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This reference book comprises individual studies of all of Schubert's solo, dramatic and multi-voice settings of Goethe's poems. Lorraine Byrne examines the myths that have evolved around these artists, and explores Schubert's reading and interpretation of Goethe's texts.
The traditional approach to the study of Goethe and Schubert is to place them in opposition to one another, both in terms of their life experiences and in relation to the nineteenth-century Lied. In her introduction to this book, Lorraine Byrne examines the myths that have evolved around these artists and challenges the view that Goethe was unmusical and conservative in his musical tastes. She also considers Schubert's life in relation to his obvious affinity with the poet and links the composer's Goethe settings with the poet's perception of the Lied. Goethe judged the success of a setting by whether the meaning of the text had been realised in musical form. In his Goethe settings Schubert translates the poet's meaning into musical terms and his rendition attains the classical unity of words and music that Goethe sought. The core of this volume is the series of individual analyses of all of Schubert's solo, dramatic and multi-voice settings of Goethe texts. These explore in detail both the literary and the musical dimensions of each work, and Schubert's reading and interpretation of Goethe's writings. This is the first study in English to treat both artists with equal attention and insight. This, together with its encyclopaedic coverage of this important corpus of works, makes this volume an essential reference tool for all those who study Schubert and Goethe.
This 16-hour free course explored Schubert's 'Lieder', a selection of his settings of Goethe's poems and his place in the history of German song.
'Re-reading Poetry' uncovers an important shared outlook between composer Franz Schubert and poet Johann Wolfgang von Goethe. The author explores the bond between the two men to uncover the reason why Schubert reset poetry to his compositions to create new songs.
Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms.
Seminar paper from the year 2011 in the subject Musicology - Miscellaneous, grade: A- (entspricht 1-), Utrecht University (Roosevelt Academy), course: Musiktheorie, language: English, abstract: Franz Schubert (1797-1828) composed one of his most famous Lieder “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”) in 1814 when he was just seventeen years old. This Lied which is a setting of a scene of Johann Wolfgang von Goethe's Faust I exemplary shows the mastery of Schubert. With seemingly simple means he paints the clear picture of smitten Gretchen who sits at the spinning wheel and yearns for the intellectual, older, nobleman Heinrich Faust after their kiss in the garden house. The following provides an in-depth musictheoretical analysis of this Lied to show that Schubert did not only provide a suitable musical adaption of Goethe's poem but he even enhanced the picture of smitten Gretchen and “paints” beside her emotions and thoughts also her motions.