Goethe's Life and Work / 13 C I C LOVE and Solitude to Sleep / 25
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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. -
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. -
Goethe's Conception of the Character of Prometheus
GOETHE'S CONCEPTION OF THE CHARACTER OF PROMETHEUS BT VEDA. MAE VOSE A. B. Eureka College, 1917 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN GERMAN IN THE GRADUATE SCHOOL OP THE UNIVERSITY OF ILLINOIS 1910 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL - 1Q1 f I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY. ENTITLED. v^2C * BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF_ Charge of Thesis Head of Department Recommendation concurred in* Committee on Final Examination* *Required for doctor's degree but not for master's Digitized by the Internet Archive in 2013 http://archive.org/details/goethesconceptioOOvose Outline of Goethe's Conception of the Character of Prometheus. I. General Discussion of the Genieper iode and Goethe's connection with it. II. Prometheus, a fragment of 1773. III. Pandora's Return, a fragment of 1807. IV. Goethe's later acceptance of the harmony of humanity and the world. uiuc . GOETHE'S CONCEPTION OF THE CHARACTER OP PROMETHEUS The Genieperlode and Goethe. During the latter part of the 18th century, all Europe passed through a revolutionizing stage. In England, probably because of her isolation and because of the inherent sturdiness and love of freedom of her people, the movement had come earlier. In France, a political change took place and as a result of the Revolution, the people gained politically and socially. In Germany, because of the political disintegration, the movement was entirely an intellectual revolution, and its fruits are to be found in poetry and music. -
Xerox University Microfilms 300 North Zaab Road Ann Arbor, Michigan 46106 I I
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Friedrich Schiller - Poems
Classic Poetry Series Friedrich Schiller - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Friedrich Schiller(10 November 1759 – 9 May 1805) Johann Christoph Friedrich von Schiller was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life, Schiller struck up a productive, if complicated, friendship with already famous and influential <a href="http://www.poemhunter.com/johann-wolfgang-von- goethe/">Johann Wolfgang Von Goethe</a>. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision. <b>Life</b> Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the only son of military doctor Johann Kaspar Schiller (1733–96), and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters. His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to nearby Lorch. -
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. -
Leah Summers, Mezzo-Soprano and Marc Webster, Bass Leah Summers
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 3-5-2010 Faculty Recital: Leah Summers, mezzo-soprano and Marc Webster, bass Leah Summers Marc Webster Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Summers, Leah and Webster, Marc, "Faculty Recital: Leah Summers, mezzo-soprano and Marc Webster, bass" (2010). All Concert & Recital Programs. 4052. https://digitalcommons.ithaca.edu/music_programs/4052 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. 1 FACULTY RECITAL~ Leah Summers, mezzo-soprano Marc Webster, bass* Charis Dimaras, piano Hockett Family Recital Hall Friday, March 5, 2010 7:00 p.m. ITHACA PROGRAM 5 Goethe Lieder Franz Schubert (1797-1828) t'.£. ~'•0. Gretchen am Spinnrade, 0118 (1814) '£- Grenzen der Menschheit, 0716 (1821)* Heidenroslein, 0257 (1815) Prometheus, 0674 (1819)* Der Musensohn, 0764 (1822) PAUSE ~5') Piano Sonata in a minor, Wolfgang Amadeus Mozart KV 310 (1778) (1756-1791) Allegro maestoso Andante cantabile con espressione Presto PAUSE (5') 5 Goethe Lieder Franz Schubert Wanderers Nachtlied, 0768 (1823)* An Schwager Kronos, 0369 (1816)* Ganymed, 0544 (1817) Lied der Mignon, 0877 (1826) Erlkonig, 0328 (1815)* To receive occasional emails from the School of Music about upcoming concerts, send an email with your name and address to: [email protected] Photographic, video, and sound recording andor transmitting devices are not permitted in the Whalen Center concert halls. Please tum off all cell phone ringtones. -
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. -
Repertoire List~
~Repertoire List~ Contact us for your desired selection! Title Composer Ensemble A Thousand Years C. Perri Quartet Across the Universe Beatles Quartet Agnus Dei/Holy Holy Holy Michael W. Smith Quartet Air Bach Quartet Air from Water Music Handel Solo, Duet, Trio, Quartet Air On G Bach Duet, Trio, Quartet All I Want is You U2 Quartet All of Me Holliday Trio, Quartet All of Me John Legend Quartet All You Need is Love The Beatles Quartet Alleluia Church Music Quartet (Piano Score) Allelujia from Exultate Jubilate Mozart Duet, Trio, Quartet Amazing Grace Traditional Solo, Duet, Trio, Quartet Amen Church Music Quartet (Piano Score) Andante from Piano Concert 21 Mozart Trio, Quartet Annie’s Song J. Denver Quartet Annie’s Theme Alan Silvestri Trio, Quartet Apollo 13 Horner Quartet Appalachia Waltz O’Connor Trio, Quartet Arioso Bach Solo, Duet, Trio, Quartet Arrival of the Queen of Sheba Handel Trio, Quartet Ashokan Farewell Jay Ungar Quartet (Piano Score) At Last Harry Warren Quartet Ave Maria Bach-Gounod Solo, Duet, Trio, Quartet Ave Maria (A flat) Schubert Quartet (Piano Score) Ave Maria (B flat) Schubert Quartet Ave Verum Corpus Mozart Solo, Duet, Trio, Quartet (plus Piano Score) Barcarolle from Tales of Hoffman Offenbach Quartet Be Thou My Vision Traditional Duet, Trio, Quartet Beauty and the Beast Ashman Quartet Bei Mennern from The Magic Flute Mozart Quartet Best Day of My life American Authors Quartet Bist du bei mer Bach Trio, Quartet Bittersweet Symphony M. Jagger Quartet Blessed are They Church Music Quartet Blessed are Those Who Love You Haugen Quartet (Piano Score) Blue Moon Rodgers Quartet Born Free Barry Quartet Bourree Bach Solo, Duet, Trio, Quartet Bourree Handel Solo, Duet, Trio, Quartet Brandenburg Concerto No. -
Schubert Lieder
CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3. -
'Independence of the Composer from the Poet'
‘Independence of the composer from the poet’: A comparative analysis of eight settings of Goethe’s Nur wer die Sehnsucht kennt Ruben Adriaan Meijerink (10424156) – Master’s Thesis February 16, 2020 Thesis supervisor: Dr. R.M. Helmers Second reader: Prof. dr. J.J.E. Kursell Table of contents Introduction 3 Context of the poem and its settings 9 The poem itself 14 Method 16 Analysis 28 Mignon (lines 1-2) 28 Mignon (lines 3-4) 35 Mignon (lines 5-6) 41 Mignon (lines 7-8) 47 Mignon (lines 9-10) 54 Mignon (lines 11-12) 61 Conclusion 67 Appendix: scores 74 2 Introduction It is commonly held that music is a type of language. Since music and language both rely on organized sound, it is hard to make an absolute distinction between the two. We speak of the musicality of language, or even that music has a grammar. Musicality of language is particularly relevant in poetry. When reciting a poem, it is easily recognized that poetic language is ‘musical’, with its rhythms, pitches and rhetorical ebb-and-flows. In some poems, the sounds of the words are even more important than merely communicating their lexical meanings. Indeed, these non-referential components of poetry make the comparison with music especially apt: both a piece of music and a poem can be seen as a composition of ordered sounds. Poetry and music are often combined in song. In setting words to music, song composers, when presenting their musical material, need to grapple with an appropriate diction, as well as the poem’s rhythms and specific sounds. -
Klassizismus in Aktion. Goethes 'Propyläen' Und Das Weimarer
Literaturgeschichte in Studien und Quellen Band 24 Herausgegeben von Klaus Amann Hubert Lengauer und Karl Wagner Daniel Ehrmann · Norbert Christian Wolf (Hg.) Klassizismus in Aktion Goethes Propyläen und das Weimarer Kunstprogramm 2016 Böhlau Verlag Wien · Köln · Weimar Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF) : PUB 326-G26 © 2016 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Umschlagabbildung: Philipp Otto Runge, »Achill und Skamandros« Zeichnung, 1801; © bpk/Hamburger Kunsthalle/Christoph Irrgang Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Korrektorat : Ernst Grabovszki, Wien Umschlaggestaltung : Michael Haderer, Wien Satz : Michael Rauscher, Wien Druck und Bindung : Finidr, Cesky Tesin Gedruckt auf chlor- und säurefrei gebleichtem Papier Printed in Hungary ISBN 978-3-205-20089-5 Inhaltsverzeichnis EINLEITUNG Daniel Ehrmann · Norbert Christian Wolf Klassizismus in Aktion. Zum spannungsreichen Kunstprogramm der Propyläen .................................. 11 KULTUR UND AUTONOMIE Sabine Schneider »Ein Unendliches in Bewegung«. Positionierungen der Kunst in der Kultur .................................. 47 Hans-Jürgen Schings Laokoon und La Mort de Marat oder Weimarische Kunstfreunde und Französische Revolution ........................... 67 Daniel Ehrmann Bildverlust oder Die Fallstricke der Operativität. Autonomie und Kulturalität der Kunst