The German «Lied» after Hugo Wolf
From Hans Pfitzner to Anton Webern
Series:
Lesley-Ann Brown
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.
Index
Extract
Adorno, Theodor 154, 155
Altenberg, Peter xiv, 11, 51, 52, 105, 109, 228–232, 233, 234, 236, 239, 241, 243, 244, 272
Ansorge, Conrad 18, 205
atonal 139, 151, 154, 190, 225, 269
atonality 25, 107, 108, 135, 136, 151, 221, 231, 268, 269, 272, 273
Bahr, Hermann 47, 229
Bekker, Paul 81, 82, 83, 85, 92
Berg, Alban xiv, 4, 5, 10, 17, 22, 31, 32, 41, 52, 57, 70, 84, 87, 89, 101, 107, 108, 109, 207, 219, 220, 221, 222–244, 245, 247, 249, 251, 253, 255, 257, 259, 261, 263, 266, 271–273
Berlin 9–11, 19, 20, 30, 31, 38, 44, 47, 49, 51, 61, 73, 75, 76, 81, 137, 140–141, 152, 195, 267, 275
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