The Dialectics of Monumentality and Intimacy In the Genre of Orchestergesang of the Fin de siécle Epoch
Article Sidebar
Main Article Content
Abstract
The appearance of the first orchestral transcriptions of the Klavierlied brought along a qualitative transformation of
the genre of the song, which lay at the basis of the Orchestergesang – a variant of the genre of the orchestral song,
which developed at the turn of the 19th and the 20th centuries and provided a brilliant manifestation of the epoch of
the fin de siècle in music. On the basis of the etymology of the word Orchestergesang itself, as well as on analyses
of compositions by Richard Strauss, Gustav Mahler, Alexander von Zemlinsky, Max von Schillings, Hans Pfitzner
and others, the article examines the direct dependence of the object of the research on orchestral and vocal music,
which determines such stylistic traits of the Orchestergesang, as monumentality, as well as intimacy. The quality of
monumentality in the Orchestergesang is stipulated by its connection with the symphony and its derivatives, as well
as operatic genres. The influence of the symphony manifests itself in bringing in symphonic features into the genre of
the song, which expresses itself in the form-generation of the Orchestergesang, principles of work with thematicism,
bringing in contrapuntal features into the textures, the duration of the sounding of the music, and the usage of large
orchestral ensembles. The connection of the Orchestergesang with operatic forms is marked by a departure of the
genre of the song from the salon sound, the presence of orchestral accompaniment, the complicacy of the vocal part,
and change of the style of performance towards psychologically sharpened declamation. The quality of intimacy in the
Orchestergesang, first of all, is connected with the heirdom of the traditions of the Lied, which stipulates the choice
of the poetical text of a lyrical content, as well as the attention to detail of intonation in the vocal part and peculiar
orchestration. The classification of the Orchestergesang of the fin de siècle period is determined according to a decrease
of monumental qualities and is represented by the most exemplary samples of compositions.
Keywords: music of Austria and Germany, Orchestergesang, orchestral song, fin de siècle.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Vlasova N. O. Aleksandr Tsemlinskiy. Zhizn’ i tvorchestvo: monografiya [Alexander Zemlinsky. Life and Musical Works: Monographic Work]. Moscow: Moskovskaya konservatoriya, 2014. 416 p.
3. Gustav Maler i muzykal’naya kul’tura ego vremeni [Gustav Mahler and the Musical Culture of His Time]. Edited by I. A. Barsova and I. V. Viskova. Moscow: Moskovskaya konservatoriya, 2013. 344 p.
4. Devutskiy V. Ye. Kontseptsiya vtoroy simfonii Gustava Malera na peresechenii romanticheskikh i modernistskikh tendentsiy [The Main Conception in Gustav Mahler’s Second Symphony at the Crossroads between Romantic and Modernist Tendencies]. Problemy muzykal’noj nauki [Music Scholarship]. 2013, No. 2(13), pp. 176–186.
5. Denisova G. A. Orkestrovaya pesnya epokhi fin de siècle: k voprosu o zhanrovoy i terminologicheskoy spetsifike [The Orchestral Song of the Period of the Fin de Siècle: Concerning the Question of Specificity of Genre and Terminology]. Problemy muzykal’noj nauki [Music Scholarship]. 2015, No. 2 (19), pp. 106–113.
6. Kolotilenko N. Vokal’no-instrumental’noe tvorchestvo R. Shtrausa: pozdneromanticheskaya traktovka zhanra [The Vocal and Instrumental Oeuvres of Richard Strauss: Late Romantic Interpretation of a Genre]. Izrail’ XXI [Israel XXI]. 2015, No. 54. URL: http://21israel-music.com/Strauss_pesni.htm.
7. Krauze E. Rikhard Shtraus [Krause, Ernst. Richard Strauss]. Translated from the German by G. V. Nashatyr’, Preface to the Russian edition by B. V. Levik. Moscow: Muzgiz, 1961. 600 p.
8. Mitina A. O. Orkestrovaya pesnya v russkoy muzyke XIX – nachala XX veka: dis. … kand. iskusstvovedeniya [The Orchestral Song in the Russian Music of the 19th and Early 20th Century: Thesis of Dissertation for the Degree of Candidate of Arts]. Moscow, 2011. 231 p.
9. Bekker P. Gustav Mahlers Sinfonien [Gustav Mahler’s Symphonies]. Berlin, 1921. 359 S.
10. Danuser H. Der Orchestergesang des Fin de siècle. Eine historische und ästhetische Skizze [The Orchestral Song of the Fin de siècle. A Historical and Aesthetic Sketch]. Die Musikforschung [Music Research]. Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG. Kassel, 1977. S. 425–452.
11. Danuser H. Gustav Mahlers Symfonie “Das Lied von der Erde” als Problem der Gattungsgeschischte [Gustav Mahler’s Symphony “The Song of the Earth” as an Issue of Genre History]. Arhiv für Musikwissenschaft 40 [Archive for Music Scholarship 40]. Jahrg., H. 4, 1983. S. 276–286.
12. Haller S. Wort-Ton-Gestaltung in der Sinfonik Gustav Mahlers [Word-Tone-Creation in the Symphonies of Gustav Mahler]. [Überarbeitete und erweiterte Fassung der Dissertation: Haller, Silja: Wort-Ton- Gestaltung in der Sinfonik Gustav Mahlers. Potsdam, 2005]. Universitätsverlag Potsdam, 2012. 382 S.
13. Kahnt С. Musik und Jugendstil. Untersuchungen zu den Orchesterliedern der Jahrhundertwende [Music and Jugendstil. Research of Orchestral Songs of the Turn of the Century]. Musik zur Jahrhundertwende [Music of the Turn of the Century]. Hrsg. von W. Keil. Hildesheim, 1995. S. 98–122.
14. Kravitt E. F. Das Lied – Spiegel der Spätromantik [The Lied – a Mirror of Late Romanticism. Yale University Press. 1996]. Georg Olms Verlag: Hildesheim, Zürich, New York, 2004. 389 S.
15. Lee Henry C. Symphonic texts and the cultural ideology of Mahler’s Lieder: A Dissertation presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. January, 2009. 261 p.
16. Leitmeir Ch. Th. Orchesterlieder [The Orchestral Song]. Werbeck W. Richard Strauss-Handbuch [Richard Strauss Handbook]. Verlag J. B. Metzler: Stuttgart- Weimar, 2014. S. 348–361.
17. Louis R. Die deutsche Musik der Gegenwart [The German Music of the Present Day]. München- Leipzig, 1909. 324 S.
18. Mohr G. Rücklichtlose Polyphonie oder: Was geschah unter dem Lindenbaum? Gustav Mahlers Lieder eines fahrenden Gesellen [Counterpoint without Back Light or: What Happened under the Lime Tree? Gustav Mahler’s “Songs of a Wayfarer”]. Musik-Konzepte. Neue Folge. Heft 136. Gustav Mahler: Lieder [Music Conceptions. New Results. Notebook No. 136. Gustav Mahler: Songs], 2007. S. 5–26.
19. Revers P. Mahlers Lieder: ein musikalischer Werkführer [Mahler’s Songs: a Musical Guidebook]. Verlag C. H. Beck. München, 2000. 132 S.