Germania (Beethoven)

Last updated

"Germania", WoO 94, is a patriotic song by Ludwig van Beethoven written in order to celebrate the victory against Napoleon.

Contents

History

During and after the defeat of Napoleon during the Wars of Liberation, German patriotism flourished and spurred the production of poems, plays, and songs exalting the nation. Among these German artists who contributed to the glorification of their country was Friedrich Treitschke. In 1814, he wrote a patriotic opera, Die gute Nachricht, to which several Viennese composers contributed music. Beethoven composed the music for the closing song, in B-flat major, celebrating Germania, the allegory of Germany. [1] The work was first performed on 11 April 1814 in the Theater am Kärntnertor in Vienna. It is written for a baritone solo (the role of Bruno), SATB chorus, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani, and a string section. [2]

Beethoven's own patriotic motivation is illustrated in the following letter he wrote about his participation in a charity concert for the soldiers of the preceding war:

It was a rare assembly of outstanding artists, in which each one, inspired by the sole thought of contributing by his art something for the benefit of the Fatherland, worked together without thought of rank and in subordinate positions to bring about an outstanding performance. ... The leadership of the whole assemblage fell to me only because the music was of my composition. Had it been by someone else, I should have been as willing as Hr. Hummel to take my place at the great drum, since we were all filled solely with the purest feeling of love for the Fatherland and with the joy of giving of our powers for those who had given so greatly for us. [3] Es war ein seltener Verein vorzüglicher Tonkünstler, worin ein jeder einzig durch den Gedanken begeistert war, mit seiner Kunst auch etwas zum Nutzen des Vaterlandes beitragen zu können, und ohne alle Rangordnung, auch auf untergeordneten Plätzen zur vortrefflichen Ausführung des Ganzen mitwirkte ... Mir fiel nur darum die Leitung des Ganzen zu, weil die Musik von meiner Komposition war; wäre sie von einem Anderm gewesen, so würde ich mich eben so gern wie Herr Hummel an die grosse Trommel gestellt haben, da uns alle nichts als das reine Gefühl der Vaterlandsliebe und des freudigen Opfers unserer Kräfte für diejenigen, die uns so viel geopfert haben, erfüllte. [4]

Lyrics

German [2]  

1. Germania, Germania,
Wie stehst du jetzt im Glanze da.
Zwar zogen Nebel um dein Haupt,
Die alte Sonne schien geraubt,
Doch Gott, der Herr, war helfend nah.
Preis ihm, Heil dir, Germania.

1. Germania, Germania,
Thou stand'st amidst brightness now.
Mist surrounded thy head,
The old sun seemed to have been stolen,
But God, the Lord, aided thee.
He shall be praised, and Hail to thee, Germania.

2. Germania, Germania,
Wie stehst du jetzt in Jugend da.
Zum zweiten Leben, frisch und schön,
Ließ Alexander dich ersteh’n,
Als ihn die Neva scheiden sah.
Preis ihm, Heil dir, Germania.

2. Germania, Germania,
Thou stand'st before us in full youth.
It was Alexander who gave thee
This second life, fresh and beautiful,
When the Neva saw him depart.
He shall be praised, and Hail to thee, Germania.

3. Germania, Germania,
Wie stehst du jetzt gewaltig da.
Nennt deutscher Mut sich deutsch und frei,
Klingt Friedrich Wilhelm Dank dabei.
Ein Wall von Eisen stand er da.
Preis ihm, Heil dir, Germania.

3. Germania, Germania,
Thou stand'st before us formidably.
Whenever German courage is called German and free,
Gratitude shall be expressed for Frederick William.
He was firm like a wall of iron.
He shall be praised, Hail to thee, Germania.

4. Germania, Germania,
Wie steh’n der Fürsten Scharen da.
Von alter Zwietracht keine Spur,
Getreu den Banden der Natur,
So kommen sie von fern und nah.
Preis ihm, Heil dir, Germania.

4. Germania, Germania,
How do the princes stand together.
No trace of former discord,
Faithful to the bonds of nature,
This is how they come, from far and near.
He shall be praised, and Hail to thee, Germania.

5. Germania, Germania,
Wie stehst du ewig dauernd da.
Was Sehnsucht einzeln still gedacht,
Wer hat’s zu einem Ziel gebracht?
Franz, Kaiser Franz – Viktoria!
Preis ihm, Heil dir, Germania!

5. Germania, Germania,
How dost thou stand forever and ever.
What desire thought in every individual,
Who brought it together?
Francis, Emperor Francis – Victory!
He shall be praised, and Hail to thee, Germania.

Other patriotic works

Besides "Germania", Beethoven also set other patriotic songs to music, for example "Des Kriegers Abschied" and "Abschiedsgesang an Wiens Bürger".

Des Kriegers Abschied Abschiedsgesang an Wiens Bürger [5]  

1. Ich zieh' ins Feld, von Lieb' entbrannt,
Doch scheid' ich ohne Tränen;
Mein Arm gehört dem Vaterland,
Mein Herz der holden Schönen;
Denn zärtlich muss der wahre Held
Stets für ein Liebchen brennen,
Und doch fürs Vaterland im Feld
Entschlossen sterben können.

1. I approach the battlefield, inflamed by love,
But I depart without a single tear;
My arm belongs to the fatherland,
My heart to the comely beloved;
Because a true hero must tenderly
Be in love with a sweetheart,
But simultaneously be prepared
To die for the fatherland on the battlefield.

1. Keine Klage soll erschallen,
Wenn vom hier die Fahne zieht,
Tränen keinem Aug' entfallen,
Das im Scheiden nach ihr sieht.
Es ist Stolz auf diese Zierde
Und Gefühl der Bürgerwürde,
Was auf aller Wangen glüht.

1. No complaint shall resound
When the banner leaves.
No eye that looks, parting, at the city
Shall drop a tear.
It is pride in this exquisite army,
And a sense of civic dignity
That glows on every man's cheek.

2. Ich kämpfte nie, ein Ordensband
Zum Preise zu erlangen.
O Liebe, nur von deiner Hand
Wünscht' ich ihn zu empfangen;
Lass eines deutschen Mädchens Hand
Mein Siegerleben krönen,
Mein Arm gehört dem Vaterland,
Mein Herz der holden Schönen!

2. I have never fought
To receive medals as reward.
O my beloved, only from your hand
I desire to get such a reward;
May the hand of a German girl
Crown my victorious life,
My arm belongs to the fatherland,
My heart to the comely beloved.

2. Freunde, wünscht in Siegestönen
Uns zur edlen Reise Glück.
Heiter folg' uns nach, ihr Schönen,
Euer seelenvoller Blick!
Unsers Landes Ruhm zu mehren,
Zieh'n wir mutig hin und kehren
Würdiger zu euch zurück.

2. Dear friends, wish us, with cries of victory,
Luck on our noble journey.
May your glance, full of emotions,
Gayly be on us departing!
In order to increase our country's reputation,
We depart courageously and eventually return
More glorious than we are now.

3. Denk' ich im Kampfe liebewarm
Daheim an meine Holde,
Dann möcht ich seh'n, wer diesem Arm
Sich widersetzen wollte;
Denn welch ein Lohn wird Liebchens Hand
Mein Siegerleben krönen,
Mein Arm gehört dem Vaterland,
Mein Herz der holden Schönen!

3. If I, during battle, ardently have
My sweetheart in mind,
I want to see him who is able
To resist my arm.
Because, what a reward, my sweetheart's hand
Will crown my victorious life.
My arm belongs to the fatherland,
My heart to the comely beloved.

3. Trotzend steh'n vor Donnerschlünden
Kann wohl auch der Bösewicht.
Milden Sinn und Mut verbinden,
Menschheit ehren kann er nicht!
Nie das Glück der Tugend trüben,
Brüderlich den Landmann lieben:
Das ist deutscher Helden Pflicht!

3. Every villain can
Cope with the abyss of war.
But he cannot join together gentleness and courage,
Or honour mankind!
To never becloud virtue,
To love the peasant:
This is the duty of German heroes!

4. Leb' wohl, mein Liebchen, Ehr und Pflicht
Ruft jetzt die deutschen Krieger,
Leb' wohl, leb' wohl und weine nicht,
Ich kehre heim als Sieger;
Und fall' ich durch des Gegners Hand,
Dann soll mein Ruf noch tönen:
Mein Arm gehört dem Vaterland,
Mein Herz der holden Schönen!

4. Farewell, my sweetheart, honour and duty
Call the German warrior now.
Farewell, farewell, and do not cry,
I will return victoriously;
And if I die by a foe's hand,
My cry shall continue to resound:
My arm belongs to the fatherland,
My heart to the comely beloved.

4. Freut euch, Väter, jubelt, Mütter!
Nirgend, wo das Corps erscheint,
Nicht bei Feinden, wird ihm bitter
Von der Unschuld nachgeweint.
Edel wollen wir uns rächen,
Schweigen, bis die Taten sprechen,
Sie bewund're selbst der Feind!

4. Rejoice, fathers, and cheer, mothers!
Where'er the corps appears,
Even in the country of our enemy,
The loss of innocence shall not bemoaned.
We want to take revenge in a noble way,
Be silent until it is time for action
Which even our foe admires.

  

5. Bessre Menschen, bessre Bürger,
Als wir nun von hinnen geh'n,
Keine sittenlosen Würger,
Sollt ihr in uns wiederseh'n.
Unser Wien empfängt uns wieder,
Ruhmbekränzet, stark und bieder;
Auf! Lasst hoch die Fahne weh'n!

5. Better humans, better citizens
As we are now, departing,
No immoral murderers
Will we be when you see us again.
Our Vienna will welcome us
Strong, honest and adorned with a wreath of glory;
Let's depart! Let the banner flutter!

  

6. Lasst uns folgen dieser Fahne,
Durch Theresens Kunstwerk reich,
Deren Goldband uns ermahne:
Tugend macht uns Fürsten gleich.
Ha! Wenn wir zurück sie bringen,
Wollen wir im Jubel singen:
Dieses Band hielt Österreich!

6. Let us follow this banner
Which is enriched Theresia's wise government,
And whose golden band shall warn us:
Virtue makes us the equal of princes.
Lo! When we will bring it back
We want to sing, inflamed by elation:
This band secured Austria

Related Research Articles

<span class="mw-page-title-main">Ludwig van Beethoven</span> German composer (1770–1827)

Ludwig van Beethoven was a German composer and pianist. He is one of the most revered figures in the history of Western music; his works rank among the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. Beethoven's career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.

<span class="mw-page-title-main">Für Elise</span> Composition for piano by Ludwig van Beethoven

Bagatelle No. 25 in A minor for solo piano, commonly known as "Für Elise", is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered 40 years after his death, and may be termed either a Bagatelle or an Albumblatt. The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld.

<span class="mw-page-title-main">Louis Spohr</span> German composer, violinist and conductor (1784–1859)

Louis Spohr, baptized Ludewig Spohr, later often in the modern German form of the name Ludwig was a German composer, violinist and conductor.

Werke ohne Opuszahl (WoO), also Kinsky–Halm Catalogue, is a German musical catalogue prepared in 1955 by Georg Kinsky and Hans Halm, listing all of the compositions of Ludwig van Beethoven that were not originally published with an opus number, or survived only as fragments. The work was originally titled in German Das Werk Beethovens: Thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen.

<span class="mw-page-title-main">Gott erhalte Franz den Kaiser</span> Anthem of the Austrian monarchy

"Gott erhalte Franz den Kaiser" was a personal anthem to Francis II, Emperor of the Holy Roman Empire and later of the Austrian Empire, with lyrics by Lorenz Leopold Haschka (1749–1827) and music by Joseph Haydn. It is sometimes called the "Kaiserhymne". Haydn's tune has since been widely employed in other contexts: in works of classical music, in Christian hymns, in alma maters, and as the tune of the "Deutschlandlied", the national anthem of Germany.

<span class="mw-page-title-main">Ferdinand Ries</span> German composer (1784–1838)

Ferdinand Ries was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos, three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Beethoven's friend, Franz Wegeler. Ries' symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.

<span class="mw-page-title-main">Eleonore Prochaska</span>

Marie Christiane Eleonore Prochaska was a German female soldier who fought in the Prussian army against Napoleon during the War of the Sixth Coalition.

<span class="mw-page-title-main">Catalogues of Beethoven compositions</span>

The Catalogues of Beethoven compositions are all of the different ways in which the musical compositions by Ludwig van Beethoven have been organized by researchers into his music.

<span class="mw-page-title-main">Therese Malfatti</span> Austrian musician; close friend of Ludwig van Beethoven

Baroness Therese von Droßdik was an Austrian musician and a close friend of Ludwig van Beethoven. She is best known as one of the possible dedicatees of Beethoven's famous bagatelle, "Für Elise", WoO 59.

"Zärtliche Liebe", WoO 123, or "Ich liebe dich", is a love song by Ludwig van Beethoven that he composed in 1795 and first published in 1803. Beethoven was 25 years old when he wrote it. The song is occasionally referred to by its first line, "Ich liebe dich, so wie du mich".

Max Ernst Unger was a German musicologist. Although he wrote on a variety of subjects, he is chiefly known for his extensive research and writings on the life and works of Ludwig van Beethoven.

Friedrich August Kanne (1778–1833) was a composer and music critic in Vienna.

<span class="mw-page-title-main">Johann Baptist Malfatti von Monteregio</span> Italian-Austrian physician (1775–1859)

Johann Baptist Malfatti, Edler von Monteregio baptized as Giovanni Domenico Antonio Malfatti was an Italian/Austrian doctor famous for treating the composer Ludwig van Beethoven.

<span class="mw-page-title-main">Three Equals for four trombones, WoO 30</span>

The Three Equals for four trombones, WoO 30, are three short equales for trombones by Ludwig van Beethoven.

Joseph Karl Bernard was an Austrian journalist and librettist, and friend of Ludwig van Beethoven.

Ludwig van Beethoven's "Es ist vollbracht", WoO 97, was written in 1815 as a finale chorus for a Singspiel by a variety of composers called Die Ehrenpforten on a drama by G. F. Treitschke. It honours the second seizure of Paris in 1815 after the abdication of Napoleon. It remains one of Beethoven's lesser-known works and is rarely produced nowadays.

<span class="mw-page-title-main">Beethoven's mandolin music</span>

Ludwig van Beethoven composed at least six works for mandolin, four of which survive. None were published during his lifetime. Though known better as a pianist, Beethoven possessed a Milanese mandolin, which was hung beside his piano. He was friends with two prominent mandolinists, both of whom were linked to his surviving mandolin music.

Sieghard Brandenburg was a German musicologist, who stood out especially as a Beethoven researcher.

Seufzer eines Ungeliebten – Gegenliebe, WoO 118, is a secular cantata for voice and piano by Ludwig van Beethoven, composed at the end of 1794 or in 1795 from two complementary poems combined into one from the collection Lyrische Gedichte (1789) by Gottfried August Bürger. Beethoven offered it to the publisher Peters of Leipzig in a letter from 5 June 1822, but it was only published posthumously in 1837 by Anton Diabelli.

References

  1. Work details, Beethoven-Haus (in German)
  2. 1 2 Beethoven, Ludwig von (c. 1864). "Schlussgesang: "Germania, wie stehst du jetzt"". Ludwig van Beethovens Werke, Serie 20: Dramatische Werke, Nr. 207d. Leipzig: Breitkopf und Härtel via IMSLP.
  3. Schindler, Anton Felix. Beethoven As I Knew Him, p. 168.
  4. Marx, Adolf Bernhard. Ludwig van Beethoven. Leben und Schaffen. Zweiter Theil, Verlag Otto Janke. Berlin: 1863. p. 185.
  5. "Abschiedsgesang an Wiens Bürger" (audio) on YouTube