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The Word Is Commonly Used for a Romantic Art Song in German

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Art song in the classical music tradition

In Western classical music tradition, lied (, plural Lieder ;[one] [2] [3] High german pronunciation: [liːt], plural [ˈliːdɐ], lit. 'song') is a term for setting poetry to classical music to create a piece of polyphonic music.[4] The term is used for any kind of song in contemporary German, but among English and French speakers, "lied" is often used interchangeably with "art song" to cover works that the tradition has inspired in other languages every bit well. The poems that accept been made into lieder oftentimes centre on pastoral themes or themes of romantic dearest.[5]

The earliest lied date from the tardily fourteenth or early fifteenth centuries, and can even to refer to Minnesang from as early as the 12th and 13th centuries.[6] It later came especially to refer to settings of Romantic poesy during the tardily eighteenth and nineteenth centuries, and into the early on 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 High 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 twentieth-century workers' songs ( Arbeiterlieder ) or protestation songs ( Kabarettlieder, Protestlieder ).[ citation needed ]

The German word Lied for "song" (cognate with the English language dialectal leed) first came into general utilise in German language during the early fifteenth century, largely displacing the before 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.[7] The late-fourteenth-century composer known equally the Monk of Salzburg wrote six two-part lieder which are older still, but Oswald'south songs (well-nigh 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 Frg, the not bad age of song came in the nineteenth 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 constitute inspiration in poetry that sparked the genre known as the lied.[ citation needed ] The beginnings of this tradition are seen in the songs of Haydn, Mozart and Beethoven, but it was with Schubert that a new balance was institute between 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 relate an risk 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 as 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 subsequently development. Some of the virtually famous examples of Lieder are Schubert'southward Erlkönig, Der Tod und das Mädchen ("Decease and the Maiden"), Gretchen am Spinnrade, and Der Doppelgänger. Sometimes, lieder are composed in a song bicycle (German Liederzyklus or Liederkreis), a series of songs (generally three or more) tied by a single narrative or theme, such every bit Schubert'south Dice schöne Müllerin and Winterreise, or Robert Schumann's Frauen-Liebe und Leben and Dichterliebe. Schubert and Schumann are most closely associated with this genre, mainly adult in the Romantic era.[9] [ten]

Other national traditions [edit]

The Lied tradition is closely linked with the German language linguistic communication, just in that location are parallels elsewhere, notably in France, with the mélodies of such composers as 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 closely associated, however, with folk songs than with fine art songs, equally represented by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney, and Gerald Finzi.[ citation needed ]

References [edit]

  1. ^ "lied". CollinsDictionary.com. HarperCollins. Retrieved 17 November 2020.
  2. ^ "Lied". Random Firm Unabridged Dictionary. New York: Random Business firm, Inc. 1997. Retrieved 17 Nov 2020 – via Infoplease.
  3. ^ "lied". The American Heritage Dictionary of the English language (fifth ed.). HarperCollins.
  4. ^ a b Böker-Heil, Norbert; Fallows, David; Businesswoman, John H.; Parsons, James; Sams, Eric; Johnson, Graham; Griffiths, Paul (2001). "Lied". Grove Music Online (8th ed.). Oxford Academy Press. doi:ten.1093/gmo/9781561592630.article.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 Printing. ISBN978-0-nineteen-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 Printing. 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 Printing. p. 143. ISBN978-0-521-80471-4.
  10. ^ Thyme, Jürgen (2005). "Schubert'southward Strategies in Setting Gratuitous Verse". In Lodato, Suzanne M.; Urrows, David Francis (eds.). Word and Music Studies: Essays on Music and the Spoken Discussion and on Surveying the Field: Essays from the Fourth International Conference in Give-and-take and Music Studies, Berlin, 2003. Amsterdam and New York: Editions Rodopi. p. ninety. ISBN978-xc-420-1897-6.

Further reading [edit]

  • Authentication, Rufus, ed. (1996). High german Lieder in the Nineteenth Century . New York: Schirmer Books. ISBN978-0-02-870845-4.
  • Parsons, James (2004). The Cambridge Companion to the Lied. Cambridge Companions to Music. Cambridge: Cambridge University Press. ISBN978-0-521-80027-three.
  • Lieder line past line

External links [edit]

  • The LiederNet Archive, texts and translations
  • The Lieder Sound Archive
  • The OpenScore Lieder Corpus, public domain transcriptions to play or download
  • The Art Song Projection
  • "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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