Transitional Tones: An Analytical Study of Richard Strauss's Vier Lieder, Op. 27
DOI:
https://doi.org/10.54097/yywhyb45Keywords:
Richard Strauss, Op. 27, Harmonic Analysis, Stylistic TransitionAbstract
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.
Downloads
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.
[3] R. Strauss, “Vier Lieder, Op. 27: Heimliche Aufforderung,” in Vier Lieder, 2nd ed. vol. 3, M. Fischer-Dieskau, Ed. Munich: G. Henle Verlag, 1997, pp. 22–26.
[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.
[5] M. Kennedy, “Richard Strauss’s Lieder: A Study of Op. 27,” in Strauss and His World, 2nd ed. vol. 5, J. Williamson, Ed. Princeton: Princeton University Press, 2003, pp. 35–78.
[6] C. Osborne, “The Lieder of Richard Strauss: An Analysis of Vier Lieder, Op. 27,” in German Song in the Twentieth Century, 2nd ed. vol. 2, H. W. Pleasants, Ed. London: Thames and Hudson, 2002, pp. 92–120.
[7] M. Boyden, “Morgen!: A Study of Richard Strauss’s Compositional Techniques,” in Studies in German Lied, 1st ed. vol. 4, E. Stinzel, Ed. New York: Cambridge University Press, 1998, pp. 145–172.
[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.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Highlights in Art and Design
This work is licensed under a Creative Commons Attribution 4.0 International License.