A Cypress Grove, a Cantata for Medium Voice and Piano (1723)

Notes ◽  
1950 ◽  
Vol 7 (3) ◽  
pp. 429
Author(s):  
Doris Silbert ◽  
George Hayden ◽  
Eric Taylor
Keyword(s):  
Voice And Piano

Four Dickinson Songs for High Voice and Piano

Notes ◽  
1990 ◽  
Vol 47 (1) ◽  
pp. 230
Author(s):  
John McCauley ◽  
Lee Hoiby ◽  
Emily Dickinson
Keyword(s):  
High Voice ◽  
Voice And Piano

Anthology of Goethe Songs

10.31022/n023 ◽  
1994 ◽  
Keyword(s):  
Eighteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Art Music ◽  
Ferruccio Busoni ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
German Art ◽  
History Of ◽  
Voice And Piano

Few poets have had so profound an influence on the history of German art music as Johann Wolfgang von Goethe. Since the late eighteenth century, over seven hundred of his poems have been set by nearly six hundred composers as lieder for voice and piano. This anthology gathers twenty-two such settings, in a wide variety of styles, by composers ranging from Goethe's friend Carl Zelter to Hans von Bülow, Ferruccio Busoni, and Othmar Schoeck.

Voice and Piano

1990 ◽  
Vol 131 (1769) ◽  
pp. 369
Author(s):  
John Steane ◽  
Ruth C. Lakeway ◽  
Robert C. White Jnr.
Keyword(s):  
Voice And Piano

GEORGE ROCHBERG (1918–2005)Fantasies (1971)

2020 ◽  
pp. 261-264
Author(s):  
Jane Manning
Keyword(s):  
Diverse Range ◽  
Small Frame ◽  
George Rochberg ◽  
Voice And Piano ◽  
Breath Control

This chapter examines George Rochberg’s Fantasies, written as a present for his wife on their thirtieth wedding anniversary. A set of four haiku-like miniatures for medium voice and piano, Fantasies makes an ideal introduction to a modernist vocal idiom for those who have yet to lose their inhibitions and plunge into new territory. A flexible mezzo would perhaps be best suited to the diverse range of styles packed into such a small frame. Clear projection is essential, in view of the economy of the vocal writing, and a certain forthright strength, as well as a poised lightness. There are just a few moments of Sprechstimme, whispered as well as spoken, and a couple of long, arching melismas, which require considerable breath control. In contrast, speech rhythms are also deftly employed. It is the pianist, however, who has the lion's share in shaping the narrative and illustrating the texts, in a most satisfying part, full of wit and humour, and incorporating some challenging figurations.

MARTIN BUTLER (b. 1960)London (2008)

2021 ◽  
pp. 26-27
Author(s):  
Jane Manning
Keyword(s):  
Wide Range ◽  
Voice And Piano

This chapter explores British pianist and composer Martin Butler’s London (2008). This is, thus far, the sole work Butler has written for voice and piano. His musical idiom is easily accessible, basically tonal with naturally flowing lines and lovely sonorities. This is a classic English ‘Lied’ which sets William Blake’s poem with impeccable taste and assurance, allowing both performers a wide range of colour and expression, and encompassing a host of delicately calibrated details of nuance and dynamic. Marked ‘A Dirge’, the piece progresses at a steady pulse, led by a resonant piano part which goes on to three staves at the start. Wide-spanning bell-like chords support a flexible, shapely vocal line, with each word set immaculately. The broad vocal range might suggest a bass-baritone—several of the lowest passages, including the exposed ending, require a rock-like steadiness and security. However, the outer sections are basically quiet, and the emotional outburst at the song’s centre, as the music presses forward, will benefit from a high placing without strain.

RODNEY LISTER (b. 1951)Songs to Harvest (2006)

2021 ◽  
pp. 141-143
Author(s):  
Jane Manning
Keyword(s):  
Good Deal ◽  
Medium Range ◽  
American Composer ◽  
Voice And Piano ◽  
The Voice

This chapter focuses on American composer Rodney Lister’s Songs to Harvest (2006). As shown in this attractive cycle, Lister has a distinctive and fascinating way of writing for voice and piano. The voice projects succinct, shapely phrases, while linear piano parts weave a tapestry of sinuous counterpoint, frequently in two parts only, often with three-against-two rhythms. When the voice stops, the piano continues, its luminous texture ebbing and flowing. Ingeniously, it seems to give a subliminal commentary as well as an irresistible propulsion to the music. The prime test of the songsmith is to set words so that they can be heard easily, and Lister passes this with flying colours. A predominantly medium range guarantees comfortable articulation—the highest note occurs only once, fleetingly. The cohesive musical idiom is discreetly contemporary, disciplined, and carefully modulated. Pitching should be relatively unproblematic—there is a good deal of doubling with the piano, and plenty of time to plot each interval cleanly.

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