Chapter Twelve. Text and Music in Mahler’s Kindertotenlieder

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Preface ix
4. Acknowledgments xix
5. Prelude
6. Chapter One. On Schubert Reading Poetry: A Primer in the Rhythm of Poetry and Music 3
7. Part I Close Readings and Comparative Studies
8. Chapter Two. The Musical “Spirit” of Goethe’s “Suleika” Schubert’s Settings D. 720 and D. 717 39
9. Chapter Three. Text-Music Relations in Schumann’s Eichendorff Song “Frühlingsfahrt” 71
10. Chapter Four. Hugo Wolf’s Ghazal Settings from “Das Schenkenbuch” of Goethe’s West-östlicher Divan 89
11. Chapter Five. Karl Weigl’s Opus 1 in Its Nineteenth-Century Context A Historic Literary-Musical Fusion of Goethe’s “Wanderers Nachtlied” and “Ein Gleiches” 111
12. Chapter Six “Hans Adam”—Goethe’s Parodistic Creation Myth: A Parody Parodied by Hugo Wolf and Richard Strauss 136
13. Part II Poetic and Musical Structure
14. Chapter Seven. Text and Music in Schubert’s Settings of Pentameter Poetry 155
15. Chapter Eight. Repetition as Structure in the German Lied: The Ghazal 220
16. Chapter Nine. Sonnet Structure and the German Lied: Shackles or Spurs? 240
17. Chapter Ten. Schubert’s Strategies in Setting Free Verse 261
18. Part III In Search of Cycles
19. Chapter Eleven. Hugo Wolf and Goethe’s “Duodrama” Toward a “Better Understanding” of the Problematic Divan-Trinity of Life, Love, and Spirit 283
20. Chapter Twelve. Text and Music in Mahler’s Kindertotenlieder 322
21. Chapter Thirteen. The Rückert Lieder of Robert and Clara Schumann 335
22. Chapter Fourteen. A Cycle in Flux: Schumann’s Eichendorff Liederkreis 375
23. Chapter Fifteen. Why Dichterliebe Twice? The Case of Schumann’s Opus 24 and Opus 48 390
24. Postlude
25. Chapter Sixteen. Discovering “Musical Impressionism” by Way of Eichendorff and Schumann: Wolf and Pfitzner at the Threshold 409
26. Index 437