Amanda Glauert – författare

Amanda Glauert revisits Beethoven’s songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.

Amanda Glauert revisits Beethoven’s songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.

Wolf has been regarded as a composer who followed the style and aesthetics of Wagnerian music drama without question, while writing in a genre often seen as less challenging than the symphony or opera. This 1999 book re-examines the evidence concerning Wolf's responses to Wagner and Wagnerism and suggests ways in which he voiced his criticism through song, and his one completed opera Der Corregidor. This opens up insights into the kind of impact Wagner had on those following in his wake, and into the complexity and subtlety of the late nineteenth-century Lied. From this perspective, Wolf emerges as a persuasive and articulate figure of wide musical and artistic significance.

Wolf has been regarded as a composer who followed the style and aesthetics of Wagnerian music drama without question, while writing in a genre often seen as less challenging than the symphony or opera. This 1999 book re-examines the evidence concerning Wolf's responses to Wagner and Wagnerism and suggests ways in which he voiced his criticism through song, and his one completed opera Der Corregidor. This opens up insights into the kind of impact Wagner had on those following in his wake, and into the complexity and subtlety of the late nineteenth-century Lied. From this perspective, Wolf emerges as a persuasive and articulate figure of wide musical and artistic significance.

Amanda Glauert revisits Beethoven’s songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe.

The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire.

This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.