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A song cycle is a group, or cycle, of individually complete songs designed to be performed in a sequence as a unit.〔Susan Youens, ''Grove online''〕 The songs are either for solo voice or an ensemble, or rarely a combination of solo songs mingled with choral pieces.〔One example is the set of Schubert songs from ''The Lady of the Lake''. See the article on Schubert's "Ave Maria".〕 The number of songs in a song cycle may be as brief as two songs〔Called dyad-cycles, according to Youens.〕 or as long as 30 or more songs.〔 The term 'song cycle' did not enter lexicography until 1865, in Arrey von Dommer's edition of ''Koch’s Musikalisches Lexikon'', but works definable in retrospect as song cycles existed long before then.〔 One of the earliest examples may be the set of seven Cantigas de amigo by the 13th-century Galician jongleur Martin Codax.〔Ferreira.〕 A song cycle is similar to a song collection, and the two can be difficult to distinguish. Some type of coherence, however, is regarded as a necessary attribute of song cycles. It may derive from the text (a single poet; a story line; a central theme or topic such as love or nature; a unifying mood; poetic form or genre, as in a sonnet or ballad cycle) or from musical procedures (tonal schemes; recurring motifs, passages or entire songs; formal structures). These unifying features may appear singly or in combination.〔 Because of these many variations, the song cycle "resists definition".〔Daverio, Chapter 9, "The Song Cycle: Journeys Through a Romantic Landscape", ''German Lieder in the Nineteenth Century'', ed. Rufus Hallmark, p. 366〕 The nature and quality of the coherence within a song cycle must therefore be examined "in individual cases".〔 ==Song cycles in German Lieder== Although most European countries began developing the art song genre by the beginning of the 19th century, the rise of Lieder in "Austria and Germany have outweighed all others in terms of influence."〔Tunbridge, p. 2〕 German-language song composition at the end of 18th century shifted from accessible, Strophic form, more traditional folk songs to 19th century settings of more sophisticated poetry for a more educated middle class, "who were gradually supplanting the aristocracy as the main patrons of the arts".〔Tunbridge, pp. 2-3〕 Since these songs were relatively small-scale works, like the lyric poetry used for their musical settings, they were often published in collections, and consequently borrowed various poetic terms to mark their groupings: Reihe (series), Kranz (ring), Zyklus (cycle) or Kreis (circle).〔Tunbridge, p. 3〕 In the first few decades of the 1800s, the collections of poetry and the subsequent song settings took on more underlying coherence and dramatic plot, giving rise to the song cycle.〔Tunbridge, pp. 3-4〕 This coherence allowed the song genre to be elevated to a "higher form", serious enough to be compared with symphonies and cycles of lyric piano pieces.〔Tunbridge, p. 4〕 Two of the earliest examples of the German song cycle were composed in 1816: Beethoven's ''An die ferne Geliebte'' (Op. 98), and ''Die Temperamente beim Verluste der Geliebten'' (J. 200-3, \Op. 46) by Carl Maria von Weber. The genre was firmly established by the cycles of Schubert: his ''Die schöne Müllerin'' (1823) and ''Winterreise'' (1827), settings of poems by Wilhelm Müller, are among his most greatly admired works. Schubert's ''Schwanengesang'' (1828), though collected posthumously, is also frequently performed as a cycle. Schumann's great cycles were all composed in 1840. They comprise ''Dichterliebe'', ''Frauenliebe und -leben'', two collections entitled ''Liederkreis'' (Opp. 24 & 39 on texts by Heinrich Heine and Eichendorf respectively)—a German word meaning a song cycle—and the ''Kerner Lieder'' (Op. 35), a ''Liederreihe'' (literally "song row") on poems by Justinus Kerner. Brahms composed settings (Op. 33) of verses from Ludwig Tieck's novel "Magelone", and modern performances usually include some sort of connecting narration. He also wrote ''Vier ernste Gesänge'' ("Four Serious Songs"), Op. 121 (1896). Mahler's ''Lieder eines fahrenden Gesellen'', ''Kindertotenlieder'', and ''Das Lied von der Erde'' expand the accompaniment from piano to orchestra. Wolf made the composition of song collections by a single poet something of a specialty, although only the shorter ''Italian Songbook'' and ''Spanish Songbook'' are performed at a single sitting, and Eisler's ''Hollywood Liederbuch'' also falls into the category of anthology. ''Das Buch der hängenden Gärten'' by Schoenberg and Krenek's ''Reisebuch aus den österreichischen Alpen'' are important 20th century examples, and the tradition is carried on by Wolfgang Rihm, with so far a dozen works. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「song cycle」の詳細全文を読む スポンサード リンク
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