Musical Settings
Ludwig van Beethoven said that a great poem is more difficult to set to music than a merely good one because the composer must rise higher than the poet – "who can do that in the case of Schiller? In this respect Goethe is much easier," wrote Beethoven.
There are relatively few famous musical settings of Schiller's poems. Two notable exceptions are Beethoven's setting of "An die Freude" (Ode to Joy) in the final movement of his Ninth Symphony, and Johannes Brahms' choral setting of "Nänie". In addition, several poems were set by Franz Schubert as Lieder, such as "Die Bürgschaft", mostly for voice and piano. In 2005 Graham Waterhouse set Der Handschuh (The Glove) for cello and speaking voice.
The Italian composer Giuseppe Verdi admired Schiller greatly and adapted several of his stage plays for his operas: I masnadieri is based on The Robbers; Giovanna d'Arco on The Maid of Orleans; Luisa Miller on Intrigue and Love; and Don Carlos on the play of the same title. Donizetti's Maria Stuarda is based on Mary Stuart, and Rossini's Guillaume Tell is an adaptation of William Tell. Nicola Vaccai Giovanna d'Arco (1827) is based on The Maid of Orleans and his La sposa di Messina (1839) on The Bride of Messina. Tchaikovsky's 1881 opera The Maid of Orleans is partly based on Schiller's work. The 20th century composer Giselher Klebe adapted The Robbers for his first opera of the same name, which premiered in 1957.
Read more about this topic: Friedrich Schiller
Famous quotes containing the word musical:
“Creative force, like a musical composer, goes on unweariedly repeating a simple air or theme, now high, now low, in solo, in chorus, ten thousand times reverberated, till it fills earth and heaven with the chant.”
—Ralph Waldo Emerson (1803–1882)