From School Library Journal
Closely argued, deeply insightful, and technically demanding, this scholarly study of musical design in Schubert songs is grounded in reexamination of autograph scores, recognition that Schubert's musical culture held aesthetic beliefs regarding characteristics of individual keys, and astute readings of poetic texts based upon contemporary literary theory. Kramer (music, SUNY-Stony Brook) challenges facile acceptance of key transpositions in Schubert and proposes that internal evidence in many songs reveals that Schubert actually composed more than two song cycles. His analysis of Winterreise reexamines patterns in that famous cycle. Kramer has argued his interpretation of this essential body of tonal music with colleagues over many years. Now all serious Schubert scholars can reap the benefits. For academic collections.
Bonnie Jo Dopp, formerly with Dist. of Columbia P.L.Copyright 1994 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Product Description
Franz Schubert's song cycles Schone Mullerin and Winterreise are cornerstones of the genre. But as Richard Kramer argues in this book, Schubert envisioned many other songs as components of cyclical arrangements that were never published as such. By carefully studying Schubert's original manuscripts, Kramer recovers some of these "distant cycles" and accounts for idiosyncrasies in the songs which other analyses have failed to explain.
Returning the songs to their original keys, Kramer reveals linkages among songs which were often obscured as Schubert readied his compositions for publication. His analysis thus conveys even familiar songs in fresh contexts that will affect performance, interpretation, and criticism. After addressing problems of multiple settings and revisions, Kramer presents a series of briefs for the reconfiguring of sets of songs to poems by Goethe, Rellstab, and Heine. He deconstructs Winterreise, using its convoluted origins to illuminate its textual contradictions. Finally, Kramer scrutinizes settings from the Abendrote cycle (on poems by Friedrich Schlegel) for signs of cyclic process. Probing the farthest reaches of Schubert's engagement with the poetics of lieder, Distant Cycles exposes tensions between Schubert the composer and Schubert the merchant-entrepreneur.