Knee Deep in the Hooah!

I do not subscribe to a haphazard postmodern view of the Arts. I do not believe that all art is purely subjective and that art exists only within the eye of the artist or the beholder. Form, style, technique and purpose do count. Of course there is always the element of the human experience. This is where the room for the subjective is, and art is a wonderful medium to explore those experiences through the imagination. When art is divorced from its form and function it loses a dimension of commonality and a space of shared reality. I personally can not stare at a rusted tin can filled with urine that is placed on display and called “art,” and lose myself in my imagination. No, that is just not me! Give me El Greco, Delacroix, Wagner, Mahler, anyone who understands his art and the medium in which he practices! This is one reason why I adore Beethoven. He is known for bridging the space of time between the Romantics and the Classical eras. His form was tight and precise, but his music conveyed an empathetic emotion that is accessible to anyone — you do not need to understand theory in order to appreciate him.

I had a very rare opportunity to study classical voice (Bel Canto) under an incredible teacher from Great Britain who was licensed through the London Royal Academy of Music. She lived here in the states with her husband who was working as a professor on a college exchange program. They later became citizens. I studied under her privately for several years in my early 20s. Before hanging up my sheet music a little more than 6 years ago, I was working on two pieces of music to perform at various recitals. They are both complex and were arias that I could not even think of approaching in the first two years of study. I will tell you about one of them today, and the other later in the Winter.

One of the two songs I was working on is a lieder with text lifted from Goethe’s rendition of Egmont’s story. A good and quick summary for Egmont was found in a music blog I visited recently. Essentially, Egmont was fighting for his freedom, and in the story there are many characters around him that look vaguely familiar in this day and age. Egmont died fighting for what he believed in.

In his drama Egmont, Goethe (1787) relates the fight of Count Egmont (1522-1568) against the despotic Duke of Albe. Egmont is a famous Flemish warrior and the duc of Albe represents the Spanish invader. Though under threat of arrest Egmont refuses to run away and give up his ideal of liberty. Imprisoned and abandoned because of the cowardliness of his people and despite the desperate efforts of his mistress Klärchen he is sentenced to death.

Thus, faced with her failure and despair Klärchen puts an end to her life. The play ends on the hero’s last call to fight for independence. His death as a martyr appears as a victory against oppression.

There are a couple of different composers who put this particular work of Goethe’s to music, but Beethoven’s composition is my favorite. The character in the story who sings the lieder I was working on is “Klarchen” or “Clare.” Fitting isn’t it? Clare sings a very strong and emotionally charged aria titled Die Trommel gerühret! In this song Clare shows her love for Egmont and her deep desire to be with him always. She wants to be with him so badly that she is prepared to beat a drum, put on the uniform (or pants), and follow him into battle! Clare is younger when this aria is sung. The story, being true to its form as a tragedy, affords Egmont a sure death and Clare a suicide. Of course it all happens with much singing and in a very, very romantic way — if only real life were so neat and clean!

Clare, as a young girl is taken with Egmont and the military. She is actually jealous of the men who get to follow Egmont into battle! This made Clare a larger than life heroin at the time Goethe penned her character. A woman in the military was unheard of — no, it was sacrilege in that day, and a woman as openly brave and bold as Clare was something for the imagination only. Goethe used his art to pen a woman who really does embody the courage, strength, dedication and determination that I see in a lot of military wives today! I am sure that Goethe was taking the characteristics he had witnessed or heard of in women who lived around him that day. He just put them in a less than common situation.

Goethe’s lieder coupled with Beethoven’s incredible ability to communicate emotions and ambiance through music, makes this a very powerful and poignant aria. When you listen to it (and always better yet to hear it performed live!) you can feel the passion and almost hear the marching of soldiers’ feet! You can also hear Clare’s desperation .

Below is the original German text with an English translation. It is not my favorite translation of the song, but my liner notes and sheet music are all packed away for now, so an alternative is not possible right now. You will get the general idea of the song though. I did link you to a performance of the song, and it is by far one of the most brilliant performances around of this particular lieder (in my opinion anyway).

Die Trommel gerühret

Language: GERMAN

Die Trommel gerühret,Das Pfeifchen gespielt!
Mein Liebster gewaffnetDem Haufen befiehlt,
Die Lanze hoch führet,Die Leute regieret.
Wie klopft mir das Herz!Wie wallt mir das Blut!
O hätt' ich ein WämsleinUnd Hosen und Hut!

Ich folgt' ihm zum Tor 'nausmit mutigem Schritt,
Ging' durch die Provinzen,ging' überall mit.
Die Feinde schon weichen,Wir schiessen da drein;
Welch' Glück sondergleichen,Ein Mannsbild zu sein!

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Bang the drum!

Language: ENGLISH

Bang the drum, play the fife! My love is armed for war and commands his host;
he holds the lances high and commands his men.
How my heart pounds!How my blood races!
O if only I had a doublet,and breeches and helm!

I would follow him through the gate with courageous step,
and march through the provinces,march everywhere with him.
The enemy has grown weak,we fire at them;
what happiness without equal to be a man!

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Translation from German to English by Emily Ezust