From Hans Pfitzner to Anton Webern
The composers selected for their relevance in Lieder composition during this time illustrate not only the diversity of their musical thought but also a changing approach to the relationship between the poetic text and its musical counterpart. Hans Pfitzner represents the determination to maintain established tradition; subsequently, a chronological progression through the individuality of Paul Hindemith and social integrity of Hanns Eisler leads to the point where transformation of the genre can be said to have begun, with Arnold Schönberg. With the Lieder of Alban Berg and Anton Webern, the genre arrived at a point of convergence with the ideals of German modernism. This study offers new insights into the cultural significance of German songwriting in the first part of the twentieth century.
About the author
Lesley-Ann Brown holds a PhD in German from the University of Nottingham. She is a classically trained pianist, having attended the Royal College of Music as a Junior Exhibitioner and the Royal Academy of Music as a senior student. She also received a BMus degree from the University of London. An accompanist, teacher and examiner, her current research concerns the influence of the German poet Richard Dehmel, whose work prompted composers to produce Lieder during the first years of the twentieth century.
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.