•Favored (what they perceived/thought to be) “Greek” declamation style==MONODIA
-Clarity
-Chorus/Soloist
•RULES
1.Text must be clearly understood.
a.Words must be sung with natural and correct declamation (long/short vowels)
b.No contrapuntal writing
2.Avoid dance-like meter and textual repitions
3.Melody should not reflect pictoral images, but rather the affect of piece.
a.Depict what is BEHIND text
4.No depiction of violence on stage
a.Aristotle
First Opera
Text by Rinuccio
Performed at Carnival
MONODIA
o Born in Palermo, sent to Rome
o Elected to Arcadian Academy in 1706
o Composed 66 operas
•LITERARY movement
•1690=Stars in Rome
-Swedish Queen Christina is a huge patron of the arts
• Idealization of shepards, gods, goddess’, etc
***GOALS
o Reform diction in Italian poetry
• Correct placement of long and short vowels
o Return to the Artistitilian unities
o Less contrived
• Less machinery and token “scenes” in opera specifically
o Inspired by bucolic Greek/Roman ideals and poetry
o Sought “truth”
o Should maintain measure/balance
o Pastoral names
• Zeno
o Greek scholar/libertist that played large role in reform
o Venetian nobleman
o Wrote libretti for 36 operas
• Tended to write about characters who wished to serve/be heros
• Influenced by court
o Started Arcadian Academy in Venice
o Shows goodness/virtue
• Cardinal Ottoboni (1667-1740)
o Great uncle was Pope Alexander VIII
• Made him cardinal
• Code names
• Thought:
o Libretti should have ethical/moral content
o Also a happy ending
• Lieto fine
o Many set in Rome/Greece
o Some exotic settings
• China, Persia, etc
• Marinists: more raunchy and less favorable.
o More realism
o “Smutty”
o Important librettist of opera seria
o Child prodigy in recitation of poetry
o Adopted by Giovanni Vincento
- Famous Arcadian and jurist
o Gravina Hellenized gave PM his Arcadian last name
o At age 12, translated the Illiad into octave stanzas
ITALIAN COMEDY
o Aria types
• Buffa aria
• Usually sung by a bass/baritone
• Humorous
• Emphasizes the genre’s preference for stage gesture and action over vocal skill
o Opportunity for comedy
• Often sung by man of bourgeois or noble-ish origins exercising power or uncertain authority
• Serva/contradina aria
• Females of the pesant or serving classes
• Defining attributes:
o Association with pesants or serving class women
o Focuses on men (pro & con)
o Insouciant attitude along with acute awareness
o Often defends women
o Mention diminuatives
• How clever/cunning they are
ITALIAN COMEDY
o Aria types
• Buffa aria
• Usually sung by a bass/baritone
• Humorous
• Emphasizes the genre’s preference for stage gesture and action over vocal skill
o Opportunity for comedy
• Often sung by man of bourgeois or noble-ish origins exercising power or uncertain authority
• Serva/contradina aria
• Females of the pesant or serving classes
• Defining attributes:
o Association with pesants or serving class women
o Focuses on men (pro & con)
o Insouciant attitude along with acute awareness
o Often defends women
o Mention diminuatives
• How clever/cunning they are
***Characteristics of Rossini’s style
o Motivic repition
o Agility
o Jubilant
o Often syllabic or very melissmatic
o Hyper cadential
o Conversational with Orchestra
o Harmonically predictable
o Endings almost always PAC
o Orchestra/chorus=doubled
o Singer based
• Controlled by virtuosic soloist
• Solita Forma
First Opera
Text by Rinuccio
Performed at Carnival
***BAROQUE OPERA SERIA:
o Followed unity of time and place
o Subject matter: ancient history and myths
o Resolutions should occur though natural means, not super natural intervention
o Little or no comedy
o Simplicity, naturalness, dignity
o Instruct as well as entertain
o Libretto should be of high literary quality
o Action should move forward in broken verse: Freely alternating unrhymed 7 & 11 syllable lines
***RECIT
o Reflection, reaction, or summation: strophic verse realized in aria
o Only about 6-8 characters
o Arias @ the end of a scene after which the singer leaves the stage
• Occasional cavatina
• Ensembles rather rare: Maybe 1 per opera
• Usually solos/duet
• Leito fine (happy ending & moral teaching)
***COMPANY
• Most arias: prima donna
• Seconda donna
• Terza donna
• Around 20-30 airas per opera
o French contemporary of Bach and Handel
o 1722: comes to Paris
o 1733: first opera, Hippolyte ed Aricie
o After Lully, most significant opera composer in France
• Pamphlet war Lully vs. Rameau
• Rameau=more complex than Lully
o Met and collaborated with Voltaire
o 1752-54: War of the Buffoons
***MUSIC
• Retained 5 act format
• More leaps in recit
• More harmonically difficult
• Appogotura
• Inventor of “functional harmony”
• Colorful orchestra
o Criticized because of difficulty, convoluted lines, difficulty
o Important librettist of opera seria
o Child prodigy in recitation of poetry
o Adopted by Giovanni Vincento
• Famous Arcadian and jurist
o Gravina Hellenized gave PM his Arcadian last name
o At age 12, translated the Illiad into octave stanzas
RINALDO=part
Written for London stage
• Italian writer and librettist
• Had strong ideas of what/how opera should be
• Challenged Metastasian form of opera seria
• Both in libretto and polemical prose writings
• Wanted to combine best features of French and Italian serious opera
• Poison conspiracy & banished from Tuscany
• Joins Arcadian Academy and moves to Naples
• Writes poetry, which Metastasio appreciates but ultimately deems it too natural and that it lacked artifice
• Moves to Paris and befriends Cassanova
•1741-1742: first opera composed in Venice for carnival season
•Metastasian libretto
•Worked in London, Dresden, Vienna, Hamburg
•Cosmopolitan
• 1755: Hired as director and composer at Burgtheatre in Vienna
• Dance troupe and French actors in residence
• Repitoire:
o modern works of spoken drama
o Parisian opera comique adapted for Viennese taste and morals
o Angiolini ballets b/w acts of Operas
o SOMETIMES Italian operas
• For birthdays, occasions, etc
• 1762: Orfero ed Euridice
• Calzabigi, Angiolini, & Gluck collaborated to produce first Viennese reform opera
• Retains some Metastasian features
• Hardly any simile arias, exits arias, da capo
• Large scale tableaux, ballets
o Shortish arias
• Meant to be appreciated onstage rather than poetically/literarily
• 1765:
• Sudden death of Arcduke
o Theatres closed
o Musicians out of work
o Wrote Alcestis in hope of bringing wife of Arcduke back to theatre
Serse=role
Written for London stage
•Charles de Brosses (1709-1777)
o Journey to Italy in 1739
• Describes opera and the comic intermezzo
• Clear difference between recit and aria
***ARIA TYPES
• Showy
• Arias with agreeable melodies
- Zephyrs, flowers, pastoral themes
• Passionate arias
- Simply expressed
- Less melodius
FRENCH VS. ITALY STYLE WAR
• Italian buffa style: 1720s-1730s
• 1752: troupe of Italian intermezzo singers perform @ Paris opera between acts of Lully’s Acis y Galete
o La Serva Padrona
***PRO:
o Below queen’s box
o Rosseau, FM Grimm, & other “enlightened philosophers”
o Rosseau: “You can’t set French language to music”
o Anti establishment
o Favored graceful charm
***AGAINST
o King’s corner
o Favored dramatic power of tragedie en musique
o Apples & oranges
• OPERA: LITERARY OR MUSICAL GENRE?
• Human expression vs. controlled artifice
-Towering giant of Italian opera in 19th century
•Rose to fame after Rossini retired in 1829
oStyle evolves over time
o Wrote Nabucco after a family member died
o Continued to compose at an old age
***STYLE
• Great melodic invention
• Straight forward harmonies
• Voice dominated texture
• Follows and develops four movement conventional form
• Solita forma
o Tempo d’altaco opening
***LATER
• Action is more continuous
• Harmonies more daring
• Orchestra plays bigger role and treated with great originality
• Follows Solita forma to fit dramatic situation
***Libretti
• Mostly based on pre-existing stories
• Hugo, Shakespeare, etc
• Sought strong situations
• Fast action,
• Striking contrasts
• Unusual characters
• Highly emotional situations
• Human experience the audience can relate to
GRAND OPERA
Contalto role: Azcuena
ERDA=role
Written for Kathleen Ferrier
-ballades
-virelai
-courtly chansons
***STYLE
• Use of the Italian recit style
• Use of the French air de four
- “air” refers to a brief passage that is tonally unified and involves text repition
• Usually in binary, ternary, or rounded binary form
• Use of French theatrical declamation
• Frequent switching between bars of duple and triple meter
• Follows text declamation
• Ensembles are generally thru composed and are a few phrases in length
• Mostly duets
• Instrumental passage occur mainly in two textures
• Trio for 2 treble parts
• 5 part homophony
o Felt that beautiful French text was paramount, and that the music was less important
o Works feature constant singing
o Recit-aria transition very quick
• At times difficult to distinguish difference
o Dance rhyhtms
o Less repitition
• More deliberate repitition
o Use of a “diversion” once an act
• Usually a dance performance
• Used body doubles for principles
o Prolouge
• Allegorical figures
• Refernce to Louis XIV and virtues
• Blurb about the hero prevailing
o Diverstissments
• Dance pieces
• Bourees, chacones, gavottes, gigues, loures, minutes, passacaglia
• Minuet/gavotte=most popular
• Dancers wear masked onstage
• Enchanted Island
• Bold gestures
-Partnership with Lully
-1668: Composed text for divertissement ‘La grotte de Versailles”
-Thereafter, joins select group of poets to pay homage to King Louis
-Louis’ mistress gets offended at an unflattering portrayl and Quinalt gets fired
oSubject matter:
-Classical mythology and legends of Chivalry
oVersailles Palace
-Was once a hunting lodge
oLoved ballet
-The art form was basically cultivated in his court
-Royalty also expected to be educated in bowing, fencing, and social dancing (ballet)
oFrench culture=proud/nationalistic
oPublic felt that Louis XIV was influenced by the Italian cardinal Mazarin(i)
•Attempts importing Italian opera to France
•The French disliked Castrati
•Thought to be horrible and unnatural/inhumane
o Composer Lully and his librettist Quinalt have monopoly at French court
-The pair write 16 operas and 2 ballets
-Critics/other librettists jealous
-Use of symmetry
• Literary/drama rules conceived by Aristotle in his “Poetics”
The unity of action: a play should have one main action that it follows, with no or few subplots.
The unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place.
The unity of time: the action in a play should take place over no more than 24 hours.
• Horace: a play should delight and instruct
• Air of decorum
o No violence onstage
o Chevalier folklore
• Proud, heroic
o French contemporary of Bach and Handel
o 1722: comes to Paris
o 1733: first opera, Hippolyte ed Aricie
o After Lully, most significant opera composer in France
• Pamphlet war Lully vs. Rameau
• Rameau=more complex than Lully
o Met and collaborated with Voltaire
o 1752-54: War of the Buffoons
***MUSIC
• Retained 5 act format
• More leaps in recit
• More harmonically difficult
• Appogotura
• Inventor of “functional harmony”
• Colorful orchestra
o Criticized because of difficulty, convoluted lines, difficulty
•Charles de Brosses (1709-1777)
o Journey to Italy in 1739
• Describes opera and the comic intermezzo
• Clear difference between recit and aria
ARIA TYPES
• Showy
• Arias with agreeable melodies
- Zephyrs, flowers, pastoral themes
• Passionate arias
- Simply expressed
- Less melodius
• Leader of the Romantic Movement in French music and brought it out of its decline
• Aesthetic & French Music
o “Music should realize the meaning of the words”
***STYLE
o Use of 7th chords
o Prose style
• Assymetrical
o Clarity, economy, delicacy, wit, exuberance, refinement, deep feeling
o Relationship to literature is more analogous than illustrative
o Length, orchestral
o Continuous, dramatic,
o Used poetry of Gautier
• Precursor to the Parnassians
• Contributing Factors: Musical scene in the late 1700s: the ‘Romance’ reaches maturity and begins to decline
o Substitute vocal genre needed
o Introduction of Schubert’s Lieder into France
o Impact of new Romantic poetry
o Structure: Strophic form/no longer obligatory
o Vocal part: square phrase not always used, sometimes vocal line treated like recitative
o Accompaniment: The piano assumes a more important role. Orchestral effects sometimes used. Communicative.
• Romanticism emphasizes piano accompaniment to express what is unsaid in the poem
o Text: Interest in verse of high literary value. Hugo, Lamartine, and Gautier
• Free structures, run-on lines, broken meters, abandonment of the square phrase
• Thee collections of songs:
o 1st recueil: (1861-1879)
o 2nd recueil: (1878-1887)
o 3rd recueil: (1888-1904)
***Four Periods
***First Period (1860-1870) - Romance, Italian style,
• Characteristics:
• Use of simpler key signatures
• Form: mostly strophic, some ABA, AAB, modified strophic, one through composed
• Simple accompaniment, use of arpeggios, block chords, triplet rhythm, 6/8 meter
• Romantic Poets: Baudelaire, Beginning to use Parnassians
• Beginning of maintaining rhythmic figure throughout
• Beginning of his interest in texts about the sea
• Italian Influence (Serenade Toscanne, Apres un reve, Barcarolle, Chanson du pecheur)
• Begins to use tri tone
• Some transitory Modulations
***2nd Period (1878-1889) – Parnassian
• Very few strophic songs
• Ternary form with modified reprise ABA, AABA
• Increasing use of modulations
• Increased importance of piano
• Composed 16 songs
• studied piano with César Franck at the Jesuit College in the Vaugirard district and became one of his first composition pupils.
• military service in the Franco-Prussian Wa
• texts by poets such as Baudelaire, Gautier, Leconte de Lisle and Goethe.
o Used Parnassian
***Style
o Broad but simple melodic lines
o Rich harmonic structure
o Complex piano accompaniment
• Sometimes dense orchestral structures
• Student of Massenet and Franck
• Melody very important
• Classical sense of balance and simplicity
• Emotionally detached
• Assymetrical
• Théophile Gautier and his doctrine of "art for art's sake
• exotic and classical subjects which they treated with rigidity of form and emotional detachment
Paul Verlaine
Sully Prudhomme
Charles Leconte de Lisle,
Théodore de Banville
Stéphane Mallarmé
François Coppée
and José María de Heredia.
***Text
Paul Verlaine
Ariettes oubliées:
--C'est l'Extase langouresuse
--Il Pleure Dans Mon Cour
--L'Ombre des arbres
--Chevaux de bois (Paysages belges)
--Green (Aquarelle)
--Spleen (Aquarelle)
***Cinq poèmes de Charles Baudelaire
Le balcon
Harmonie du soir
Le jet d'eau
Recueillement
La mort des amants
***Text
Théodore de Banville
• Surrealist/cubist
• Virtuoso with pedals
o Driiip
• Creates total atmosphere
• Collections
• Apollinare: Surrealist
works for choirs
***Text by Appollinare
Banalités:
II. Hôtel
IV. Voyage À Paris
V. Sanglots
Fiançailles pour rire
III. Il vole
V. Violon
***Text
Louise de Vilmorin
La Courte Paille:
--La Reine de coeur
--Ba, Be, Bi, Bo, Bu
--Les Anges musiciens
***Text
Maurice Carême
***PRECURSOR TO GERMAN LIEDER
•Composer, poet and diplomat.
•2 or 3 part songs
omore singular
•traveled through much of Europe
•“Der Mai mit lieber Zal”
•Animal sounds
•Imitative
•Patter-esuqe
w/ lyric passages
-Netherlandish
•Student of Issac
•260 songs
•imitation
•soprano cantus firmus
Italian Trained/cosmopolitan
composed operas also
***Germany in 1800s
o Divided into as many as 100 different lands
o Low German self-esteem
• King Fred of Prussia: “German is a pig language”
• French & Italian preference in music/drama at court
AUSTRIAN
-Wrote Italian operas, singspiel/liturgical music
-Short strophic lieder
-‘In praise of laziness’
-English Songs
-Sailor song
•Volkstümliche Musik
-variations on the traditional music of German-speaking countries
-german text/poetry (not complex)
-strophes
-simple accompaniment
-diatonic, simple
***Carl Heinrich Graun (1704 –1759)
•Composer and tenor singer
•Served under Frederich the Great, King of Prussia
***CPE Bach (1714 –1788)
•Berlin
•Assosciated with Enlightenment
***Agricola (1720-1774)
•Italian style
***Johan Gottfried von Herder
• Writes “Deutscher Kultur und Kunst”
o Writes about 16th & 17th century England produces Shakespeare.
• Thinks SP was a product of circumstances, politics, upbringing
• Sites Greek dramatists also
• Makes point that Goethe was Germany’s saving grace or wunderkind
• Influenced Grimm brothers
• They collect folk tales and publish famous book
• They also notice similarities between German and English
• Grimm brothers also wrote a German law book==VOLK
o Grimm Brothers notice similarities between German and English
o Sense of growing German pride
• In past, imported culture (music, dance, drama) from Italy or occasionally France.
• Send promising music students to study in Italy, etc
• Strassberg Cathedral
• Goethe wrote essay about the unified construction of this building and relating it to the unification of Germany
• August Philipp Spitta
• German music critic
• Wrote Bach biography
• Said Der Freischutz set the pulse of German people beating
• composer, writer and music critic.
• Der Erlkonig
•Scenes/dramatic writing
-“An Chole”
-Semi-virtuosic piano writing
-More present, showy, thru-played
-Lyricism
-Balanced phrases
-Use of ornaments
-Dynamics
• composer, conductor and teacher of music
o directed Berlin singacademie
o promoted education in Germany
• Believed in importance of text
• Influenced and corresponded with Goethe
o Goethe also composer & sought Zelter’s advice
o Goethe approved of Zelter’s settings of his works
SWABIAN
•Ballad writer
•Influenced Schubert and championed works by Mozart
•“Entfuhrung”
-Ballad with text by Brurger
-25 minutes in length
-More filled out/characterized piano accompaniment
-Importance of text
-Clarity
-Intention
-Strophic
-Lots of dramatic vocal writing
-Operatic at times
•Better poetry
•Varying strophes
•More conviction in accompaniment
•More thru composed
***Johann Friedrich Reichardt (1752 – 1814)
•composer, writer and music critic.
•Der Erlkonig
***Carl Friedrich Zelter (1758 –1832)
•composer, conductor and teacher of music
-promoted education in Germany
•Believed in importance of text
•Influenced and corresponded with Goethe
oGoethe also composer & sought Zelter’s advice
oGoethe approved of Zelter’s settings of his works
•simple
***STYLE
-Piano is full participant with the voice
•Transfers expressive qualities to piano
•Melodic material on equal level as voice
•Accompaniment significant
-Considerable elegance of phrasing
-Rubato
•Must stay in frame of rhythmic pulse
-Extensive use of preludes, interludes, postludes
•Studied law with Thibault who thought music and great literature has common thread and would be studied much in the same manner
•Injury to hand ended virtuosic piano career
•Clara Wieck: Wife to Schumann and daughter of piano teacher
oAll this drama
•1834: Neue Leipziger Zeitschrift
-strong literary background
-independent musical criticism journal
•Championing “better quality” music of Beethoven, Schubert, Chopin, Berlioz and Mendelsohn
• Superior taste informed via intellect (rather than technical prowess)
• First mentioned of “Classical music”
• Notion that music reflected ideas in the spiritual realm
o Later sold to Franz Brendl
•1840: Started writing Lieder (A LOT OF IT!)
-thought the voice was inferior instrument
•wrote mainly piano music up until 1840
•some works signed with different personas
-Florestan: outgoing
-Eusebius: dreamy
-Raro: clara + robert
•3 song cycles
-miniturist
o Believes everything started with the Greeks and has since been fragmented and thus diluted
• Desired to reunite all the arts again
• Thought that Italians and Jews pull apart or sully the arts : Believe that the Italians fragmentation of recit/aria wasn’t art
- Melody for the sake of melody
o Thought: Melodies that come to rest=fragmentation
o Felt the orchestra gets chided
• Wanted to continue the “good start” by Weber’s Der Freischutz
***1850s: Jewishness in Music
• Anxiety of fragmentation
• Jews weren’t “good musicians”
• No culture of their own
• Can’t create anything of artistic worth because they’re not from anywhere
• Jewish characters in the Wagner’s operas
• Often concerned with money
• Die Meistersinger
o Hans Sachs=Hero
o One of Hans Sachs’ competitors in the singing contest is from ‘nowhere’
• Copies others music/tunes
• “Hebrew chat” dung by Beckmeser
***Bayreuth
• Opera house designed by Richard Wagner
• Didn’t use horse shoe model of the past
• Used fan shaped
• Buried orchestra
• House lights off
• No center aisle
• Insisted on silence during the performance
o Nurenburg
• Well preserved medieval town
• “Quintessential German Town”
o How to make a “German Opera”
• German language
• German setting
• Ring Cycle=set in primordial Germany/Nordic lands
• Use of Starbreim
o German rhyme scheme
o Alliteration
• Consonant repittion
o Assonance
• Vowel repitition
o Beowulf
• Anglo Saxon
• Starbreim
• Use of brass instruments
• Hunting influence
• Use of big orchestra
• Tradition of symphonic music in the German lands
• Mannheim and Mozart
o How to create a “Unified Art Work”
• Combine poetry/music/drama/visual elements equally
• Make voice/orchestra equal
• “Unendlich Melodie” (unending melody)
• Constantly developing melodic material
• “Poetic-musical period”
• No clear demarcation of scenes beginning or ending
• Harmony
• Very enmeshed
o Tristan Chord
• Leitmotifs
• Unify house/audience with the stage
***TEXT
Goethe
-Ballad
-Usually 2 or more personae
-Features characters speaking lines
-Narrator
-Sometimes each part was sung by different singers
oText
•Schubert took text from theatrical work “Die Fischerin”, a Singspiel by Goethe
oSpiritual world is as real (or more real) as physical world
-Each character has different sets of melodic motives
•Narrator:
-Not tuneful, declamatory (like measured recit)
•Child:
-Highter pitches, crying
•Father:
-Lower pitches, declamatory
•Erlkonig:
-Only voice in cantabile style
•Sings because of superior status and power
•Sweet , ornamented
oSchubert smoothes irregular scansion by using long note values over a moving accompaniment
•Ignores strophic nature and disguises meter but brings out dramatic qualities
***TEXT
Jeitteles
***An die Ferne Geliebte
1. Auf dem Hügel sitz ich spähend
2. Wo die Berge so blau
3. Leichte Segler in den Höhen
4. Diese Wolken in den Höhen
5. Es kehret der Maien, es blühet die Au
6. Nimm sie hin an, diese Lieder
• Based on German legend/mythology: Making a deal with the devil for magic bullets in the woods
• Nationalism
o When written it was deemed ‘Romantic German Opera’
o Presence of brass makes it super German
o Hunters chorus
• Mannerchor/frauenchor
• Cultural tradition
o Wolf’s Glen scene
• Pervasive use of dim7 chord
• Phantasma gori=Scary slideshow
***Text
- Muller
o “The beautiful mill girl”
o Stock plot by Wilhelm Muller
•Gedichte aus dem Hinterlassen Papiern eines Waldhornstein
•“Poems from the posthumous paper writings of a horn player”
• Schubert omitted epilogue, prologue, and 3 other poems to tighten action
• Young man follows brook, comes upon a mill where he is apprenticed, falls in love with the miller’s daughter who jilts him for a hunter. The young man then DROWNS himself in sorrow.
• Text does not narrate drowning but expresses yearning for “the cool place down there”
o Uses musical devices to enhance coherence
• Restless 16th notes figuration in many compositions that implies incessant motion of the brook
o Loose tonal organization provides coherence and a sense of progression
o Nature, represented by the brook is a confidant and comforter
• Romantic notion
o Maintains ‘Volkston’ throughout
• Simple tunes
• Hurdy-gurdy accompaniment
***Text
- Muller
Winterreise
1. Gute Nacht
2. Die Wetterfahne
3. Gefrorne Tränen
4. Erstarrung
5. Der Lindenbaum
6. Wasserflut
7. Auf dem Flusse
8. Rückblick
9. Irrlicht
10. Rast
11. Frühlingstraum
12. Einsamkeit
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der stürmische Morgen
19. Täuschung
20. Der Wegweiser
21. Das Wirtshaus
22. Mut!
23. Die Nebensonnen
24. Der Leiermann
***Janus
oAppreciated Folk & classical form
•Folk poetry/text
oExpanded harmonic palate
•Deviation from diatonic harmony
oProfound and accessible
•Elevates piano: equal yet independent
•Not as prose-full as Schubert
***Characteristics
o Liked 2 against 3
o Very long phrases
• lyricism
o Range-y
o Meter changes
o MUSIC outweighs text
o Hemiolas
o Roll of piano
• Complex piano parts
o Everything emerges from bass line
o Expressive broad lines
o Counterpoint in accompaniment
o Pedal points
o Syncopations and poly rythms
o Use of bare octaves
o Symmetry in form
• Text
o Neglects Goethe texts
• Prefers ‘not so great’ poets: Daumer, Goth
o Repeats lines and words
o VERY declamatory
o Love of strophes
o Stayed away from excessive word painting
• Mood vs. specific details
• Musical metaphors
o Stress in poem=stress in music
***Text
-Heine, Rückert, Mosen
***Mythren
• Du Bist wie eine blume
• Die Lotosblume
• Widmung
• Der Nussbaum
***TEXT
Heine
Dichterliebe
• Im wunderschönen Monat Mai
• Aus meinen Tränen sprießen
• Die Rose, die Lilie
• Wenn ich in deine Augen she’
• Ich will meine Seele tauchen
• Im Rhein, im heiligen Strome
• Ich grolle nicht
• Und wüssten’s die Blumen
• Das ist ein Flöten und Geigen
• Hör’ ich das Liedchen klingen
• Ein Jüngling liebt ein Mädchen
• Am leuchtenden Sommermorgen
• Ich hab’ im Traum geweinet
• Allnächtlich im Traume
• Aus alten Märchen winkt es
• Die alten, bösen Lieder
***TEXT
Adelbert von Chamisso
Frauenliebe und Leben
• “Seit ich ihn gesehen” (“Since I Saw Him”)
• “Er, der Herrlichste von allen” (“He, the Noblest of All”)
• “Ich kann’s nicht fassen, nicht glauben” (“I Cannot Grasp or Believe It”)
• “Du Ring an meinem Finger” (“You Ring Upon My Finger”)
• “Helft mir, ihr Schwestern” (“Help Me, Sisters”)
• “Süßer Freund, du ander t mich verwundert an” (“Sweet Friend, You Gaze”)
• “An meinem Herzen, an meiner Brust” (“At My Heart, At My Breast”)
• “Nun hast du mir den ersten Schmerz getan” (“Now You Have Caused Me Pain for the First Time”)
***TEXT
Eichendorff "Intermezzo"
Liederkreis
• In der Fremde
• Intermezzo
• Waldesgespräch
• Die Stille
• Mondnacht
• Schöne Fremde
• Auf einer Burg
• In der Fremde
• Wehmut
• Zwielicht
• Im Walde
• Frühlingsnacht
• Orchestral conception
• Loved ‘folk’
o Larger performing forces onstage
o Specifity of instrumentation
o Brentano/achim von arnim
***CHARACTERISTICS
o Folk song inspiration
o Demanding vocal lines that require great breathe control
o Lines operatic in character
• Declamatory
• Influenced by Wagner & Liszt
• Uses tonal language and leitmotifs—wagner
***TEXT
o Not sloppy
o Clearly understood
o Expressive facilities
o Prosody=like Schubert
o Consistency with poets
o Used lyric poetry of 19th century
***CHARACTERISTICS
o Humor, wit
o Orchestral textures
o 2 bar phrases
o extensive range
o complex, chromatic texture
• Virtuoso
• Stretches tonality
- Use of dissonance
• Follows romanticism and takes it to the max
- Pushes limits
- Experimentation
- Physcological
- Programmatic but traditional
- Symphonic form
- Large intervallic leaps
• 1907-1917 stop writing lieder all together
• Prosody
- Repeats words
- Insistence on good diction
o Samuel Pepys secret code diary about life in 17th century England
• Cromwell
• Commonwealth
• The Banning of fun things
• Instead, “entertainments” were staged for public
o Lecture-like, tedious lessons played out through drama
• Sermon like: “The Cruelty of the Spainards in Peru”
***STYLE
• Italian influence
• Virtuosic solo writing
• Sometimes elaborate ornaments transcribed
• Chorus’ later influenced Handel
• French overture style
-Strong downbeat
•3rds & 6ths sonorities
•Repeating basslines
•Wrote odes (birthday songs) for royal family/operas
o Welcome songs
o 65ish anthems and other sacred music
o instrumental music
oMusic for over 50 dramatic works
• Dido & Aeneus (1689)
• The Prophetess (1690)
• King Arthur (1691)
• English anthem styles
• Jaunty
• Choral traditions
zarzuela
