Lenau, Nikolaus (EN)

Lenau Nikolaus, actually Nikolaus Franz Niembsch, *13 August 1802 Csatád (Hungary), †22 August 1850 Oberdöbling (near Vienna), Austrian poet and playwright. In 1819–31, he studied philosophy (Vienna), law (Bratislava, Vienna), agricultural science (Altenburg) and medicine (Vienna, Heidelberg). In 1831, in Stuttgart, he established contact with the representatives of the so-called Swabian school (J. Kerner, L. Uhland); he also had his first poetic successes here (Gedichte 1832, Neue Gedichte 1838). His stay in the United States in 1832–33 was very disappointing. Hopeless love for a married Sophie von Löwenthal resulted in his mental illness.

Lenau was a prominent representative of late romanticism, precisely a current known as Biedermeier; he wrote dramas (Faust 1836, Don Juan 1844, not completed) and poetic prose (Die Albigenser, 1842), but mainly lyric poetry; maintained in the dark and gloomy colours, permeated with a note of melancholy and resignation, it became an expression of intense experience of nature and love, usually occurring inseparably, internal conflict and the feeling of “pain of existence” (Weltschmerz). His contemporaries called him “the Bard of Freedom,” as he always defended what was omitted, wronged and weak (Der arme Jude, Die drei Zigeuner, Die drei Indianer, Der Polenflüchtling).

Lenau showed musical skills since he was a child; he learnt to play the guitar, and later, he played Beethoven’s sonatas on violin, as well as Styrian Ländlers and Hungarian folk music – which was highly valued by his contemporaries. He adored Beethoven, underestimated Mozart, and accused Schubert of lacking depth. Of his contemporaries, he admired Mendelssohn, especially the oratorio Paulus; Lenau’s illness prevented him from carrying out the project of composing an oratorio together.

Lenau attracted composers primarily with the climate of his lyric poetry, melancholic and atmospheric. This was facilitated by the strophic and song-like structure of the verse created on the folk model. Many solo songs were written to Lenau’s lyric poetry, including six songs by F. Mendelssohn (e.g. Frühlingslied 1839, Schilflied 1842, An die Entfernte and Auf der Wanderschaft 1847); eleven songs by R. Schumann (e.g. Das Lied eines Schmiedes, Meine Rose, Kommen und Scheiden, Einsamkeit, 1850 and Vier Husarenlieder 1851); two songs by F. Liszt (Die drei Zigeuner and Der traurige Mönch, 1860); ca. fifteen songs by R. Franz (e.g. Frühlingsgedränge); thirteen songs by H. Wolf (e.g. Abendbilder 1877, Herbst, Frage nicht 1879); three songs by R. Strauss (e.g. Frühlingsgedränge and O wärst Du mein, 1891); two songs by M. Reger from Op. 6 and 39; five songs by Cz. Marek; and 46 songs by O. Schoeck (e.g. Vergangenheit 1904, Lebewohl 1905, Schilflieder 1905). What is more, there are many more who composed to Lenau’s texts, including F. Hiller, J. Dessauer, F. Lachner, A. Rubinstein (Frühlingsblick), H. Pfitzner (Sehnsucht nach Vergessen), E. d’Albert, A. Ritter, F. v. Weingartner (Liebesfeier), H. Riemann, V. Novák, A. Berg (Schilflied), G. Klebe (Einsamkeit), and H. Sutermeister (Schilflieder). Most often, composers were inspired by the text of the cycle Schilflieder. The programme of G. Mahler’s Symphony No. 3 (1896) is based on the poem Der Postillion and the symphonic poem La procession nocturne by H. Rabaud (1899) on the theme of Faust.

Literature: J. Beyer Lenau und Chopin, “Neue Musikzeitung” XXII, 1901 no. 11; H. Bischoff Nikolaus Lenau. Lyrik, ihre Geschichte, Chronologie und Textkritik, 2 volumes, Berlin 1920/21; K. Huschke Lenau und die Musik, in: Almanach der deutschen Musikbücherei auf das Jahr 1922, Regensburg 1921; R.H. Thomas Lenau and Beethoven, “Music and Letters” XVIII, 1937; M. Wöss Chopin – Lenau – Schumann, “Österreichische Musikzeitschrift” IV, 1949; K. Brachtel Nikolaus Lenau und die Musik, “Neue Musikzeitschrift” IV, 1950.