German Lyric Poetry Culminated in the Art of Who Was a Favorite Poet of Romantic Composers
The German term is used in English to refer to Romantic fine art songs. The lied is a fusion of two arts, poetry and music, merely 1 of those components, the verse, was originally an independent work, consummate in itself. (Other composite forms, like opera, tend to involve an accommodation rather than the wholesale assimilation of an existing text.) A composer's way of reading a poem becomes explicit in his musical setting. The vocal reduces the verse form's scope. But there are some excellent musical-poetic syntheses which represent the pinnacle of the lied.
The similarity between metre in verse and rhythm in music is axiomatic, only there are differences: verse uses deviations from basic metrical patterns to create its effects. The musical setting cannot lucifer the possible rhythmic variations either - the composer has to choose one possibility. Music renders pictorial effects more prominent than they are in the text lone. Poems which achieve their effect through footstep tend to exist rather slowed and neutalized past musical settings. But music readily reinforces the emotional implications of poetry, although it may take bug with the conceptual aspects.
Forms of the Lied: In the orchestral songs of Gustav Mahler, the lied moved from the drawing room to the concert hall, taking the tradition in a new management. Mahler's songs for voice and orchestra, with texts he adapted from the folk-songs of Des Knaben Wunderhorn, mirror the naivety and enchanting images of the poems in simple, strophic settings, with crytalline orchestration. Mahler'southward 4th Symphony (1899-1900) incorporates a setting of the Wunderhorn folk poem 'Wir genießen die himmlischen Freuden', his 2nd derives text for the song 'Urlicht' and the third movement of his Fifth likewise. In Mahler'southward Rückert Lieder, darker lyrics, the orchestra sounds most dessicated. Although cultivated with stardom past Richard Strauss, the lied with pianoforte lost its cardinal position later 1900. Strauss had written a fine corpus of lieder by then, to which he added throughout his life, culminating with the haunting Vier letzte Leider.
stophic = identical music for each strophe. May be varied in melodic line, rhythm, tempo, dynamics, harmony, however, to adjust to the grade of the poem, although at that place is noticeable repetition of melody and accompaniment.
cyclical = A-B-A musical design
through-composed = treats each poetic thought independently. Essential for a verse form in free verse, of course.
History of the Lied:
The lied is a minor-scale course, whose entreatment lies not with grandeur, but with intimacy. In the late eighteenth century, a new aesthetic prompted strophic lieder set to a uncomplicated folksy melody, with uncomplicated harmony and independent accessory. Equally the tradition developed, composers sought out superior poetry. The gulf between pre- and post-Schubertian song lay in the relationship between word and tone. It was Franz Schubert's settings of Goethe's 'Gretchen am Spinnrade' (1814) and 'Erlkönig' (1815) that beginning combined the characteristics of the finest nineteenth-century lieder: close musical identification with character and scene, concentrating lyric and dramatic ideas into an integrated miniature that prioritised feeling. In 'Gretchen am Spinnrade', the melody keens, increasing in intensity as it wanders restlessly from key to primal, the pianoforte evoking both the hum of the spinning wheel and the girl'south surging emotions. Schubert's 'Erlkönig' shifts brilliantly between the ballad'southward unlike voices, whilst the piano accompaniment captures the pounding hooves and the wind. The setting of Goethe'southward 'Heidenröslein' matches well the folksy quality of the poem. Schubert'south 600 songs (written during a lifetime of 31 years!) employ correlations between the poetical and the musical. Verbo-musical ideas stage in the imagination springtime, evening, love, and grief, for instance, or evoke the energetic, the gossipy, and the libidinous. Schubert created two great vocal-cycles from the words of modest poet Wilhelm Müller: Dice schöne Müllerin and Winterreise. These exemplify onomatopoeic devices. Winterreise evokes the singer walking in an eerie, frozen mural, finding merely phantoms and emptiness. Among Schubert's best Schiller songs are 'Die Hoffnung', 'An den Frühling' and 'Dithyrambe'. Heine'due south poems abound in theatrical gesture, word play, burst illusions and paradox, however, and Schubert misses the point, making Atlas grandiose and the Fischermädchen guileless. The last of the six Heine-Lieder is the almost celebrated, 'Der Doppelgänger', merely Schubert builds his climax on the wrong line, the final i. Still, Schubert was setting the piece of work of a contemporary poet, his settings written the year later Heine's Buch der Lieder was published.
Robert Schumann set up fifty-fifty more of his contemporaries, including Eichendorff, Heine, Uhland, Rückert and Lenau. His 260 lieder elevated the function of the piano, making the accompaniment equal the voice. His setting of Eichendorff'due south 'Mondnacht', in the Liederkreis, captures the dream-like suspension of the poem. This is a magnificent fusion of verse form and music so that both evoke the moolit serenity and union with nature. From its achingly sugariness-lamentable opening, Schumann's song-cycle Dichterliebe (16 songs to poems from Heine's Buch der Lieder) moves through shades of love and loss with a diverseness of piano textures and colours, earlier fading into contemplative reverie at the finish. Schumann tends to sweeten Heine, but gets moods of tender longing well in, for instance, 'Im wunderschönen Monat Mai'. The successful strophic lied 'Das ist ein Flöten und Geigen' has a piano part which overlays the bitterness with which the dear'south wedding celebration is described. 1840 was Schumann's Liederjahr, when he was prolific and produced most of his most famous songs. Eichendorff and Heine were his favourite poets, but the great song-cycle Frauenleben und -liebe set mediocre poems past Adalbert von Chamisso. Each deals with a moment in a adult female's love life, from first love to old age, with immense emotionalism.
The flowering of German Romantic song with piano, to which Wagner and Liszt contributed, was maintained to the end of the nineteenth century by 2 composers who represent opposite ends of the lied spectrum: Brahms the traditionalist, most of whose 200 songs are carefully unified strophic or ternary structures, with frequently complex only rarely contained accompaniments, emphasizing nostalgia and longing, and few examples of fusion with a poem; and Hugo Wolf, by dissimilarity verse form-orientated. Wolf published songbooks devoted to particular poets (Mörike, Goethe, Eichendorff). His 300 songs, encompassing a wide emotional range, are at eye keyboard writing enriched by vocal and instrumental counterpoint, employing an extended harmonic language. Where Schubert and Schumann are genial and amusing, Wolf brings out-and-out humor to the lied. This is exemplified in songs such every bit 'Der Jäger' and 'Lied eines Verliebten'. Where Schubert's greatest affinity was with Goethe and Schumann's with Heine, Wolf's affinity was with Mörike. The song 'Um Mitternacht' has a mesmerizing tranquillity and calm, the music lulling the senses. Wolf captures the impressions and suggestions in Mörike's poems. Wolf's 'Prometheus', from Goethe's poem, is titanic, the piano and voice pushed to extremes.
Settings of German language Romantic poems in composers' songbooks: Franz Schubert Robert Schumann Hugo Wolf Gustav Mahler Richard Strauss
Goethe-Lieder (1815) - Schubert set 66 poems past Goethe
Die schöne Müllerin (1823) – poems by Wilhelm Müller
Winterreise: Liederzyklus nach Gedichten von Wilhelm Müller (1827)
Too settings of poems by Schiller (41), Klopstock (13), Novalis (vi) and Heine (6), amid others.
Liederkreis (1841) – poems by Eichendorff
Dichterliebe (1841) – poems by Heine
Sechs Lieder für eine Frauenstimme (1888) – poems by Rückert, Hebbel, Mörike
Sechs Gedichte von Scheffel, Mörike, Goethe und Kerner (1888)
Gedichte von Mörike (1889) – 53 songs
Gedichte von Eichendorff (1889)
Gedichte von Goethe (1889) – 51 songs
Zwölf Lieder aus Des Knaben Wunderhorn (1892-5)
Sieben Lieder aus letzter Zeit (1899-1903) – poems by Rückert and from Des Knaben Wunderhorn
Kindertotenlieder nach Gedichten von Friedrich Rückert (1901-4)
Poems by Goethe, Heine, Dehmel, Mackay, Klopstock
Mutterlieder (1900)
Vier letzte Lieder (1948-9) – poems by Hesse and Eichendorff
On Lieder meet also Dreamlives
Source: https://germanpoetry.blogspot.com/2005/05/lieder.html
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