Esteemed by many of his most distinguished contemporaries,
including Arnold Schoenberg, Alexander Zemlinsky (1871-1942) was a
protege of Brahms and Mahler. Despite this, he was overshadowed by
the composers of the second Viennese school, and for many years
after his death was remembered merely as the brother-in-law of
Schoenberg. But with centenary celebrations of Zemlinsky's birth,
scholars began a careful examination of his works and realized they
had discovered a forgotten master. Zemlinsky's wonderful melodic
gift was manifested in operas, choral works, chamber music, and
symphonic pieces, but was realized most fully in his more than one
hundred songs.
In this important new study--the first such work in
English--Lorraine Gorrell focuses on these songs, revealing the
ways in which they represented a bridge between the 19th-century
romantic lied and the 20th-century avant-garde. Of interest to
scholars studying both the German art song and the development of
the second Viennese school, Gorrell's work uses Zemlinsky's songs
as a lens through which to examine an important, highly influential
musical figure.
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