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Luis Gago: presenter. Joan Martín-Royo, barítono y Roger Vignoles, piano

The History of Lied in seven concerts. (II) Origins and Splendour

Works by L. van Beethoven, R. Schumann and F. Schubert

11/30/2012

The History of Lied in seven concerts. (II) Origins and Splendour. The second recital in the series The History of Lied in Seven Concerts featured three of the genre’s most paradigmatic works composed between 1816 and 1840: Beethoven’s An die ferne Geliebte, Schumann’s Dichterliebe and Schubert’s Schwanengesang. In their song cycles, based on poems about love, Beethoven and Schumann used elements that ensured coherence between the songs for the first time, sharing certain melodic and textural motives and thus anticipating the idea of a cycle consisting of various songs but conceived as a whole. On the other hand, Schubert’s Schwanengesang, published posthumously and lacking in thematic unity, is marked by the common visionary nature of the collection. Although its formal and technical characteristics were not continued in the music of his immediate circle, it was recalled unexpectedly a century later in one of the most heart-wrenching songs in the history of jazz: Strange Fruit, performed by Nina Simone.
Next chapter: (III) The Romantic Middle Ages

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