Reveals the significance of the songs of rediscovered composer Alexander Zemlinsky and presents an analysis of them in a cultural, historical, and musicological context.
Esteemed by many of his most distinguished contemporaries, including Arnold Schoenberg , Alexander Zemlinsky (1871-1942) was a protégé of Brahms and Mahler. Despite this, he was overshadowed by the composers of the second Viennese school, and for many years after his death was remembered merely as the brother-in-law of Schoenberg. But with centenary celebrations of Zemlinsky's birth, scholars began a careful examination of his works and realized they had discovered a forgotten master. Zemlinsky's wonderful melodic gift was manifested in operas, choral works, chamber music, and symphonic pieces, but was realized most fully in his more than one hundred songs.
In this important new study—the first such work in English—Lorraine Gorrell focuses on these songs, revealing the ways in which they represented a bridge between the 19th-century romantic lied and the 20th-century avant-garde. Of interest to scholars studying both the German art song and the development of the second Viennese school, Gorrell's work uses Zemlinsky's songs as a lens through which to examine an important, highly influential musical figure.
Preface Introduction Fin de siécle Vienna Getting Started The Real World Prague Berlin The Gates of Hell Had Opened Flight Zemlinsky, Arnold Schoenberg, and Schoenberg's Circle Zemlinsky and the Eternal Feminine, Alma Schindler Poetry and Song The Songs Apprenticeship: Early Unpublished Songs A New Path: Unpublished Songs Maturity Unpublished Songs of 1916 Symphonic Songs Two Songs Appendix Bibliography Song Index: Listing by Title Subject Index
Reviews Gorell is here at her literary finest in detailing Viennese life and personal relationships among composers vital to the development of modern music. Her thoroughly researched and vividly portrayed account of the devastating effect of the Nazi regime on Austrian musical life in general, and on Jewish musicians in particular is powerful....Highly recommended. Music students, scholars, and performers interested in compositional trends; upper-division undergraduates and above.—Choice