He cites Die Loreley, not in context of German lieder
, but as an antecedent to the chromaticism of Richard Wagner's Tristan und Isolde, (4) A somewhat lengthier treatment of Liszt's songs appears in The New Oxford History of Music, where Leslie Orrey provides a brief synopsis of Liszt's important works and stylistic traits.
Every composer of Lieder
developed their own musical idiom and reflected their time and personality through their choice of poetry.
There is a subgenre of Lieder
in which male love plays a part, of which I will talk about a few.
"We believe that Allstate was motivated both by age discrimination and by the desire to rid itself of very expensive employee benefits to agents that totaled in the hundreds of millions of dollars a year that it was saving if these people became independent contractors or left," Lieder
In this case, Kravitt's interest in generalization means that particular Lieder
are rarely discussed as wholes; rather, brief passages are singled out to exemplify larger stylistic developments.
Benedetto sia'l giorno (4th version) (S.270ii); Der Alpenjager (2d version) (S.292ii); Die Vatergruft (3d version) (S.281iii); Enfant, si j'etais roi (3d version) (S.283iii); S'il est un charmant gazon (3d version) (S.284iii); Uber allen Gipfeln ist Ruh' (3d version) (S.306iii); Vergiftet sind meine Lieder
(3d version) (S.289iii)
Accordingly, analysis of lieder
must include a study of the poem that inspired the setting, and this research must extend beyond the images evoked by the words.
Classes included English song, German lieder
, traditional British folk song and British composer.
Although the work of these otherwise unknown poets can no longer stand on its own, "They have interesting cultural tales to tell, and they made wonderful music." Herein lies the beauty of Youens's writing on lieder
. Following the successful format of the previous books, she brings together a wealth of knowledge of political and social history, literary imagery, art and drama with the authoritative musical analysis One would expect from a highly respected musicologist.
I do not mean to suggest that a study of the Lied must include a comprehensive review of the Lied literature--both Richard Capell's enduring Schubert's Songs (London, 1928; 3rd edn., 1973) and Whitton's Lieder
demonstrate the viability of personal, even idiosyncratic treatments of the genre--but a book presented as a comprehensive overview ought to provide more reliable coverage than Gorrell's does; indeed, the insights of these and other omitted authors might have helped her to come closer to realizing her ambitions.
The second section of the book contains essays on specific structural patterns in poetry and the ways that lieder
composers musically responded to them.
For many singers and coaches, Sams's text has served as the primary guide to the performance of Schumann's lieder
since it first appeared in 1969.