• Durchkomponiert

    From gggg gggg@21:1/5 to All on Tue Sep 14 21:21:10 2021
    According to this:

    - It is obvious from these few examples which are, in fact, quite typical of Goethe's parodies, that his musical models invariably bear two characteristics :
    their style aims at folk song, not art-song; and they are strophic, not durch- komponiert. (The German term durchkomponiert, often translated as "through-composed," signifies that the music proceeds in continuous fashion with different music for successive stanzas, whereas in strophic song the same tune is repeated for each stanza. ) Goethe's choice was anything but hap- hazard. He deliberately used a type of Lied in which the best poets and com- posers of his generation believed. In 1802, when so many of the lyrics for the 1804 Almanac were written, Weimar was the Parnassus of German letters,
    for it was in that small town that the finest sampling of Goethe's generation found a haven: Wieland (born 1733), Herder (1744), Goethe himself, and
    Schiller (1759). All of these men demonstrated their ideal of song in their creative efforts and expressed themselves in no uncertain terms in their esthetic writings. To use the terminology of the second Berlin Song School, they strove for the simplicity and the poignancy of the volkstiimliche Lied
    and not for the ambitious Kunstlied with its demand for professional singers and accompanists. Of course, such a creed was as much in accord with the European cultural tendencies that followed in the wake of Rousseau's philoso- phy as it was with the considered opinion of the foremost German song
    composers of that day: J. A. P. Schultz (born 1747), Reichardt (1752),
    Mozart, Zelter (1758), and even the young Beethoven.

    https://archive.org/stream/goethemusiclisto00ster/goethemusiclisto00ster_djvu.txt

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  • From gggg gggg@21:1/5 to gggg gggg on Tue Sep 14 21:56:56 2021
    On Tuesday, September 14, 2021 at 9:21:11 PM UTC-7, gggg gggg wrote:
    According to this:

    - It is obvious from these few examples which are, in fact, quite typical of Goethe's parodies, that his musical models invariably bear two characteristics :
    their style aims at folk song, not art-song; and they are strophic, not durch-
    komponiert. (The German term durchkomponiert, often translated as "through-composed," signifies that the music proceeds in continuous fashion with different music for successive stanzas, whereas in strophic song the same
    tune is repeated for each stanza. ) Goethe's choice was anything but hap- hazard. He deliberately used a type of Lied in which the best poets and com- posers of his generation believed. In 1802, when so many of the lyrics for the
    1804 Almanac were written, Weimar was the Parnassus of German letters,
    for it was in that small town that the finest sampling of Goethe's generation found a haven: Wieland (born 1733), Herder (1744), Goethe himself, and Schiller (1759). All of these men demonstrated their ideal of song in their creative efforts and expressed themselves in no uncertain terms in their esthetic writings. To use the terminology of the second Berlin Song School, they strove for the simplicity and the poignancy of the volkstiimliche Lied and not for the ambitious Kunstlied with its demand for professional singers and accompanists. Of course, such a creed was as much in accord with the European cultural tendencies that followed in the wake of Rousseau's philoso- phy as it was with the considered opinion of the foremost German song composers of that day: J. A. P. Schultz (born 1747), Reichardt (1752), Mozart, Zelter (1758), and even the young Beethoven.

    https://archive.org/stream/goethemusiclisto00ster/goethemusiclisto00ster_djvu.txt

    But isn't Mozart's "Das Veilchen" durchkomponiert?

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