Richard Dehmel


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Dehmel, Richard

 

Born Nov. 18, 1863, in Wendisch-Hermsdorf; died Feb. 8, 1920, in Blankenese, near Hamburg. German poet.

In the 1880’s and 1890’s, Dehmel sided with the Berlin circle of naturalists. In 1914 under the influence of nationalistic propaganda he volunteered to go to war; he described his war experiences in the diary Between People and Humanity (1919). His early works are characterized by a social theme (the collections Redemptions, 1891, and But Love, 1893). The struggle of the rational and ethical with the instinctive principles in man is expressed in the poetic cycle The Transformation of Venus (1907), the narrative poem The Two (1903), and the dramas Fellow Man (1895) and Michel Michael (1911).

WORKS

Gesammelte Werke in Einzelausgaben. Berlin, 1922–27.
Dichtungen, Briefe, Dokumente. Hamburg, 1963. (Bibliography on pages 307–10.)
In Russian translation:
Sobr. soch., vols. 1–2. Moscow, 1911–12.

REFERENCES

Lunacharskii, A. V. “Rikhard Demel’.” In the collection Znanie, book 24. St. Petersburg, 1908.
Admoni, V. G. “Demel’.” In Istoriia nemetskoi literatury, vol. 4. Moscow, 1968.
Bab, J. R. Dehmel. Leipzig, 1926.
Hagen, P. von. R. Dehmel …. Berlin, 1932.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
It is loosely based on a Richard Dehmel poem and driven by composer Arnold Schoenberg's late romantic masterpiece of the same name.
In this long setting of Richard Dehmel's highly symbolic poem, titled "Notturno"--not the same poem as "Transfgured Night"--Schnabel departed from tonal progression and bar lines.
He had hoped that the eminent German poet Richard Dehmel, who had provided him with texts for a number of songs would also provide him with a suitable text for this work, but Dehmel declined, and Schoenberg wrote the text himself.
Steiger seems to concur with Alma herself, who, after reading the letters of Richard Dehmel (1863-1920), writes to the Bergs: 'Die tollsten Liebes und Ehebriefe, die man sich denken kann!!--Wer nimmt es ...
However, Richard Dehmel reciprocates in a letter published in October 1914: 'Fischblutig ist dieses Inselvolk, klug, umsichtig, gewandt, verschwiegen und von unersattlicher Beutegier [...
Regarded as one of the composer's finest creations, it will be performed alongside Schoenberg's dreamy Verklarte Nacht (Transfigured Night), which is based on a poem by the German post-Romantic writer Richard Dehmel.
But, as Weinzierl quotes Sartre, "A Jew is a man whom the others consider a Jew." Typical is the poet Richard Dehmel's admonition to Hofmannsthal: "I also know about your drop of Jewish blood.
In the case of the former, scored for a voluptuous orchestra of strings alone, the source is a heavily-charged poem of confession and redemption by Richard Dehmel (and, get this, Viennese academics refused to acknowledge the work because it contained a chord no-one could analyse); the latter, set for large orchestral forces, is a response to the symbolist play by Maeterlinck which would inspire theatrical music by Sibelius, and, especially, Debussy in his great enigmatic opera.
For Richard Kurth in his article "Pierrot's Cave: Representation, Reverberation, Radiance," the essence of Schoenberg's musical idea is sound per se--the tone that Schoenberg told Richard Dehmel he could hear in poetry and which he imitates in music by means of "cratylism," a term derived from Plato's dialog Cratyluz.
Familiar with Spoerli's style, the company danced the fluent, harmonious Verklarte Nacht (1982) with ease, as well as with the pathos required by the German poem of Richard Dehmel on which it is based.