What Became Standard Term for Art Songs in Germany and Australia

Art song in the classical music tradition

In Western classical music tradition, lied (, plural Lieder ;^{[1] [2] [3]} German pronunciation: [liːt], plural [ˈliːdɐ], lit. 'song') is a term for setting poetry to classical music to create a slice of polyphonic music.^[4] The term is used for any kind of song in gimmicky German, but among English and French speakers, "lied" is frequently used interchangeably with "art song" to comprehend works that the tradition has inspired in other languages as well. The poems that have been fabricated into lieder frequently centre on pastoral themes or themes of romantic love.^[v]

The earliest lied date from the late fourteenth or early fifteenth centuries, and tin even to refer to Minnesang from equally early every bit the 12th and 13th centuries.^[vi] Information technology later came especially to refer to settings of Romantic poetry during the late eighteenth and nineteenth centuries, and into the early twentieth century. Examples include settings by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms, Hugo Wolf, Gustav Mahler or Richard Strauss.

History [edit]

For German speakers, the term "Lied" has a long history ranging from twelfth-century troubadour songs ( Minnesang ) via folk songs ( Volkslieder ) and church hymns ( Kirchenlieder ) to twentieth-century workers' songs ( Arbeiterlieder ) or protest songs ( Kabarettlieder, Protestlieder ).^{[ commendation needed ]}

The German word Lied for "vocal" (cognate with the English dialectal leed) outset came into general employ in German during the early on fifteenth century, largely displacing the earlier word gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed to be the creator of the lied because of his innovations in combining words and music.^[vii] The late-fourteenth-century composer known equally the Monk of Salzburg wrote six 2-role lieder which are older withal, but Oswald's songs (virtually half of which actually borrow their music from other composers) far surpass the Monk of Salzburg in both number (about 120 lieder) and quality.^[4]

In Germany, the great historic period of song came in the nineteenth century. German and Austrian composers had written music for voice with keyboard before this fourth dimension, only information technology was with the flowering of High german literature in the Classical and Romantic eras that composers plant inspiration in poetry that sparked the genre known as the lied.^{[ citation needed ]} The ancestry of this tradition are seen in the songs of Haydn, Mozart and Beethoven, simply it was with Schubert that a new residue was plant betwixt words and music, a new expression of the sense of the words in and through the music. Schubert wrote over 600 songs, some of them in sequences or song cycles that chronicle an adventure of the soul rather than the body. The tradition was continued by Schumann, Brahms, and Wolf, and on into the 20th century by Richard Strauss, Mahler, and Pfitzner. Composers of atonal music, such every bit Arnold Schoenberg,^[8] Alban Berg and Anton Webern, too composed lieder.

Examples [edit]

Typically, Lieder are arranged for a single singer and piano, Lieder with orchestral accompaniment being a afterwards development. Some of the most famous examples of Lieder are Schubert's Erlkönig, Der Tod und das Mädchen ("Death and the Maiden"), Gretchen am Spinnrade, and Der Doppelgänger. Sometimes, lieder are equanimous in a song cycle (High german Liederzyklus or Liederkreis), a series of songs (more often than not iii or more) tied by a single narrative or theme, such every bit Schubert's Die schöne Müllerin and Winterreise, or Robert Schumann'southward Frauen-Liebe und Leben and Dichterliebe. Schubert and Schumann are nearly closely associated with this genre, mainly adult in the Romantic era.^{[9] [x]}

Other national traditions [edit]

The Lied tradition is closely linked with the German linguistic communication, merely in that location are parallels elsewhere, notably in French republic, with the mélodies of such composers equally Berlioz, Fauré, Debussy, and Poulenc, and in Russia, with the songs of Mussorgsky and Rachmaninoff in item. England too had a flowering of song, more than closely associated, nonetheless, with folk songs than with fine art songs, as represented by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney, and Gerald Finzi.^{[ citation needed ]}

References [edit]

1. ^ "lied". CollinsDictionary.com. HarperCollins. Retrieved 17 Nov 2020.
2. ^ "Lied". Random Business firm Unabridged Dictionary. New York: Random House, Inc. 1997. Retrieved 17 November 2020 – via Infoplease.
3. ^ "lied". The American Heritage Dictionary of the English Language (fifth ed.). HarperCollins.
4. ^ ^{a b} Böker-Heil, Norbert; Fallows, David; Baron, John H.; Parsons, James; Sams, Eric; Johnson, Graham; Griffiths, Paul (2001). "Lied". Grove Music Online (8th ed.). Oxford University Printing. doi:ten.1093/gmo/9781561592630.commodity.16611.
5. ^ "Lieder". GCSE Bitesize. BBC Schools. Archived from the original on 4 March 2015.
6. ^ Lied at the Encyclopædia Britannica
7. ^ Orrey, Leslie; Warrack, John (2002). "Lied". In Latham, Alison (ed.). The Oxford Companion to Music. Oxford and New York: Oxford University Press. ISBN978-0-19-866212-9.
8. ^ Gramit, David (2004). "The Circulation of the Lied: The Double Life of an Art Form". In Parsons, James (ed.). The Cambridge Companion to the Lied. Cambridge and New York: Cambridge University Press. p. 311. ISBN978-0-521-80471-4.
9. ^ Deaville, James (2004). "A Multitude of Voices: The Lied at Mid Century". In Parsons, James (ed.). The Cambridge Companion to the Lied. Cambridge and New York: Cambridge University Press. p. 143. ISBN978-0-521-80471-4.
10. ^ Thyme, Jürgen (2005). "Schubert'due south Strategies in Setting Free Poesy". In Lodato, Suzanne M.; Urrows, David Francis (eds.). Word and Music Studies: Essays on Music and the Spoken Word and on Surveying the Field: Essays from the 4th International Briefing in Give-and-take and Music Studies, Berlin, 2003. Amsterdam and New York: Editions Rodopi. p. xc. ISBN978-ninety-420-1897-half-dozen.

Further reading [edit]

• Hallmark, Rufus, ed. (1996). German Lieder in the Nineteenth Century . New York: Schirmer Books. ISBN978-0-02-870845-four.
• Parsons, James (2004). The Cambridge Companion to the Lied. Cambridge Companions to Music. Cambridge: Cambridge University Press. ISBN978-0-521-80027-3.
• Lieder line by line

External links [edit]

Wikimedia Commons has media related to Lieder.

Look upwards lied in Wiktionary, the free dictionary.

• The LiederNet Archive, texts and translations
• The Lieder Sound Archive
• The OpenScore Lieder Corpus, public domain transcriptions to play or download
• The Art Song Project
• "Life On the Other Side – 1971 Darüber...", Aubrey Pankey, an African-American lieder singer

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Source: https://en.wikipedia.org/wiki/Lied

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