Schumann S Dichterliebe And Early Romantic Poetics

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.

Interdisciplinary studies of some of the greatest examples of German art song by major scholars in musicology and German literature.

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.

This Companion is an accessible introduction to Schumann: his time, his temperament, his style and his œuvre. An international team of scholars explores the cultural context, musical and poetic fabric, sources of inspiration and interpretative reach of key works from the Schumann repertoire ranging from his famous lieder and piano pieces to chamber, orchestral and dramatic works. Additional chapters address Schumann's presence in nineteenth- and twentieth-century composition and the fascinating reception history of his late works. Tables, illustrations, a detailed chronology and advice on further reading make it an ideally informative handbook for both the Schumann connoisseur and the music lover. An excellent textbook for the university student of courses on key composers of nineteenth-century Western Classical music, it is an invaluable guide for all who are interested in the thought, aesthetics and affective power of one of the most intriguing figures of a culturally rich and formative period.

This book consists of poems from Heinrich Heine's Lyrisches Intermezzo, which was set to music by Robert Schumann as his Op. 48 Song Cycle. The poems discuss love and heartbreak in a haunting and beautiful way. This edition includes the original German text as well as an English translation. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A creative and accessible harmonic analysis of major works by key composers, demonstrating innovative methods in harmonic theory with sound examples.

Robert Schumann (1810-56) is one of the most important and representative composers of the Romantic era. Here acclaimed biographer martin Geck tells the story of this multifaceted genius, set in the context of the political and social revolutions of his time.

Featuring 28 music examples this book takes an innovative approach to analyzing and interpreting nineteenth-century German song, offering new perspectives on Robert Schumann's Lieder and song cycles. Robert Schumann's Lieder are among the richest and most complex songs in the repertoire and have long raised questions and stimulated discussion among scholars, performers, and listeners. Among the wide range of methodologies that have been used to understand and interpret his songs, one that has been conspicuously absent is an approach based on narratology (the theory and study of narrative texts). Proceeding from the premise that the performance of a Lied is a narrative act, in which the singer and pianist together function as a narrator, Andrew Weaver's groundbreaking study proposes a comprehensive theory of narratology for the German Romantic Lied and song cycle, using Schumann's complete song oeuvre as the test case. The theory, grounded in the work of narratologist Mieke Bal but also drawing upon recent work in literary theory and musicology, illuminates how music can open up new meanings for the poem, as well as how a narratological analysis of the poem can help us understand the music. Weaver's book offers new insights into Schumann's Lieder and the poetry he set while simultaneously proposing a methodology applicable to the analysis and interpretation of a wide range of works, including not only the rich treasury of German Lieder but also potentially any genre of accompanied song in any language from the Middle Ages to the present day.