The Cambridge Companion to the LiedJames Parsons Cambridge University Press, 2004 - 399 Seiten 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
In the beginning was poetry | 12 |
The birth and early history of a genre in the Age of Enlightenment | 33 |
The eighteenthcentury Lied | 35 |
The Lieder of Carl Philipp Emanuel Bach Haydn Mozart and Beethoven | 63 |
The nineteenth century issues of style and development | 83 |
The Lieder of Schubert | 85 |
The early nineteenthcentury song cycle | 101 |
Schumann reconfiguring the Lied | 120 |
Beyond song instrumental transformations and adaptations of the Lied from Schubert to Mahler | 223 |
Into the twentieth century | 243 |
The Lieder of Mahler and Richard Strauss | 245 |
The Lied in the modern age to mid century | 273 |
Reception and performance | 299 |
The circulation of the Lied the double life of an artwork and a commodity | 301 |
The Lied in performance | 315 |
Notes | 334 |
A multitude of voices the Lied at mid century | 142 |
The Lieder of Liszt | 168 |
The Lieder of Brahms | 185 |
Tradition and innovation the Lieder of Hugo Wolf | 204 |
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Häufige Begriffe und Wortgruppen
accompaniment aesthetic artistic Bach's ballad Beethoven Berlin Biedermeier born Brahms's C. P. E. Bach cadence Cambridge Companion chord Clara Schumann composer's composition critic culture declamation Dichterliebe Die schöne Müllerin early edition Eichendorff eighteenth-century Erlkönig example Franz Schubert Friedrich genre German song Gesänge Goethe Goethe's Gustav Mahler Hagedorn harmonic Haydn Heine Heine's Heinrich Hugo Wolf instrumental Johannes Brahms keyboard Knaben Krenek later Leben Leipzig Liebe Lied composers Lied's Lieder Liederjahr Liederkreis Liederspiel listener Liszt Loewe lyric major melody Mendelssohn minor Mörike Mozart Musik nineteenth century Oden opera orchestral performance phrase piano piano orchestra poem's 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 Strauss strophe strophic style Symphony tonal tonic trans verse Vienna vocal line voice and piano Webern Wilhelm Winterreise Wolf's words Wunderhorn