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Composed by Margarete Schweikert. Edited by Jeannette La-Deur. Sound Research of Women Composers: Twentieth Century (T 8). Romantic to contemporary (20. Century). Score. With modern typesetting. Duration 18 minutes. Furore Verlag #FUE 15015. Published by Furore Verlag (FV.FUE-15015).
ISBN 979-0-50182-815-9.
Wolken-Lieder (1923): Text Theowill Ubelacker Spate Lieder (1946/47): 1. Einem Vorangegangenen (1946) (Text: Auguste Supper), 2. Leid (1947)(Text: Ludwig Jungmann) Margarete Schweikert combined a strong feeling for form with highly expressive, emotionally coloured creativity. She delved deep into the poetry aEUR disruption, abomination, hardship and bleakness appeared to inspire her in particular, provoking her to express dark, dramatic outbursts. However, her multifarious oeuvre also contains songs with comparatively simple structures and restrained dynamics aEUR playful, sometimes even with melodies reminiscent of folk songs. Margarete Schweikert often accompanied her songs herself when performing at public concerts.
As far as we are now aware, Margarete Schweikert composed most of her more than 160 songs between 1905 and 1923. Only a few compositions were written after this period; for example, the two Late Songs, these were composed in 1946/47. They were influenced by the Second World War and the personal losses endured by Margarete Schweikert during this time. Relentless and harsh, they are the outpourings of a strong personality who uncompromisingly concentrated her experiences into music. Building upon late-romantic harmony, Margarete Schweikert developed her very own distinct style of composition for her predominantly short songs. Piano and voice blend into one, the voice nestling in the often complex harmonic development. Her songs bubble over with creativity, each and every textual idea giving rise to unique compositional expression. She often interprets the words of the poetess or poet so delicately, that the song's cohesion almost seems to dissolve. Musical developments are often cut short; still, she succeeds in completing the arc, establishing unity over diversity.
Composed by Margarete Schweikert. Edited by Jeannette La-Deur. Sound Research of Women Composers: Twentieth Century (T 8). Romantic to contemporary (20. Century). Score. With modern typesetting. Duration 18 minutes. Furore Verlag #FUE 15015. Published by Furore Verlag (FV.FUE-15015).
ISBN 979-0-50182-815-9.
Wolken-Lieder (1923): Text Theowill Ubelacker Spate Lieder (1946/47): 1. Einem Vorangegangenen (1946) (Text: Auguste Supper), 2. Leid (1947)(Text: Ludwig Jungmann) Margarete Schweikert combined a strong feeling for form with highly expressive, emotionally coloured creativity. She delved deep into the poetry aEUR disruption, abomination, hardship and bleakness appeared to inspire her in particular, provoking her to express dark, dramatic outbursts. However, her multifarious oeuvre also contains songs with comparatively simple structures and restrained dynamics aEUR playful, sometimes even with melodies reminiscent of folk songs. Margarete Schweikert often accompanied her songs herself when performing at public concerts.
As far as we are now aware, Margarete Schweikert composed most of her more than 160 songs between 1905 and 1923. Only a few compositions were written after this period; for example, the two Late Songs, these were composed in 1946/47. They were influenced by the Second World War and the personal losses endured by Margarete Schweikert during this time. Relentless and harsh, they are the outpourings of a strong personality who uncompromisingly concentrated her experiences into music. Building upon late-romantic harmony, Margarete Schweikert developed her very own distinct style of composition for her predominantly short songs. Piano and voice blend into one, the voice nestling in the often complex harmonic development. Her songs bubble over with creativity, each and every textual idea giving rise to unique compositional expression. She often interprets the words of the poetess or poet so delicately, that the song's cohesion almost seems to dissolve. Musical developments are often cut short; still, she succeeds in completing the arc, establishing unity over diversity.
Preview: Wolken-Lieder; Spate Lieder
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