The Cambridge Companion to the LiedJames Parsons Cambridge University Press, 01.07.2004 Beginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a comprehensive bibliography. |
Inhalt
why the Lied? | |
In the beginning was poetry | |
The eighteenthcentury Lied | |
The Lieder of Schubert | |
The early nineteenthcentury song cycle | |
reconfiguring the Lied | |
The Lieder of Brahms | |
the Lieder of Hugo Wolf | |
instrumental transformations and adaptations of the Lied from | |
The Lieder of Mahler and Richard Strauss | |
to mid century | |
the double life of an artwork and a commodity | |
The Lied in performance | |
Notes | |
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Häufige Begriffe und Wortgruppen
accompaniment aesthetic artistic ballad Beethoven Berlin Biedermeier born Brahms's C. P. E. Bach cadence Cambridge Companion Carl chord Clara Schumann composer's composition critic culture declamation deutsche Dichterliebe Die schöne Müllerin early edition Eichendorff eighteenth-century Erlkönig example Franz Schubert Friedrich Gellert genre German song Gesänge Goethe Goethe's Gustav Mahler harmonic Haydn Heine Heinrich Hensel Hugo Wolf instrumental Johannes Brahms keyboard Krenek later Leben Leipzig Liebe Lied composers Lied’s Lieder Liederjahr Liederkreis Liederspiel listener Liszt literary Loewe lyric major Melodien melody Mendelssohn minor Mörike Mozart Musik musikalische Neue nineteenth century Oden opera orchestral performance Pfitzner phrase piano poems poetic poetry poets postlude published Reichardt Richard Strauss Robert Franz Robert Schumann Romantic Rückert Schiller Schoenberg schöne Müllerin Schubert simplicity singer singing song cycle song’s stanza strophe strophic style Symphony textures tonal tonic trans verse Vienna vocal line voice and piano Webern Wilhelm Winterreise words