Dedication

pp v-vi

Contents

pp vii-viii

Preface

pp ix-xviii

Acknowledgments

pp xix-xx

Prelude

pp 1-2

Chapter One - On Schubert Reading Poetry: A Primer in the Rhythm of Poetry and Music

pp 3-36

Part I - Close Readings and Comparative Studies

pp 37-38

Chapter Two - The Musical “Spirit” of Goethe’s “Suleika”: Schubert’s Settings D. 720 and D. 717

pp 39-70

Chapter Three - Text-Music Relations in Schumann’s Eichendorff Song “Frühlingsfahrt”

pp 71-88

Chapter Four - Hugo Wolf’s Ghazal Settings from “Das Schenkenbuch” of Goethe’s West-östlicher Divan

pp 89-110

Chapter Five - Karl Weigl’s Opus 1 in Its Nineteenth-Century Context: A Historic Literary-Musical Fusion of Goethe’s “Wanderers Nachtlied” and “Ein Gleiches”

pp 111-135

Chapter Six - “Hans Adam”—Goethe’s Parodistic Creation Myth: A Parody Parodied by Hugo Wolf and Richard Strauss

pp 136-152

Part II - Poetic and Musical Structure

pp 153-154

Chapter Seven - Text and Music in Schubert’s Settings of Pentameter Poetry

pp 155-219

Chapter Eight - Repetition as Structure in the German Lied: The Ghazal

pp 220-239

Chapter Nine - Sonnet Structure and the German Lied: Shackles or Spurs?

pp 240-260

Chapter Ten - Schubert’s Strategies in Setting Free Verse

pp 261-280

Part III - In Search of Cycles

pp 281-282

Chapter Eleven - Hugo Wolf and Goethe’s “Duodrama”: Toward a “Better Understanding” of the Problematic Divan-Trinity of Life, Love, and Spirit

pp 283-321

Chapter Twelve - Text and Music in Mahler’s Kindertotenlieder

pp 322-334

Chapter Thirteen - The Rückert Lieder of Robert and Clara Schumann

pp 335-374

Chapter Fourteen - A Cycle in Flux: Schumann’s Eichendorff Liederkreis

pp 375-389

Chapter Fifteen - Why Dichterliebe Twice? The Case of Schumann’s Opus 24 and Opus 48

pp 390-406

Postlude

pp 407-408

Chapter Sixteen - Discovering “Musical Impressionism” by Way of Eichendorff and Schumann: Wolf and Pfitzner at the Threshold

pp 409-436

Index

pp 437-451