Die Winterreise and Winterreise: A Comparison of Wilhelm Müller’s Cycle of Poems and Franz Schubert’s Cycle of Songs for Voice and Piano

2021 ◽  
Vol 78 (2) ◽  
pp. 193-196
Author(s):  
Marjon van Es
Keyword(s):  
Song Cycle ◽  
Voice And Piano ◽  
The Relationship

This article examines closely the textual origins of Schubert’s Winterreise in order to gain a deeper understanding of the relationship between Wilhelm Müller’s set of poems and Franz Schubert’s song cycle based on those poems. A study of the genesis of the poetry and the final arrangement of poems in both Müller’s and Schubert’s cycles illustrates a contrast between a work of hope and another of despair.

scholarly journals “You Too Can Compose”

2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Rachel L. Lumsden
Keyword(s):  
Study Analysis ◽  
Musical Style ◽  
Case Study Analysis ◽  
Voice And Piano ◽  
The Impact ◽  
The Relationship

This article offers a detailed explication of the relationship between Ruth Crawford and Vivian Fine, who was Crawford’s composition student in the 1920s. Drawing on work by feminist scholars such as hooks, Heilbrun, and Miller, I focus on the connections between gender and modernism in two different aspects of the Crawford/Fine relationship: mentoring and musical style. Closer examination reveals valuable insights not only into the gendered implications of the affectionate, empathetic relationship that the two women created and sustained, but also the impact that Crawford’s mentoring had on Fine’s development and emergence as an atonal composer. A case study analysis of Fine’sLittle Suite for Voice and Piano, written just after Fine’s studies with Crawford, helps to elucidate the structural and stylistic connections between the two composers. A recording ofLittle Suite, which is only available in manuscript and has not been performed since 1931, was also prepared as part of this article.

KATHERINE SAXON (b. 1981)Sea Fever (2008)

2021 ◽  
pp. 200-203
Author(s):  
Jane Manning
Keyword(s):  
Space Time ◽  
Musical Style ◽  
Balance Problem ◽  
American Composer ◽  
Voice And Piano ◽  
The Relationship

This chapter discusses American composer Katherine Saxon’s Sea Fever (2008). In this piece, the musical style is straightforward, uncluttered, and accessible, with elements of neoclassicism, and the four songs are well contrasted. The second has space-time notation, but the others are written conventionally, with key and time signatures. The relationship between voice and piano is well gauged, but there may be a few balance problem for lighter voices, especially when lines are low-lying. Verbal clarity is a crucial requirement. Words and music teem with watery images, and the sonic palette of John Masefield’s resonant poetry, full of alliteration and onomatopoeia, is a gift for composers, to which Saxon responds with empathy and panache. Some very fast articulation is called for, especially in the last song. The composer’s succinct instructions for mood and character are always pertinent.

COREY FIELD (b. 1956)Three Lullabies (1990)

2020 ◽  
pp. 94-96
Author(s):  
Jane Manning
Keyword(s):  
Distinctive Character ◽  
The Third ◽  
Voice And Piano ◽  
Relationship Of ◽  
The Relationship ◽  
The Rose

This chapter focuses on works by Corey Field. Field has added two songs to his earlier Escape at Bedtime to form a nicely balanced trio of lullabies. Each movement is neatly constructed, and shows considerable flair and sensitivity to the relationship of voice and piano. The first poem also comes from Robert Louis Stevensons’s A Child’s Garden of Verses (1885), but the third sets a W. B. Yeats text (from The Rose, 1893). The cycle is relatively undemanding vocally and has an attractive immediacy. It will suit either a tenor or soprano, giving them a chance to shine vocally, while the piano’s luminous contribution gives strong rhythmic support. The style is a fresh, accessible mix of tonality and light chromaticism, with strophic verses treated conventionally but never rigidly. Each song has its own distinctive character. The simpler outer songs frame a middle movement that is a little more ambitious, and the work begins and ends with piano solos.

Copland's Dickinson Songs

Tempo ◽  
1972 ◽  
pp. 33-37
Author(s):  
Douglas Young
Keyword(s):  
19Th Century ◽  
Song Cycle ◽  
Emily Dickinson ◽  
Art Music ◽  
Charles Ives ◽  
American Composers ◽  
Popular Songs ◽  
Rightful Place ◽  
American Tradition ◽  
Voice And Piano

More than twenty years have passed since the publication of Copland's Twelve Poems of Emily Dickinson, and although the work has been widely praised, it has still to find its rightful place in the repertoire. In several respects it is, indeed, an isolated work. Composed between March 1949 and March 1950, it was Copland's first music for solo voice and piano since 1928, and has remained his only song-cycle (apart from the sets of American popular songs). The choice of poems is unusual; but the genre itself is foreign to the American ‘tradition’. The fact that relatively few American composers have entered this field perhaps reflects a desire to avoid direct comparison with 19th century European models. Charles Ives wrote many songs but no cycles, and the best of them are without musical ancestry (or direct progeny); if influences can be discerned they are from outside the field of ‘art’ music. So it is remarkable that Copland's cycle calls to mind the French mélodie, and particularly Fauré.

scholarly journals Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”

2019 ◽  
Vol 16 (16) ◽  
pp. 190-206
Author(s):  
Katerina Chystiakova
Keyword(s):  
Song Cycle ◽  
Living Organism ◽  
String Instruments ◽  
Hector Berlioz ◽  
Special Trait ◽  
History Of ◽  
French Author ◽  
Voice And Piano ◽  
The Voice ◽  
The Way

Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity

scholarly journals «Воспитательно-образовательные возможности авторской песни на примере песни В.Моисеевой "О Войне" и песни "Гурзуф" из цикла песен В. Моисеевой «Крымские Арабески»»

2021 ◽  
Author(s):  
Victoria Victorovna Moiseeva
Keyword(s):  
Song Cycle ◽  
Self Esteem ◽  
Taste Preferences ◽  
Creative Activity ◽  
Creative Potential ◽  
The Social ◽  
Musical Thinking ◽  
Regional Component ◽  
Voice And Piano ◽  
Goals And Objectives

Today there is an acute problem of educating the creative potential of the younger generations, their artistic taste, preferences. Among the goals and objectives of education - the formation of artistic thinking (and as a variety - musical thinking) is very relevant. Therefore, the article considers some problems of the development of creative activity as the basis of artistic and musical thinking. Based on the study of the methodology of working on songs, it is necessary to determine the effectiveness of the influence of the author's song for voice and piano accompaniment on the formation of holistic ideas about the surrounding nature, the social environment of the cities of Crimea, the place of a person in it, self-esteem, the harmonious manifestation of patriotic feelings. Creation and testing of a song cycle as an accompanying material in solving the tasks of the regional component in education.

scholarly journals In a Dialogue with the Poet

ICONI ◽  
2021 ◽  
pp. 105-116
Author(s):  
Natalia V. Korolevskaya ◽  
Keyword(s):  
Song Cycle ◽  
The Other ◽  
Marina Tsvetaeva ◽  
Poetic Text ◽  
The One ◽  
The Relationship ◽  
Spiritual Unity

The article devoted to questions of musical and poetic synthesis raises the issue of the relationship between the composer and the poet in its special interpretation, defined as spiritual “affinity”. In Elena Gokhman’s song cycle “Insomnia” analyzed from this position, a whole range of points of contact between the artistic worlds of the poet and the composer opens up to the poems of Marina Tsvetaeva. The analysis of the musical-poetic text at the pre-musical and musical levels of its organization, in the unity of syntagmatic and paradigmatic structures, which unfold, on the one hand, as a psychological “drama of the gap”, on the other — as a metaphorical discourse in the space of the title image of the cycle, allowed us to reveal in Elena Gokhman’s “Insomnia” a hidden intertextual plan, also dating back to the work of Marina Tsvetaeva, revealing the closest contact between the creative natures of the poet and the composer. At the same time, spiritual “affinity” as it is considered reveals “flaws” of incompatibility of creative consciousnesses, which, in accordance with the etymology of the Old Slavic “co-kinship”, allows us to see the dialogue between the poet and the composer in the dynamics of rapprochements and divergences — not only moments of striking spiritual unity of artists belonging to different cultural eras,but also differences that determine the exclusive spiritual appearance of the work born in dialogue with the poet.

Music That Brings Sweet Sleep; Song Cycle for High Voice and Piano

Notes ◽  
1974 ◽  
Vol 31 (2) ◽  
pp. 403
Author(s):  
Myron Myers ◽  
Richard Stoker ◽  
Tennyson ◽  
Du Maurier ◽  
Herrick ◽  
...  
Keyword(s):  
Song Cycle ◽  
High Voice ◽  
Voice And Piano

scholarly journals Empathy, the song and the singer: a legacy of Robert Schumann

2011 ◽  
Vol 17 (6) ◽  
pp. 447-450 ◽  
Author(s):  
John Cox
Keyword(s):  
Mental Health ◽  
Song Cycle ◽  
Continuing Professional Development ◽  
Robert Schumann ◽  
Therapeutic Effectiveness ◽  
Severe Mental Disorder ◽  
Core Component ◽  
The Relationship ◽  
The Brain ◽  
Empathic Process

SummaryIn this article it is suggested that empathy is a core component of musical appreciation and particularly of the relationship between the singer and the audience. The brain pathways activated in musical appreciation are outlined and the nature of the empathic process considered with reference to Robert Schumann's songs and his experience of severe mental disorder. The article suggests that listening to Schumann's song cycle Dichterliebe (Poet's Love), or to other great music, is a useful component of continuing professional development and that such experience enhances therapeutic effectiveness and empathy, as well as increasing the understanding of the relationship between creativity and mental health.

ANTHONY RITCHIE (b. 1960)Two Pantoums (2005)

2021 ◽  
pp. 190-192
Author(s):  
Jane Manning
Keyword(s):  
Musical Language ◽  
Voice And Piano ◽  
The Relationship

This chapter explores Anthony Richie’s Two Pantoums (2005). In this piece, each of Cilla McQueen’s strikingly resonant texts, one commissioned specially, takes the form of a pantoum. This is Malay in origin and consists of a series of four-line stanzas, with rhymings and repeats alternating in the pattern ABCD, BEDF, EGFH, GIHJ, and so on. Each poem is rounded off with a final, framing ICJA stanza, making a satisfyingly symmetrical effect. With enviable ingenuity, Ritchie manages to adhere strictly to the form throughout his vocal settings, yet, by dint of subtle transposition and rhythmic variation, he avoids rigidity and instead creates a feeling of free-flowing spontaneity, aided considerably by rewardingly varied piano parts. Indeed, the songs progress so seamlessly that one is barely aware of their intricate, tightly knit structure. He wisely keeps the soprano within a comfortable and practicable tessitura and word-setting is exemplary. The relationship between voice and piano is idiomatic and the attractive musical language—mainly tonal, but laced with chromaticism and modality—is ‘accessible’ in the best sense.

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