Introduzione al Lied romantico by Mario BortolottoIl Lied e il «compagno segreto» della musica moderna: dal Beethoven di Kennst du das Land (1810) allo Strauss dei Vier Letzte Lieder (1948), questa forma accompagna tutti i trasalimenti e le incandescenze della musica assoluta, nata con i romantici in terra tedesca. Una introduzione al Lied implica lo schiudersi di uno spazio interiore, dove si avverte «lelastico respiro delletere»: la sua storia e un capitolo inevitabile di quel «colossale romanzo» entro cui Novalis sentiva svolgersi la nostra vita. Fra i «metafisici stupori» di Schubert e la schumanniana «religione del Reno» si crea in pochi anni una polarita allinterno della quale si disporranno poi, via via, Brahms e Wolf, Wagner e Mahler, Berg e Webern. Il Lied ci si svela come un «continente di cui Schubert ha tracciato i confini, le terre vergini, la barriera delle giungle, lo hic sunt leones». In questo regno di audaci solitudini puo farci da guida solo chi gli appartiene, come Mario Bortolotto, che in questa Introduzione ha distillato dal Lied lessenza stessa del romantico. Questa Introduzione al Lied romantico, che qui si presenta in versione riveduta e ampliata, apparve per la prima volta nel 1962.
Hugo Wolf: Kennst du das Land (Brewer, Vignoles)
Goethe's Kennst du das Land: Eight Musical Settings, 1795-1888
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Franz Peter Schubert was an late Classical and early Romantic composer. He produced a vast oeuvre during his short life, composing more the vocal works largely Lieder , and well as several symphonies, operas, and a large body of piano music. He was uncommonly gifted from a young age, but appreciation of his music was limited during his lifetime. His work became more popular in the decades after his death, and was praised by 19th century composers, including Mendelssohn, Schumann, Brahms, and Liszt. Information from Wikipedia. Read more here.
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This thesis studies the problem of combining a poem with music in nineteenth-century Lieder so that the music enhances the poetry rather than detracting from it. Settings by Johann Friedrich Reichardt, Beethoven, Schubert, Schumann, Liszt, Tchaikowsky, and Wolf are analyzed, after initial treatment of the literary aspects of the poem. The degree of musico-poetic synthesis varies in these settings, and it becomes evident that total fusion of poetry and music is not possible. However, the settings by Schumann and Wolf achieve strong balance McCrory, Jennifer A. August It has been viewed times, with 35 in the last month.
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Open via DFG-Viewer. Library indexing. Link to this page. Titelseite Mignon. Nice to know Doubtful witness Beethoven's setting of "Kennst du das Land? The Lied was exceptionally popular and even in later years was included in arrangements e. The autograph score of this Lied has gone missing.