Franz Schubert en Màrius Torres Carbó, Ferran
Studia Romanica Posnaniensia,
10/2021, Letnik:
48, Številka:
3
Journal Article
Recenzirano
Odprti dostop
This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The ...writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.
Мета дослідження – вивчити основні принципи втілення Г. Вольфом гуманістичних поглядів Й. В. Гете в піснях із вокальної збірки «Goethe-Lieder», написаних для баритонового голосу – трьох піснях ...Арфіста та монолозі «Прометей». Методологія дослідження полягає в аналізі музично-виражальних засобів та їх символіці, за допомогою яких Г. Вольф створив образи й характери героїв Й. В. Гете. Наукова новизна дослідження. Вперше в українському музикознавстві досліджено характерні музично- виражальні особливості вокальних творів Г. Вольфа зі збірки «Goethe-Lieder» для баритонового голосу, за допомогою яких композитор втілив гуманістичні ідеї Й. В. Гете. Висновки. Через зображення внутрішнього світу своїх героїв поет висвітлює важливу моральну та гуманістичну теми. У збірці «Goethe-Lieder» композитор реалізує гуманістичні уявлення Й. В. Гете за допомогою засобів музичної виразності. Свої основні світоглядні ідеї він втілює в поетичних образах стражденного Арфіста та бунтівного Прометея. Кожен образ, створений Й. В. Гете, отримує у Г. Вольфа новий сенс. Для нього основним джерелом втілення музичної думки стає поетичне слово. У композитора переконливість вокального письма полягає у самобутній мелодиці. Особливого значення у створенні музично-поетичних образів набувають гармонія, фактура, динаміка, агогіка, які він наділяє певним смислом. Внаслідок цього зазначені засоби отримують символічне значення для розкриття створених образів. Розвиваючи традиції своїх попередників (Р. Шуман, Ф. Ліст, Р. Вагнер) музично-виражальними засобами, композитор підсилює поетичне слово, надає йому глибшого тлумачення.
Franz Peter Schubert adalah seorang komponis terkenal kelahiran Vienna karena karya lagu seni (art song) berbahasa Jerman yaitu lieder. Pembawaan karya lieder-nya sering disalah interpretasikan ...selain karena masa hidupnya yang singkat dan berada pada era transisi Klasik menuju Romantik, juga karena minimnya informasi mengenai pembawaan lagu karyanya sendiri. Pendekatan historis dan musikologis digunakan untuk menemukan gaya pembawaan lieder berdasarkan semangat yang dibangun saat pengkomposisiannya. Berdasarkan penelitian dapat disimpulkan bahwa keunikan lieder Schubert merupakan hasil dari pengaruh komponis sebelumnya yaitu Beethoven, Mozart, dan Haydn. Kondisi ekonomi membuatnya dekat dengan lingkaran temannya dan mengembangkan gaya yang intim dalam karya lagunya. Gayanya tercermin dalam penggunaan melodi yang bergaya folksong yang sederhana, perpaduan yang seimbang antara piano dan vocal, serta beberapa ciri pemilihan sukat yang variatif, tempo yang cenderung sedang, penggunaan caesura, modulasi, dan harmonisasi serta pola ritmis iringan yang menyesuaikan dengan gambaran puisinya. Berdasarkan ciri khas tersebut ia lebih tepat disebut sebagai komponis Era Klasik daripada anggapan yang beredar luas sebagai komponis Era Romantik. The Unique Style of Franz Schubert’s Lieder. Franz Peter Schubert, one of the well-known Vienna’s composer, is recognized by his greatest number and melodious Germany art songs called lieder. His short life-span (from 1797 until 1828) was expanded in the transition era from Classic to Romantic and by then his lieder is frequently being misinterpreted by the reason of the transition of that musical era and because of the lack of performance information from him. Based on historical and musicological approach, this research tried to figure out the former style of Schubertlieder. The characteristic of Schubert’s lieder is the result of many influences from the well-known composer such as Beethoven, Mozart and Haydn. The economic situation made him closed to his circle of friend and formed his intimate style of composing. He used the simple melodious folksong style, perfect balance between piano and voice, the medium tempo and various meter, caesura, modulation,simple harmonization and particular rhythmical pattern to build his lieder style. His composition is actually closer to Classical style than the Romantic one and he is more precisely known as the Classical composer.
Eden Berg, Gregory
Journal of singing,
09/2022, Letnik:
79, Številka:
1
Journal Article
Recenzirano
Fortunately, the musical excellence at hand makes this a completely engrossing experience even without the benefit of the visual pizzazz. The chamber music treatment that they receive may strike some ...listeners as slightly undernourished, while others will love its transparent intimacy. DiDonato has taken care to include a children's choir performance in every one of her Eden performances, believing (quite rightly) that the survival of our planet depends as much on the next generation as it does on us. Truth be told, the urgent message about our planet and its survival is probably more clearly conveyed when one experiences the carefully calibrated visuals that are such an essential element in the live presentations. ...a release becomes available (and as of this writing, none has been announced), it is just as well to experience this in this audio-only format where there is nothing to distract us from the manysplendored singing of one of the finest artists of our day.
‘Liederistic’ music is a musical genre on which architectural acoustical research is rarely focused. Despite this lack of scholarship, however, this genre represents one of the most interesting ...challenges for acoustical problem solving. In fact, it combines speech and music comprehension requirements in a fascinating manner to illuminate elements of both the magnification of the musical score and the hidden tension of a sung poetry text. To individualise the main characteristics of this genre, a multidisciplinary approach is taken, starting from a musical point of view. A knowledge and comprehension of music is a fundamental step to determine the parameters that allow for the best performance and listening experience of this particular music. Consequently, an introduction to the physics and acoustical characteristics of the singing voice and the piano is given, specifically highlighting the technological development of the piano since the 18th century. Through a combination of historical, architectural, and interior design research, a possible location of the original performance is recreated to investigate the probable primal acoustic conditions using computational analysis. Various contemporary chamber music halls were then considered and compared to the reconstructed location to investigate whether actual places exist with similar acoustic conditions.
Viennese composer Hugo Wolf produced one of the most important song collections of the nineteenth century when he set to music fifty-three poems by the great German poet Eduard Mörike. Susan Youens ...reappraises this singular collaboration to shed new light on the sophisticated interplay between poetry and music in the songs. Wolf is customarily described as 'the Poet's Composer', someone who revered poetry and served it faithfully in his music. Yet, as Youens reveals, this cliché overlooks the rich terrain in which his songs are often at cross purposes with his chosen poetry. Although Wolf did much to draw the world's attention to the neglected Swabian poet, his musical interpretation of the poetry was also influenced by his own life, psychology and experiences. This book examines selected Mörike songs in detail, demonstrating that the poems and music each have their own distinctive stories which at times intersect but also diverge.
Intra- and inter-generational family singing is found throughout the world’s cultures. Children’s songs across many traditions are often performed with adult family members, whether simultaneously ...(in unison or harmony) or sequentially (as in call-and-response). In one corpus of printed children’s songs, however, such musical partnering between young and old was scripted, arguably for the first time. Children’s periodicals and readers in late eighteenth-century Germany offered a variety of poems, theatricals, riddles, songs, stories, and non-fiction content, all promoting norms around filial obedience, virtue, and productivity. Readers were encouraged to share and read aloud with members of their extended families. But the “disciplining” going on in this literature was as much emotional as it was moral. Melodramatic plots to dialogues, plays, and Singspiele allowed for tenderness and affection to be role-played in the family drawing room. And the poems and songs included in and spun off from these periodicals constituted, for the first time, a shared repertoire meant to be sung and played by young and old together. Duets for brothers and sisters, parents and children—with such prescriptive titles as “Brotherly Harmony” and “Song from a Young Girl to Her Father, On the Presentation of a Little Rosebud”—not only trained children how to be ideal sons, daughters, and siblings. They also habituated mothers and fathers to the new culture of sentimental, devoted parenthood. In exploring songs for family members to sing together in German juvenile print culture from 1700 to 1800, I uncover the reciprocal learning implied in text, music, and the act of performance itself, as adults and children alike rehearsed the devoted bourgeois nuclear family.
When Richard Strauss composed his Vier letzte Lieder (1948) he was 84 and psychologically exhausted by the sufferings of the war years and subsequent isolation. The four songs are not really a cycle ...and perhaps not even 'Lieder' in the traditional sense of the word (eminent musicologists prefer to call them Gesänge); however, they undoubtedly represent Strauss's farewell to life and art. Sunset, autumn and the approaching night which is first and foremost a leavetaking from life: on these themes, which connect together the three poems by Hermann Hesse and the fourth, Im Abendrot, by Joseph Eichendorff, Strauss resorts to a musical symbolism that trascends the borders of each Lied, and transforms coloraturas into idealised, rarefied arabesques. The systematic interweaving of instrumental and vocal singing also reaches such a degree of parity as to make the customary concept of accompaniment wholly inadequate and incongruous. On the one hand, Strauss takes up elements that had been dear to him since his youth, on the other, he rethinks and surpasses them by imagining a vocality that borders on abstraction: the words themselves become mere sound. In the Vier letzte Lieder there is a transparency of writing typical of the late style of the great composer in which the technical dominance is such that it goes unnoticed and becomes a spontaneous reinvention of a past that is irrevocably lost, but still alive in memory: so much so that all of the last Strauss seems to find a synthesis in these four truly 'last' pages of metamorphosis and farewell.
PDF
