Details

Autor(en) / Beteiligte

• Giani, Maurizio

Titel

DIESE EINLADENDE TRAUER...» La recezione musicale di una ballata goethiana

Ist Teil von

• Il saggiatore musicale, 1996-01, Vol.3 (2), p.273-323

Ort / Verlag

Leo S. Olschki

Erscheinungsjahr

1996

Link zum Volltext

Quelle

Alma/SFX Local Collection

Beschreibungen/Notizen

• The article examines the lieder-reception of Goethe's ballad Der Fischer in the time-span between its composition in 1778 and 1877. The discussion is based partly on the categories proposed by Harold Bloom in his theory of the «anxiety of influence». During the "Goethe age" the form of the settings, following late eighteenth-century aesthetic norms, is exclusively strophic: Schubert's version of 1815 offers what may be considered an ideal rendering of this form. In the same year Wenzel Tomaschek begins a tradition of durchkomponiert approaches to the ballad; between the third and fourth decades of the century Schumann and Loewe (and, in France, Berlioz) compose some of the most significant versions. After mid-century, with the rise of salonmusik, compositional procedures crystallize on a new canon, with repetition of formulas which rely more and more on operatic gesture: this phase is represented by the works of Eugen Degele, Johann Vesque, and Heinrich Wilhelm Ernst. The essay concludes with an examination of settings by young Strauss and Wolf: the former displays an ingenuous adherence to contemporary clichés, the latter a radical break with the entirety of the non-strophic canon.