The Mahlerian mask: Heine's voice and visage in post-war Germany
2014 (English)In: Word and music studies: on voice / [ed] Walter Bernhart, Lawrence Kramer, Amsterdam: Rodopi, 2014, 129-148 p.Chapter in book (Other academic)
The lyrical oeuvre of Heinrich Heine was a vastly important textual source of German vocal music in the nineteenth century. Heine’s impact on music was reciprocated by the composers’ impact on his poetry, which can scarcely be read without the echoes of Ro- mantic lieder making themselves heard. A century later, the critics and composers of post- war Germany attempted to give a different image of the poet precisely by means of music. Heine remained a complex and controversial writer in the twentieth century, and high stakes were invested in his figure – not only because of his status as a canonized poet, but also because of the difficulties he faced as a German-Jewish writer, both in his lifetime and in the afterlife of literary reception. The present paper addresses three musical (or musical- ly tempered) post-war interpretations of his poetry, in which Theodor W. Adorno, Reiner Bredemeyer, and Hans Werner Henze all claim to unmask the ‘real’ Heine, to see his true face or hear his true voice. Interestingly, all three seem to agree that this ‘real’ Heine has much in common with another German-Jewish artist: Gustav Mahler.
Place, publisher, year, edition, pages
Amsterdam: Rodopi, 2014. 129-148 p.
, Word and Music Studies, ISSN 1566-0958 ; 13
Heinrich Heine, Gustav Mahler, Theodor W. Adorno, Reiner Bredemeyer, Hans Werner Henze
General Literature Studies Musicology
Research subject Literature; Musicology
IdentifiersURN: urn:nbn:se:su:diva-125060ISBN: 9789042038219OAI: oai:DiVA.org:su-125060DiVA: diva2:891604