The Orchestral Song of the Period of the Fin de Siècle: Concerning the Question of Specificity of Genre and Terminology
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Abstract
in de siècle, particularly the Austrian-German trend. The genre
of the orchestral song has not received univocal interpretation
by musicologists. Basing herself on research of representatives
of present-day musicology (H. Danuser, E. Kravitt, P. Revers, P.
Grifiths, A.Mitina), as well as 19th and early 20th century music
critics (A. Reissmann, H. Kretzschmar, S. von Hausegger), the
author examines the genre of orchestral song from two positions:
self-suficience of the genre and adequacy of terminology. The
processes of generation, formation, and then the subsequent
demise and virtual extinction of the orchestral song are traced out.
These are presented visibly in chronological order. After 1890 the
orchestral song has evolved into an independent genre, which
absorbed features of the song tradition, as well as genres differing
from the song genre. Those include the aria, the dramatic scene,
the recitative, as well as the symphony and its derivatives. It is
stressed that the term Orchestergesang relects in the most precise
way the complex and multivalent nature of the orchestral song of
the in de siècle period.
Keywords: music of Austria and Germany, orchestral song,
Orchestergesang, Orchesterlied, Lied, in de siècle
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