Full Description
This book offers a theory of Romantic song by re-evaluating Schumann's Dichterliebe of 1840, one of the most enigmatic works of the repertoire. It investigates the poetics of Early Romanticism in order to understand the mysterious magnetism and singular imaginative energy that imbues Schumann's musical language. The Romantics rejected the ideal of a coherent and organic whole and cherished the suggestive openness of the Romantic fragment, the disconcerting tone of Romantic irony and the endlessness of Romantic reflection - thereby realizing an aesthetic of fragmentation. Close readings of many songs from Dichterliebe show the singer's intense involvement with the piano's voice, suggesting a 'split Self' and the presence of the 'Other'. Seeing Schumann as the 'second poet of the poem' - here of Heine's famous Lyrisches Intermezzo - this book considers essential issues of musico-poetic intertextuality, introducing into musicology a hermeneutic that seeks to synthesize philosophical, literary-critical, music-analytical and psycho-analytical modes of thought.
Contents
List of illustrations; Foreword; Preface; Acknowledgements; Abbreviations; Introduction; Part I. Early Romantic Forms of Difference: 1. Introduction; 2. The Romantic fragment; 3. Romantic irony; 4. Reflection, language and music; 5. Theories of song: Schumann's 'higher sphere of art'; Part II. Heine's Signature of Modernity: The Lyrisches Intermezzo: 6. Introduction; 7. Heine, the Romantics and disenchantment; 8. Endings, cuts, cyclicity; 9. Heine's imago of a woman; 10. The genesis of the Buch der Lieder; Part III. The Poetics of Dichterliebe: 11. Introduction; 12. Schumann's reception of Heine and the Buch der Lieder; 13. Musico-poetic analysis; Conclusion; Bibliography; Index.
