Coffee

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Caffee, earliest known print from 1846
CAFFEE, three-part canon by CG Hering

Caffee is a canon of three voices in unison . The melody and the text of the song were created by Carl Gottlieb Hering (1766-1853) before 1846. The occasional statement that the song was written in 1810 is plausible, but not substantiated.

Although the song cannot be proven in Hering's own publications, his authorship is possibly a. proven by his grandson Richard Hering : “That M. Hering [...] also mastered the art of musical form in an excellent way is shown by his 6-, 5-, 4- and 3-part canons, one of which - 3-part anti-coffee- Canon - is based on a theme beginning with the notes C, A, F, F, E, E. “The song was printed in an album in 1846 in memory of Ludwig van Beethoven . Since the contributions in this album were sent in by the composers themselves - Hering is named in the register as a "draftsman" - the version printed there is to be regarded as authentic. According to research by the German Folk Song Archive, earlier prints can not currently be verified.

Content and historical background

Carl Gottlieb Hering, senior teacher in Zittau , Saxony , wrote as he did in the morning, children, there will be something the melody of the song. The text is a warning against consumption of coffee , nothing is for children because the drink would they look weak and pale. Hering, however, is unlikely to have been a general opponent of coffee, as his hymn of praise for coffee for women ("coffee making, you heavenly drink") suggests.

Amadeo Preziosi: Ottoman Coffee House (1862). Turkish coffee culture was a popular motif in orientalist art.

Coffee had reached Central Europe from the Ottoman Empire in the 17th century . The first coffee houses in Germany were founded in the 1670s, the first Viennese coffee house in 1685. As early as 1734, Johann Sebastian Bach placed an ironic memorial to the escalating coffee enjoyment of his Saxon compatriots in his “Coffee Cantata” Silence, not chat BWV 211. The fact that the trade routes for coffee in the 19th century led via Turkey to Central Europe, where it was primarily identified with Turkish mocha for a long time , explains the term “ Turkish drink” - a term for which the Grimm dictionary cites Hering's canon text as the only evidence. The use of this choice of words is assessed differently in the literature. The publicist Ulla Heise states that Hering did not have “xenophobic tendencies” in mind, that his motives were on the one hand medical in nature, on the other hand he had the economic situation in the triangle in mind, in which many children were actively involved in coffee smuggling. In contrast, the literary scholar Kathrin Wittler points out that the text with the negative example of the “sick Turk” is part of a long tradition (which later culminated in the word “sick man on the Bosporus” ) and is thus a product of the orientalism of the 18th and 19th centuries 19th century. At a time when coffee consumption per capita in Germany is around eleven times as high as in Turkey (as of 2012), the term “Turkish drink” seems anachronistic anyway .

melody

The melody is reproduced in the form customary today, which differs from the original in some places.

\ relative f '' {\ key f \ major \ time 3/4 \ autoBeamOff c ^ "1." af | fee | ege | f8 [e] f [g] f4 \ fermata | \ break a8 ^ "2." accaa | b [a] b [c] b4 | g8 gbbgg | a [g] a [b] a4 \ fermata | \ break f ^ "3." ff | ggg | c, cc '| cc, f \ fermata \ bar "|." } \ addlyrics {C - a - f - f - e - e, don't drink so much coffee! The Turkish drink is not for children, it weakens the nerves, makes you pale and sick. Don't be a muslim man who can not let him! }

The beginning of the text "C - a - f - f - e - e" is underlaid with the notes c, a, f, f, e and e , which in this way become a tone symbol , similar to the motifs BACH or DSCH . This comes from Hering's pedagogical approach of using simple songs and canons to teach children the basics of music theory. So he composed a canon Soon in quarters, now in eighths we sing , in which the text corresponds to the named note values . The idea of ​​combining the learning of note names with the corresponding melody tones can be found as early as the 11th century in Guido von Arezzo's pedagogical use of the Johannes hymn Ut quaeant laxis to learn the solmization syllables . Eusebius Mandyczewski pursues a similar approach with his interval canons .

The motif c, a, f, f, e, e had also been used by other composers. Eduard Marxsen , Johannes Brahms ' teacher , published a Phantasia alla Moda on this subject in 1831 . Hieronymus Payer composed in 1844 for the 200th anniversary of the importation of coffee to Europe under the title Camellien Variationen “on the popular letter theme C, A, F, F, E, E”. Since the date of origin of Hering's canon is not certain, no statement can currently be made as to whether the composers mentioned were inspired by the canon or, conversely, whether Hering took up the theme of one of the compositions.

text

      Original text:
C affee,
don't drink caffee, caffee!
The Turkish drink is not for children, it
weakens the nerves, makes you pale and sick.
Don't be a Muslim
who can't do without him

      Common text today:
Coffee,
don't drink so much coffee!
The Turkish drink is not for children, it
weakens the nerves, makes you pale and sick.
Don't be a Muslim
who can't leave him!

Because of the terms “Turkish drink” and “ Muselmann ”, which are now regarded as disrespectful, more recently defused text versions have also been proposed in the sense of non-discriminatory language. A popular school songbook simply speaks of a “hot drink”. Another text version reads:

Coffee,
don't drink so much coffee!
The black potion is not for children, it
weakens the nerves, makes you pale and sick.
Don't be a stupid man
who can't leave him!

A repositioning with the line "... I like to drink coffee ..." comes from Hans Grischkat . The religious and music educator Siegfried Macht created another rewrite as the CAFFEE protest canon , which postulates the need for fair trade coffee.

reception

The canon is sung in kindergartens and elementary schools to this day . It is also suitable for use in canon quodlibets with other canons of the same metric structure as heaven and earth must pass away and the songs sound . The canons Today 'comes from the Hans to me , Let us rejoice, let us sing and Three geese in Haberstroh and the folk song Did my' Wage vollgelade were combined to Quodlibet. The composer Rupert Doppelbauer added an ostinato to the Quodlibet .

Edits created u. a. Gerhard Maasz as Eine kleine Vespermusik über Caffee for choir and chamber ensemble and Kees Vlak as Caffee variations . In the large songbook illustrated by Tomi Ungerer , the canon is printed with an additional bass part from HR Witzig.

literature

  • Tim Oliver Becker, Paul Rode (eds.): Codex Patomomomensis. 2nd Edition. Zauberwald Verlag, Hamburg 2007, ISBN 3-89345-154-2 , p. 322.
  • Theo Mang, Sunhilt Mang (ed.): The song source . Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0850-8 , pp. 763 f .

Web links

Footnotes

  1. ↑ a b c The Canon Book. 400 canons from 8 centuries on all occasions. Schott, Mainz 1999, ISBN 3-7957-5374-0 , p. 51.
  2. ↑ a b C-affee. In: lieder-archiv.de. Retrieved October 25, 2019 (German).
  3. ↑ a b c d Gustav Schilling (Ed.): Beethoven album. A memorial book of grateful love and admiration for the great dead. Hallberger, Stuttgart undated [1846], p. 90 ( digitized version ).
  4. ↑ Girls' song book. 10th edition. Verlag der Catholic Burschenvereine, Regensburg 1926 (1st edition 1911), p. 336. Quoted from: deutscheslied.com , accessed on October 26, 2019.
  5. ↑ a b Otto Holzapfel : List of songs. The older German-language, popular song tradition. Volume 2. Olms, Hildesheim 2006, ISBN 3-487-13102-1 , p. 940.
  6. ↑ a b c Kathrin Wittler: "Muselmann". Notes on the history of a designation. In: Journal of History. 61 (2013), issue 12, ISSN  0044-2828 , pp. 1045-1056, here pp. 1049 f.
  7. ↑ Richard Hering: M. Carl Gottlieb Hering (In memory of the 50th anniversary of the death) . In: Musik-Woche Leipzig 1903, ZDB -ID 1410387-4 (special print). Quoted from: Hagen Schulz (ed.): Carl Gottlieb, Karl Eduard and Richard Hering. Three generations of Saxon musicians. Booklet accompanying the special exhibition 1999/2000 in the Bautzen City Museum. Bautzen 1999, p. 7.
  8. ^ Beethoven album . [1846], p. 310 ( digitized version ).
  9. ↑ Carl Gottlieb Hering: Purring and funny ideas, for piano and singing. First ribbon. Lindner, Leipzig 1794, OCLC 314729924 , p. 20 f. Quoted from: Rainer Lorenz: Music education in the first 30 years of the 19th century using the example of Carl Gottlieb Herings. Schott, Mainz 1988, ISBN 3-7957-1746-9 , p. 256. - The author of the lyrics is not known. In the first print it appeared anonymously, cf. Six songs. Solbrig, Leipzig o. J. [1786] ( limited preview in the Google book search; see digitized version ). In later prints the text is signed with the initials "CHS", cf. Rudolph Zacharias Becker : Mildheimisches songbook of eight hundred funny and serious songs about all things in the world and all the circumstances of human life that can be sung about. New edition. Becker, Gotha 1815, p. 303 ( digitized in the Google book search). These initials were later resolved to "CH Schwabe" without this information being verified so far, cf. Pesth-Ofner Localblatt and Landbote. Volume 11, January 25, 1850 ( digitized in the Google book search). The text was also set to music by other composers, including Sophie Westenholz ( RISM ID: 700001133 ), and anonymously by: Gottfried Wilhelm Fink (Ed.): Musikalischer Hausschatz der Deutschen. Mayer and Wigand, Leipzig 1843, p. 57 ( digitized in the Google book search)
  10. ^ Annerose Menninger: Enjoyment in cultural change. Tobacco, Coffee, Tea and Chocolate in Europe (16th – 19th Centuries). 2nd Edition. Steiner, Stuttgart 2008, ISBN 978-3-515-09179-4 , p. 89 and 323-331.
  11. ^ Jürgen Schneider : Production, trade and consumption of coffee (15th to the end of the 18th century). In: Hans Pohl (Ed.): The European Discovery of the World and its Economic Effects on Pre-Industrial Society, 1500–1800. Steiner, Stuttgart 1990, ISBN 3-515-05546-0 , pp. 122-137, here: pp. 122 u. 129.
  12. ↑ TÜRKENTRANK , m . In: Jacob Grimm , Wilhelm Grimm (Hrsg.): German dictionary . tape 22 : Treib – Tz - (XI, 1st section, part 2). S. Hirzel, Leipzig 1952, Sp. 1861 ( woerterbuchnetz.de ).
  13. ↑ Ulla Heise: Coffee and Coffee House: A History of Coffee . Insel, Frankfurt am Main 2002, ISBN 3-458-34495-0 , p. 96 .
  14. ↑ Coffee consumption by country: Where does Germany stand in international comparison? , Statistics Dresden July 17, 2014, accessed on November 17, 2019
  15. ↑ a b Fritz Jöde (Ed.): Der Kanon [complete volume]. Möseler, Wolfenbüttel 1959/1997, OCLC 41906389 , p. 176.
  16. ↑ Harald Asel: Who wrote Beethoven's tithe ?: Everything you don't know about music. Eichborn, Berlin 2008, ISBN 978-3-8218-5841-8 , p. 109 ( limited preview in the Google book search).
  17. ^ Carl Gottlieb Hering: New practical singing school for children based on an easy type of teaching. Volume 1. Fleischer, Leipzig 1807, p. 28 ( urn : nbn: de: hebis: 30-93473 ).
  18. ↑ Fritz Jöde (Ed.): Der Kanon [complete volume]. Möseler, Wolfenbüttel 1959/1997, OCLC 41906389 , p. 199 f.
  19. ^ Thomas Synofzik: Brahms and Schumann. In: Wolfgang Sandberger (Ed.): Brahms Handbook. Metzler / Bärenreiter, Stuttgart / Kassel 2009, ISBN 978-3-476-02233-2 , pp. 63–76, here p. 68 ( limited preview in the Google book search).
  20. ↑ Allgemeine Wiener Musik-Zeitung. 4th vol., No. 73, June 18, 1844, p. 290 ( digitized in the Google book search).
  21. ↑ Hermann Hirschbach (Ed.): Musical-critical repertory of all new phenomena in the field of music. Volume 1. Whistling, Leipzig 1844, p. 442 ( digitized in the Google book search).
  22. ↑ Lorenz Maierhofer , Walter Kern (Ed.): Sing & Swing. 2nd Edition. Helbling, Innsbruck 1994, ISBN 3-900590-29-X , p. 148. Also new edition 2004, ISBN 3-85061-237-6 , p. 208.
  23. ↑ Coffee. In: deutschland-lese.de. Retrieved October 25, 2019 (German).
  24. ^ Siegfried Macht: Listening and participating. Practical religious instruction, 7. – 10. School year. Vandenhoeck & Ruprecht, Göttingen 2003, ISBN 3-525-61483-7 ( review on lehrerbibliothek.de, accessed on November 3, 2019).
  25. ↑ a b c Quodlibet. In: Eckhard Geier u. a. (Ed.): The fountain in blue. 3. Edition. Evangelisches Jugendwerk in Württemberg, Stuttgart-Vaihingen 1997, ISBN 3-922813-25-9 , pp. 296–298, here: pp. 296 f.
  26. ↑ Much respect for the fair decision. In: Bread for the World : Newsletter No. 6 Fair Coffee in the Churches. October 2008, p. 4 ( online ; PDF; 1.9 MB).
  27. ↑ Frauke Schmitz-Gropengiesser: Es tönen die Lieder (2011). In: Popular and Traditional Songs. Historical-critical song lexicon of the German Folk Song Archive
  28. ↑ Rinaldo Rinaldini (= Fritz Jöde ): Der Pott - An outrageous song book. G. Kallmeyer, Wolfenbüttel 1936, p. 157.
  29. ↑ Hans Lang: Hans and Liese / Coffee, don't drink so much coffee! Heiteres Kanon-Quodlibet (= happy Quodlibets for big and small people. Part 2.) Tonger, Rodenkirchen 1958, DNB 1003959717 .
  30. ↑ Siegfried Bauer (Ed.): A small melody. The choir book for sociability (= Edition Strube. 1080). Strube, Munich 1989, OCLC 246058878 , p. 22 f.
  31. ↑ Gottfried Wolters (Ed.): Ars Musica . Volume I: Singing Book. Möseler, Wolfenbüttel 1962, p. 118.
  32. ^ Rudolf Schwarz, Emil Seidel: Steirisches Liederbuch. 3. Edition. Verlag für Jugend und Volk, Vienna 1961, p. 230.
  33. ^ Gerhard Maasz: A little Vesper music about coffee. Kallmeyer, Wolfenbüttel 1938, DNB 1004224877 .
  34. ↑ Kees Vlak: Caffee variations. Rundel, Rot an der Rot 2002, DNB 358890934 .
  35. ↑ Anne Diekmann (Ed.), Tomi Ungerer (Ill.): The great song book. Diogenes, Zurich 1975, ISBN 3-257-00947-X , p. 146.