Update: Gisele Diniz sings Zueignug by R. Strauss e Das Lied der Trennung. Wolfgang Amadeus Mozart, não são Lied, como poesia lírica alemã. No entanto, Mozart teria já uma semente do que viria a ser o Lied, mas é com Schubert que o Lied se concretiza como forma musical.
History of the Lied
For German speakers the term Lied has a long history ranging from 12th century troubadour songs (Minnesang) via folk songs (Volkslieder) and church hymns (Kirchenlieder) to 20th-century workers songs (Arbeiterlieder) or protest songs (Kabarettlieder, Protestlieder).
In Germany, the great age of song came in the 19th century. German and Austrian composers had written music for voice with keyboard before this time, but it was with the flowering of German literature in the Classical and Romantic eras that composers found high inspiration in poetry that sparked the genre known as the Lied. The beginnings of this tradition are seen in the songs of Mozart and Beethoven, but it is with Schubert that a new balance is found between words and music, a new absorption into the music of the sense of the words. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate a story—adventure of the soul rather than the body. The tradition was continued by Schumann, Brahms, and Hugo Wolf, and on into the 20th century by Strauss, Mahler and Reutter .
Franz Peter Schubert (January 31, 1797 – November 19, 1828)
It was in the genre of the Lied, however, that Schubert made his most indelible mark. Plantinga remarks, "In his more than six hundred lieder he explored and expanded the potentialities of the genre as no composer before him." Prior to Schubert's influence, lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities burgeoned by the stirrings of Romantic nationalism. Among Schubert's treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in Gretchen and the furious and ceaseless gallop the right hand in Erlkönig. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. The Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing hear with out being deeply moved". Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps."
http://en.wikipedia.org/wiki/Franz_Schubert#Music
Lieder (songs) and song cycles
Der Hirt auf dem Felsen, Op. 129, D 965
Der Taucher, D 77/111
Gretchen am Spinnrade. Op. 2, D 118
Einsamkeit, D 620
Marienbild, D 623
Litanei in E flat major, D 343
Schäfers Klagelied
Die Forelle (The Trout), the theme of which was used in the Trout Quintet (see above)
Death and the Maiden, D 531 - see also Death and the Maiden Quartet
L'Addio
Du bist die Ruh, D 776
Die schöne Müllerin or the Müllerlieder (D 795), song-cycle, D 827 (text by Wilhelm Müller)
Ave Maria, D 839 (original title: Ellens Gesang III), text based on an excerpt from Sir Walter Scott's The Lady of the Lake
Ständchen, D 889 (setting of a German text based on Shakespeare's Hark! Hark! the Lark from Cymbeline, Act II, scene 3)
An Silvia, D 891 (text based on Shakespeare's Who is Sylvia?)
Winterreise song-cycle, D 911
Song of Miriam
Schwanengesang or Swansong, D 957, cycle of songs, some of which are on poems by Heinrich Heine
Der Wanderer
Robert Alexander Schumann, (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is one of the most famous Romantic composers of the 19th century.
http://en.wikipedia.org/wiki/Robert_Schumann
Hugo Wolf (March 13, 1860 – February 22, 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but utterly unrelated in technique.
Hugo Wolf spent most of his life in Vienna, becoming a representative of "New German" trend in Lieder, a trend which followed from the expressive, chromatic, and dramatic musical innovations of Richard Wagner.
http://en.wikipedia.org/wiki/Hugo_Wolf
“Der Tod und das Mädchen”, de Franz Schubert
Language: German
Das Mädchen:
"Vorüber! ach, vorüber!
Geh, wilder Knochenmann!
Ich bin noch jung, geh, Lieber!
Und rühre mich nicht an."
Der Tod:
"Gib deine Hand, du schön und zart Gebild',
Bin Freund und komme nicht zu strafen.
Sei gutes Muts! Ich bin nicht wild,
Sollst sanft in meinen Armen schlafen."
“Death and the Maiden”
Language: English
The Maiden:
"It's all over! alas, it's all over now!
Go, savage man of bone!
I am still young - go, devoted one!
And do not molest me."
Death:
"Give me your hand, you fair and tender form!
I am a friend; I do not come to punish.
Be of good cheer! I am not savage.
You shall sleep gently in my arms."
Meine Ruh' ist hin, de Franz Schubert (“Gretchen am spinnrade”)
Language: German
Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.
Wo ich ihn nicht hab
Ist mir das Grab,
Die ganze Welt
Ist mir vergällt.
Mein armer Kopf
Ist mir verrückt,
Mein armer Sinn
Ist mir zerstückt.
Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.
Nach ihm nur schau ich
Zum Fenster hinaus,
Nach ihm nur geh ich
Aus dem Haus.
Sein hoher Gang,
Sein' edle Gestalt,
Seine Mundes Lächeln,
Seiner Augen Gewalt,
Und seiner Rede
Zauberfluß,
Sein Händedruck,
Und ach, sein Kuß!
Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.
Mein Busen drängt sich
Nach ihm hin.
[Ach]1 dürft ich fassen
Und halten ihn,
Und küssen ihn,
So wie ich wollt,
An seinen Küssen
Vergehen sollt!
My peace is gone
Language: English
My peace is gone,
My heart is heavy,
I will find it never
and never more.
Where I do not have him,
That is the grave,
The whole world
Is bitter to me.
My poor head
Is crazy to me,
My poor mind
Is torn apart.
My peace is gone,
My heart is heavy,
I will find it never
and never more.
For him only, I look
Out the window
Only for him do I go
Out of the house.
His tall walk,
His noble figure,
His mouth's smile,
His eyes' power,
And his mouth's
Magic flow,
His handclasp,
and ah! his kiss!
My peace is gone,
My heart is heavy,
I will find it never
and never more.
My bosom urges itself
toward him.
Ah, might I grasp
And hold him!
And kiss him,
As I would wish,
At his kisses
I should die!
http://www.recmusic.org/lieder/get_text.html?TextId=17757
http://www.youtube.com/watch?v=jSneYMidY-khttp://www.youtube.com/watch?v=jvTLlP6LnLs&feature=related
http://www.youtube.com/watch?v=d3TuAnpeJwA&feature=related
http://www.youtube.com/watch?v=Fvp4uEKleQo&feature=related
Song Cycle, de Robert Schumann
no. 1. Seit ich ihn gesehen
no. 2. Er, der Herrlichste von allen
no. 3. Ich kann's nicht fassen, nicht glauben
no. 4. Du Ring an meinem Finger
no. 5. Helft mir, ihr Schwestern
no. 6. Süßer Freund, du blickest
no. 7. An meinem Herzen, an meiner Brust
no. 8. Nun hast du mir den ersten Schmerz getan
http://www.recmusic.org/lieder/s/schumann.html
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