|
Papers > Art > Franz Schubert s Influence on the German Lied Song CycleFranz Schubert s Influence on the German
This is a preview of a paper to view the full text you need to signup and login.
Franz Schubert s Influence on the German Lied Song CycleFranz Schubert s Influence on the German |
|||
|
Franz Schubert was born in Vienna January 31, 1797, and died there on November 19, 1828. ... When Schubert was a child he was a chorister in the imperial court chapel. ... Schubert’s compositional output is quite immense. ... Except for his early training, Schubert was largely untrained and self-taught. Schubert lived most of his life in Vienna. Vienna’s musical influences included, Mozart, Beethoven, and Haydn. ... When Schubert was an adolescent, Vienna was invaded and occupied by Napolean. Schubert lived in a climate preoccupied by music, French armies, and governed by oppressive political administrations. In his music can be heard the cheerfulness of stoicism and the influence of the common man being invited into the sphere of art music. In this paper I will discuss the characteristics of romantic music and the beginning of German Romantic lied, musical characteristics of Schubert, Schubert’s influence on lied and on the song cycle, and finally an analysis of Die Schone Mullerin (The Maid of the Mill). ... New genres emerged, including piano character pieces (nocturne; ballade; etude; impromptu; intermezzo; mazurka, polonaise), lieder, song cycles, programmatic overtures, and symphonic poems. In the nineteenth century, German romantic lied took on new territory combing with poets. ... These new lyrics and subjects gained tremendous popularity among the German-speaking educated classes, “whose feelings it embodied, and to whom the cultural journals and almanacs of the time, where much of the new poetry was published, were specifically addressed.” Romantic lied mirrored these literary developments by combining the styles and themes of opera, cantata or oratorio with those of folk or traditional song, and reducing the result to forms of voice and keyboard. Romantic lied defined a new musical accompaniment. ... ” Schubert’s music had some very distinct characteristics. ... Schubert is one of the greatest composers of melody. ... One of his music’s primary characteristics is the interchanging of major and minor modes. ... Schubert wrote many sets of variations and was most successful in his shorter works such as his songs and piano works. ... It was Schubert who, by fusing the verbal and musical components of the lied, first synthesized in significant quantity this new poetic element predicted by Goethe. Schubert instinctively had a mind set receptive to poetry, which he read constantly from his early childhood on. Schubert’s approximately six hundred sixty settings (including duets, trios, and quartets, as well as songs in Italian) coincide with hundreds of literary sources. ... Schubert’s very passionate response to imaginative writing helped to advance to a new level of expressiveness never to be surpassed. The first song cycle is a series of landscapes; Beethoven’s An die ferne Geliebte (To the Distant Beloved). Others include songs by Carl Maria Von Weber, but none of them have the unity, cohesion or power of Beethoven’s and, later of Schubert’s cycles. Song cycles are loosely related groups of songs. ... Song cycles are a modest genre, intended largely for the unambitious amateur. The song cycle’s seriousness rivals grand opera, the Baroque oratorio, or the classical symphony. |
|||
To link to this page, copy the following code to your site:
Paper Information |
|||||
Title: Franz Schubert s Influence on the German Lied Song CycleFranz Schubert s Influence on the German
|
|||||
Signup & Login |
|||||
If you don't currently have a login then Signup here |
|||||
| Pre-Written Papers | |||||
|
|||||
| Custom Papers | |||||
|
|||||
Copyright 2003-2008 doingmyhomework.com. All rights reserved.