Vocal Lyricism of Vatroslav Lisinski and Ferdo Livadić in Europe's Context
AbstractThe present study first draws parallels between the comprehensive ballads of Vatroslav Lisinski (1819–1854) and those of Johann Rudolf Zumsteeg (1760–1802). Proceeding from the tradition of the Zumsteeg ballad (which served as learning material to young Schubert as well), the ballads by Lisinski transcend the additive conception of Zumsteeg's pieces. The compositional techniques by means of which Lisinski aimed at uniting the disparate segments of the rather large lyrico-dramatic work are fairly diverse, displaying, however, characteristic "leitmotives" as a constant in the piano part. In his mature age as a composer, Lisinski cultivated the transstanzaic Lied consisting of the differentiated correlations of the vocal and piano parts. Ferdo Livadić (Wiesner) (1799–1879) tried to create a mere lyrical atmosphere through which the lines of poetry would flow, which puts him in a position close to the aesthetic ideals set by Johann Wolfgang von Goethe. Livadić cultivated simple, mostly stanzaic, romance of a continuing and synchronized flow of the vocal part and the piano accompaniment. A set of songs written by Livadić to some German texts, probably during his student years at Graz (1816–1822), testifies to his affinity for the three-beat rhythm and the bel canto singability of the vocal part. Livadić employed this model in his piano Notturno (1822) most successfully. The conclusion drawn is that the common early-Romantic stylistic denominator of the vocal lyricism of Lisinski and Livadić can never conceal their different conceptions of musical style and the use of the means of expression, which links the two composers to two different currents of European early-Romantic Lied: while Livadić followed the tradition of the pre-Schubertian, proto-Romantic solo-song to join the circle of the "little masters" active in the late 18th and early 19th century, Lisinski held a position closer to that of the classic author of Romanticism, Schubert.
How to Cite
Copyright (c) 1989 Koraljka Kos
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in journal Musicological Annual by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.
- Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.