Schumann's Eichendorff Liederkreis and the Genre of the Romantic Cycle
Oxford University Press, USA, Nov 6, 2000 - Music - 288 pages
This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.
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accompaniment aesthetic ambiguity analysis analyze appears argues Arthur Komar August Wilhelm Schlegel Barbara Turchin bass begins cadential chapter Charles Rosen chord Clara Wieck closure coherence complete compositional consider context contrapuntal critics cyclic Daverio describes Dichterliebe die ferne Geliebte dominant Eichendorff Liederkreid Eichendorff songs Eichendorff's poem example express fact formal fragment Friedrich Schlegel Friihlingsnacht genre graph Hallmark hear Heine implies individual song Intermezzo Komar Lieder major mann McCreless metaphor Mondnacht motion motive Mudic Myrthen narrative narrator Neue Zeitschrift Neumeyer nineteenth-century open-ended organicism organicist phrase piano draft piece pitch poetic poetry published relationship Robert Schumann Romantic Rosen Schenker Schlegel scholars Schone Fremde Schu Schumann composed Schumann creates Schumann'd Song Cycled Schumann's cycles Schumann's song second strophe sense sonata song cycle strophe suggests ternary form third strophe tonal tonic tonic harmony triad Turchin typical unified unity vocal line vocal melody voice weak opening
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