ANALIZA SOLO PESME NA STIHOVE JOHANA VOLFGANGA GETEA U ODABRANIM DELIMA VOLFGANGA AMADEUSA MOCARTA, LUDVIGA VAN BETOVENA I FRANCA ŠUBERTA

Abstract

The history of music points to the fact that vocal music from the fifteenth to the nineteenth centuries was concentrated on expression of emotions ofncomposers. At the beginning of the nineteenth century, in 1814, Austrian composer Franz Schubert, with his song Gretchen am Spinnrade marked the beginning of the genre of song in Romanticism – Lied, which shows the link between the character of poetry and the character of music. By analysing the structure of selected songs W. А. Моzart – Das Veilchen, L. V. Beethoven – Freudevoll und leidvoll and Franz Sshubert – Gretchen am Spinnrade and Erlkönig we realised the relationship between vocal line, lyrics and piano score in the periods of Classicism and Romanticism. German musicologist Friedrich Blume believes that Classicism and Romanticism create a unique whole. What is meant to be the peak of Classicism in the works of W. A. Mozart is intertwined with the charm of Romantic. Beethoven’s compositions, construed on the aspirations of Classicists were enriched with dramatic presentation of personal confession of pain in everyday life, whereby they completely confirmed their integration in the nineteenth century. By the form of song and a degree of expression of own emotions, Mozart and Beethoven did not completely match the lyrics and music. In the domain of song, Franz Schubert, although inspired by the works of his predecessors, shows the union between the character of poetry and the character of music, thus emphasizing the influence of meaning and values of lyrics for the realisation of melody.