RWA Online Encyclopedia II – Songs and Choral Works WoO VII/41

In der Frühe WoO VII/41

for hohe Singstimme und Klavier

Content
Creation
Komponiert in Leipzig, 19. Juli 1907
Status
–
Dedication
–
Performance medium
High voice;
Work collection
  • -
Original work
  • -
Versions
  • -

1.

Reger-Werkausgabe Bd. II/5: Lieder V, S. 92–94.
Herausgeber Knud Breyer und Stefan König.
Unter Mitarbeit von Christopher Grafschmidt und Claudia Seidl.
Verlag Carus-Verlag, Stuttgart; Verlagsnummer: CV 52.812.
Erscheinungsdatum Oktober 2024.
Notensatz Carus-Verlag, Stuttgart.
Copyright 2024 by Carus-Verlag, Stuttgart and Max-Reger-Institut, Karlsruhe – CV 52.812.
Vervielfältigungen jeglicher Art sind gesetzlich verboten. / Any unauthorized reproduction is prohibited by law.
Alle Rechte vorbehalten. / All rights reserved.
ISMN M-007-33910-4
ISBN 978-3-89948-463-2.

Werk
Category
Text template
First edition

Eduard Mörike: In der Frühe, in: id.: Gedichte, Verlag der J. G. Cotta’schen Buchhandlung, Stuttgart and Tübingen 1838, p. 45.

Template edition

[Possibly] Eduard Mörike: In der Frühe, in: Hugo Wolf: Gedichte von Eduard Mörike, Em. Wetzler, Wien 1889, p. 83–84.

Copy shown in RWA: DE, Karlsruhe, Max-Reger-Institut/Elsa-Reger-Stiftung.

Annotations

Note: Reger hatte von Wolfs Mörike-Liedern vier für Singstimme und Orgel (1902/03) und zwölf für Klavier (1904) übertragen (RWV Wolf-B2 bzw. Wolf-B6), wenngleich nicht In der Frühe.

Note: Ebenso in der von Reger oft zur Textsuche genutzten Anthologie Die Ernte aus acht Jahrhunderten deutscher Lyrik, gesammelt von Will Vesper, Düsseldorf und Leipzig, Langewiesche- Brandt, 1906, S. 329.

1. Composition and Publication

Reger made a clean copy of his song “In der Frühe” (“In the morning”) WoO VII/41 on 19 July 1907 in Leipzig. He wrote it for the Autographen-Album in Liedern Moderner Meister (“Autograph album in songs of modern masters”) that was published that same year by Rob. Forberg,1 76 the same publisher who had supported the young Reger a few years earlier by publishing his works for piano and organ.2 This bibliophile album contains twelve song manuscripts in facsimile, with portraits of the authors and the texts printed in German, English and French. Forberg mostly drew on manuscripts of songs that he already published, though Reger, Felix Draeseke and Engelbert Humperdinck provided new compositions.3 In 1908, Reger’s song was also published as a separate edition for both high voice (the original version) and low voice.4

“In der Frühe”, to a poem by Eduard Mörike, was the third and last time that Reger set a text to music that had already been composed by Hugo Wolf.5 Reger had been campaigning to get Wolf’s works better known, through writing about them and by making arrangements and editions of them, such as his transcriptions of four of Wolf’s Mörike songs for voice and organ (1902/03) and of twelve for piano solo (1904).6 Given certain structural parallels between their respective settings of “In der Frühe”, we may assume that Reger referred back to Wolf when composing his own.7

2.

Translation by Chris Walton.

1
Autographen-Album in Liedern Moderner Meister, Leipzig 1907. – The original manuscript is lost today.
2
Six Morceaux op. 24 and Sieben Fantasiestücke for piano op. 26 and the Choralphantasie “Ein feste Burg ist unser Gott” op. 27 and the Phantasie und Fuge c-moll op. 29 for organ (all published in 1899).
3
The songs “Wunder” WoO 34 by Felix Draeseke and “Weihnachtsfreude” by Engelbert Humperdinck were composed in June and July 1907 respectively. – The other songs published in this album ranged from relatively recent works such as “Aus dem Takt” by Max Schillings from his Four Songs after Gustav Falke op. 19 (1904) to less recent compositions such as “Befreit” by Richard Strauss from his Five Songs op. 39 (1898) and “Sehet, welche Liebe” from the Six Religious Songs op. 157 (1885) by Josef Rheinberger, who had died in 1901.
4
See the advertisements for new works in Hofmeisters Musikalisch-literarischer Monatsbericht über neue Musikalien, musikalische Schriften und Abbildungen, vol. 79, no. 9 (September 1908), p. 251.
5
No. 24 of Wolf’s Gedichte von Eduard Mörike HWW 119 of 1888. – The other settings by both composers were of “Begegnung” op. 62 no. 13 and “Der König bei der Krönung” op. 70 no. 2).
6
Hugo Wolf, Geistliche Lieder nach Gedichten von Eduard Mörike, arranged for voice and organ (RWV Wolf-B2) and Hugo Wolf, Lieder nach Gedichten von Eduard Mörike, arranged for piano (RWV Wolf-B6).
7
In her comparative analysis of both songs, Anne Holzmüller writes that Reger’s “In der Frühe” was “composed in parallel to Wolf’s setting in many aspects – motivically, harmonically and formally – though he overall deals far more freely with the linguistic structure of the poem than does Wolf, seeking out the extremes of musical depiction more boldly”. (Anne Holzmüller, “Sprache, Klang und Ausdruck im Lied um 1900. Eduard Mörike’s In der Frühe bei Hugo Wolf und Max Reger”, in Ästhetik der Innerlichkeit. Max Reger und das Lied um 1900 [conference report, Vienna, 2016], ed. Stefan Gasch, Vienna 2018 [= Wiener Veröffentlichungen zur Musikwissenschaft, vol. 48], pp. 57–84; here p. 74).

1. Reception

Reger accompanied the world premiere of “In der Frühe” from the proofs on the occasion of a recital of his songs that he gave with Anna Erler-Schnaudt and Paul Aron in Munich on 10 October 1907 (see above regarding op. 104. The critic of the Münchner Neueste Nachrichten was harshly critical of the song, counting it among Reger’s “barely comprehensible blunders [...] that can only be explained away because Reger is a kind of ‘absolute musician’ who on occasion uses the poem he is supposed to interpret in such a way that it degenerates into a mere pretext for making music. On the other hand, he also sometimes goes so far in his detailed mu- sical illustration of it that one could almost speak of an interlinear translation of the poet’s words into music”1 .

In contrast to his other occasional works for voice to which he gave no opus number, Reger included “In der Frühe” WoO VII/41 on his concert programmes several times in around 1910. Singers including Gertrud Fischer-Maretzki and Erica Hehemann also took it into their repertoire. In their recitals, they were always accompa- nied by Reger himself.

2.

Translation by Elizabeth Robinson.

1
Anonymous review (the author used an asterisk instead of giving his name) entitled “Aus den Münchner Konzertsälen”, in Münchner Neueste Nachrichten vol. 60, no. 484 (16 October 1907), afternoon edition, p. 2.

1. Stemma

Die in Klammern gesetzten Quellen sind verschollen bzw. nicht greifbar.
Die in Klammern gesetzten Quellen sind verschollen bzw. nicht greifbar.

2. Quellenbewertung

Der Edition liegt als Leitquelle der Erstdruck als Notendruck zugrunde. Als Referenzquelle diente die Stichvorlage, die jedoch nur in der Faksimile-Ausgabe in Schwarz-Weiß überliefert ist. Die erste Niederschrift, die sich in ihrem Verlauf immer weiter einer Entwurfsschrift annähert, spielte für die Edition eine untergeordnete Rolle. Von der Ausgabe für tiefe Stimme, die gleichzeitig mit der Originalausgabe erschien und vermutlich von Reger Korrektur gelesen wurde, konnte kein Exemplar ausfindig gemacht werden.

3. Sources

  • Abgebrochene erste Niederschrift (ES)
  • Stichvorlage (verschollen)
  • Erstdruck Faksimile-Ausgabe (EDFaks)
  • Erstdruck Notendruck (ED)
  • Erstdruck Notendruck für tiefe Stimme (nicht greifbar)
Object reference

Max Reger: In der Frühe WoO VII/41, in: Reger-Werkausgabe, www.reger-werkausgabe.de/mri_work_00267.html, version 3.1.1, 7th January 2025.

Information

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