His ornate songs contradict the ideal of simplicity in the Lied aesthetics of his time, and provide the basis for the art song of the nineteenth century, regarded as they were as exemplary by subsequent generations of composers they are defined by complex harmonies, an integration of the idioms of instrumental music, semantic models, and a new relationship between text and music in which the poem as a whole is interpreted through the composition, rather than just through word painting. Underlying the “heavenly length” of his works is a configuration of time that does not function according to the principle of motivic development, but addresses the notion of lingering modifications occur mostly not in continuous unfolding, but through sudden eruptions. He is not only the inaugurator of the art song and its most important composer in the nineteenth century, but he also realized a compositional concept in his instrumental works that opposed Viennese Classicism.
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