DICTIONARY OF MUSIC - El Atril

LIEBESVERBOT, DAS LIED-FORM :25
and the romantic scliool. In 1874 she married
Dr. Oscar Nissen of Cliristiania ; in lS9i she
received a yearly grant from the Norwegian
Storthing, and she died in Cliristiania, Oct. 27,
1903. She was buried at the Vor Frelsers
Church, and Edvard Grieg conducted the musical
part of the service {JIusiail Kctvs, obituary
notice, Nov. 2S, 1903). M.
LIEBESVERBOT, DAS. Opera in two acts,
te.xt (founded on ' Measure for Measure ') and
music by Richard Wagner. Produced at
Magdeburg, Jl arch 29, 1S36.
LIEBLICH GEDACT ((.(!. gedeckt), literally
' sweet-toned covered or closed ' jiipe. This class
of organ stop is a variety of the old ciuite-stojiped
Diapason or Gedact. It was invented by the
elder Schulze, of Paulinzelle near Erfurt, and
was first brought under notice in England in
his organ in the Great Exhibition of 1851. It
is made either of 1 6-foot tone (Lieblich Bourdon),
S-foot (Lieblich Gedact), or 4-foot (Lieblich
Flote). The pipes are made five or six sizes
narrower than the Gedact, but are more copiously
winded, and the mouths cut npi higher. The tone,
therefore, is nearly or quite as strong as that of
the Gedact, though not so full, yet brighter and
sweeter. "Wlien the three stops, 16, 8, and
4 feet are grouped together on the same manual
their effect is very beautiful. The late Edmund
Schulze combined thera in this manner in the
choir organ at the Temple Church in 1860, also
in his fine organ at Doncaster (1862). Lewis
adopted the same plan at Ripon Cathedral,
and it was followed by Willis at Salisbury
Cathedral. E. j. H.
LIED, a German poem intended for singing ;
by no means identical with the French chanson,
or the Italian canzone. All three terms are in
fact untranslatable, from the essentially national
character of the ideas embodied in each form,
the German Lied being perhaps the most
faithful reflection of the national sentiment.
Certain aspects of nature appeal with peculiar
force to the German mind— such, for instance,
as the forest, the waste, the fall of rain, the
murmur of the brook, the raging of the tempest
and connected with these certain other objective
ideas, such as the hunter in the forest, the lonely
bird, or the clouds stretching over the landscape,
the house sheltering from wind andrain, the millwheels
turned by the brook, etc. Such are the
topics of the secular Lied, which have been embodied
by Goethe, Schiller, Heine, and a hundred
smaller poets, in imperishable lyrics, perfectly
suited for music. Those of the sacred Lied are,
trust in God, the hope of future blessedness
and union, and other religious sentiments.
' Volkslieder ' i are what we call traditional
songs, whose origin is lost in obscurity ; in
1 The English have, unfortunately, no equivalent word forVolkelied.
We have the thing, though of a very ditfereut kind from th.at
of Germany but have no term tu express the whole kind. Mr.
Chappell'a greitt work on English Volkslieder is entitled The
'
Ballad JJteratftre ami Popular Miutic of the Oldrii Time. Fopul.ar.'
however, has now acquired a distinct meaning of its own.
Germany these are both sacred and secular. [The
' Volksthiiniliches Lied '
is a song written in the
manner of a folk-song, but by some individual
composer ; and
the ' Kunstlied '
is a more highly
organised form of art. It is generally divided
into two classes, the ' stropliische, ' in which the
melody (and often the accompaniment) is repieated
exactly for each verse, and the ' durchcomponirte,
' in which the melody and accomiianiment
follow the words without repetition.] The new
form, naturalised by Haydn, IMozart, Reichardt,
Schultz, Himniel, Beethoven, Conradin, Kreutzer,
and C. M. von Weber, attained, in the hands
of Franz Schubert, to that extension and jierfeo-
tion of expression which makes it so dear to the
German nation. Since his time the aeconipaiiimeiit
has constantly assumed greaterpromiiience,
so that the original form has nearl}' disappeared,
the musical treatment being everything, and
the poetry comparatively of less moment.
Schumann may be considered tlie pioneer in this
direction, and after him follow Brahms and
Robert Franz. With the two last composers
the accompaniment, as rich in melody as it is
in harmony and modulation, divides attention
with the words. <
The best works on the subject are Dr. Schnei-
der's Geschichte des Lifdcs, 3 vols. (Leipzig,
1863-65), full of detail ; von Liliencron's Die
historischen VolJcslicdcr der Deutschcn, etc.
(1865-69) ; Lindner's Geschichte des Seutschcn
Liedes imXVIlI.Jahrhundert (Leipzig, 1871) ;
Bohme's Altdeutsehes Ziederbuch ; and Schure's
Histoire du Lied. [See Song.] f. g.
LIED-FORM. The term Lied-form has unfortunately
been used by different writers with
different significations ;
and the vagueness wdiich
results, conjoined wdth the fact that the term is
not happily chosen, renders it doubtful whether
it had not better be entirely abandoned.
Some people use it merely to define any slight
piece which consists mainly of a simple melody
simply accompanied, in which sense it would
be perfectly adapted to many of Mendelssohn's
Lieder ohne Worte, and innumerable other
pieces of that class of small compositions for the
piianoforte by various authors, as well as to
songs. On the other hand, some writers have
endeavoured to indicate by the term a form of
construction, in the sanic sense as they would
speak of the forms of the movements of sonatas.
For the diffusion of this view Herr Bernhard
Marx appears to be responsible, and his definition
will be best given in his own terms.
In the fourth section of the fifth diidsion of
his AUgemeine MusikJchre he writes as follows :
' Under this name of Lied-form we group all
such pieces of music as have one single main
idea, which is presented either in one developed
section, or as a period (with first and second
phrase), or even as a period divided into first
and second similar parts, or into first, second,
and third parts (in which case the last is