By Richard Kramer
Returning the songs to their unique keys, Kramer unearths linkages between songs that have been frequently obscured as Schubert readied his compositions for booklet. His research hence conveys even frequent songs in clean contexts that might impact functionality, interpretation, and feedback. After addressing difficulties of a number of settings and revisions, Kramer offers a sequence of briefs for the reconfiguring of units of songs to poems by way of Goethe, Rellstab, and Heine. He deconstructs Winterreise, utilizing its convoluted origins to light up its textual contradictions. eventually, Kramer scrutinizes settings from the Abendrote cycle (on poems by means of Friedrich Schlegel) for symptoms of cyclic technique. Probing the farthest reaches of Schubert's engagement with the poetics of lieder, Distant Cycles exposes tensions among Schubert the composer and Schubert the merchant-entrepreneur.
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Extra info for Distant Cycles: Schubert and the Conceiving of Song
So wurde an der Stelle so lange geandert und gebessert, bis Klopstock vollkommen damit zufrieden war" (Allgemeine Musikalische Zeitung 1 [1798-99]: 784, together with Schwenke's setting of Der Frohsinn, published as "Beylage XVI"). 12. , Herbert Zeman, "Franz Schuberts Teilhabe an der osterreichischen literarischen Kultur seiner Zeit," in Schubert-KongrtifJ Wien 1978, 285-304. 31 Der Jungling am Bache curriculum encompassing every manner of poem and a spectrum of genres. 13 This notion of the strophic Lied is exercised-or perhaps subverted-in the new setting of Der Jungling am Bache.
The punctuation between the half strophes here is less semantic breach than grammatical formality, a formal interruption to be sung through, elided. Now the music sets in. The mock cadence translates that sense of the punctuation: a period on the page, but not in his heart. The unexpected Db at "sie," even the harmony itself-the first personification of the "Eine"-are strikingly apropos. ) The urgency of the repeated chords has an erotic tinge. And, if those very chords may be heard to suggest the little "Wellen Tanz" in the first strophe, the coming to life of a rejuvenated seasonal cycle in the second, and the literal strewing of flowers at the end, it is only in the third strophe that the real, the inner message of these palpitations breaks through.
The very short shrift given to "Horch" suggests even an unwillingness to listen for them. The final quatrain takes on a sardonic aspect. So much for Madame Belmont's drawing room. The setting of 1815 may not stand very high in anyone's repertory of favorite Schubert-even from the spring of 1815. But in its way, this modest song manipulates the strophic canon to its own impressive ends. The axioms on which one might reconstruct a theory of eighteenth-century song are not so much violated as turned on themselves.
Distant Cycles: Schubert and the Conceiving of Song by Richard Kramer