Artwork page for 'Lieder ohne Worte', Frederic, Lord Leighton, exhibited on display at Tate Britain. This was the first significant work Leighton painted after. Lieder ohne Worte II, Op composer. Felix Mendelssohn . /5; published in ; dedicated to Elise von Woringen. This page is only for complete editions and multiple selections from the collection here. For arrangements, new editions, etc. see (or create) separate pages for Performances · Sheet Music · Scores · Arrangements and.
|Author:||Rachael Rippin IV|
|Published:||17 May 2016|
|PDF File Size:||38.64 Mb|
|ePub File Size:||23.81 Mb|
|Uploader:||Rachael Rippin IV|
‘Lieder ohne Worte’, Frederic, Lord Leighton, exhibited | Tate
The architectural lieder ohne worte and their perspective are precise enough to have been drawn with the aid of a T-square and set-square on a drawing board; similarly, the relief moulding on the well-head looks as though it was drawn with a pair of compasses. This same precision can be seen in the under-drawing on the canvas.
One result of this private showing - attended by friends and critics - was that the picture was given a new title, perhaps with some prompting from the artist, proposed by the wife of his friend Ralph Benson who visited the studio on 31 March.
The following day Benson wrote to Leighton: He was also undoubtedly lieder ohne worte that his audience would inevitably at first lieder ohne worte some association between the picture and Felix Mendelssohn's forty-eight short piano pieces, composed between and and also called Lieder ohne Worte.
Well-known in England under the title of Songs without Words, these graceful and thoughtful miniatures had a considerable popularity during the nineteenth century and particularly, it would seem, during the s. It must have been Mendelssohn's music which inspired Mrs Benson's choice and Leighton must have known that it could only help the picture's chance of being noticed when it was hung in the Academy exhibition.
He obviously used the private showing as an opportunity to explain what his intentions were - in this and other pictures - to a sympathetic audience. There is nothing to tell that the fair young girl who sits before us, lost in a dream, is of Roman, Egyptian, Grecian, or Mediaeval time or country.
As her fancies are proper to girlhood, so her costume, her beauty, and the architecture with which she is surrounded are indefinite and only beautiful. We might as well attempt to analyze her thoughts as to decide where was her birthplace, what her name. There she is - fair, soft-eyed, graceful as a fawn, self abandoned, sweet, seated by the bright-running fountain that, with a murmurous gurgle, slowly fills the watervessel she has set down lieder ohne worte lost in a blissful dream, while the shrill voice of the bird above cleaves the sleeping air of the sunny afternoon, and the delicate shadows widen over the pavement of marble, the rosy light lies softly upon the alabaster walls, and the tall woman, saffron-vested, bearing the vase upon her head, ascends the steps behind, noiseless, with bare feet, her robe's edge upon the marble stair, passing without a sound to break the reverie of youth and love Several red, blue and grey vases stand upon the floor, and concentrate with their deep tints the delicacy of the alabaster that forms the background.
Songs Without Words - Wikipedia
That there was a considerable amount of gossip about this is certain: Stephens - who, with their close knowledge of the painting, and writing, respectively, in The Times and The Athenaeum, were able to offer Leighton some public encouragement.
This would indeed seem to be the case. On the frame's inner margin, a series of arch-like semi-circles, modelled in relief with a slight concave section, each with a roundel, or boss, at its centre, echoes the decorative parapet on the wall of the lieder ohne worte in which the girl is sitting.
One such example is the arrangement of 22 of the songs by Mendelssohn's student, the German violist Friedrich Hermann —for violin and piano.
This was based on songs 1—3 of Book I, Op. Vial, started to play it in Paris on 9 April  but Liszt became ill during lieder ohne worte performance. Ferruccio Busoni planned to play it lieder ohne worte London with Egon Petribut died before the plan could be realised.
No such arrangements were however made, or so titled, by Mendelssohn himself.
By other composers[ edit lieder ohne worte Fanny Mendelssohn's early collections of piano works opp. Other composers who were inspired to produce similar sets of pieces of their own included Charles-Valentin Alkan the five sets of Chants, each ending with a barcarolleAnton RubinsteinIgnaz Moscheles and Edvard Grieg his 66 Lyric Pieces.