The most important 1920’s men’s choral composer, Erwin Lendvai, is used in this lecture as an example to demonstrate some compositional steps that were taken to save the genre. Contemporaries praised him as a bold innovator of men’s choir. His writing is highly professional and his experience as a conductor shows in every detail. Stylistically, his music is a mixture of chromatically altered extended tonality and polyphonic principles found in the kind of boyish and unmannerly Renaissance songs Lendvai was familiar with, due to his transcriptions in the style of the “Jugenmusikbewegung”. He connects two ultra-modern tendencies of the time, namely linear counterpoint (no longer exactly in the sense of Ernst Kurth) and a morbid post-wagnerianism, both en vogue and equally fascinating.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:2840 |
| Date | 21 February 2013 |
| Creators | Schröder, Gesine |
| Contributors | Hochschule für Musik und Theater Leipzig |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | English |
| Detected Language | English |
| Type | doc-type:report, info:eu-repo/semantics/report, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
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