“Art is not an end in itself, but a means of addressing humanity.”
Modest Mussorgsky
As philosopher Richard Wollheim says, art is “one of the most elusive of the traditional problems of human culture.” In its simplest manifestation, art is a form of communication that serves as a vehicle for the expression of emotions and ideas. As ideas and beliefs are culturally specific and constantly changing over time, there really is no generally agreed definition of what constitutes art. That being said, the classical branches of the visual arts are identified as painting, sculpture and architecture. Literature and poetry are considered part of the humanities or as one of the arts, while music, alongside theatre, film and dance belong to the performing arts. In this section you will discover not only specific explorations of individual art forms, but also a more detailed probing of the relationship between the visual arts and music, including painting and music, sculpture and music and architecture and music. Originally, poetry and music were treated as a unity, but gradually they have become more independent. Nevertheless, the two art forms have never forgotten their shared genetic makeup, and been intertwined for millennia. Art and music have engaged in a dynamic relationship that reveals a diverse range of human activity intended to be appreciated for their beauty.
Goethe’s most famous lyric with refrain is undoubtedly “Heidenröslein” (Heath Rose). The poem is a sustained metaphor for the deflowering of a maiden, and it possibly originated during Goethe’s stay in Strasbourg. During his two-year stay, the 21-year-old poet fell
Goethe’s Wandrers Nachtlied II (Über allen Gipfeln) is considered by many to be the most perfect lyric in the German language. The poet is supposed to have written the poem on the evening of 6 September 1780 onto the wall
Johann Wolfgang von Goethe (1749-1832) wrote his famous poem “Das Veilchen” (The Violet) in 1774 as an allegorical song for his theatrical play with songs Erwin and Elmire. He reworked it during his Italian journey in 1787/88, and this second
With the possible exception of William Shakespeare, no other poet had such a profound influence on song as Johann Wolfgang von Goethe (1749-1832). For Germany’s greatest poet, music was an essential part of life, and it brought solace and redemption.
Irony is frequently considered an intellectual literary device that should by its nature be unsuitable for music. Yet, as music and literature unite in the art song, irony becomes a matter of importance in music as well. And that’s especially
Although Franz Liszt and Heinrich Heine had a massive falling-out, the composer and pianist could still recognize the musical invitation to music in Heine’s unique poetic voice. In fact, Liszt would create two versions of “Ein Fichtenbaum steht einsam” (A
Heinrich Heine’s poem “Leise zieht durch mein Gemüht” (Softly flow through my soul) inspired 250 composers to fashion musical settings. This poem contains none of Heine’s famous irony or his love of paradoxes. Instead it is the purest lyrical rejoicing
Heinrich Heine’s famous “Lyrisches Intermezzo” contains sixty-six songs and a prologue. In that prologue we meet a dreamy poet called a knight: Once upon a time there was a melancholy knight,With haggard, snow-white cheeks;He staggered and stumbled and lumbered around,Obsessed