Transitional Tones: An Analytical Study of Richard Strauss's Vier Lieder, Op. 27

Tingting Kou; Rolan Ambrocio

doi:10.54097/yywhyb45

Authors

Tingting Kou
Rolan Ambrocio

DOI:

https://doi.org/10.54097/yywhyb45

Keywords:

Richard Strauss, Op. 27, Harmonic Analysis, Stylistic Transition

Abstract

Richard Strauss's Vier Lieder, Op. 27, composed in 1894, represents a pivotal moment in the composer's stylistic evolution, marking his transition from late Romanticism to early Modernism. This paper offers a detailed analysis of the four songs—Ruhe, meine Seele!, Cäcilie, Heimliche Aufforderung, and Morgen! —focusing on their harmonic, structural, and textual elements. The study examines how Strauss uses chromaticism, formal innovation, and sensitive text setting to convey the emotional depth of the poetry, thereby foreshadowing his later compositional developments. By situating Vier Lieder within the broader context of Strauss’s oeuvre, this research highlights the cycle’s significance as a key transitional work that anticipates the harmonic and thematic innovations in his later vocal and orchestral works. The findings contribute to a deeper understanding of Strauss’s artistic trajectory and the enduring impact of Vier Lieder on his subsequent compositions.

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References

[1] R. Strauss, “Vier Lieder, Op. 27: Ruhe, meine Seele!,” in Vier Lieder, 2nd ed. vol. 3, M. Fischer-Dieskau, Ed. Munich: G. Henle Verlag, 1997, pp. 12–16.

[2] R. Strauss, “Vier Lieder, Op. 27: Cäcilie,” in Vier Lieder, 2nd ed. vol. 3, M. Fischer-Dieskau, Ed. Munich: G. Henle Verlag, 1997, pp. 17–21.

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[4] R. Strauss, “Vier Lieder, Op. 27: Morgen!,” in Vier Lieder, 2nd ed. vol. 3, M. Fischer-Dieskau, Ed. Munich: G. Henle Verlag, 1997, pp. 27–31.

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[8] P. Johnson, “The Evolution of Richard Strauss’s Harmonic Language in Vier Lieder, Op. 27,” in The Strauss Legacy, 2nd ed. vol. 1, R. B. Tanner, Ed. Berlin: Breitkopf & Härtel, 2010, pp. 201–240.