstellungen seiner Moerder

nicht wuerde entgehen koennen, das Has von den Tigern schon

umringt war, gab er mir allerlei Papiere mit seiner Unter-

schrift und seinem Siegel, und sagte: Richard, ich

ueberlasse es deiner Treue und Klugheit, Gebrauch davon zu

machen; sorge fuer meine Kinder! So gieng er dem Tode

gelassen entgegen. (Die Ruehrung unterbricht ihn einen

Augenblick. Louis verhuellt sich das Gesicht; die Weiber

72

trocknen die Thraenen, die Kinder starren geruehrt den Vater

an. Nach einer Pause). Es gelang mir, durch Aufopferungen

eines Theils, und durch allerlei Bestechungen, einen grossen

Theil der Gueter als rechtmaessig erstandenes Eigenthum an

mich zu behalten. Als ich aber mit der guten Botschaft von

Paris zurueckkehrte, hatte euch das grausame Gesetz, das euch

fuer vogelfrei erklaerte, in die Flucht getrieben.

LOUTIS Konnt', ich meine arme huelflose Schwester dort mitten

unter den Moerdern in der bestaendigen Todesgefahr lassen?

RICHARD Ihr handeltet nach eurem Herzen, und thatet wohl

daran. Gesegnet sey die Vorsehung, die euch vereinigt uns

zufuehrt! Mit diesem Handschlag leg' ich alles wieder in

eure Haende. Ihr seid nun Herrn und Meister von diesen

Guetern, nur fuer euch bewahrt' ich alles; behaltet mich zu

eurem Paechter, und seid mir ein eben so guter Herr, als

euer Vater war, und alle meine Wuensche sind erfuellt.

LOUIS (Richard um den Hals fallend). Grossmuethiger,

treuer Freund!

HETRIETTE (die Frau umarmend). Liebe, edle Seelen.

DIE FRAU (zu beiden). Wenn ihr wuesstet, was der brave

Mann alles in den beiden Jahren um euch gelitten hat! wie

er nach euch herumgeforscht! wie er sich oft, so ganz gegen

sein Herz, aeusserlich den -uethenden Menschen gleich

73

gestellt, um im Besitz der Gueter zu bleiben, sie euch zu

erhalten, sie...

RICHARD Lass dass!

LOUIS Duerfen wir jesst die Gueter besitzen?

RICHARD Ihr seid doch nicht im Auslande gewesen?

LOUTIS Nein! Mein Herz fesselte mich an den lieben

vaterlaendischen Boden.

RICHARD Nun, dann ist alles gut. Die Schreckenzeit ist

laengst vorbei; die ehemaligen Fluechtlinge jagen jesst

wieder ihre Feinde in die Flucht. Ihr werdet gewiss

menschlicher handeln.

LOUIS 0 ich kenne das Unglueck! (Entschlossen..) Lieber

Richard, Ein Wort fuer tausend! Ich nehme nichts, nichts

von allem, was ihr mir so grossmuethig anbietet, als unter

Einer Bedingung: Nur als Mitgabe fuer ROeschen. Wilhelm,

der meiner Schwester gewiss gefallen wird, mag mit mir

theilen.

HENRIETTE (halb unwrillig). Bruder!

RICHARD Schonen Sie wenigstens Ihre Schwester; sie hat nun.

gleichen Antheil an den Guetern. Rose liebt sie, das weiss

ich lange---

74

ROSE (beschaemt). Lieber Vater!

RICHARD (fortfahrend). Und was konnt' ich ihr

Gluecklicheres wuenschen!

DIE FRAU (Rose dem Louis zufuehrend). Seid gluecklich,

wie wir es sind.

LOUIS 0, Roeschen! (sie umarmend).

ROSE Lieber, bester Louis!

RICHARD (zu Henrietten, die immer noch aengstlich thut).

Seyn S1e ohne Gorgen!

DIE FRAU Sei habents mit guten Leuten und mit einem sehr

braven Bruder zu thun. Wir kennen ihn, und liebten ihn

jederzeit wie unseen Sohn.

COLLIN (zu Louis). Nun, Herr Wachtelfaenger, hun hol' ich

ja wohl die Glaeser herbei?

LOUIS Braver Junge!

RICHARD Ja, Collin, giess ins allen ein!

COLLIN (zum Vater). Waer's nun nicht recht gut, Vater, wennder suesse Blumern wein da waere?

RICHARD Dem froehlichen Herzen ist auch dieser ein

Labetrunk.

75

LOUIS Ach, dessen wir lange entbehrten!

DIE 1RAU 0 ihr Armen!

LOUIS Mit Schaudern und Wonne denk' ich jetz der

schrecklichen Zeit.

HENRIETTE Mir wird sie lange alle Freude verbittern!

RICHARD Nicht so!

Richard und dessen Frau.Lebhaft.

Seht vvie die Ta-ge sich son nilg verk1ien blau st dei -l1i-w-nel undlLas - set uns fro*h ich die Sch pf-Ungen seh en, Got-tes Na tur t

-P

Seht wie die

Send da Land. Klag' ist ein Misston im Cho - re der 'Sf-renz- kend und, hehr! A -er auch stillen des Diirf - ti - gen Fleh - en

76

tragt denn die Sch6pfung ein Trauer- ge - wand? He-bet die 3B11 ke dieFreui den des VVohlthuns ent - ziik-en noch mehr. Lie-bet! die Lib s d

tru - be sich senken! he - - bet die Bli -ke des Sch6 -nen ist viel-schonste der Triebe, \'veiht nur der Unschuld die hei -- Ii - geGlut!FP

Tu - gesd weird sel - - ber zu Freu - den ns en is knA ber dann iebt auch mit wei - - se - '- rer Lie - - - be,

Freud' ist der VVeisheit be - Ioh - nen-des Ziel-al - - les was e - del und sch'n ist und gutVom Zeichen imChor wiederholt.

77

HENRIETTE Mancherlei Sorgen id mancherlei Schmerzenr,und Quaelen uns wahrlich aus eigener Schuld.LOUTS Hofnung ist Labsal dem wundesten Herzen,duldende staerket gelass'ne Geduld,Wenn euch die Nebel des Truebsinns umgrauen,Hebt zu den Sternen den sinkenden Muth,Heget nur maennliches, hohes Vertrauen.Guten ergeh't es am Ende doch gut.

ALLE Guten ergeh't es am Ende doch gut.

RICHARD Liebet! die Lieb ist der schoenste der Triebe,und weiht nur der Unschuld die heiligeGlutidessen Aber dann lieb't auch mit weiserer Liebe,FRAU alles was edel und schoen lst und gut.

ALLE (zium Parterre).Liebet! die Liebt ist der schoenste der Triebe,weiht t nur der Unschuld die heilige Glut!Aber dann liebt auch mit weiserer Liebe alles,was edel und schoen ist und gut.

ENDE.

APPENDIX A

LOVE AND LOYALTY

A Liederspiel

in One Act

by

Johann Friedrich Reichardt

78

79

Playing and Singing Roles

RICHARD A respectable tenant.

HIS WIE

ROSE

COLLTN Their children.

JEANN ETTE

LOUIS

HENRIETTEYoung refugees disguised as Swiss boys.

TWO HUNTER BOYS

The scene is in the country in France near the Swiss border.

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FIRST SCENE

SCENE An open place in the forest. In the middle, a pic-turesque rustic cottage, whose front side opens with largedoors which are covered with birch sticks. Gracefullytwisted paths lead unsymmetrically from both sides. Onboth sides are freely thrown clumps of blooming shrubs andflowers in full bloom.

The children are already occupied with wreathing thefacade of the cottage with garlands.

Collin is sitting on the roof of the hut.

Rose is sitting next to the cottage, busied with awreath, her lap is full of leaves and single blossoms.

Jeannette is at her side, kneeling gracefully and hand-ing flowers to her sister.

The three present a comfortably-arranged group.

R OSE How I love you, nightingales;you announce the return of fair springhere in the green halls!The very same nest,you sound abroad,remains true love's abode!And the gentle waves of true lovequicken the green forest anew.

COLLINT Everything in the branches is full of new life,and every bush lives and loves!And every blossom declares:love gives new life."Forget me not" sounds in the air;the violet breathes a sweet "ah!",the rose and sweet honeysuckle exhale,their fragrance around our dear cottage roof.

ROSE This garland in our hand swellsand to the most beautiful festival of true love:COLLIN Oh that the spring unacquainted with every sorrow,

should remain forever.Let the song of morning sound abroad,larks full of gladness;sing late, comely nightingales,the eternity of true love.

ROSE TIm running out of flowers.

COLLIN Ho hol I still lack a wreath.

ROSE Run, Jeannette, pick more jasmine and honeysuckle.

JEANNETTE (springing up) I won't bring any more roses,

though. They stick! (she goes off to the side, picking from

bushes and tendrils)

ROSE Hey, look, can't you be careful?

COLLIN No, Jeannette, leave the roses to me; that's not

something for a girl to be doing.

The music plays the melody of the following song through

once, then Collin sings:

A youth saw a little rose standing,little rose on the heath;

81

82

it was so young and morning pretty,he quickly ran to see it nearer,he looked at it with much joy.Little rose, little rose, little rose red,little rose on the heath!

The young man spoke:I'll break you offlittle rose on the heath!The little rose said:I'll prick you then,that you'll ever think of me,and I'll not suffer it.Little rose, little rose, little rose red,little rose on the heath!

And the wild youth broke the rose of the heath:the rose resisted and pricked,but no lament could help her then!She just had to suffer it.Little rose, little rose, little rose red,little rose on the heath!

(During the song, Jeannette brings flowers and again hands

them to her sister, who completes her garland.)

JEANNETTE Quiet! Something' s coming!

COLLIN If only it isn't Mother. Run, watch, Jeannette.

ROSE Didn't you tell Father that he shouldn't let her come

here?

COLLIN No! It was barely daylight when I got here. He

should see the cottage first when it's ready.

JEANNETTE (on the lookout) It's Father.

COLLIN Quick, the wreath here!

83

ROSE Right away, right away!

SECOND SCENE

Richard and those from before

RICHARD What are you doing here in the forest so early,

children?

COLLIN (calling down from the cottage) Look here, Father!

RICHARD That's what I thought! Now I'll admit it. But how

did you accomplish it?

COLLIN The forester and his comrades helped us.

RICHARD You have thought it out well. (to Rose) For this

purpose went on all your drawing these past days?

ROSE Yes, Father.

COLLIN It's true, she sketched out the hut for me. But I

staked out the paths myself, and planted them myself.

RICHARD Very good.

COLLIN Is Mother still sleeping?

RICHARD No, she's bathing the little one.

ROSE As long as she doesn't come here! How should that occur

to her! I could well suppose.

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COLLIN Didn't you tell her that we wanted to eat breakfast

in the woods today?

RICHARD Not a word. She doesn't seem to be thinking of her

birthday at all.

COLLIN All the better!

ROSEJEANNETTE (together) That's fine! Splendid!

RICHARD But now you must leave: for she's finished with the

little one; she will certainly be looking for us for breakfast.

COLLIN Everything will be in order here in a moment. (He

attaches the last wreath, which Rose hands to him.)

ROSE Father, do you want to help us with the milk and cakes?

RICHARD Gladly.

JEANNETTE Just don't forget my strawberries.

COLLIN (climbing up) We'll take care of everything. Try

this seat here meanwhile, Father.

RICHARD Certainly not up there!

COLLIN Hey, you could still make it up here. You recently

climbed higher up the tree to get the canary back for Mother.

No, inside there I have made it quite comfortable for you.

85

RICHARD Just go now, and don't forget a couple of bottles of

our yearly Rothen. On such days of rejoicing you'll all

gladly drink a glass of wine with us.

COLLIN Just what they expected, Father. Just look how

they're making wry mouths! (Confidentially) But I would like

to tell you something, Father. If you would just get a bottle

of the beautiful sweet wine out of the palace wine cellar!

RICHARD (seriously) 4hat do you know about it?

COLLIN Oh, the old forester told me recently that the wine

tasted like a thousand flowers.

JEANNETTE Yes, wine from flowers, that I'd surely like to

drink. (still more privately) Come, Father get a bottle,

surely it's spoiling.

RICHARD But Collin, do you still not understand?

COLLIN No, Father.

RICHARD Should we be able to refresh ourselves at the expense

of our unfortunate lord?

COLLIN Well he can certainly no longer drink it; they have

guillotined him.

RICHARD And should We rejoice at the cruelty of his execu-

tioners?

86

COLLT'\F don't understand, Father.

RIHARD Now surely you know that he has left children

behind?

COLLIN No one sees or hears of them any more

RICHARD (getting up briskly) Oh, they will surely turn up

again. Most assuredly.

COLLIN (looking at his sisters meaningfully) So? --- Now

for my sake, if you wouli more or less find a bottle...

RICHARD That is how every thief looks at the rich, my dear

boy!

COLLIN knd then, Father, if the children don't return at

all, then all belongs to you.

RICHIARD Do you think so? Where did you get an idea like

that?

COLLIN Hey,...You probably think "Chat because you do not

tell us of everything, Father, we don't come to know any-

thing!

RICHARD (to himself) Because one imagines to keep his house

clean!

COLLIN Isn't it true then, Father, it is all ours?

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RICHARD So there are no more relatives?

COLLIN The forester says they had all run away and are not

permitted to re-enter the country.

RICHARD So now everything belongs to the nation.

COLLIN That is beyond me. It (the nation) doesn't care

about it at all, dear Father.

RICHARD Fortunately one still has faith that --- (breaking

off quickly, to himself) Soon the youth would have lead me

astray... How? Should justice and magnanimity be so foreign

to primitive man? --- But he really doesn't understand the

whole matter! I myself hardly know how to accommodate myself

to it: whether I remain silent any longer, or sooner speak

my conscience-

ROSE (to Collin, semi-quietly) But why do you even chatter

about it? Does it make Father melancholy again?

COLLIN I don't know how Father is! To instantly become so

cross about it! Always caring only about the old dominion!

RICHARD So? don't I also care for you?

ROSE (taking his hand) Don't take him so strictly, dear

Father!

RICHARD (proceeding to Collin) Don't I gladly live to favor

you with all that is mine?

88

COLLIN Oh not always, Father! Just yesterday evening you

were quite pitiless. The poor Swiss boys! You could surely

have lodged them for the night! They pleaded so much, we

all pleaded with you about it!

RICHARD One cannot do everything for everyone. It was

enough for those boys, that we gave them the money to pay

their bill at the inn.

COLLIN Oh! the money was not what they wanted; you should

have just let them in for the night.

RICHARD Exactly that made me suspect them.

COLLIN I would gladly have taken them into my room!

RICHARD In the country, where one must protect oneself, one

must not take every stranger into his house. Moreover,

things are not yet going orderly enough again for us in the

country. Just as one was first strict to the point of

cruelty, one is now too careless again.

JEAJNNETTE Father! You could always have taken one of them;

one played the organ so delightfully, and sang, too, ah, so

well, so delicately!

RICHARD Yes, that sounds all right! Musicians who sing and

play finely are always quite fine, good people!

89

ROSE And today we could have made such good use of them,

dear Father! Mother so likes to hear something just like

that!

RICHARD She likes to hear you best of all; and if our good

hunting lads play along on their trumpets, it will be merry

enough.

COLLIN (running away) Poss Stern! Where are they?

RICHARD Have you mastered your song well?

JSETT& (together) Oh, yes, Father! Yes, of course.

RICHARD Does it go together well?

ROSE If you will sing the bass to it, it should go quite

well.

RICHARD Let's try it.

EAETTE (together) Gladly! With Pleasure.

RICHARD But quite spontaneously! and the words quite dis-

tinctly; otherwise the best song isn't worth a pretty barrell

organ.

ROSE Mother should certainly understand us.

RICHARID Where has Collin gone?

90

ROSE There he comes with the buglers.

RICHARD Now all the better, they can try it with us right

away.

COLLIN (who half conceals the hunting horn players aside

behind a clump of flowers) Here! So! and if you see her

coming, begin.

RICHARD Now begin it once for a rehearsal.

COLLINROSEJEANNETTEandRICHARD

Welcome, beautiful and joyful day,welcome to our love!That which gold and silver can't do,sweet instinct can provide!A voice does not sing of more beautiful impulse,than that which fills our hearts today:the sweet love of children.

(The horns begin to play the melody once more.)

RICHARD Very good, very good! The following verses will

also go well.

ROSE I'm not frightened of them if the first ones are out

successfully.

RICHARD It's going quite well! If only so freely when

Mother is there.

JEANNETTE Oh! if only my throat won't tighten up.

ROSE Tears come into my eyes when I think of her joy.

91

RICHARD (to himself) Good sweet children! (aloud) Now

come, let's get breakfast.

COLLIN Go ahead with the girls, Father, I want to attach

another garland here.

RICHARD So come, Jeannette (taking the little one by the

hand).

ROSE I'll follow right away, Father, I just want to place

our gifts in order.

JEANNETTE (going off) Just put my garters right at the

front!

ROSE Yes, yes! just go!

THIRD SCENE

Rose and Collin

COLLIN Don't arrange anything; I've thought of the matter

quite in another way, and it will even be fun for Father.

ROSE Let me hear!

COLLIN We'll all go into the cottage and hold the doors

closed.

ROSE We1,, and then?

92

COLLIN When Father brings Mother here, the music in the

bushes starts, and we'll hear them there inside, and come

out with our presents.---Now just do as I tell you. (He

still adorns the cottage)

ROSE Good, this time we'll follow. But Collin!... If you

would just look for the Swiss boys! It would certainly be

something newl...

COLLIN Ho! They are surely long over all the mountains.

ROSE Oh, that the lads just had to sing that dear song: "If

I were a little bird"I

COLLIN (mocking) Oh!

ROSE And the one had a voice! Such a delightful voice,

like...

COLLIN (as above) Like Monsieur Louis.

ROSE (sighing to herself) Yes!... "if I were a little bird,

and also had two wings!"...

COLLIN (as above and imitating affectedly with the hands)

"I would fly to you!?"...

RO E (not paying any attention to him) It wooed my heart so

warmly! I couldn't put it out of my mind all night!

93

COLLIN Oh! How touching!

ROSE Yes, you know a lot about it! If you had just known

Louis well.

COLEIN I remember quite well, how he put quail into snares

in our garden.

ROSE (half to herself) And when he came early in the morning

thereafter to see!

COLLIN Yes, there the poor quail didn't even make the senti-

mental Mamsell sorry.

ROSE Oh, how can you say that, Collin?

COLLIN And didn't you scold me enough, when I secretly des-

troyed the snares? Well?

ROSE That was not at all nice of you.

COLLIN To be sure! it was much nicer, if he only cared for

you, to let the poor things struggle there, and you two didn't

even look, and quite tenderly sang with one another: "If I

were a little bird, I would fly to you."

ROSE (turning aw-ay) 0 be quiet!

COLLIN Or: "It's not been long since it's rained"

ROSE Oh, that dear song! I should like to sing it day and

night.

94

COLLIN Such dumb stuff!

ROSE (half to herself) Every drop of dew on the leaves re-

minds me of the dear, tender song.

COLLIN There are enough dewdrops here, for you to sing

forever. Meanwhile, I'll get breakfast. (off, signaling

to the hunting lads to follow him.)

(The music plays the song through once)

ROSE (Sings, exiting slowly):

It's not been long since it's rained,the leaves are still dripping.Once I had a Sweetheart,I would that I had one still.

FOURTH SCENE

(The 'Hunting horns play the following song. Louis comes

sunk in thought and sings).

LOUTS In the forest I steal silent and wild,my heart will not go away from here;so gently your dear image,your sweet image floats before me.

You wander now, quietly and gentlythrough field and love's valley;and oh, do you not even imaginemy quickly subsiding image?

A man, who does not find rest or sleep,whose heart beats with the burden at homeas well as in the country.

It were, I think only of you,as though I were looking at the moon;a sweet tranquillity comes over me;I know not how it happens!

95

FIFTH SCENE

HENRIETTE (anxiously) Dear God! Brother! You can creep

around here and sing! My whole body trembles.

LOTIS left you peacefully asleep.

HENRIETTE And as I awoke...I found myself alone among

strangers...Oh, God! If they were still strangers! But one

must fear old servants, like the worst enemies!

LOUIS But you are pushing your fear too far, dear sister!

Here all fear leaves me.

HENRIETTE Exactly here every leaf frightens me.

LOUIS Everything here reminds me too clearly of the dear,

true souls with whom I spent my childhood years so happily.

HENRIETTE You always think only of your Rose.

LOUTS Henriette! Were I thinking of Rose, could your fear

then hold me back? Wouldn't I go straight to her and give

myself into her father's hands, no matter what might happen

to me?

HENRIETTE And thereby they would hand us over to the murder-

ers of our unfortunate father? Who would also murder us like

him? Hasn't everything that belonged to him been outlawed?

96

LOUP That will certainly not move our good Richard to turn

us in.

HENRIETTE It is just him that I fear the most. Did he not,

immediately after our father's death in Paris, assert before

the court that our father had sold him the property? That

everything totally belonged to him?

LOUIS He should have proven it with receipts from our

father' s hand; and we surely cannot prove otherwise. How

would that help us now? We wouldn't get it back.

HENRIETTE Therefore let us just go away, so that we should

become honourable German people: we are now near the Swiss

border.

LOUIS Just listen, Henriette, I have decided to go no farther

until I have spoken to Rose. We'll learn everything from her

as it stands, purely and clearly.

HENRIETTE That' s what I thought!

LOUIS I will try to please you once again in this disguise.

HENRIETTE Haven't you been refused enough already? Wasn't

all our pleading last night in vain?

LOUIS By day they'll surely let us in the house, or at least

into the yard. Then we'll simply sing the songs that I once

sang with the dear girl.

97

HENRIETTE No, I will surely make no sound.

LOUIS Take the organ, then (he gives it to her), and join

in when you see that it's going better than you thought.

Come, we're not far from the farm. Certainly that alone,

the fact that noble Richard still lives in his old farm dwell-

ing, encourages me.

HENRIETTE Just look at his old farm dwelling" Weren't

there other such pretty summer cottages here? Didn't other

twisted paths here lead through graceful shrubs and flowers?

LOUIS In that I recognize the hand of my Rose, who so gladly

helped me at household celebrations. Surely the fortunate

ones are celebrating just such a festival today. Perhaps even

the birthday of the good mother, who was so often a second

mother to me. If only I knew what day in the calendar today

is! I hardly know in which month we're living! Oh, uneasy

life!

HENRIETTE Yes, many long years, I imagine, since we were

lost.

LOUIS And now that we have truly reached our wished-for goal

through hunger and want, through thousands of mortal dangers,

we are near the threshold; now should we sneak by the pater-

nal stead out of cowardice, out of lowly mistrust?

98

HENRIETTE Who would think that poor unfortunate refugees

would be so fiendishly, harshly pursued!

LOUIS Surely here at such a great distance from Paris that

will diminish a great deal.

HENRIETTE And that the farmer would have remained so in

possession of everything.

LOUIS Who knows how much of all that may be true! The most

honourable people are so often the worst deceived by lying.

HENRIETTE This charming place has already said enough to me.

LOUIS So then, he may have taken everything, retained every-

thing. Surely he will give me a cottage, and I will have it

on the dear paternal ground!--Since I lost my noble father,

my heart sighs only for that!

LOUITS fhe:a, 0 Fate,when will my last wish finally be granted;just a little cottage, peaceful and rustic,only a small home of my own!And a trusted and wise friend,freedom, happiness and peace!Oh, and you! I sigh quietly;to be my companion there!

Much else I wished in vain,now just for the last time,for the days of my lifea peaceful valley.Honourable leisure in my own dwelling,and a wife full of tenderness,who as reward for loyalty,drops a violet on my grave!

99

IENRIETTE If you knew, Brother! how your unhappy song

frightens me! They will catch us anyway! Listen, people

are coming there, I beg you, for everything in the world,

come!

LOUTIS It is they themselves! Festively decorated.

HENRIETTE All hands full of platters and bottles! Do you

still not believe, unfortunate blind one?

LOUIS (barely listening to his sister) Oh, how often, how

happily I once enjoyed such domestic celebrations with them!

Had you only grown up here, as I! You also would take these

good, happy people into your heart. But you lived your

beautiful youth in a cloister, among cold, hard-hearted

people!---Can I blame you!

HENRIETTE I bid you, come! at least let us get into the

bushes here!

LOUIS By all means! But you must follow me again, when the

time seems right to me. (Both walk aside the cottage into

the thicket opposite the places of the horn players; only

half-concealed to the audience.)

SIXTH SCENE

Collin at the front, with a large cake. In its middle, a full

bouquet of flowers; both sisters follow with pretty, green

100

and white-wreathed baskets full of fresh and dried fruits,

then the hunting lads with fine bronze milk pans and some

wine bottles.

COLLIN Is that everything?

THE OTHERS Yes, certainly, of course!

TEANNETTE But I couldn't carry any farther.

COLLIN And now we're here. Just bring everything inside.

(He opens the cottage doors; gradually they set everything

on the rustic table, which is sheathed with birch bark.

Collin wants immediate order and calls out.) Keep on hand-

ing things to me!

ROSE Leave that to me: I want to put everything neatly in

order.

LOUIS (in concealment to his sister) See, that is she, dear

Rose.

(His sister puts her hand over his mouth.)

COLLT N I like best to have the colors mixed among each other.

LOUIS (as above) Still the impudent boy. (with jealous un-

easiness.) But who may the other handsome youths be? I

tremble!

HENRIETTE (softly) God knows, I too!

101

ROSE Oh with your dried fruits!

COLLIN What? Did I not pick them myself? dry them myself?

save them for today?

ROSE There is never enough room.

COLLIN Just quite close to one another. A joyous table can

never be too full!

ROSE But it must look pretty!

COLLIN I think, as long as it tastes (pretty). The bottles

have to go on the table, too. If we had a little while to

rejoice among ourselves undisturbed, as Father would like

best, then I'd call the good old forester; he would eat with

Father with relish: and I could use his boys in the ball

game.

ROSE Quiet! I think they're coming. (To the hunting lads)

Away, into the wood!

COLLIN (half softly) Away, comrades, into the wood. (He

hides them, as at the beginning, opposite those already con-

cealed.) Everyone inside! I will close up, then you can

still push and pull until you have paired everything off.

LOUIS (wanting to come out) Oh, I can hold myself no longer!

HENRIETTE (holding him back) For heaven's sake, Brother!

102

LOTJIS (very restless) I must at least know who the lads are

there.

HENRIETTE Just look, there come the others.

LOUTIS Oh excruciating uncertainty! Thy do the fellows con-

ceal themselves at the arrival of the parents.

SEVENTH SCENE

Richard and his wife come singing from the distance.

RI CHARDandWIFE

0 blessed is he who loves!The forest sounds to him,the meadow inspires him,all enlivened nature loves him.O blessed is he who loves.

O blessed is he who loves!In loving children,in affectionate friendshe feels united with heaven and earth.O blessed is he who loves!

THE W1E Oh, you dear people! how you knew to beautify this

lovely spot anew!

RICHARD Yes, it will remain so as long as we live, my dear

wife! Today must leave its own beautiful mark on every year.

WIFE Is today my birthday, then?

RICHARD As you can see.

WIFE I didn't think about it at all. (The hunting horns be-

gin to play.) And the dear hunting horns here in the wood!

103

(Looking around, she perceives the cottage.) Oh, the lovely

cottage !

RICHARD Collin' s work!

WIFE Wthere is the dear boy? Where are all the children?

EITIH T1SCENE

The cottage is opened, and the children come out with their

little presents, ribbons and veils in their hands, and sing.

The Father joins them.

Welcome, beautiful and joyful day,welcome to our lovelyThat which gold and silver can't do,Sweet instinct can provide!A voice does not sing of more beautiful impulse,than that which fills our hearts today:the sweet love of children.

Certainly mother-love is beautiful!we see your look;nothing more beautiful can the sun see---than this day's delight.Oh, that it should come ever againand always take us into its arms of love,What could make us happier!

(Approaching the mother, handing her the small gifts)

Receive the symbol of love here,of children's true love!We bring you no treasures;the desires of the purest heart.And these veils, this ribbon,woven by a loving hand,give you pleasure, loved onel

104

THE WIFE Oh, you dear, good children. (She embraces Rose,

and gives her hand to Collin, Jeannette holds fast to the

other hand, with which she momentarily holds Rose.) How my

heart thanks you!

ROSE Dear Mother!

JEANNETTE The best mother!

COLiIN ( ho looks at his mother fixedly with fond eyes)

Mother! Now into the cottage Sit with Father, in the

middle, Mother.

W-IFE Dearest cottage! (Going into the cottage and sitting,

the Father sits next to Mother, Rose next to him, Collin next

to her at the corner.)

JEANNE1TTE (sitting next to Mother) I have to sit by Mother.

WIFE Come, my child! What excellent strawberries!

TEANWETTE Eat them first, Mother, I picked almost all of

them alone.

RICHARD (places the strawberries before his wife) Everyone

take what he wants.

(The hunting horns play the song: "If I were a little bird")

RICHARD That won't do; surely they can play a happier tune.

105

COLLIN To be certain the sentimental Mamsell ordered it;

since yesterday evening, she thinks of nothing but that song.

ROSE ThatIs just the one they play the best.

LOUTIS (to his sister) Let's sing the song!

HENRIETTE If only I could! All my limbs are trembling.

LOUIS Still? Just look, and take heart. (They sing, softly

at first, then louder and louder.)

HENRIETTEandLOUT S

If I were a little bird,and I had two wings,I'd fly to you;But because that cannot be,I always shall stay here.

There passes no hour in the night,without my heart staying awake!And thinks about you!How you a thousand timesgave your heart to me.

(In the summer house one after another notices and becomes

progressively attentive.)

ROSE (who wants to spring up) Oh, there are the dear Swiss

boys again!

COLLIN (who does not let her through) Just stay seated:

I'll call them here.

RICHARD No, always leave them somewhat in the distance: it

sounds the more charming. But have them sing a merrier tune.

106

WT3'E Be sure to give them cake and fruit.

COLLIN That they shall have abundantly. (he takes both

hands full)

ROSE I want to help you.

COLLIN Not at all necessary.

RICHARD You had better stay here, my child, the joyous

table shouldn't so quickly become empty again.

COLLIN (to the strangers, who have approached a little, but

not into the open.) There, it's good that you're here again.

LOUIS We're glad too.

COLLIN There, take these. It shall go better for you today

than yesterday evening.

HEN-RIETTE We hope so.

LOUIS (looking at him significantly) Do you know us yet?

COLLIN You were there yesterday with the same tune. But now

sing something happier.

HENRIETTE Oh, we have forgotten all the happy songs.

LOUIS What kind of celebration are you having?

COLLIN It is Mother's birthday.

107

LOUTIS Your dear mother?

COLLIN So sing as happily as you can.

LOUIS (to his sister) Let's sing: "Joys and sorrows, how

do you change so?"

COLLIN Good, good, then we can all joi in.

LOUIS That would be nice: You can sing the happy part out,

we will sing the sad. (Taking his sister by the hand.)

Come.

COLLIN No, just stay here. Father likes it so from the

distance.

LOUIS Oh, always from a distance.

COLLIN (returning to the cottage) Well, not always! After

this you can come sit with us. (to the others in the cottage)

They want to sing "Joys and Sorrows." We'll sing the chorus.

LOUTS She has vanished from my sight,shall I see her again?

THE CHORUS She has vanished from you to good fortune,in the you will see her again,Cottage

LOUIS Joys and sorrows,and how do you change so?HENRIETTE

108

CHORUS The Joys change to soften the sorrows,be happy, be happy!

LOUIS Often I will turn my glance:why is she not here?

CHORUS The grove calls back to you:she is returning anew to you.

LOUIS Joys and sorrows,and how do you change so?HENRIETTE

CHORUS The Joys change to soften the sorrows,be happy, be happy!

ROSE (very animated to Collin) Dear Collin! The good lads

sing all our beautiful songs.

RICHARD I would rather that they sing something happier.

COLLIN (standing halfway out of the cottage) Something

happier, boys!

LOUIS (To Henriette) (coming somewhat closer) Let's sing

the song of hope, they can do it too. Oh, should she not

recognize my voice in all the songs! Can't you see who sits

on the other side of Rose?

HENRIETTE No, not Just keep yourself off to the side here.

COLLTIN (calling out of the cottage) Well, will you?

LOUIS Please, begin!

109

HENRIETTE Hope, hope, always green!and When a poor man lacks everything,LOUIS all gives way, all torments him,

you, 0 Hope, restore him.

CHORUS Hope, hope, forever green!When a poor man lacks everything,all gives way, all torments him,you, 0 Hope, restore him.

LOUIL[S Luck may rob you of everything,friends, joys, dignity, possessions;but all Fate's puffing is in vain,if Hope treats us with friendship.

CHORUS Hope, hope, forever green!When a poor man lacks everything,all gives way, all torments him,you, 0 Hope, restore him.

LOUIS If the tree of life should wither,the last bloom wants to flee;the consoler goes to the sick,and shows him that the root is still green.

ALL Hope, hope, forever green!When a poor man lacks everything,all gives way, all torments him,you, 0 Hope, restore him.

ROSE (aside to Collin) That song, too! That delightful

sc)ng! I can't endure it much longer.

RICHARD Give the good singers a glass of wine. The singers

certainly are expert at it.

COLLIN Oh, one for each. (he pours two glasses completely

full)

110

ROSE Let me take one!

COLLIN Cantt you just sit there quietly?

qLIFE (to Collin) Just let her, Collin; she gives as gladly

as you. (Rose takes a filled glass, but shakes so that she

spills the wine...)

COLLIN Just look how she starts, she spilling the wine.

(He takes her glass away.) She may take the fruits. (They

both go to the Swiss youths, meanwhile, the father drinks

one.)

LOUIS (who walks up to meet Rose) Dear Rose!... Oh, finally

once!...

ROSE "od! Louis, dear Louis' (She wants to faint, Louis

catches her, and holds her with his right arm around her.)

COLLIN (giving the glass to Henriette and turning around)

14hat' s that?...Rose! Father! Mother ---

RICHARD (bursting out of the cottage with the others)

What's going on? (to Louis) Boy, are you crazy?

WIFE Oh, my heavens! Dear Rose! (busy with Rose, taking

her from Louis.)

LOUI5 Dear Mother !

111

ROSE (half unconscious) Look at him! It's Louis!

LOUIS Yes, I am.

HENRIETTE We are they, have pity upon us.

LOUIS I give myself completely into your hands, good

Richard!

RICHARD Is it possible? You, the son of my beloved old

Lord? In this costume? (He inspects him closely.) Yes, it

is!

WIFE Certainly, it is! Still to this day!

RICHARD Who is that?

LOUIS My sister, whom I rescued from prison.

HENRIETTE Have sympathy for us! Do not turn us over to our

executioners!

RICHARD For heaven's sake, what do you have to fear here?!

ROSE (half aloud to Mother) Oh, he is still completely the

same! (He wants to take Rose's hand.)

RICHARD (who gently pulls him to himself by the other hand)

No, completely the same, who once were my children, you

could not be. Those times are past.

112

LOUIS Oh, forget that, dear Richard! I request nothing of

you, except...

HENRIETTE (more and more anxiously) Let us part fraternally.

LOUIS (Taking Rose violently by the hand and holding her

fast) I won't leave little Rose! I have searched her out at

the risk of my life, and I have found her again. Only with

my life could you tear her away from me! Give me little Rose

and a piece of land, which could support us; everything else

you may keep for yourselves.

RICHARD (touched, and controlling himself with difficulty)

and your sister?

LOUIS (highly agitated) Where is your Wilhelm? The fine

handsome youth?

RICHARD He is in the Pyrenees, against the Spaniards.

LOUIS Does he fight with honour?

RICHARD Yes, like a Frenchman fights.

LOUIS God! And I must sneak around like a scoundrel!

HENRIETTE My dear man, are we safe here?

RICHARD As in your mother's lap. I bid you, compose your-

selves and listen to me calmly for a moment. (Everyone,

113

including the children, come closer to him, and form a highly

attentive and interested group.) When your father saw that

he would not be able to avoid the persecutions of his murder-

ers, and that the house was surrounded by tigers, he gave me

all kinds of papers with his signature and seal, and said:

Richard, I leave it up to your loyalty and intelligence to

make use of these; care for my children! Thus he calmly met

his death. (His emotion causes him to break off for a moment.

Louis covers his face; the women dry their eyes, the children

stare at the father, touched. After a pause:) I succeeded

by sacrificing a part and by all sorts of bribes to retain

a great portion of the estate as lawfully purchased property.

But when I returned from Paris with the good news, the cruel

law which outlawed you had forced you to flee.

LOUTIS Could I have left my poor, helpless sister there in

the midst of those murderers in constant mortal danger?

RICHARD You acted according to your heart, and you did well.

Blessed be the providence that leads you united to us! With

this handshake I leave everything in your hands again. You

are now lord and master of this property, I preserved every-

thing only for you; retain me at your farm, and be as good

a lord as your father was, and all my wishes are fulfilled.

LOU.IS (embracing Richard) Generous, loyal friend!

114

HENRIETTE (embracing Richard's wife) Dear, honourable

souls.

WIFE (to both) If you cnew what the good man had suffered

for you in these two years! How he searched for you! How

often he outwardly set himself against the raving people, so

contrary to his heart, in order to remain in possession of

the property, to save it for you, to...

RICHARD Let it be!

LOUIS May we now possess the estate?

RICHARD You have not been in foreign countries, have you?

LOUIS No! My heart bound me to the dear fatherland's soil.

RICHARD Well, then, everything is all right. The time of

terror has long since passed; the former fugitives once a-

gain put their enemies to flight. You will certainly handle

them more humanely.

LOUIS Oh, I know the misfortune! (resolved) Dear Richard,

one word for a thousand! I shall take nothing, nothing of

all which you go generously offer me, only under one condi-

tion: only as a dowry for little Rose. Wilhelm, who will

surely please my sister, may divide with me.

HENRIETTE (half reluctantly) Brother!

115

RICHARD At least spare your sister; she now has an equal

share of the property. Rose loves you, I have known that

for a long time...

ROSE (ashamed) Dear Father!

RICHARD (continuing) And what more happiness could I wish

you?!

'WIFE (leading Rose to Louis) Be happy as we are.

LOTTIS 0, Rosie? (embracing her)

ROSE Dear, good Louis?

RICHARD (to Henriette, who still acts anxiously) Dontt

worry!

WIFE You are dealing with good people and a very good

brother. We know him, and always loved him as our son.

COLLIFN (to Louis) Now, Lord Quailcatcher, now shall I fetch

the glasses here?

LOUIS Good boy!

RICHARD Yes, Collin, pour us all one!

COLLTN (to his father) Wouldn't it be good, if the sweet

flower wine were there?

116

RICHARD This also is a refreshment to the joyful heart.

LOUIS Oh, which we have done without for so long?

WIFE Oh, you poor ones!

LOUIS With horror and delight I now think of the terrible

time.

HENRIETTE For me all joys long ago became bitter.

RIHAIRD

RIHARDandWIFE

ALL

Not so!

Behold, how the day has sunnily transformed itself,the heavens are blue and the land is greening.Lamentation is a discord in the chorus of thesphe: es:for does Creation wear mourning?Lift your eyes: there is much that is beautiful;virtue will guide us to joy.Joy is the rewarding goal of wisdom.

Joy is the rewarding goal of wisdom.

HEtnRIETTE Various cares and various sorrows torment usand in truth from our own guilt.LOUIS Hope is the tonic of the most wounded heart,

enduring strengthens calm patience.When the clouds of sadness surround youwith gray, lift your sinking courage to the stars,cherish only manly, noble trust.At the end, good will surely come of the good.

ALL

HENRIETTEROSEandLOUIS

Good will surely come of the good.

Let us see creation joyously,God's nature is delightful and sublime!But also satisfy the prayers of the needy,the joys of good deeds enchant still more.

Lovely Love is the most beautiful inclination,the holy passion blesses only the innocent!But love with a wise love,all which is noble and beautiful and good.

(to the pit of the theatre)Love! Love is the most beautiful inclination,the holy passion blesses only the innocent!But love with a wise love,all which is noble and beautiful and good.

Ende.

117

RICHARDandIJlFE

ALL

APPENDIX B

A TREATISE ON THE LIEDERSPIE

Written by Johann Friedrich Reichardt. To the staff of

the Algemeine Musiali~sheQZeituga, 1801.

As early as last winter you wanted me to tell you some-

thing definite about the genre of the play with singing that

I hare called Liederspiel, of which my first attempt was with

the little play Lebe mid Treue. At that time it had been

favorably received in Berlin. Since then it has become wide-

ly known. You also wanted to know what my intentions were

concerning this genre. However, a large number of now-

published works for the Berlin theaters have prevented me

from giving you an explanation, which my rural muse now in-

vites myself to communicate.

I was sorry to see how the German opera public took

more and more pleasure in neck-breaking difficulties and

deafening noise. The most agreeable songs, which alone can

exert influence on the song education of the great public

and its enjoyment of life, I often saw being sung unobserved.

The simple, touching, significant delivery of songs by sensi-

tive men and women singers often went without participation,

at least without audible signs of participation. This alone

118

119

can inform the singers of the lack of participation. How-

ever, as soon as high and low notes, sung with all one's

strength, were gurgled forth rapidly one after the other,

there was no end to the clapping and shouts of applause.

The German public does not seem to have even formed the con-

cept that the only real and great difficulty in art is in

the fact that whatever is brought forth, must be pure and

perfect. Undertaken at random, nothing is difficult, and

what seems difficult usually becomes more successful than the

simple and significant.

It is only natural that young beginning talents that

have more than one reason to seek the approval of the public

are thus given the wrong direction from the beginning. Also,

it is only too natural that they ustUally rise above all tho-

rough schooling in art when they become aware that what is

showy in art, at least insofar as it is necessary for moti-

vating an ignorant Sunday public, is far easier to attain

than what is significant and touching. Thus they begin with

badly-delivered bravura arias, and often end doing no better.

In this way, the voice, which is mostly left to itself,

never reaches maturity. It is ruined all the more readily

by the fashionable mad carrying-on with a roaring orchestral

accompaniment that forces the singer into strained shrieking,

so that he may be heard somewhat. In some of the latest

operas, in which the singing voices may often be left out

120

entirely, without harm to the scenes, one may wish that the

singers would use a trick to maintain their voices that an

old French operatic singer once used to feign the survival

of his lost voice. It is said that in the earlier days,

when all French operatic singing still consisted of uncouth

shrieking, there was an old opera singer. His strong voice

was very popular, and he often urged the orchestra to use

their loudest fortissimo, in order to show all the more em-

phatically the full strength of his voice. When the singer

lost his voice, he continued to play his parts at the opera

a while longer. In the main songs, in which the public was

accustomed to applaud the strength of his voice, he is said

to have stood there open-mouthed and to have been able to

keep the public believing that he could still be heard as

usual through the roaring orchestra.

After a duet in one of the more recent operas, in which

the singing voices, with all their efforts, had hardly been

able to scream over the roar of the orchestra, an artist and

friend of true song said, quite agitated: "Now, by God,

there is nothing left except that in a tragic, passionate

duet, a woman singer climbs on one gendarme tower and the man

on the other, and for a battery of cannon between the two to

accompany."

All these things, which might give abundant material to

a new Salvator Rosa, left me more and more offended and in-

dignant. I saw that a large part of the theatrical public

121

suffered because of these things, but almost always strove

to give the parterre a better direction through its better

voice. That gave me the idea of trying a small song-like

piece, whose entire character aimed only at one pleasant

impression. I wanted to see if the theatrical public could

be interested again in the simple and merely agreeable. I

sought a subject and found one in a small piece that I had

composed several years earlier for a quite different purpose;

a domestic festival in my own family. I had intentionally

placed in it songs by Goethe, Herder and Salis and some folk-

songs that were all favorites at home that everyone could

sing. They were sufficiently supported by a small instru-

mental accompaniment. These songs were also familiar to the

public. Such well-knowm song melodies also have a pleasant

effect on a larger public when they are delivered in the

theater, in an intriguing situation, by good singers, and

supported by an agreeable instrumental accompaniment. This

I have experienced more than once, and just now through my

own song in the Geisterinsel. Many years ago, when Gotter

showed me his first draft of the Geisterinsel and read the

first samples of it aloud in Gotha, I wrote the song "Ach was

ist die Liebe" at a joyful meal, using pencil under the text.

When after twelve years it had become known and popular, I

had no reason, in the presentation of the whole opera, to re-

gret that I had retained that melody by revising it. It made

122

a factor in the opera that was most readily and most gener-

ally appreciated. That the little piece was really of a

sentimental nature, did not make me keep it from the German

public. In earlier years, I had delighted in many a witty

and satirical vaudeville in Paris. The idea came to me to

transplant the agreeable, entertaining genre to German soil.

I became only too aware that we could not at all have the

real French vaudeville, the soul of which is wit and satire,

because we have no witty and satirical songs that 'are gener-

ally sung and appreciated. Also, even if we had poets with

wit and knowledge of the world enough to revise this light,

loose genre with success, our broad public would surely not

have a mind or a taste for it.

Our songs consist mainly of sensitive love songs and

drinking songs. At this time, however, I was only concerned

with making an agreeable impression, so I stuck to the former.

I called the piece Liedersfjel, because song and nothing

but song constituted the musical content of the piece, and I

wished to make sure that the public would not expect anything

more. Without intending a proper Germaniziag of the word

"vaudeville" (of which the French themselves have very vari-

ous and in part very far-fetched explanations), the real

character of the vaudeville play is still expressed. Calme,

indeed, has been glad to include the term in his new list of

Germanizations of foreign words.

123

I gave Herr Direktor Ifland the little Liederspi&l,

Liebeundreue, and he had enough confidence in me to dare

the attempt. Forced by an indisposition to remain in his

room, he entrusted me with the arrangements for the whole

performance. Convinced as I was that the greatest care and

harmony are required for such small tender pieces if they

are to have the full effect, no effort was spared in rehears-

ing. It was not difficult to cast the little piece quite

well. The men and women singers very readily accepted my

wish that they should retain the highest simplicity in song.

Herr Eunecke distinguished himself more than ever to his ad-

vantage in the most simple, expressive delivery of the little

song "Wenn, o Schicksal." Madame Eunecke, the Misses Hamel

and Moebus were everything in voice and delivery that they

should have been. Madame Unzelmann, whose endearing naive

acting in the roll of Collin gave life to the whole piece,

sang the little Goethe song "Sah ei Kn ab' ein Roslein stehn"

with unexcellable endearingness.

In the orchestral accompaniment I had made it my duty to

observe the most appropriate purposefulness for every single

song. A song like Goethe's "Jagersnachtlied" was accompanied

by only two Waldhorns; others by a pair of flutes or clarinets

with the soft bass accompaniment of a bassoon, etc. The

strings were used only when it was a matter of motion, and

then only in quartet style. Instead of an overture, the

124

winds played only an agreeable well-nown song melody,

whose values, even when striking to the hearers, were not

without reference to the piece to follow. The orchestra,

too, carried out my idea exactly as desired. A small,

agreeably rustic setting was arranged with Herr Verona simi-

lar to the first festival idea. With this number of partici-

pating spectators found themselves transferred to a romantic,

woodland garden scene, which stirred up many agreeable remi-

niscences.

The success of this small composition, aimed only at an

agreeable impression, exceeded all expectations. One saw the

Berlin public carried away, and heard it applaud louder.

Several Berlin papers then gave detailed reports of the first

performances of this trifle. It was enough for me that the

little songs and the simple delivery of the singers were

generally applauded; but the gentle character of the whole

*I have learned that some German theaters have performed

this little piece without getting the music from me. If they

did not receive it by some means, it was probably set by some-

one for the orchestra from the songs marked in the piano ex-

cerpts. Like the little piece itself, these can also be

obtained from Unger. I suppose that I should not assume that

another person would completely agree to my ideas; but I know

from experience how much the above-described treatment of the

orchestral accompaniment has contributed to the effect of the

whole work. It would be appreciated if theatrical or private

companies who would like to perform this work, would apply to

me directly. I shall be happy to adjust the conditions for

the deliverAnce of the score to the position and intention of

each one. I take advantage of this opportunity to express

the same desire for my latest work of this kind, ery undBaetely by Goethe, which has been performed with as much suc-

cess and skill. The piano excerpts of this work are nowbeing printed.

The Author

125

was umistakably beneficent to the public. If they had de-

nounced the play at the end, I still would have attained my

purpose. The little play was often given and is still often

repeated--always with the same success. In Dessau, Leipzig,

Breslau, Magdeburg, as I hear, it has not failed in its

effect.

Only a few voices expressed the wish that there might

also be somewhat merrier singing in the play. This little

sentimental piece could not endure it at all unless the whole

character were to be destroyed.

My opinion, however, was by no means that this little

genre was to restrict itself to the sentimental (we have only

too much of that in our theater). So it was all the more

welcome to me that the theater staff demanded of me a new

piece of this kind, as soon as possible, and to make use of

the occasion to attempt the comic as well. The first use of

this was to be made on a military occasion. Thus I chose a

patriotic-military anecdote. This gave rise to all sorts of

things of a comic character. From some merry soldier songs,

which ended in Juchhev, I took the title Juche_, to indicate

at once that nothing sentimental was to be expected. The

staff, which had many things to consider, which the author

did not feel was necessary, believed, however, that it had to

change that low-comedy title to one more decent, and called

the piece Der Jubel_. A large part of the public, only too

126

much taken with the first sentimental piece, therefore ex-

pected something sentimental again and thus the applause,

though expressed loud enough at the different performances,

remained less decisive than for the first piece. I attended

neither a rehearsal nor a performance, because it took place

in the summer, so I can thus say nothing of the execution

and the effect. My friend, Ifland, wrote me and said that

the comic piece had found its public, which liked it quite

well as a rustic merry painting in the Dutch taste. However,

the applause shown still moved me to ask for its return, so

that I might take it out again after some time and give it

the perfection of which it may be capable. Also, because of

the haste with which it was demanded of me, I could not even

give according to my own talents. Therefore, I have not

seen fit to give it to any of the foreign theaters who de-

manded it from me after the Berlin performances.

Last winter Herr Kapellmeister Himmel together with

Herr Herkloz also brought a sentimental Liederspiel to the

theater, in which some of his most beautiful songs, like

Heber' s "Dear youth" and a "Punch song" had a general ef-

fect. Most of the songs, however, were not naturally

enough brought in and the piece seemed to be composed of a

previously-selected number of songs. Through a very rich

orchestral accompaniment Herr Himmel had also almost turned

his riewest songs into arias and thereby acted quite contrary

127

to my intention in introducing the little genre. On the

whole, however, the piece met with approval. It was also

seen at this attempt that the public would gladly take an

interest in this pleasant genre.

Just recently I brought Goethe' s little Singspjiel,

Jer und Baetely, into the Berlin theater with success. The

first part of this most darling little piece may also be

treated song-wise, and I succeeded in using without forcing

some French and Swiss folk tunes for the artless Goethean

verses. If Goethe, who often looks only too unkindly on

the earlier products of his genius, could have been moved

to revise the second part, (which has too rich an operetta

form for the endearing rustic subject, when compared to the

first part), then the whole work could have been treated in

the sense of the Liederspiel. In my conviction, it would

have gained as a work of art; even though the last more

carefully executed songs may be the most applauded every-

where.

I hope soon to be able to inform you of a new attempt

for the Liedersi and of its success.

Giebichenstein, June 26, 1801.

BIBLIOGRAPHY

Books

Boyden, David Dodge, Ai Introduction to Music, New York,Alfred A. Knopf and Company, 1970.

Grout, Donald Jay, A Histor of Western Music, New York,W. W. Norton and Co., Inc., 1973.

Grout, Donald Jay, A Short Hist of qyera, New York,Columbia University Press, 1967

Heger, Theodore E., Music of the Classical Period, Dubuque,William C. Brown Company Publishers, 1969.

Lang, Paul Henry, Music in Western Civilization, New York,W. W. Norton and Co., Inc., 1941.

Riedel, Johannes, Musicof the Romantic Period, Dubuque,Brown Company Publishers, 1969.

Salmen, Walter, Johann Friedrich Reichardt, Frieburg, AtlantisVerlag, 1963.

Stein, Jack Madison, Poem and Music in the German Lied fromGluck to goo Wolfe, Massachusetts, Harvard UniversityPress, 1971.

Ulrich, Holmer, A History of Music and Musical tyle, NewYork, Harcourt, Brace and World, Inc., 1963.

Yorke-Long, Alan Music at Court, London, Weidenfeld andNicolson, 195 .

Articles

Reichardt, Johann Friedrich, "Etwas ueber das Liederspiel,"Allgemeine Musikalishe Zeitun~g, XLIII, (1801), 709-717.

Encyclopedia Articles

Chouquet, Gustave, "Vaudeville," Grove's Dictionarv of Musicand Musicians, 5th ed., edit~edbyEri ~Blom, London,M~ cmillan, 1 954-61.

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129

Maczewsky, A., "Reichardt Johann Friedrich," Grove's

Dictionary of Music and Musicians, 5th edjedited by

Eric Blom, cndon, Macmillan,719- 6 1.

"J. F. Reichardt," A Dictionary of usicins from theEarliest Times~, edited by John S. Sainsbury, New York,

Da Capo Press, 1966.

"Reichardt, Johann," Die Musikii i eshiht_ d Ge enwart,edited by F. Blume, Kassel and Basel, Baerenreiter-Verlag, 1949-1968.

Unpublished Materials

Kraus, Ludwig, tDas Liederspiel in den Jahren 1800 bis 1830,"

unpublished doctoral dissertation, University of Halle,

Halle, East Germany, 1921 .

Scores

Lieder aus dem Liederspiel Leb e und Treue, Strasbourg, 1804.

Reichardt, Johann, Liebe und Treue Ein Liederspiel in Einem

A ., Berlin~,~Johann Friedrich Unger, 1- -.