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Bruants Einfluss auf das Kabarett und die Neue Musik in Deutschland

Herbert Schneider

Cite this publication as

Herbert Schneider, Michael Fischer(Hg.), Fernand Hörner(Hg.), Bruants Einfluss auf das Kabarett und die Neue Musik in Deutschland (2013), Waxmann Verlag, 48159 Münster, ISSN: 1619-0548, 2012 #1, p.181

Description / Abstract

The chansons of Aristide Bruant were treated only as a text type for a long time until they were published in singable translations. His three volume edition Chansons et Monologues (1896–1897), first published in 150 booklets, forms the basis for an extensive research on his chansons. At first the different types of notation of the melodrama seem the most important element, including the two of them transmitted to Germany and the »Neue Musik« via Humperdinck. With this, the unsolved background of this type of notation (which Schönberg for example used in pierrot lunaire) could be proved. In this context, it remains to be examined which influence Bruant’s method of declamation had on the German cabaret and the »Neue Musik«. An overview of the various musical interpretations of the chansons proves that not only did Bruant write epoch-making texts, but that he is also not to be underestimated as a composer.

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