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Author: Beate Julia Perrey
Publisher: Cambridge University Press
ISBN: 9780521814799
Category : Music
Languages : en
Pages : 276
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Book Description
This book offers a theory of Romantic song by re-evaluating Schumann's Dichterliebe of 1840, one of the most enigmatic works of the repertoire. It investigates the poetics of Early Romanticism in order to understand the mysterious magnetism and singular imaginative energy that imbues Schumann's musical language. The Romantics rejected the ideal of a coherent and organic whole and cherished the suggestive openness of the Romantic fragment, the disconcerting tone of Romantic irony and the endlessness of Romantic reflection - thereby realizing an aesthetic of fragmentation. Close readings of many songs from Dichterliebe show the singer's intense involvement with the piano's voice, suggesting a 'split Self' and the presence of the 'Other'. Seeing Schumann as the 'second poet of the poem' - here of Heine's famous Lyrisches Intermezzo - this book considers essential issues of musico-poetic intertextuality, introducing into musicology a hermeneutic that seeks to synthesize philosophical, literary-critical, music-analytical and psycho-analytical modes of thought.
Author: Beate Julia Perrey
Publisher: Cambridge University Press
ISBN: 9780521814799
Category : Music
Languages : en
Pages : 276
Get Book Here
Book Description
This book offers a theory of Romantic song by re-evaluating Schumann's Dichterliebe of 1840, one of the most enigmatic works of the repertoire. It investigates the poetics of Early Romanticism in order to understand the mysterious magnetism and singular imaginative energy that imbues Schumann's musical language. The Romantics rejected the ideal of a coherent and organic whole and cherished the suggestive openness of the Romantic fragment, the disconcerting tone of Romantic irony and the endlessness of Romantic reflection - thereby realizing an aesthetic of fragmentation. Close readings of many songs from Dichterliebe show the singer's intense involvement with the piano's voice, suggesting a 'split Self' and the presence of the 'Other'. Seeing Schumann as the 'second poet of the poem' - here of Heine's famous Lyrisches Intermezzo - this book considers essential issues of musico-poetic intertextuality, introducing into musicology a hermeneutic that seeks to synthesize philosophical, literary-critical, music-analytical and psycho-analytical modes of thought.
Author: Rufus Hallmark
Publisher: Routledge
ISBN: 1135854580
Category : Art
Languages : en
Pages : 457
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Book Description
German Lieder in the Nineteenth-Century provides a detailed introduction to the German lied. Beginning with its origin in the literary and musical culture of Germany in the nineteenth-century, the book covers individual composers, including Shubert, Schumann, Brahms, Strauss, Mahler and Wolf, the literary sources of lieder, the historical and conceptual issues of song cycles, and issues of musical technique and style in performance practice. Written by eminent music scholars in the field, each chapter includes detailed musical examples and analysis. The second edition has been revised and updated to include the most recent research of each composer and additional musical examples.
Author: Natasha Loges
Publisher: Indiana University Press
ISBN: 0253047021
Category : Music
Languages : en
Pages : 205
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Book Description
A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods—including the United States, the United Kingdom, Russia, and Germany—from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today.
Author: Yonatan Malin
Publisher: Oxford University Press, USA
ISBN: 0195340051
Category : Biography & Autobiography
Languages : en
Pages : 250
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Book Description
This is an exploratopn of rhythm and meter in the 19th-century German Lied, including songs for voice and piano by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. The Lied, as a genre, is characterised especially by the fusion of poetry and music.
Author: Ann Clark Fehn
Publisher: University Rochester Press
ISBN: 1580460550
Category : History
Languages : en
Pages : 472
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Book Description
Interdisciplinary studies of some of the greatest examples of German art song by major scholars in musicology and German literature.
Author: Debra N. Prager
Publisher: Boydell & Brewer
ISBN: 1571135944
Category : Literary Criticism
Languages : en
Pages : 340
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Book Description
Follows the evolution of the Orient as a positive literary device in German literature and demonstrates how it was used to explore subjectivity and the possibility of wholeness. For centuries, Europe's eastward gaze has been wary if not hostile. Medieval man envisaged grotesque beings at the world's edge and scanned the steppes and straits on the immediate horizon for the Asian or Arab hordes that might swarm across them. Through the Crusades, the early modern era, and the age of imperialism, Europeans regarded the Eastern subject as requiring both "discovery" and conquest. Conveniently, the "Oriental" came to represent fanaticism, terrorism, moral laxity, and inscrutability, among other stereotypes. The list of German literary works that reinforced negative clichés about the East is long, but Orienting the Self argues for the presence in the Germanliterary tradition of a powerful perception of the East as the scene of desire, fantasy, and fulfillment. It follows the evolution of the Orient as a literary device and demonstrates how it was used to explore subjectivity and the possibility of wholeness. The five works treated in this study - Parzival, Fortunatus, Effi Briest, Heinrich von Ofterdingen, and The Magic Mountain - are narratives of development in which the encounter with the East is central to the progression toward selfhood and the promise of fulfillment. Debra N. Prager is Associate Professor of German at Washington and Lee University.
Author: Judith Chernaik
Publisher: Vintage
ISBN: 0451494474
Category : Music
Languages : en
Pages : 418
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Book Description
Drawing on previously unpublished sources, this groundbreaking biography of Robert Schumann sheds new light on the great composer’s life and work. With the rigorous research of a scholar and the eloquent prose of a novelist, Judith Chernaik takes us into Schumann’s nineteenth-century Romantic milieu, where he wore many “masks” that gave voice to each corner of his soul. The son of a book publisher, he infused his pieces with literary ideas. He was passionately original but worshipped the past: Bach and Beethoven, Shakespeare and Byron. He believed in artistic freedom but struggled with constraints of form. His courtship and marriage to the brilliant pianist Clara Wieck—against her father’s wishes—is one of the great musical love stories of all time. Chernaik freshly explores his troubled relations with fellow composers Mendelssohn and Chopin, and the full medical diary—long withheld—from the Endenich asylum where he spent his final years enables her to look anew at the mystery of his early death. By turns tragic and transcendent, Schumann shows how this extraordinary artist turned his tumultuous life into music that speaks directly—and timelessly—to the heart.
Author: Joseph Kerman
Publisher: Macmillan
ISBN: 0312593473
Category : Music
Languages : en
Pages : 475
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Book Description
DVD contains 30 minutes of video excerpts and 16 audio tracks, keyed to the text.
Author: Joe Davies
Publisher: Cambridge University Press
ISBN: 1108489842
Category : Music
Languages : en
Pages : 329
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Book Description
Develops a holistic and gender-aware understanding of Clara Schumann as pianist, composer and teacher in nineteenth-century Germany.
Author: James H. Donelan
Publisher: Cambridge University Press
ISBN: 1139471147
Category : Music
Languages : en
Pages : 233
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Book Description
James H. Donelan describes how two poets, a philosopher and a composer – Hölderlin, Wordsworth, Hegel and Beethoven – developed an idea of self-consciousness based on music at the turn of the nineteenth century. This idea became an enduring cultural belief: the understanding of music as an ideal representation of the autonomous creative mind. Against a background of political and cultural upheaval, these four major figures – all born in 1770 – developed this idea in both metaphorical and actual musical structures, thereby establishing both the theory and the practice of asserting self-identity in music. Beethoven still carries the image of the heroic composer today; this book describes how it originated in both his music and in how others responded to him. Bringing together the fields of philosophy, musicology, and literary criticism, Donelan shows how this development emerged from the complex changes in European cultural life taking place between 1795 and 1831.
