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The Art Song or Lied Is Performed by Solo Voice and Piano

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Art vocal in the classical music tradition

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

The earliest lied date from the late fourteenth or early fifteenth centuries, and can even to refer to Minnesang from as early on equally the 12th and 13th centuries.[half-dozen] It later came especially to refer to settings of Romantic poetry during the belatedly eighteenth and nineteenth centuries, and into the early 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 German speakers, the term "Lied" has a long history ranging from twelfth-century troubadour songs ( Minnesang ) via folk songs ( Volkslieder ) and church hymns ( Kirchenlieder ) to twentieth-century workers' songs ( Arbeiterlieder ) or protest songs ( Kabarettlieder, Protestlieder ).[ citation needed ]

The German give-and-take Lied for "song" (cognate with the English language dialectal leed) first came into general use in German during the early fifteenth century, largely displacing the earlier word gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed to exist the creator of the lied because of his innovations in combining words and music.[7] The tardily-fourteenth-century composer known as the Monk of Salzburg wrote six two-part lieder which are older all the same, merely Oswald's songs (about one-half of which actually borrow their music from other composers) far surpass the Monk of Salzburg in both number (nigh 120 lieder) and quality.[4]

In Germany, the slap-up historic period of song came in the nineteenth century. German and Austrian composers had written music for vocalism with keyboard before this fourth dimension, but it was with the flowering of German language literature in the Classical and Romantic eras that composers institute 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 residuum was found 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 chronicle an take chances of the soul rather than the body. The tradition was continued by Schumann, Brahms, and Wolf, and on into the 20th century past Richard Strauss, Mahler, and Pfitzner. Composers of atonal music, such as Arnold Schoenberg,[8] Alban Berg and Anton Webern, also equanimous lieder.

Examples [edit]

Typically, Lieder are arranged for a single singer and piano, Lieder with orchestral accompaniment existence a later evolution. Some of the most 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 cycle (German Liederzyklus or Liederkreis), a series of songs (generally three or more) tied by a unmarried narrative or theme, such as Schubert's Die schöne Müllerin and Winterreise, or Robert Schumann'south Frauen-Liebe und Leben and Dichterliebe. Schubert and Schumann are most closely associated with this genre, mainly developed in the Romantic era.[nine] [10]

Other national traditions [edit]

The Lied tradition is closely linked with the German linguistic communication, but there are parallels elsewhere, notably in France, with the mélodies of such composers equally Berlioz, Fauré, Debussy, and Poulenc, and in Russia, with the songs of Mussorgsky and Rachmaninoff in particular. England besides had a flowering of song, more than closely associated, however, with folk songs than with art songs, as 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 House Unabridged Lexicon. New York: Random House, Inc. 1997. Retrieved 17 November 2020 – via Infoplease.
  3. ^ "lied". The American Heritage Dictionary of the English language (5th ed.). HarperCollins.
  4. ^ a b Böker-Heil, Norbert; Fallows, David; Baron, John H.; Parsons, James; Sams, Eric; Johnson, Graham; Griffiths, Paul (2001). "Lied". Grove Music Online (8th ed.). Oxford University Press. doi:x.1093/gmo/9781561592630.article.16611.
  5. ^ "Lieder". GCSE Bitesize. BBC Schools. Archived from the original on iv 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 Academy Printing. ISBN978-0-19-866212-9.
  8. ^ Gramit, David (2004). "The Apportionment 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 Academy Press. 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 Press. p. 143. ISBN978-0-521-80471-iv.
  10. ^ Thyme, Jürgen (2005). "Schubert's Strategies in Setting Costless Verse". In Lodato, Suzanne 1000.; Urrows, David Francis (eds.). Word and Music Studies: Essays on Music and the Spoken Word and on Surveying the Field: Essays from the Fourth International Conference in Word and Music Studies, Berlin, 2003. Amsterdam and New York: Editions Rodopi. p. 90. ISBN978-90-420-1897-six.

Farther reading [edit]

  • Authentication, Rufus, ed. (1996). German language Lieder in the Nineteenth Century . New York: Schirmer Books. ISBN978-0-02-870845-four.
  • Parsons, James (2004). The Cambridge Companion to the Lied. Cambridge Companions to Music. Cambridge: Cambridge Academy Printing. ISBN978-0-521-80027-3.
  • Lieder line by line

External links [edit]

  • The LiederNet Archive, texts and translations
  • The Lieder Audio 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 vocaliser

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Source: https://en.wikipedia.org/wiki/Lied

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