Composing Auf einer Burg as the structural center of his Lieder cycle, op. 39, Robert Schumann questiones in its extreme limits, the sense of a non-mirroring musical exploration of the Eichendorff’s poem. Schumann adopts a complex strategy of estrangement of the text, anticipating the provocative theory about the relationship between words and music, enunciated by Schönberg in 1912, founding many of the subsequent practices of musical reading and recreation of the poetic discourse, from Berio to Nono.
L’albume e il carbonio. Robert Schumann, poeta dello straniamento
nicola ferrari
2021-01-01
Abstract
Composing Auf einer Burg as the structural center of his Lieder cycle, op. 39, Robert Schumann questiones in its extreme limits, the sense of a non-mirroring musical exploration of the Eichendorff’s poem. Schumann adopts a complex strategy of estrangement of the text, anticipating the provocative theory about the relationship between words and music, enunciated by Schönberg in 1912, founding many of the subsequent practices of musical reading and recreation of the poetic discourse, from Berio to Nono.
File in questo prodotto:
Non ci sono file associati a questo prodotto.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
