Abstract:devoted to pieces that seem to follow more in line with the conventions of nineteenth-century song. In his discussion of Kurtág's The Sayings of Péter Bornemisza, a song cycle that is more aptly described as a concerto for soprano and piano, Dunsby points to similarities that it shares with Schumann's Dichterliebe, particularly both cycles' distinct 'voice of the piano'. Dunsby's brief study of Goehr's song cycle, meanwhile, delves into the musical implications of the text fragments of Franz Kafka that Goehr c… Show more
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