Death’s voice in Zemlinsky’s Lieder: A comparison of “Ich geh’ des Nachts” Op. 6, No. 4 and “Vöglein Schwermut” Op. 10, No. 3
Date
2011
Authors
Olaveson, Heather
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Musicological Explorations
Abstract
Alexander Zemlinsky, a fin-de-siècle Viennese composer associated with Brahms, Mahler, and Schoenberg, has been historically overshadowed by such celebrated composers. The near lack of popular and critical attention is unwarranted, however, particularly in light of his immense talent for text setting as evidenced in his lieder and operas. This paper seeks to address this musicological gap and continue the work of Zemlinsky scholars like Antony Beaumont and Lorraine Gorrell by offering a close comparative analysis of two of Zemlinsky’s early songs, “Ich geh’ des Nachts” op. 6, no. 4 and “Vöglein Schwermut” op. 10, no. 3. These two lieder have been selected because of a specific textual similarity which has resulted in corresponding parallels within their musical settings: interestingly, these songs contain the only poems in Zemlinsky’s oeuvre in which Death is personified and given a speaking role. Ultimately, this paper argues that, through the unique musical characteristics given to Death in response to the poetry, Zemlinsky not only demonstrates a remarkable ability to express text through the medium of music, but he also comments on the inevitability and eternality of death and its effect on humanity.
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Citation
Olaveson, H. (2011). Death's voice in Zemlinsky's Lieder: A comparison of "Ich geh' des Nachts" Op. 6, No. 4 and "Vöglein Schwermut" Op. 10, No. 3. Musicological Explorations, 12, 77-108. https://journals.uvic.ca/index.php/me/article/view/9209