Death in Winterreise : musico-poetic associations in by Lauri Suurpää

By Lauri Suurpää

Lauri Suurpää brings jointly rigorous methodologies, Greimassian semiotics and Schenkerian research, to supply a distinct viewpoint at the expressive strength of Franz Schubert's tune cycle. concentrating on the ultimate songs, Suurpää deftly combines textual and tonal research to bare demise as a symbolic presence if now not genuine personality within the musical narrative. Suurpää demonstrates the incongruities among semantic content material and musical illustration because it surfaces during the ultimate songs. This shut analyzing of the iciness songs, coupled with artistic functions of thought and an intensive historical past of the poetic and musical genesis of this paintings, brings new insights to the research of text-music relationships and the track cycle.

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Professor L. Poundie Burstein read parts of an earlier draft and made valuable comments. Dr. Leena Eilittä read the sections that discuss German Romanticism, and her expertise in this field was extremely helpful. Dr. Olli Väisälä has shared my interest in Schenkerian analysis at the Sibelius Academy, and our countless discussions on specific analytical details, as well as on large principles, have been both fun and thought provoking. At the final stage, Professor Glenda Dawn Goss read the entire manuscript, helping me in countless ways to improve my English language.

This poem could be understood as a description of fatigue, primarily mental (following the depressing emotions of the previous poems) but also physical (the long journey without interruption): the wanderer is too tired to grasp reality and instead follows the will-o’-the-wisp—an illusion. The eighth poem, “Rückblick,” differs from the others in this group, thematically being associated with the poems of the first group. Here the speaker again makes clear associations with things connected to his beloved, specifically, the town where she lives.

But since the autograph is a fair copy, Schubert must have composed the songs earlier, and sketches for “Mut” and “Die Nebensonnen” can be dated from June to September 1827, suggesting that Schubert was working on the songs of part 2 at that time (246, 248). The documentary evidence, then, supports the assertion that he began to work on part 2 (sketching it at least as early as June 1827) only after having completed part 1 (which was finished by May 1827). 1). Youens has suggested that these transpositions might have been made at the request of the publisher, Tobias Haslinger, in order to avoid uncomfortably high pitches for the singer.

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