EMINESCU AND THE ART OF THE LIED. THE ENCOUNTER BETWEEN EMINESCU’S POETRY AND MUSIC
DOI:
https://doi.org/10.24193/subbmusica.2025.spiss4.18Keywords:
Lied, Mihai Eminescu, musicality, poetry, music, literature, cultural heritage, vocal interpretationAbstract
The article explores the interdependence of the arts, focusing on the fusion of poetry and music within the art of the Lied. It outlines the evolutionary development of the Lied genre and traces its historical lineage from the Baroque period (Haendel) through Classicism (Haydn, Mozart, Beethoven) to the “Golden Age” of the nineteenth century (Schubert, Schumann, Brahms, Wolf, Mahler, R. Strauss). The study also presents interpretative perspectives on the genre, emphasizing the importance of the text and the expressive power of the word, the role of imagination, the primacy of emotion over empty perfectionism, and the centrality of the text and the singer–pianist partnership. The central section focuses on Mihai Eminescu as a cultural and artistic landmark. It synthesizes key biographical and intellectual-formative elements (Ipotești, Cernăuți, Blaj, Vienna, Berlin; Aron Pumnul; Junimea and Titu Maiorescu), the main themes and symbols of his poetry (according to M. Cimpoi), his relationship with Veronica Micle, and the intrinsic musicality of his verse. The article describes how the musicality of Eminescu’s versification shapes the composition of Lieder based on his poems, and it presents critical perspectives that affirm Eminescu’s enduring presence as a source of inspiration and a “canonical value” that fosters “the awareness of the unity of the Romanian cultural space.” The Lied is thereby portrayed as a space of synthesis between music and the word.
References
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