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THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be. -
Schubert's Mature Operas: an Analytical Study
Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796. -
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
OC 463 Roman Trekel Schwanengesang Booklet V03.Indd
FRANZ SCHUBERT (1797–1828) SCHWANENGESANG [01] Schwanengesang op. 23 Nr. 3 .........................02:34 [02] An den Mond .....................................03:03 [03] Der Wanderer an den Mond . 02:48 [04] Totengräbers Heimweh . 06:04 [05] Meeres Stille ......................................02:17 [06] Das Fischermädchen ................................02:08 [07] Am Meer .........................................03:36 [08] Die Stadt .........................................02:57 [09] Der Doppelgänger ..................................04:20 [10] Ihr Bild ..........................................02:51 [11] Der Atlas .........................................02:05 [12] Liebesbotschaft ....................................03:21 [13] Kriegers Ahnung ...................................05:18 [14] Frühlingssehnsucht .................................03:24 [15] Ständchen ........................................04:04 [16] Aufenthalt ........................................02:58 [17] Herbst ...........................................03:12 [18] In der Ferne .......................................05:40 [19] Abschied .........................................04:27 [20] Die Taubenpost ....................................04:08 ROMAN TREKEL, BARITON OLIVER POHL, KLAVIER total 71:24 3 LETZTE LIEDER VON FRANZ SCHUBERT winternden, den Hals etwas aufrechter tragenden Singschwan (Cygnus cygnus), den der ein Jahr nach Es singt der Schwan im Weiher Schuberts Tod geborene Alfred Brehm in seinem Und rudert auf und ab, Tierleben deshalb auch „Cygnus musicus“ genannt -
A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro ALBERT, ANNE E., D.M.A. Fragments: A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder. (2009) Directed by Dr. Robert Wells. 58pp. The songs of Mignon from Goethe’s novel Wilhelm Meister’s Apprenticeship (Wilhelm Meisters Lehrjahre) have been set hundreds of times by dozens of composers from the late 18th century onward. Though most frequently set by composers from the German School, Mignon’s songs have also been popular with many non-Germans including works by French, Russian, and Italian composers. Mignon’s mysterious persona has long fascinated song composers and many have been compelled to set her songs multiple times. The purpose of this study is to explore the character of Mignon from Goethe’s novel, Wilhelm Meister’s Apprenticeship through the lens of a psychoanalytic literary critic. I will examine six different composer’s settings of Mignon’s first song in the novel, “Kennst du das Land?” in order to understand how each composer portrays her character differently as seen through their unique compositional styles, their own psychology, and the style periods in which they wrote. The method of literary criticism applied to the song settings becomes psychoanalytic reader-response criticism as we move from merely analyzing Goethe’s depiction of Mignon to each composer’s depiction and reception of Goethe’s character in addition to our own reception of that persona. One of the goals of this research is to show how Mignon’s character is transformed as she makes her way through history in the development of Lieder. -
Franz Schubert's Impromptus D. 899 and D. 935: An
FRANZ SCHUBERT’S IMPROMPTUS D. 899 AND D. 935: AN HISTORICAL AND STYLISTIC STUDY A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2005 by Ina Ham M.M., Cleveland Institute of Music, 1999 M.M., Seoul National University, 1996 B.M., Seoul National University, 1994 Committee Chair: Dr. Melinda Boyd ABSTRACT The impromptu is one of the new genres that was conceived in the early nineteenth century. Schubert’s two sets of impromptus D. 899 and D. 935 are among the most important examples to define this new genre and to represent the composer’s piano writing style. Although his two sets of four impromptus have been favored in concerts by both the pianists and the audience, there has been a lack of comprehensive study of them as continuous sets. Since the tonal interdependence between the impromptus of each set suggests their cyclic aspects, Schubert’s impromptus need to be considered and be performed as continuous sets. The purpose of this document is to provide useful resources and performance guidelines to Schubert’s two sets of impromptus D. 899 and D. 935 by examining their historical and stylistic features. The document is organized into three chapters. The first chapter traces a brief history of the impromptu as a genre of piano music, including the impromptus by Jan Hugo Voŕišek as the first pieces in this genre. -
A Comparison of Robert Schumann's and Hugo Wolf's Settings
A COMPARISON OF ROBERT SCHUMANN’S AND HUGO WOLF’S SETTINGS OF GOETHE’S MIGNON LIEDER A RESEARCH PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY CARRIE RIVERA JOSEPH LEVITT – ADVISOR BALL STATE UNIVERSITY MUNCIE, IN MAY 2012 2 The nine poems presented throughout Johann Wolfgang von Goethe’s Wilhelm Meister’s Lehrjahre have continued to fascinate German composers for the last three centuries. Of the three characters represented in these poems throughout the novel, one character in particular has remained the most fascinating, the character of Mignon. While at the same time seeming to possess a naïve quality about her, Mignon is also tainted by the suffering she had faced throughout her short life. In an attempt to capture what composers perceived as the true character of Mignon, several have set her poems to music. Of the many musical settings of the Mignon poetry found today, two stand out among the rest, that of Robert Schumann and Hugo Wolf. In order to find which composer’s musical setting best represents the complex character of Mignon, this study will consist of comparing Schumann’s and Wolf’s settings of the Goethe’s four Mignon poems to the character descriptions of Mignon found in Eric A. Blackwell and Victor Lange’s English translation of Goethe’s Wilhelm Meister’s Lehrjahre. The four poems that will be looked at include Goethe’s “Kennst du das Land?” “Nur wer die Sehnsucht kennt,” Heiss mich nicht reden,” and “So lasst mich scheinen.” While several past studies have claimed Hugo Wolf’s setting of the Mignon lieder to be far superior to all other settings in its ability to represent the character of Mignon in the music, this study will instead strive to demonstrate how Robert Schumann’s musical setting of Goethe’s Mignon lieder best represents the character of Mignon. -
8.554666 Bk Schubert 15/4/03 1:45 PM Page 28
8.554666 bk Schubert 15/4/03 1:45 PM Page 28 DEUTSCHE Also available on Naxos: SCHUBERT-LIED-EDITION • 13 SCHUBERT Goethe Lieder, Vol. 2 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor 8.554741 8.555780 8.554795 8.554796 8.554666 28 8.554666 bk Schubert 15/4/03 1:45 PM Page 2 THE DEUTSCHE SCHUBERT-LIED-EDITION Also available on Naxos: In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs Deutsche Schubert Lied Edition Vol. 1 which he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Winterreise Deutsche Schubert Lied Edition Vol. 7 Schubert’s) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Roman Trekel, Baritone The European Poets, Vol. 1 Goethe: Ulrich Eisenlohr, Piano. 8.554471 Cronnan • Das Mädchen von Inistore A selection of German songs will constitute the beginning of this edition; it will consist of Ellens Gesang I, II & III • Gesang der Norna Kolmas eight volumes. The first two (the first of which, as an example, you will find in our letter) Deutsche Schubert Lied Edition Vol. 2 Klage • Lied des gefangenen Jägers • Lied der Anne contains poems written by your Excellency, the third, poetry by Schiller, the fourth and fifth, Schwanengesang • Auf dem Strom • Herbst Lyle • Lodas Gespenst • Normans Gesang works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the seventh and eighth contain Lebensmut • Lieder on texts by Ludwig Rellstab Ossians Lied nach dem Falles Nathos songs by Ossian, whose works are quite exceptional. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Der Auftakt 1920-1938
Der Auftakt 1920-1938 The Prague music journal Der Auftakt [The upbeat. AUF. Subtitle: “Musikblätter für die tschechoslowakische Republik;” from volume seven, issue two “Moderne Musikblätter”]1 appeared from December 1920 to April 1938.2 According to Felix Adler (1876-1928), music critic for the Prague journal Bohemia and editor of the first eight issues of AUF,3 the journal was formed out of the Musiklehrerzeitung [Journal for music teachers] (1913-16, organ of the Deutscher Musikpädagogischer Verband [German association for music pedagogy] in Prague) and was to be a general music journal with a modern outlook and with a concern for the interests of music pedagogues.4 Under its next editor, Erich Steinhard, AUF soon developed into one of the leading German-language modern music journals of the time and became the center of Czech-German musical collaboration in the Czechoslovakian Republic between the wars.5 Adolf Weißmann, eminent music critic from Berlin, writes: “Among the journals that avoid all distortions of perspective, the Auftakt stands at the front. It has gained international importance through the weight of its varied contributions and the clarity of mind of its main editor.”6 The journal stopped publication without prior announcement in the middle of volume eighteen, likely a result of the growing influence of Nazi Germany.7 AUF was published at first by Johann Hoffmanns Witwe, Prague, then, starting with the third volume in 1923, by the Auftaktverlag, a direct venture of the Musikpädagogischer Verband.8 The journal was introduced as a bimonthly publication, but except for the first volume appearing in twenty issues from December 1920 to the end of 1921, all volumes contain twelve monthly issues, many of them combined into double issues.9 The issues are undated, but a line with the date for the “Redaktionsschluss” [copy deadline], separating the edited content from the 1 Subtitles as given on the first paginated page of every issue. -
The Life of Schubert
The life of Schubert C HRISTOPHER H. GIBBS published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011Ð4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in FF Quadraat 9.75/14 pt, in QuarkXPressª [se] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Gibbs, Christopher Howard. The life of Schubert / Christopher H. Gibbs. p. cm. Ð (Musical lives) Includes bibliographical references and index. isbn 0 521 59426 x 1. Schubert, Franz, 1797Ð1828. 2. Composers Ð Austria Biography. 1. Title. 11. Series. ml410.s3g53 2000 7809.92 Ð dc21 [b] 99-32936 cip isbn 0 521 59426 x hardback isbn 0 521 59512 6 paperback Contents List of illustrations viii Acknowledgments x Note on the text xii List of abbreviations xiii Prologue: Schubert yesterday 1 1 Representing Schubert: “A life devoted to art” 5 2 Young Schubert: “The master in the boy” 22 3 Ingenious Schubert: “The prince of song” 41 4 Popular -
LES 4 SAISONS DU LIED Récital De L’Été
Musée d’art et d’histoire, Fribourg Dimanche 30 août à 17 heures LES 4 SAISONS DU LIED Récital de l’été Une Schubertiade Julian Prégardien, Ténor Philippe Pierlot, Viole de gambe Marc Hantaï, Flûtiste Axel Wolf, Luthiste et Guitariste Avec le soutien de Schubertiade Aus «Schubert» von Peter Härtling (KiWi 1992) Moment Musical I (Auszug) Franz Schubert (1797 - 1828) Der Wanderer (von Lübeck) D 489 Klage an das Volk Morgenlied (Werner) D 685 aus opus 9 Tänze Nr. 1 und Nr. 6 Schäfers Klagelied (Goethe) D 121 Heidenröslein (Goethe) D 257 Aus «Ich bin zu Ende mit allen Träumen» von 20. August 1815 Michael Stegemann (Piper 1997) Wanderers Nachtlied (Goethe) D 224 Wenzel Matiegka (1773 - 1830) aus «Notturno» opus 21 Lento e patetico + Zingara Auf dem Strom (Rellstab) D 943 Sehnsucht (Mayrhofer) D 516 Johann C. Mertz (1806 - 1856) 20. August 1815 Wanderers Nachtlied (Goethe) D 224 Wenzel Matiegka (1773 - 1830) aus Nachtviolen opus 2 Andante espressivo Schwanengesang (Senn) D 744 Auf dem Wasser zu singen (Stolberg) D 774 Lachen und Weinen (Rückert) D 777 Johann B. Mayrhofer (1787 - 1836) Geheimnis (an Franz Schubert) Nachtviolen (Mayrhofer) D 752 aus «Schubert» von Peter Härtling (KiWi 1992) Moment Musical I (Auszug) Gesänge des Harfners (Goethe) Wer sich der Einsamkeit ergibt D 478 Wer nie sein Brot mit Tränen aß D 480 An die Türen will ich schleichen D 479 aus Klaviersonate D 894: Menuett Johann B. Mayrhofer (1787 - 1836) An Franz aus «Schwanengesang» D 957 Ständchen (Rellstab) Concert sans pause Julian Prégardien Julian Prégardien ist als Opern-, Konzert- und Liedsänger international gleichermaßen erfolgreich.