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This study of Franz Schubert's settings of poetry by Friedrich
Schlegel and Novalis introduces the fascinating world of early
German Romanticism in the 1790s, when an energetic group of bold
young thinkers radically changed the landscape of European thought.
Schubert's encounters with early Romantic poetry some twenty years
later reanimated some of the movement's central ideas. Schubert set
eleven texts from Schlegel's AbendrAte poetic cycle and six poems
drawn from Novalis' religious and erotic poetry. Through detailed
analyses of how various musical structures in these songs mirror
and sometimes even explicate the central ideas of the poems, this
book argues that Schubert was an abstract thinker who used his
medium of music to diagram the complex ideas of a highly
intellectual movement. A comparison is made to the hermeneutic
theory of that time, primarily that of Schleiermacher, who was
himself linked to the early Romantics. Through exploration of ideas
such as Schlegel's representation of the necessary interdependence
of part and whole and Novalis' strong association of religious and
erotic experience, along with their musical representations by
Schubert, this book opens an intriguing world of thought for modern
readers. At the same time, Feurzeig explores some of Schubert's
little-known songs, which range from quirky to charming to
exquisite.
This study of Franz Schubert's settings of poetry by Friedrich
Schlegel and Novalis introduces the fascinating world of early
German Romanticism in the 1790s, when an energetic group of bold
young thinkers radically changed the landscape of European thought.
Schubert's encounters with early Romantic poetry some twenty years
later reanimated some of the movement's central ideas. Schubert set
eleven texts from Schlegel's AbendrAte poetic cycle and six poems
drawn from Novalis' religious and erotic poetry. Through detailed
analyses of how various musical structures in these songs mirror
and sometimes even explicate the central ideas of the poems, this
book argues that Schubert was an abstract thinker who used his
medium of music to diagram the complex ideas of a highly
intellectual movement. A comparison is made to the hermeneutic
theory of that time, primarily that of Schleiermacher, who was
himself linked to the early Romantics. Through exploration of ideas
such as Schlegel's representation of the necessary interdependence
of part and whole and Novalis' strong association of religious and
erotic experience, along with their musical representations by
Schubert, this book opens an intriguing world of thought for modern
readers. At the same time, Feurzeig explores some of Schubert's
little-known songs, which range from quirky to charming to
exquisite.
Organized in five parts, this Companion enhances understanding of
Schubert's Winterreise by approaching it from multiple angles. Part
I examines the political, cultural, and musical environments in
which Winterreise was created. Part II focuses on the poet Wilhelm
Muller, his 24-poem cycle Die Winterreise, and changes Schubert
made to it in fashioning his musical setting. Part III illuminates
Winterreise by exploring its relation to contemporaneous
understandings of psychology and science, and early
nineteenth-century social and political conditions. Part IV focuses
more directly on the song cycle, exploring the listener's
identification with the cycle's protagonist, text-music relations
in individual songs, Schubert's compositional 'fingerprints',
aspects of continuity and discontinuity among the songs, and the
cycle's relation to German Romanticism. Part V concentrates on
Winterreise in the nearly two centuries since its completion in
1827, including lyrical and dramatic performance traditions, the
cycle's influence on later composers, and its numerous artistic
reworkings.
Organized in five parts, this Companion enhances understanding of
Schubert's Winterreise by approaching it from multiple angles. Part
I examines the political, cultural, and musical environments in
which Winterreise was created. Part II focuses on the poet Wilhelm
Muller, his 24-poem cycle Die Winterreise, and changes Schubert
made to it in fashioning his musical setting. Part III illuminates
Winterreise by exploring its relation to contemporaneous
understandings of psychology and science, and early
nineteenth-century social and political conditions. Part IV focuses
more directly on the song cycle, exploring the listener's
identification with the cycle's protagonist, text-music relations
in individual songs, Schubert's compositional 'fingerprints',
aspects of continuity and discontinuity among the songs, and the
cycle's relation to German Romanticism. Part V concentrates on
Winterreise in the nearly two centuries since its completion in
1827, including lyrical and dramatic performance traditions, the
cycle's influence on later composers, and its numerous artistic
reworkings.
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