Belcher, Owen. 2020. “Analysis from a Dualist Perspective: ‘Frühling’ from Richard Strauss’s Vier Letzte Lieder.” In ›Klang‹: Wundertüte oder Stiefkind der Musiktheorie. 16. Jahreskongress der Gesellschaft für Musiktheorie (GMTH) Hannover 2016 (GMTH Proceedings 2016), edited by Britta Giesecke von Bergh, Volker Helbing, Sebastian Knappe and Sören Sönksen. 551‒561.
eingereicht / submitted: 01/10/2017
angenommen / accepted: 01/10/2017
veröffentlicht (Onlineausgabe) / first published (online edition): 01/10/2020
zuletzt geändert / last updated: 26/03/2021

Analysis from a Dualist Perspective: “Frühling” from Richard Strauss’s Vier Letzte Lieder

Owen Belcher

The paper presents an analysis of Richard Strauss’s “Frühling”, the first of his Last Four Songs composed in 1948. I adopt the harmonic dualism of Moritz Hauptmann and Hugo Riemann—a theoretical perspective which reflects the ideals of German Romanticism. I contrast this approach with Schenkerian and Neo-Riemannian analyses of the song by Richard Kaplan and Richard Cohn. Two features central to my analysis are: 1) the rejection of enharmonic equivalence, and 2) the function of a special type of augmented sixth, a “Frühling sixth”, which propels the music forward and gives the song its characteristic chromatic sound. Using Riemann’s Schritt/Wechsel system, I chart the large-scale harmonic moves of the piece on a ‘Klangnetz’, showing how the various harmonic transformations articulate certain key areas and reflect the meaning of the song’s text.

Schlagworte/Keywords: dualism; Dualismus; enharmonicism; Enharmonik; Hugo Riemann; Klangnetz; Richard Strauss

Dieser Artikel erscheint im Open Access und ist lizenziert unter einer Creative Commons Namensnennung 4.0 International Lizenz.

This is an open access article licensed under a Creative Commons Attribution 4.0 International License.