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Durchkomponiert
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Sep 15, 2021, 12:21:11 AM9/15/21
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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
- 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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Sep 15, 2021, 12:56:57 AM9/15/21
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