Das Dorfchen and the 'unsinnsgesellschaft': Schubert's Elise

Musical Times, Spring 1999 by Steblin, Rita

'Elysium' is set for high tenor voice in the joyful, heavenly key of E major. If my hypothesis is correct and this Lied was composed as a Schillertravesty for Dorflinger, then it is likely that Schubert sang the piece himself, perhaps at a private wedding celebration attended by members of the nonsense society. According to Josef Httenbrenner, 'Schubert had an unusually high voice'22 and Anselm Huttenbrenner wrote that, when reading old scores at Salieri's, Schubert sang baritone and tenor and, if necessary, would 'sing the alto or soprano part as well, as he had an extensive falsetto'.23 Thus, the work's high tessitura may have been ideally suited to Schubert's own voice. In summary there are many factors, musical as well as biographical, that point to the Lied 'Elysium' 's connection with 'Elise'.

If we return for a moment to Elise's role in this club, we find that by late 1817 'she' had become interested in music. A newsletter dated 11 December 1817 contains the following sale announcement of newly-arrived musical items, signed 'Elise Gagernadl geb: v: Antifi':

Trio in K Major for a cold, headache and catarrh. Polonaise with 4 feet, for violin with accompaniment by two grooms, 3 hunters and 4 servants. Variations on the beloved theme: di di, ri die rum, dum di di re; - ri di, ri di rum, du dei di di re. Concerto for an old confessional box, played with 4 hands. Capriccio for violas with natural-sign accompaniment. Rondo for 2 horseshoes with accompaniment by the big toe of a plaintive countess'.

[Musikalien-Anzeige. So eben ist neu bey uns erschienen: Trio in K Dur auf Strauken, Kopfweh u Kartharr. Polonoise mit 4 Fuss, fur die Violine mit Begleitung zweyer Kammerdiener, 3er Jager und 4 Bedienter. Variationen fiber das beliebte Thema: di di, ri die rum, dum di di re; - ri di, ri di rum, du dei di di re. Conzert auf einen alten Beichtstuhl, gespielt mit 4 Handen. Kaprice fur die Bratschen, mit Quadrat Begleitung. Rondo for 2 Hufeiseln mit Begleitung einer grossen Fusszehe von einer wehleidigen Grafin.]

At this point it is impossible to ascertain all the private innuendoes that must have served as the basis for Dorflinger's announcement. Of importance is the fact that he is now joking about music.

December 1817 is the same month in which Schubert composed his masterpiece for four male voices, 'Das Dorfchen' (D.598), perhaps the most popular of all his male-voice quartets and the first to be published. All the evidence, however, points to the conclusion that this work was originally composed as a humorous tribute to Dorflinger. 'Das Dorfchen' [the little village] exists in two versions, the first version of 1817 being longer - by about fifty bars - than the well-known version of op.11, published in 1822 (D.641). Schubert omitted the middle Andantino section in the publication. The first version was composed for voices alone, without piano accompaniment. Contrary to the explanation in the Schubert Thematic Catalogue, this original version, for which an autograph exists (owned by the Vienna Schubertbund and dated 'December 1817'), is not an 'Entwurf', but rather a completed work in and of itself.24 Towards the middle of the piece, in the Andantino section omitted from the published version, Schubert has written the instruction '8 bars' [8 Takte] over two notes in the bass parts followed by four bars written out in the tenor I part alone. This is not a tenor solo, but is rather Schubert's indication, using a shorthand formula, to remind himself of a repeat of previous music, for four bars beginning at the Andantino, and then continuing for four more bars using new words.25 The original title on Schubert's autograph, crossed out and replaced by 'Das Dorfchen,' reads 'Standchen'. This would seem to indicate that the work was originally sung as a serenade, probably with Schubert singing the difficult tenor I part himself, from the shorthand autograph score.