Design and Unity in Schumannâs Liederkreis, Op. 39?

Leon Plantinga

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Design and Unity in Schumannâs Liederkreis, Op. 39?

In: Essays on the Song Cycle and on Defining the Field

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Leon Plantinga

Leon Plantinga , New Haven, CN

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Type:: Chapter

Pages:: 141â163

DOI:: https://doi.org/10.1163/9789004488748_010

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Musical scholars have praised Schumannâs Eichendorff Liederkreis, Op. 39, as strongly unified by devices such as melodic correspondence and systematic succession of tonalities. Co-ordination of such factors with the poetic texts of the songs usually plays a very minor role in such analyses. The assumption is that the name Kreis or âcycleâ designates a single, elaborately integrated work whose parts occur in an inviolate order. This idea has little historical justification. In the nineteenth century titles of song collections were applied rather casually, and criticism of the time shows great interest in co-ordination of poetic and musical expression in individual songs, but almost none in a thorough-going musical unification of cycles. The background of Schumannâs Op. 39 and the nature and succession of the songs themselves seem more in accord with the nineteenth-century view than with that of modern-day music theory. Such a realization need not detract from our admiration of this splendid collection.

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Essays on the Song Cycle and on Defining the Field

Proceedings of the Second International Conference on Word and Music Studies at Ann Arbor, MI, 1999

Series:Â Word and Music Studies, Volume: 3

Cover Essays on the Song Cycle and on Defining the Field

E-Book ISBN:: 9789004488748

Publisher:: Brill

Print Publication Date:: 01 Jan 2001

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Design and Unity in Schumannâs Liederkreis, Op. 39?

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Essays on the Song Cycle and on Defining the Field

Proceedings of the Second International Conference on Word and Music Studies at Ann Arbor, MI, 1999

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Design and Unity in Schumannâs Liederkreis, Op. 39?