| Contents |
Foreword / Elly Ameling and Max Deen Larsen -- Introduction: Preliminary clarifications -- Part I: The language of poetry. Introduction to German romanticism. Historical context of German romanticism ; German romantic themes and imagery ; Cultural influences within German romanticism ; Exercises -- Part II: The language of the performer. Texture. Vocal styles ; Accompanimental styles ; Models for study of texture ; Exercises -- Temporality. Nuances of notation ; Determination of tempo ; Timing between partners ; Exercises -- Elements of interpretation. Dynamics ; Timbre ; Vocal accents and stress ; The concept of persona ; Exercises -- Part III: The language of music. Harmony and tonality. Harmonic and tonal norms ; Tonality and mode ; Harmonic and tonal innovation ; Exercises -- Melody and motive. Melodic overview: Context and characteristics ; Linear analysis ; Contrapuntal structure of melody and bass ; Compound line ; Motivic analysis ; Melody in the accompaniment ; Exercises -- Rhythm and meter. Rhythmic, metric, and phrase norms ; Metric, rhythmic, and phrase deviations ; Exercises -- Form in the German lied. Introduction ; Analysis of form in lieder ; Conclusion ; Exercises -- Different settings of a single text: Comparison of compositional style. Settings of "Harper I": Schubert, Schumann, and Wolf ; Comparisons with Brahms lieder ; Settings of "Liebst du um Schönheit": Clara Schumann and Gustav Mahler ; Conclusion ; Exercises -- Postlude -- Notes -- Appendix I: Text translation -- Appendix II: Glossary: Terminology for poetry, performance, analysis -- Appendix III: Selected bibliography -- Appendix IV: Repertory by chapter -- Appendix V: Scores not readily accessible. Der jüngling und der tod, D. 545 ; Die mainacht, D. 436 ; Klage an den mond, D 436 ; Leiden der trennung, D. 509 / Franz Schubert -- Wer sich der einsamkeit ergibt, op. 98a, no. 6 / Robert Schumann -- Die mainacht, op. 43, no. 2 ; Heimweh II, op. 63, no. 8 ; Immer leiser wird mein schlummer, op. 105, no. 2 ; In der fremde, op. 3, no. 5 ; Ständchen, op. 106, no. 1 ; Vergebliches ständchen, op. 84, no 4 ; Wie medoldien zieht es mir, op. 105, no. 1 / Johannes Brahms -- Wer sich der einsamkeit ergibt ; Lebe wohl ; Gesang Weylas / Hugo Wolf -- Liebst du um schönheit, op. 12, no. 4 / Clara Schumann -- Liebst du um schönheit / Gustav Mahler. |
| Abstract |
When Franz Schubert put Goethe's poem "Gretchen am Spinnrade" to music in 1814, he created a musical form that has captivated audiences ever since. In this book, the authors challenge readers to seek a richer, more imaginative understanding of Lied--the nineteenth-century German art song. Focusing on the music of Schubert, Schumann, Brahms, Wolf, and Strauss, the authors offer a systematic introduction to the performance and analysis of Lieder. Separating the study of the art of song into its principal components--poetry, music, and performance--they present a detailed examination of each topic in turn, finally recombining all three to show how performance, poetry, and music all interact to form this complex musical art. Part I, "The language of poetry," features chapters on the themes and imagery of German Romanticism and the methods of analysis for German Romanticism poetry. Part II, "The language of the performer," covers texture, temporality, articulation, interpretation of notation and unusual rhythm accents and stresses, and other issues of concern to performers. Part III presents clearly defined analytical procedures for each of four main chapters on harmony and tonality, melody and motive, rhythm and meter, and form. The concluding chapter compares different settings of the same text by the four great Lied composers--Schubert, Schumann, Brahms, and Wolf--as well as by often neglected Lied composers Clara Schumann and Gustav Mahler. The authors also provide several appendices of text translations, less accessible song scores, a glossary of technical terms, and a substantial bibliography. Written for students of voice, piano, and theory and for all singers and accompanists, the book establishes a framework for the analysis of song based on a process of performing, listening, analyzing, and performing again. This unique approach emphasizes the reciprocal interaction between performance and analysis. Focusing on the masterworks, this book features numerous poetic texts, as well as a core repertory of songs. Examples throughout the text demonstrate points, and end of chapter questions reinforce concepts and encourage directed analysis. While numerous books have been written on Lieder and German Romantic poetry, this book is the first to combine performance, musical analysis, textual analysis, and the interrelation between poetry and music in a truly systematic, thorough way. |
