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• W5215074 abstract "HUGO WOLF'S EIN STUNDLEIN WOHL VOR TAG, composed in 1888 on text by nineteenth century German poet Eduard Morike, is remarkable for its unique synthesis of poetry and music. In this synthesis, a symbiotic relationship between literary content and musical form is built upon structural components, which augment and evoke literary ideas inherent in the text. In particular, the idea of is central to the nature of this relationship. Originating in the poem, this idea is carefully woven into the musical structure of the composition. Thus, the architectural design of the song draws heavily from the poem's meaning, and to be clear, this relationship is not simply a matter in which one merely presupposes the other, but rather, it is intrinsic. It is the synthesis of poetry and music.1 The literary themes and subject matter Wolf chose for his lieder are diverse; yet the conventions and style of late nineteenth century German lieder place his songs in the category classified as naturalism. The term, as it applies to late nineteenth century music, has currency in the idea three types of musical expression are associated with its usage. E. F. Kravitt defines naturalism as, first, that of stimulating both the composer and the singer in vocal music to imitate natural speech, second, that of portraying character vividly, and third, that of inducing the composer to represent his environment by writing descriptive music.2 It is the latter is applicable in this case, and specifically, in Wolf's song, the composer is induced not by the actual environment he himself experiences, but rather, by the environment portrayed in the poem, which-in Morike's text-invites the reader into an introspective world where the distinction between reality and dream is blurred. The poem's subject, in this situation, takes little notice of the objective surroundings constitute reality. It is a world of illusion seen through the eyes of the main character, a fated lover, who in the early hours of the morning while alone in her bed learns through the voice of a songbird her partner has been unfaithful, and as the title suggests Stundlein wohl vor the events take place where the concept of time is inextricably bound with the poem's meaning, is, an hour before daybreak. The poem reads as follows: Derweil ich schlafend lag, Ein Stundlein wohl vor Tag, Sang vor dem Fenster auf dem Baum Ein Schwalblein mir, ich hort' es kaum, Ein Stundlein wohl vor Tag: Hor' an, was ich dir sag', Dein Schatzlein ich verklang': Derweil ich dieses singen tu', Herzt er ein Lieb in guter Ruh', Ein Stundlein wohl vor O weh! nicht weiter sag'! O still! nichts horen mag! Flieg' ab, flieg' ab von meinem Baum! -Ach, Lieb' und Treu' ist wie ein Traum Ein Stundlein wohl vor Tag.3 (While I lay sleeping, about an hour before daybreak, a little swallow sang to me from the tree in front of my window, I barely heard it, about an hour before daybreak: Listen to what I tell you. I bring unhappy news about your sweetheart: at the very moment I am singing this, he is embracing another girl, as carefree as he can be, about an hour before daybreak. Oh woe, speak no further! Be silent! Do not tell me any more! Fly away, fly away from my tree! Ah, love and fidelity are like a dream, about an hour before daybreak). In this reading, one's attention is immediately drawn to the protagonist's emotional plea, as it occupies an important position in the poem, but there is something else present is less apparent. It is the idea of time, an hour before daybreak. This idea is intimated through the refrain, Stundlein wohl vor Tag. It occurs in the last line of each stanza (three in all), as well as in the second line of the first stanza. In this way, the refrain evokes the feeling of time. …" @default.
• W5215074 created "2016-06-24" @default.
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• W5215074 date "2008-09-01" @default.
• W5215074 modified "2023-09-23" @default.
• W5215074 title "Musical Structure and Evocation of Time in Hugo Wolf's Ein Stündlein Wohl Vor Tag" @default.
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