Goethe’s Wandrers Nachtlied II (Über allen Gipfeln) is considered by many to be the most perfect lyric in the German language. The poet is supposed to have written the poem on the evening of 6 September 1780 onto the wall

Johann Wolfgang von Goethe (1749-1832) wrote his famous poem “Das Veilchen” (The Violet) in 1774 as an allegorical song for his theatrical play with songs Erwin and Elmire. He reworked it during his Italian journey in 1787/88, and this second

With the possible exception of William Shakespeare, no other poet had such a profound influence on song as Johann Wolfgang von Goethe (1749-1832). For Germany’s greatest poet, music was an essential part of life, and it brought solace and redemption.

Irony is frequently considered an intellectual literary device that should by its nature be unsuitable for music. Yet, as music and literature unite in the art song, irony becomes a matter of importance in music as well. And that’s especially

Although Franz Liszt and Heinrich Heine had a massive falling-out, the composer and pianist could still recognize the musical invitation to music in Heine’s unique poetic voice. In fact, Liszt would create two versions of “Ein Fichtenbaum steht einsam” (A

Heinrich Heine’s poem “Leise zieht durch mein Gemüht” (Softly flow through my soul) inspired 250 composers to fashion musical settings. This poem contains none of Heine’s famous irony or his love of paradoxes. Instead it is the purest lyrical rejoicing

Heinrich Heine’s famous “Lyrisches Intermezzo” contains sixty-six songs and a prologue. In that prologue we meet a dreamy poet called a knight: Once upon a time there was a melancholy knight,With haggard, snow-white cheeks;He staggered and stumbled and lumbered around,Obsessed

Music played an important role in the life of Heinrich Heine. He did more than just write brilliant reviews of music and operas. For Heine, music was a great vital force that occupied an important place in the content sphere