Song Lit Class Notes: 12/10/2008 00:02:00

← 8/21
←  
← Minnesingers:
← -German "pet musicians" of the wealthy
← -topics geared to love, hint of religious elements
← -melodies in church modes
← -Characteristics:
1. occasionally drifted to major tonality
2. triple meter
3. strophic (they were poets)
4. Melodies were tightly organized through melodic phrase repetition
5. texts are narrative- tell a story
6. bar form- AAB: poem consisting of 3 or more stanzas
7. in the 14th C, courtly love was replaced by the adoration of woman
(Virgin Mary) - a change in the tone of poetry and melody (more serious)

Listening:

proceeded into the era of…

Meistersingers:
-also German
-Hans Sachs: known as the poster boy of this era, Wagner immortalized him
-Characteristics:
1. poems are stiff and inexpressive
2. melodies are clumsy and bare
3. stringent adherence to bar form

Listening:

Renaissance Period: (in History of Song p. 86)

-liederbucher: book of songs, mainly for solo voice and 2 or 3 instruments
-leads toward accompaniment w/ solo song
-1500-1550: peak of song in Germany
-Primary composers:
← Ludwig Senfl
 Called the “Schubert of the 16th C” – prolific
 Accessible compositions, became famous
 Sung in all German-speaking countries
 Part books circulated
 Greatest gift: instinct for melodic structures
 121 Neue Lieder (1534) published! 81?
 High quality, numerous
 Tenorlied – accessible to tenor and baritone, treble is no longer the
only voice available
 3-part texture is prevalent
 AAB form is the norm
←
Listening:
← ))) Ich stund an einem morgen
 accompanied by strings
 top line in the instrument
 cello (known then as viola de gamba) and a higher string (violin)
o
← Isaac
 Native of Flanders
 Part songs and solo songs
 Heinrich Schutz (1585-1672)
 Deeply interested in Italian music, particularly the polychoral style
of the Venetians
 Texture of polyphony- derived from vigorous rhythmic figures and
broad harmonic sequences- looks onward to the counterpoint of
Bach
 Symphonie Sacrae
 Voices and instruments treated on equal terms
 Polyphony intensified because they share melodic material (what he
did led to other things)
 German song developed into the 17th C against this background
 Appropriate that Hinrich Albert was his (Schutz’s) nephew and pupil
 Songs were not the property of the wealthy, but the heritage of the
people
 8/26
 Germany: lute players were on their own (by choice)
← Growth of the Lied
 Senfl: responsible for bringing it to the forefront
o Total of 206 songs (mostly tenorlied)
 Orlando di Lassus
o Over 2,000 (many genres)
  Hans Leo Hassler
o Apex of tenorlied- turning into something else
 Moody: no great desire for this in Germany until 1623
 Johann Nauwach (1595-1630)
o “Arie passegiate” – introduced Germans to new methods of
vocal ornaments, set up by Caccini
o firdt to venture into the continuo, accompanied solo song
o at that time, it did little to encourage a German school of
continuo lied
o “Teutsche Villanelle” 1627
 Heinrich Albert (1604-1651)
o “Arien” appeared in 8 collections
o both secular and sacred
o wide variety of forms
o intended for student groups of friends
o mainy students cultivated the new lied form from 1640-1700:
continuo lied AKA general bass lied
← ))) Turpe senex, turpe senilis amor (in Latin, changes to German)
←
 runs, countertenor
← Continuo Lied: for students, the intelligent, simpler and cruder than
solo court songs of other countries
←
 Adam Krieger (1634-1666)
o Greatest continuo lied composer
o Composed “Arien II”
o Ritornellos
o Vary from pastoral love songs to drinking songs
 o After 1670, the continuo lied declined (resurgence with
Telemann in the late 18th C)
← Characteristics of the Continuolied:
 Music and poetry are balanced
 Conservative
 Did not exclusively cultivate strict monodic style (floridity)
 Change was from polyphonic style to art song form
 Generally strophic, avoided melismas and operatic devices
 Had clarity of Italian bel canto (became beautiful) melodies,
German rhythm
 Simple harmonic structure, increased clarity of the tone
 Starting to write in ornamentation
 Texts show generalized lyric, poetic expressions: adhered more
closely to the poetic form and nuance of the words, more rhythmic
squareness in the phrases (like in a chorale)
← 8/28
← J.S. Bach
 Regarded himself as a conscientious craftsman (he was a
perfectionist)
o For the satisfaction of his superiors
o Pleasure and edification of his fellow man
o For the glory of God
 Musical development controlled by 5 factors:
1. Family tradition of craftsmanship
2. Method of assimilation from sources that he copied
3. 18th C system of patronage
4. own religious conception of the function of the art and the
duties of an artist
5. genius
 most productive period for his cantatas were the early years in
Leipzig (1723-1750)
 o known as a city for printing and publishing
o good theater, wonderful opera house
 why so prolific?
o Leipzig church required 58 cantatas a year!
o About 200 have been preserved
o Left many with his son Johann Christian, he lost them!
 “drama per musica” – his secular cantatas

← C.P.E. Bach (1714-1788)
 2nd of 5 sons of J.S. Bach
 style was considered lucid with a tender and delicate expression
 delights in startling the listener with a
1. sudden shift in dynamics
2. new pattern of note rhythms
3. unexpected modulation
 stylistically non-consistent
 works tend to move away from Italian and Viennese schools of the
period
 move toward the improvisatory and cyclical forms that would
become common later
 wrote 100 songs
 considered one of the founders of the classical style
 makes free use of harmonic color for its own sake (still like 1st
Viennese school)
 full of invention, extremely predictable
 influenced: Mozart, Haydn, Felix Mendelssohn, Carl Maria von
Weber
← ))) Der Tag…
←
← J.A. Hiller (1728-1804)
 Considered the creator of singspiel (spoken recit)
 Founded a school that trained young musicians in singing and
playing instruments
 Encouraged music education for women
 Influenced by French and English music
 Possesses knowledge, facility of musical inventiveness and knack
for pop music at the time

← 9/2 Notes:
← continued growth of Lieder
 after 1750, a new aesthetic led to strophic lieder
 set to simple, folk-like melodies with uncomplicated harmony and
independent accompaniment
 songs were not property of the nobles
 VOLKSLIED
o Foundation for music compositions
o Technical characteristics of resulting VOLKSTUMLICHES LIED
(volkslied on a higher standard) art song in the folk style
 VOLKSTUMLICHES LIED
1. Melody originates from the reading of the poem and the unit’s
logical, chromatical and expressive accents
2. Melodies can stand by themselves without the accompaniment
3. Poem dictates meter and rhythm
4. Same style as the continuo lied
← 2nd Berlin School
 CPE Bach – principal leader
 Composers:
 o Josef Reichardt
o Karl Zelter
o Johann Zumsteeg
 Opera was everywhere (not as much in Germany)
 Solo cantata slowly disappeared
 Solo song could not become an important genre because opera was
held in a higher regard

← Classicism
 Qualities of balance, proportion, clarity, moderation and serenity
(admired in the art works of the Ancient Greeks and Romans)
 In the 18th C – a decided return to this style
 “Neo-Classicism” in visual art, etc – NOT MUSIC
 “Classic” in music refers to late 18th/early 19th C
o 1730-1770 – pre-Classical period
o mature works of Haydn and Mozart helped to establish the
Classical style
o universality of meaning and appeal
← Gluck
 Must be simple, must also show balance and order
 The function is no longer imitation of nature, but symbolic
expression of the highest order
 Period without classics- all new!
 Patronage still prominent – level of support not as good as in
previous times
 Composers needed to be popular (hired for commission work)
 Population of informed listeners growing
 Desire of audience members to be involved: more music composed
for the amateur, people buying instruments

← Franz Joseph Haydn (1732-1809)
 Composed 40 songs
 Earliest vocal work “Lieder fur das Klavier” 1781
 Characteristics: piano doubles vocal (pedestrian manner) uses
floridly operatic idiom (attempt to involve piano equality with the
voice)
 Trite
 More independence in th ones he wrote in England i.e. “The
Mermaid”
 2 vol. on canzonets
o 12 texts by Anne Hunter
o some of his most-performed songs
o relationship btw music and poetry is superficial
o wrote his music in 3 staves: piano apart from vocal line
o introduced arranging Welsh and Irish tunes
 by George Thompson, set with violin and cello
← ))) “O Tuneful Voice” –
 wide range of modulations (points to Schubert)
←
← ))) “Spirit’s Song” –
 foreshadows Beethoven: menacing mood, repeated note idea
←
← 9/4 Notes:
← Johann A.P. Schulz (1747-1800)
 Leader of the 2nd Berlin School
 “Lieder in Volkston” – in the tone of folk
 sought to heighten the meaning and create folk like melodies
  his position was in Copenhangen: known as the founder of
Denmark’s national music (even though he’s German)
 songs for countrymen, ordinary people
←
← Johann Friedrich Reichardt (1752-1814)
 Composed over 1,500 lieder, using texts by 125 poets
 Drawn to Gottfried Herder’s poetry
 Goethe- also influential, set over 100 of his poems
 Embraced poets as friends
 Hamann
 Simple melodies and modulations to avoid affectation (didn’t want
to be too complicated)
← ))) Sehnsucht
 male and female voice
 piano
 strophic

← ))) Rastlose Liebe
 male voice (high) – large range
 piano
←
← ))) Der Erlkonig
←
← his career was hampered by his ideals of the French Revolution – lost
his position
←
← Carl Friedrich Zelter (1758-1832)
  Best works- on a smaller scale
 Great friends with Goethe
 Over 200 lieder
 Still used fioratura (melismatic flourishes)
 Drawn to narrative poems and drinking songs
 Goethe preferred his settings over all otheres
←
← ))) Der Erlkonig – upbeat, surprising
←
← ))) Erster ver lust – solo, female voice (Susan Gritton) “First Crush”
←
← ))) Rastlose Liebe – very quick at the beginning, male voice and piano
←
← W.A. Mozart (1756-1791)
 Supreme lyrical gifts- his greatest songs were parts of larger works
 36 songs (only 7 printed in his lifetime)
 set German, French and Italian poetry
 except Goethe, he did not use the great poets of the time
 many slight and unimportant
 earlier ones- simple piano, doubling vocal line
 exception: “Ridente la calma” – Italianate in style
 originally written for orchestral accomp.
 ABA form
 Earlier songs are in the volkstumliches style- mostly strophic
miniatures
← ))) Die Zufriedenheit – simple piano, folk-like, solo female
←
 after 1775, most were through composed with operatic
characteristics
 shows the freedom and continuity of Haydn’s late songs:
 “An Chloe” “Dan un bois solitaire”
← ))) Als Luise die Briefes ihres”
 a woman burning the letters of her faithless lover
 through composed
 one of his most dramatic
 music guided by words in a free style
 composed the same year as “Don Giovanni”
← 9/9 Notes:
← Mozart-
 2 Periods:
1. Alosia Weber
2. K. 505 – Nancy Storace, K. 528 – Joespha Cuschek
 Form of concert arias were recit + aria
 Mature arias: accomp. Of recits are more mature than of his opera
arias
 Harmonic and rhythmic structures of orchestral passages reach a
higher level of musico-dramatic texture
 Idea of concert aria gives rise to a true, formal concept, not a mere
display: beginning, middle, end; compact & interesting
 Contradiction: drama’s demand for naturalism and music’s demand
for stylization
 Mozart was the only genius to solve this dilemma
 Beethoven’s “Ah Perfido” and Haydn’s “Arianna e Naxos” came close
 True concert aria Haydns “Scene di Berenia”
  Later works of Mozart are unfortunately insertions in other
composers’ operas
 Greatest concert aria: “Ch’io mi scordi di te” K. 505
o Began with
←
← 9/16 Notes:

9/18 Notes:
← Lied in the 18th C
←  
← 1. forms:
1. strophic
2. mod-strophic
3. da capo
4. 2-part
5. thru composed 
6.  arioso (declamatory) accompanied recit style
←
← 2. change from colorature to diatonic melody - german style of
composition (away from italian)
←
← 3. harmony
 brought to each scale degree its own leading tone
applied dominance
←
← 4. accompaniment went from doubling melody to broken chord figures
illustrative motives, then to independent figures in the introductory and
interlude passages
← interplay btw voice and piano
←
← Schubert:
← lyrical beauty
← very little of this in his early songs: they're settings of long,
melodramatic ballads (writing when he was 11)- modeled on Zumsteeg,
individual touches are harmonic, not melodic
←
← *)))Hagars Klage - 1811
he was 14
16 min long
Levin Schucking-poet
mastered the agony of the piece
Salieri took him on as a student as result of these ballads
Zumsteeg set the same poem- Schubert imitated him
this song was not lieder as we know it- a ballad-like cantata
starts in c minor, finishes in A major
← wrote over 600 songs, 90 poets,
← 1/5 published in his lifetime
← none before 1821
←
← Jungling am Bache- 1812
Schubert's first true lieder (ballads before)
personal style is strong in this one
piano is rather dull
←
←
← composed in many forms: listed above (dependent on poetry)
← profusion of lyric poetry to choose from
← could penetrate the core of the text and also knew the limitations of
the human voice
← preferred the company of literary men and painters
← entered The Convict as a boy soprano
←
← several of his composer friends were the first to help bring lied to the
world
← 1. Benedikt Randhartinger- composer & conductor (1802- 1893)
← 2. Franz Lochner- (1803-1890) best musician in their circle other than
Schubert, became friends in 1826 when he was organist and conductor
← held musical events at his home
← both men were responsible for making misleading statements about
Schubert after his death which led to the damage of his reputation after his
death
←
←
← his method of composition:
← seized on an idea that excited him and it provoked an immediate
musical response
← the whole of the composition came at once
← composed 2 ballads that are among the longest and most expressive
in the entire literature of the lied
←
← 1. Der Taucher- 1814 (23 pages!) (on list)
← lots of descriptions of nature
← emotional scenes
←
← 2. Die Burgschaft -1815
← natural imagery- forest streams, sunsets
←
← torn btw 2 worlds: music as a tonal dynamic form and or poetic
expression
← "marriage to verse"- loves the poetry so much that it creates the
music for him
← love of ingenious clashing
← most complete edition- Breitkopf und Hartel: Mandzczewski
← 1814- devoted himself entirely to comp of lieder (his voice was
changing)
← very drawn to composition
← evolved in the next 3 years
←
← Poets:
←
← Johnan Gottfried Herder
coined the term :folkslied"
important figure because of his translations of folksongs
greatly influenced Goethe
2 of his poems were set by Schubert- 1 at the beginning and 1 at the
end of his creative life
←
← 1. Verklarung
←
← 2. Eine altschottische Ballad
←
← Friedrich Schiller
 very close friend of Schubert
42 settings of his poems
one of his major inspirations
many predate 1819
Schubert wrote 7 poems because he was inspired by Schiller
←
←
← Friedrich von Matthisson (1761-1831)
← set 24 of his poems
←
← Theodor Korner 
set 13
met in 1813
joined Napoleon's army- died within 6 weeks
wrote about the conflict
very young
Schubert was anti-war: wrote songs about it- triumphant ending
"hurrah" w/ swords clashing
"Schwertlied"
← Johann Mayrhofer (1787-1836)
← introduced to him by Josef von Spaun
←
J. W. Goethe

9/23 Notes:
← music posted on 6020 for listening- if it’s not on the screen, we’re not
responsible for it!
← 10-15 listenings
←
← Schubert
 Goethe poetry
o Herder, folkslied
o Therese Grob – Schubert’s first and only passion other than
composing, met her at the same time as Goethe 1814
o She sang Mass in F Major
o Led to love songs in 1815 ~150 songs: most creative period
in his life. He was the accompanist and she was the singer-
all over Vienna
o Schumann- also fell in love in 1840 and wrote ~100 songs
o Set ~70 of Goethe’s poems
←
← ))) Gretchen am Spinnrade – 1814
 Kathryn has 2 spinning wheels 
 When he read the poetry, Gretchen became a real person to
Schubert
 Considered the birth of the grest Schubert lieder
 First example of a uniform accompaniment retained throughout
 Spinning wheel gives it excitement (melody is beautiful)
 10 stanzas with refrain
 each stanza is given a different melody and harmonization
 Zelter, Luve and Spohr all set this poem
 Goethe dismissed Schubert’s songs because he altered his poetry
 Zelter felt that they were low quality (also dismissive)

← Wilhelm Meister – poem collection by Goethe
 Seed-bed of the art of the German lieder
 Mignon is an Italian child rescued by Wilhelm from a troupe of
traveling acrobats, under his protection and accompanied by the
crazed Harper, she joins his traveling players- homesickness and a
broken heart sum up the life, death and love of the young girl.
Only later are her secrets revealed and …he doesn’t know that she
is the child of an incestuous union
 The first of 6 settings was composed in 1815 by Schubert
← Aug 19, 1815 – Schubert was completely obsessed w/ Goethe’s poetry
← ))) Heiden Roslein
←
← )))Erlkonig from the ballad opera “Die Fischerin”
 Goethe wrote it in 1872
 On Nov. 16, 1815, Josef von Spaun witnessed the birth of this
setting when he heard Schubert read the poem, and compose it
completely
 Piano as mere incidental was a thing of the past- it is now an
independent composition
 Schubert changed the Elfking’s forte to pianissimo after he spoke to
a little boy
←
← Friedrich Gottlieb Klopstock (1724-1803)
 Schubert set 13 of his poems
← Heinrich Christoph Holtz
 Set 9 of his
 “Hektor’s Abschied” – “Hector’s farewell” translation of Greek poem

← J.Salis-Seervis
 Poem “Das Grab” – set by Schubert was most popular in his circles
in Vienna
← Matthison
 Only 7
←
← ))) “Rastlose Liebe”
 Poetry by Goethe
 Quick tempo
 Fast moving piano
 Had successful first performance – Schubert played and sang
 Realized he needed to find a singer 
 Developed the Kammersanger: a singer of more intimate music
 3 part rondo form- suggestion of a rallantando but then themusic
drives on to a conclusion
 Johann Michael Vogel- singer
 Poem written May 1776- early days of Goethe’s love affair w/
Charlotte von Stein
 Reichardt’s setting is the only comparable to Schubert’s


←
← 9/30/08
← Charlotte von Stein- Schubert’s lover
← Jacobi Lieder
← Songs 1816-1822
← Most significant: Litanei
← Publisher for a women’s magazine “Iris”
← Challenge: prayer-like intensity of the poem makes the singer needs to
spin out a seemingly endless vibrato
← Quality of 9 uneven verses – singer needs to choose 2
← Impressive ritornello (rare case of a postlude- like Schumann)
← Achieved immorality
← ))) Litanei
← arpeggiated accompaniment
← slow, beautiful melody
←
←
←
← 3 Gesange der Harfner songs:
←
← Schubert’s desire to give the series an inner logic made him alter the
sequence of Goethe’s poems
← 1st song- introduces the Harfner “Wer sich der Einsamkeit”
← 2nd- gives us reasons for his lonliness “Wer nie sein mit Tranen”
(Schubert’s favorite poem)
← 3rd- brings to anend the small-scale song cycle
← describes the old man’s utter isolation
← originally 1815, 1822-re-wrote it, but then Schumnn and Wolff also set
it
← Schubert has been criticized for not understanding the poetry (esp
since Wolff set it differently- more sophisticated psychological treatment,
wordsmith)
← *** Tonal innovations as a result of these songs ****
←
← ))) sad, dramatic, piercing sadness
←
← Ritter Franz von Schober (1796-1882)
← Wealthy, educated, lazy- met Schubert @ school
← His friends were jealous because Schubert preferred him (and his
poetry)
← 12 poems of high quality
← most famous: An die Musik
← poem derived from a stanza of “Die bezauberte Rose” (y Ernst
Schulze)
← climax of every Schubert evening
← immortalized the collaboration of the 2 friends
← vocal part and piano conduct a symbolic dialogue
← simple repetition of the chords are a familiar feature of Schubert’s
music
← allows the pianist a variety of dynamics and greater choice of tonal
colors
← ))) “An die Musik”
←
← Georg Phillipp Schmidt von Lubeck (1766-1849)
← ))) Der Wanderer – Oct. 1816
← Jena (near Weimar)- medical doctor
← Had very popular occasional poems
← Published historical studies
← This poem was his only claim to fame- antithesis of typical romantic
lied
← Response to Romantics
← Yearning, longing, aching for safety and security that took shape in the
character of young wanderers often in the guise of unhappy lovers roamed
the earth in search of an unattainable ideal
← Song begins with pedal point where he stops to catch his breath, then
recit, then passionate outburst, Cantilena (major)
←
← Mattias Claudius (1740-1815)
← “Der Todd as Madchen”
← D minor death theme
← Treats death as a friend from the beginning of the piece
← “brother of sleep” – idea of death
← been w/ Schubert since his early days, now included in all of his pieces
like a motif (not sad or scary, just takes people away thru sleep) comforter
who opens the gates to another world
← thought of death in this song as a greek god with a torch
← cant separate rhythm and melody
←
←
← 10/2/08
←  
← "Ganymed"
← ·      Goethe – 1817, one of the greatest songs of that year
← ·      Sealed the friendship btw Schubert and Michael Vogel
← ·      Superimposed over melody
← ·      Tripolets represent the breeze
← ·      Melodic lines in both piano and voice
← (Zumsteeg- independence of the piano)
←  
← 1817
← ·      only 15 poems were set in this year
←  
← "Gruppe aus dem Tartarus"
← ·      unrest, drama, violent contrast
← ·      his banishment
← ·      points the way to Wagner and Wolff
← ·      action is  depicted more in harmony and rhythm of the piano
(dramatic!)
← ·       
← "An die Freunde"
← ·      Mayrhoffer- prominent because he lived with Schubert for awhile
← ·      Always said he would kill himself
← ·      Schubert always thought he was going to die young (he did)
← ·      Used this music to translate his own feelings about death
← ·      Walking bass line in the piano
←  
← Friedrich von Hardenberg (1772-1801) a.k.a. Novalis
← ·      Studied philosophy, law, geology – important German Romantic
figure
← ·      Sensitivity with which he described the anguish of his conflict with
the social reality of the day
← ·      Schubert was the only one to set his texts
← ·      Set 5 hymns and one poem to the virgin mary
← ·      Victory over death is the main theme
← ·      "Geistliche Lieder"
← ·      his struggle with this is phenomenon is manifested by his
personal experience in this act of faith?
← ·      Repeats first lines of the hymns
← ·      Hymn #1: somewhat extensive
←  
← Schubert let others support him so his father wouldn't have to support
him
←  
← "Prometheus"
← ·      monologue (Goethe) towers over many of the other pieces of its
time
← o      calls for bass voice
← o      written for Vogel
← o      difficulties were greater because there were fewer lyrical
passages
← o      points to the future, blazes a new trail
← o      Hugo Wolff also set this later and learned a lot from Schubert
← o      Tempi, tonalities, and dynamics match the different moods of the
individual stanzas
← o      Not until Wagner's "Tristan" do we meet another composition
with such daring harmonies and fascinating progressions
← o      More of an accurate interpreter than Wolff in this case
←  
← Spring of 1820, Schubert arrested on suspicion of subversive activities
← Previous year in Weinheim a student was murdered
← Senn
← Schubert tried writing opera after this
←  
← Friedrich Uhland (1787-1862)
← ·      Perennial fave with audience
← ·      "Fruhlingsglaube" – only poem he set
← o      rhythmic changes anticipate with feverish expectation of new
hope
←  
← All4
←  
← "Veste
← ·      for the inspiration of the poems, Goethe Josef von Hammer
Purgstall who published a translation of "Hafiz Divan" – collection of poet's
work in alphabetical order
← ·      Goethe created a poem cycle (not imitation) – combined ideas of
universal love, wisdom and polarity from east to west
← ·      In july Goethe went on a trip to Rhineland first poems were
written on a stage coach
← ·      he met Marianne Jung, she was kind of a gypsy
← ·      later in the summer, he visited her again
← ·      then in October she had gotten married- he was crushed
← ·      returned to Weimar a changed man
← ·      continued work on the cycle, (Buch Sulieka)
← ·      her poetic answers to his letter poems gained equal status as part
of the cycle
← ·      many of the 200 peoms in the 12 books have been set by:
Mendelssohn, Wolff, Schumann, and 2 others
← ·      pleased the authoress to no end
← ·       
←
← 10/7
←
←
← SCHUBERT
← Die Schone Mullerin
← 1.   Poet is Wilhelm Muller 1794-1827
← 2.   Poems have form, imagination and they're singable
← 3.   Son of a master cobbler
← 4.   Died 1 yr before Schubert
← 5.   Gedichte aus den hinterlassenen Papieren eines Waldhornisten–
collection (DSM is the first part) (papers of a traveling horn player) 1820
← 6.   Poems arose out of a party game in Berlin literary circle
(intellectual joke)
← 7.   Each person took to reading the parts (w/o music)
← 8.   Parts:
← o      Miller's Lad
← o      Miller's daughter
← o      Brook
← o      Hunter (w/horn)
← 9.   Meant as a parody on simple, virtuous Biedermeier folk poetry
← 10.        Muller would read a prologue and epilogue at these readings
(Schubert did not set these, as well as 3 other poems)
← o      Das Muhlenleben
← o      Erster Schmertz-Letzter Schmerz –
← o      Blumlein Vergissmein
← o      10 stanzas long, too many repetitions
← o      Muller was attacking the writers who did not realize the changes
made as a result of the Congress of Vienna 1814-15
← o      Group of very wealthy leaders who met informally (tended to
leave out smaller countries) re-drew political map after the defeat of
Napoleon (changed political structure)
← o      At the end of the cycle- made political statement
← o      Simplicity of these pieces is what gives the 20 songs their cyclical
character
← o      None of these were meant to stand alone
← o      Schubert rarely stays outside the 2 middle octaves of the piano in
this entire cycle
← o      Only the brook murmurs frequently in the bass clef (character)
← o      Results in a problem when the piece is transposed down
← o      Songs are heard to their best advantage in the tenor register for
which they were written
← o      Schubert avoided the upper range of the piano in his songs in
principle, using it almost exclusively for virtuosic passages
← o      Wanted to be sure that he didn't cover the voice (instrument of
the day had limitations)
← Story:
←  
← 1.Das Wandern: (The Wanderer) Miller Lad- Actually titled
"Wanderschaft"
← Introduces the miller lad setting out on his journey, singing of his love
of wandering
← Exquisite strophic form
← 2.Wohin (Where)
← Wanderer follows the brook
← Hear the brook in the piano
← 3.Halt (Stop)
← The youth has arrived at the mill, he asks the stream if this is all that
has been planned
← 4.Danksagung an den Bach
← The lad thanks the brook for leading him to the mill
← Goes up to the miller's daughter- ask her if she sent the brook for him
– brook responds in a MINOR key
← The boy ignores this and manages to find his way back to major
← 5. Am Feierabend
← 1.   2 subsidary movements merge into a rondo form
← 2.   initial imagery expresses the lad's fanatical desire for work,
contrasted with the companion theme of peace
← 3.   minor 9th- lad's final sigh: expresses his weariness and his longing
for the miller's daughter
← 6. Der Neugierige
← 1.   4 bar prelude, brook added to accomp. later
← 2.   songs gathers intensity until it becomes a forceful recit focuses on
questions of life and death for the lad
← 7. Ungeduld
← 1.   thriller prelude on a 3 bar model- alternates btw major and minor
← 2.   exciting attack builds up to a twice repeated climax on the note A
← 3.   smooth descent to a final cadence
← 4.   one of the most popular songs for tenors
← 8. Morgengruss
← 1.   still in love, extneded sequence in the piano g minor-A major-f
minor-G major
← 9. Des Mullers Blumen
← 1.   imaginary cello appears in prelude and accompanies the
outpourings of the lad's heart
← 2.    
← 10. Tranenregen (Tears raining)
← 1.   6/8 time
← 2.   3 voies woven together, later joined by a 4th
← 3.   brook reflects what has already been depicted
← 4.   ****final stanza w/ modulations into minor and astonishing
modulations– make this the most significant song of the cycle *****
← 5.   one of the strangest of all of Schubert's lieder
← 11. Mein
← 1.   all about nature
← 2.   lad confirms his love in this song
← 12. Pause
← 1.   wanders from B flat major – g minor- F major : fearful
apprehension that takes the melody into remote harmonies and accentuates
the rhythm
← 2.   peace reigns again but the anxious tremors over the strings of the
lute in strange keys symbolize confusion and uncertainty
← 13. Mit den grunen Lautenbande
← 1.   chain of laughing notes that introduce each stanza and girl's banal
melody (laughing in his face)
← 2.   leaves him with half-hope, premonition of disaster
← (20 total) to be continued….
←
←
← 10/9
←
← Die Schone Mullerin continued...
←
← 14. Der Jager (the hunter)
← -the huntsman is the cause for the poor lad's heartbreak
← -jumping up and down in frustration
←
← 15. Eifersucht und Stoltz
← - a flare-up sends the brook splashing
← -the lad's pride is broken, gives way to sadness and sentimentality
←
← 16. Die liebe Farbe
← -shows how it's possible to sing each stanza of a song differently
← -resignation follows a stormy passion
← -sadness clothes the disappointed lover
← -has discovered the girl's preference for green (what the hunter wears
to blend in with the forest)
← -f# of the huntsman's horn reverberates through the  lover's plaint
←
← 17. Die bose Farbe (the hated color)
← -the resentment of unrequited love resounds passionately in B major
← -horn triplets re almost unbearably intense
← -the girl is lost forever
← -the lad bears the blow with fortitude, heartbroken though he may be
← -these passages require vocal and dramatic skill
←
← 18. Trockene Blume
← -melody is characterized by a series of descending notes which
express sadness and despair
← -when the lad finishes speaking, the bass figure turns into a dull,
hopeless renunciation
←
← 19. Der Muller und der Bach
← -the unbearable pain marks the opening
← -unearthly waves ripple around the brook's consoling answers to the
lads' questions
← -the rocking motin seems to hypnotize the lad who lets himself be
drawn into the brook (cool peace)
←
← 20. Des baches Wiegenlied (epilogue)
← -the brook's lullaby/cradle song
← -sings the lad to sleep
←
←
← -diffference btw this cycle and Winterreise are the formal structures
← -but also the themes and their moods
← -Die Schone Mullerin: prologue and epilogue (not actual poetry, but
Schubert encapsulated the poetry in this manner)
← -first 13 are happy, the first 4 are the wandering of the apprentice
← -5-9 bliss of love
← -14: poem turns (hunter shows up)
← -15: song about jealousy
← -last ones: show the growing disparity
← -19: he kills himslef
← -20: Schubert's epilogue (brook tells people to think about what they
just heard)
←
← Winterreise
←
← -1828: written under great physical strain
← -none of his other songs underwent as much revision as these
← -the first half Feb. 1827 (constantly revising), second half Oct.
← -set them as he found them and added them to what he had
← -1-5, 13, 6-8. 14-21, 9-10, 23, 11-12, 22-24: totally out of order!!!
← -poverty-striken
← -symbolizes the intensity, empathy and maturity of the technique of all
Schubert's later works
← -person at the ned of a journey: cold, downtrodden, depressed
← - here, from the beginning of the cycle, all relations with others have
been severed
← -not only do we never meet the cause of his anguish, she is never
mentioned (about a significant other)
← -the main character remains a shadowy figure and natural phenomena
intrude all the more persistently
← -very stark, everything that has to do with winter is bring on this
lament
← -the unpretentiousness and simplicity of Muller's poems are matched
by the simplicity of Schubert's musical texture
← -his sole interest is in the depth of feeling (not psychological hooha)
← -regret and renunciation are the themes
← -dreams are the lover's torture
← -the battle with his emotions are long and despairing
←
← *********** ))) Der Leiermann ************
← -the last station on the journey of sorrow
← -****the musical construction of this piece makes it one of Schubert's
most original creations *****
← -the scene depicted in 2 equal stanzas: then a short 3rd stanza, that
puts forth a question for which no answer is given
← -emotional crux of the whole cycle
← -culmination of everything he ever wrote: this ONE PIECE!!!
←
← General Characteristics of Schubert's Lieder:
←
← -supplied few indications of dynamics in his lit
← -if provided, follow them to the letter
← -piano and pianissimo play important parts (generated contrast)
← -modulation as a means of emotional expression
← -used it as a means of heightening the text
← -it shows the unsettling feeling of the singer
← -use of accompaniment for the background for emotional or pictorial
effect
← -formal construction: strophic (many types) and thru composed
← -phrasing: the poem determines the form, yet allows freedom by use
of melismas
← -variety: sometimes expands by extending a phrase (3m. phrase, 2m.
phrase) larger or smaller to vary the numbers of verses
← -keys of Schubert: felt that the mediant (chordal III) was most
expressive- basis for major-minor shifting
← -delays the tonic frequently
← -harmony: doesn't modulate often because of his use of applied
dominance
← -uses the neopolitan 6th a great deal
← -also uses the French augmented chord (one of the most dissonant he
uses)
← -use a German aug. 6th that resolves to a 6-4 chord
← -uses diminished 7th chords
← -uses major III and VI a lot
← -uses pedal points to keep the original key in mind (sometimes used
as a foundation over which wild flights of harmony take place)
← -uses modulation by a 3rd: terce modulation
←
←
← Tuesday: 10/14
← -Schumann and Mendelsohn
←  Thursday 10/16
← -Wagner, Liszt, etc.
←
← TEST ON 10/23!!!!!!
←
← Felix Mendelsohnn (Bartholdy- real name) 1809-1847
←
← -grandson of Jewish rabbi and philosopher- Moses Mendelsohnn
← -he frowned on German Jews converting to Christianity because of
Anti-Semitism
← -Felix's parents baptized all their children in the Lutheran church
← -parents converted when they moved to Berlin in 1816
← -added surname of Bartholdy (Felix resisted)
← -the move was a great move for Felix, studied with his mom and sister
first, then when they moved he studied with Ludwig Berger and Zelter
← -child prodigy of violin and piano
← - traveled to paris to study works of mozart and j.s. bach
← -1839: conducted a full-scale performance of Bach's St. Matthew
Passion
← -brought back appreciation of Bach's works
← -his greatest achievements came when he was a teenager
← -his health began to decline, due to depression brought on by his
sister's death (he was 38- died same year as her)
← -he is the oldest and most conservative of the 19th C German
composers
← -songs are very pleasant, but they are kind of boring
← -rarely touched heighths and depths (sister had more passion)
← -out his name on Fannie's works so they would be published
← -her family thought it was not proper for her to have that exposure
← -79 lieder attributed to him - 5 earlier ones were by Fannie
← -voice part almost invariably dominates the scene
← -accompaniment lacks distinction in its support
← -mediocre: he was content with the surface of the poem
← -melody has a pure beauty of its own and he has a keen sensitivity to
what is vocally natural
← -not on Schubert's level
← -harmonies are simple
← -strophic form prevails
←
← ))) Auf Flugeln des Gesanges (Heinrich Heine- poet)
← -most frequently sung song
← -very flowery
← -accomp. ascending pattern suggests the lapping motion of a
barcarolle
← -beautiful, limpid melody
← -alters the 3rd stanza
← -2 unusual features: marked prominence of the 3rd of the key- more
than a 1/3 of the melody centering around it
← -tonic appears only twice in the melody 
← -division of 5 stanza poem: 2+2+1
← -first 2 - exactly repeated
← -5th- modified/altered
← -******** ease with which he has incorporated both elements of old
and new is suggestive of his role in the  history of song ***********
←
← ))) Nachtlied 
← -one of his finest songs
← -AAB with codetta
← -text is an evening soliloquy with a reference to time moving thru the
night, taking many who do not expect it
←
←
← Schumann 1810-1856
← - several factors influenced his style
← -he was 30 before he started composing art songs
← -came from a literary background
← -editor of a music review: Neue Zeitschrift fur Musik
← -he was more careful in his composing
← -stand btw. Schubert and Wolf for setting text
← -a fine melodic gift,but his phrasiology is square
← -avoids use of recit and interrupting material with this
← -he opts for lyric recitative
← -as a pianist, he elevated the piano with the voice (sometimes he went
above)
← -liked poets to be known to him personally before he set them
← - he liked them to share his political views
← -*******  in 1840, the year of his marriage to Clara Wieck, he wrote
138 songs **********
← -there are no more deeply felt music expressions than his love songs
for her in their marriage year
← -composed  cycles (see list)
← -liked to think he could take on Clara's perspective
← -Clara Themes: (handout)
← -continuous use of meaningful motto themes signifying Clara
← -4 and 5 note themes
← -gives structural unity to the piece
← -can be transposed
← -if the notes were descending in a minor mode- sad
← -then ascending in major - reconciled
← -tended to view all poetry he read in a personal sense
← -he was less faithful to the actual intent of the poet- used personal
interpretation
← -put his translation and his lifestyle into the poetry
← -generally gathered songs in sections or groups
←
← -Liederkreis Op. 24- 9 songs (Heinrich Heine)
←
← -Myrthen Op. 25
←
← -Liederkeis Op. 39 - 12 songs on poems by Eichendorff
←
← -Frauenlieben und Leben Op. 42 - 8 songs by Chamisso
←
← -Dichterliebe Op. 48 -16 songs (Heinrich Heine)
←
← General Characteristics:
←
← -organic union of all the parts- voice and accomp are
conceived together
← -continuation of thinking as if you were composing a short piano piece
← -felt Schubert was too brazen
← -postlude man
← -individuality of harmony
← -fond of sudden modulations to remote keys, diatonic dissonances and
sequences
← ))) Der Nussbaum (the walnut tree)
← -weaving voice and piano
← -
←
← )))Du bist wie eine Blume
← -climax of the song occurs on the piano
← -piano finishes phrases
← -limits range of emotion, intimate and confiding song
← -developed after Schubert: used them to his own glory
← -couldn't maintain the power of Schubert
← -ability to paint a mood where there is no chance to illustrate it
← -shades notes so there is an obvious depiction of the mood
← -the piano is often used to hide where the strophes occur
← -avoids establishment of tonal center-> Mondnacht
← --leader in declamatory devices which is lyric recit
← -most of his songs are cycles
← -devoted to poems of a single poet: need for organization (OCD)
← -
← 10/16
←
← -human love/Christian imagery (more respect)
← - both aspects at their most engaging because of Schumann's creative
personality
←
← )))Folksliedchen
← -perfect little masterpiece with beauty and depth 
← -March 1814 Op. 51 no. 2
← -voice and piano both speak of walking in a garden, they stop, voice is
hesitant, become warmer and deeper, piano contributes to unobtrusive
gestures of affection
← -******** such invention and subtlety of expression had never been
heard in lieder on this miniature level before *********** not again until
Wolf about 50 years later
←
← ))Die beiden Grenediere
← -1840 (nothing to do with his love of Clara)
← -Heinrich Heine
← -1816 Duseldorf- may have seen French prisoners: great poem- his
glimpse becomes a reality
← -opening: sad bugle, dull drum beat and defeated soldiers
← -spring and pride in the step of the soldier
← -French national anthem released in the music
← -end: postlude- a soldier falls and dies
← -
←
← )))Dichterliebe
← -Heine
← -estrangement from Clara, reunion and their lifelong love
← -perfect love song cycles
← -increased harmonic complexity melodic pursuit of more realistic
declamation thru the use of larger intervals, changes of register and more
chromatic line which exploits augmented intervals
← -
←
← Lieder album fur die jungend (song album for the young) - collection,
not a cycle
← -most are short, strophic, on folk like texts
← -others play stress on  accomp and voice
← -Wilhelm Meister: Mignon
← -9 songs, extremely restless harmonically, melodically halting, not
what you expect
← -singer, then commentary by piano, then singer-
← -does not represent his best
← -maybe the poetry disturbed him?
←
← 1852-1856
← -returned to melodic and declamatory style of the first period
← -most important contribution: he can create a mood without uttering a
word, permeates the entire song
← --musical material was consistent with the image of the poem
← -he avoided the suggestion of illustrative devices
← -
←
← Richard Wagner
← -not much lieder
← -most crucial figures in the history of 19th C music
← -brought German opera to its consummation (like Verdi for Italian
opera)
← -created a new genre: MUSIC DRAMA
← -function of the music: to serve dramatic expression
← -developed a new style of declamatory arioso melidy
← -technique of recurring themes: lietmotif
←
← )))Wesendonck Lieder
← -used as studies for the operas that followed
← #3, 5 - Tristan
← -love letters 
← -wrote about 22 songs all together
← -composed 1857
← -long phrases
← -poetical thoughts influenced Wolf, Mahler and Strauss
←
← )))Der Engel
← -full orchestra
← -
←
← test thru Brahms on 10/23
← 10-15 short answer- 2-3 sentences, 1 long essay
← 15 listening examples (we can look at style analysis sheets)
←
←
←
←
← 10/21
←
← Franz Liszt (1811-1886)
← -composed around 80 songs
← -met Schumann in 1840- big year for both of them, he then started
composing songs
← -used 52 German settings, 14 French, 4 Italian, 3 Hungarian, 1
Russian, 12 English
← -revised 30 so that there are more than 80 total, 4 songs are in 3
versions!  
← -made orchestral transcriptions of 8 songs
← -his songs are best sug by larger voices (expansive)
← -he is from Hungary, became cosmopolitan 
← -serves as a link btw songs of Schubert and Strauss/Mahler
← -his bold, harmonic vocab contributed almost as much as Wagner's to
the growing dissolution of tonality
← -he created his own unique style- certainly influenced by German lied,
but unlike the songs of any other lieder composer
← -he was THE virtuoso pianist of his time
← -idiomatic writing for the piano often exploited the range and color
possibilities of the piano 
← -ironically, his song accomp. are often less difficult to play than
Brahms
← -his traels introduced German song to the rest of Europe
← -England to Russia, played songs by OTHER composers (Schubert,
Schumann, Franz, ıeethoven and Mendelsohnn) acquainting audiences with
the works of these composers and furthering sing throughout Europe
← -the sad thing is his songs have been overshadowed by
his orchestral and piano music
← -Style:
← -use of short phrases anticipates Wolf
← -he preferred thru composed settings for his songs
← -his accomp. are very colorful. some being orchestral in scope
← -makes frequent use of rhythmic motives in his songs
← -half of the songs are based on first-rate poetry
← -did not always observe the stanza structure of the poem, but chose to
superimpose his choices
← -melodies have embellishments
← -dramatic effect of recits is essential to the character of the song ad
the story he is telling
← -several types of melody:
← 1. lyrical, ornamented bel canto
← 2. declamatory phrases that have unusual intervals
← 3. monotone recit-like phrases with some melodic organization
← 4. short melodic phrases/fragments in the style of Beethoven
← 5. ones that go on descending intervals
←
← -fond of wide intervallic leaps rather than linear progressions
← -his earlier songs are simple, but as he developed he started
experimenting with harmony
←
← ))) Oh quand je dors
←
← ))) Es muss ein Wunderbares sein
←
←
←
← Johannes Brahms (1833-1987)
←
← -friends with Schumann, moved in with Clara
← -his correspondence was destroyed
← -was able to face both the past and the future in his musical
composition
← -diligent student and his mastery of musical techniques and forms of
the past allow him to superimpose hs own style on them
← -works are characterized by strictness and freedom on: form, line,
texture and rhythm 
← -considered himself a self-taught composer: studied the old forms
← -380 songs for 1-4 voices
← -around 200 solo
← -including nearly 100 harmonizations of folk songs and children's
songs
← *************-fundamental interest in folk song permeated his
musical aesthetic **********
← - great respect and admiration for classical forms manifested itself in
musical symmetry
← -STYLE:
← -vocal part is paramount
← -primarily a melodist
← -not careful about his choice of poets
← -one will find ore barbarisms and accents on the wrong syllables with
his settings
← -2nd important: the bass (like Schubert)
← -like the antithesis of Wolf (music/poetry)
← -took general mood of the poetry and depict it overall
← -loose musical/poetic relationships
← -use of the III and VI (and cross-rhythms aka hemiola 3 vs. 2)
←
← -Early Songs: 1851-53
←
← ))) Liebestreu (3/2)
← -voice vs. accomp.
← -1 Opus 3, 6, 7 composed
←
←  Second Period: 1858-1865
← -interest in folksong
←
← ))) Wie bist du meine Konigen
←
← ))) Vergebliches Standchen
← -example of folklike setting
← -pulled 28 from Deutsche Folkslieder (30 poeams)
← -compiler/poet: Zuccalmaglio
←
← Third Period: 1866-1875
←
← -Op. 33- included Romanzen aus Tiecks Magelone 
← -also called Magelone lider
← -18 verses, Brahms set 15
← -uses same harmonic vocab that you find in most of his songs
← -very long songs ad highly sectionalized with many tempo changes
← -piano interludes, preludes and postludes
← -poems published in 1812
← -story: not a cycle, connected loosely
← -set in the age of chivalry
← -
← -4 characters: peter, a knight; Magalone, a damsel in distress; a
minstrell and Sulima'
← 1. songs: sets out
← 2. continues
← 3. arrives in Naples, aroused by Magalone, decide to go away together
←
← ))) Ruhe Suseliebchen
←
← -melodies became more long-ranging (unusual phrase lengths)
←
← ))) 
← from
←
← ))) Murray's Ermordung (Scottish)
←
← READ text about Brahms!
←
← 10/23
←
← Practice for Listening:
←
← Schubert: Die allmacht, Scene aus Faust
←
← Schumann: Widmung
←
← Brahms: O wusstich doch den Weg zuruck
←
← Liszt: Ein Fichtenbaum steht einsam
← -strange harmonies
← -dramatic
← -declamatory phrases
← -short framents
←
←
←
←
← Fannie Mendelsohnn Hensel
← -studied with Carl Zelter, introduced her to the music of JS BAch
← -family encouraged her, but the prevailing attitudes against women
having careers in music were in society
← -her brother was supportive of her creative endeavors and often asked
her advice on musical matters
← -but he also put 5 of her songs under his name
← -he refused to help her get published because he feared she would be
considered a "failure"
← -her husband Wilhelm worked to see her material published
← -composed her music for SUnday performances
← -her family does not allow much of her music to be studied
← -her own works number over 400
← -salon events: Goethe, Hegel and critic Adolf Grenard Marx
← -Ludwig Berger, her mother (teachers)
← -small works like Bach and Mozart in her youth, forbidden from public
display
← -married a painter, he supported her music
← -avid follower of her brother's career
← - her son Sebastian: prominent biographer of their family
← -later: cantatas, etc. but returned to intimate works
← -1837- published a song in a collection
← -brother was "happy" for her
← -played his music publicly- his piano concerto
← -1839-1840 traveled to Italy with her husband and son, composed
freely
← -after her mother's death, she hosted the Mendelsohnn concerts
← -she got 2 bids from publishers and she produced 2 song books (all we
have)
← -died 1847 during rehearsal Walspurgis Nacht
← -1 week later, a favorable music review appeared in Leipzig 
← -she is remembered as a major talent whose family and societal
restrictions curbed her development
← -majority of her works remain unpublished
← - over 300 songs
← -influences: Bach, her brother
← -style: distinctive- bear a confidence and melodic ease (lacking
Felix's), melodies are engaging, accomp well-crafted and play and integral
role in setting poetic texts
← ********** -he claimed: ************ 
← Heimweh
← Italien
← Sulieka un Hatem
← Sehnsucht
← Verlust
 ← Die Nonne
←
← )))Nachtwanderer
←
←
←
← Clara Schumann
← ))) Am Strande
←

10/30
← THE NEXT TEST FORMAT:
←
7. test will be spontaneous, make sure that you will have your notes
printed out. The test will be from Clara and Fanny- ON.
8. will be specific time for listening
←
← In Class Listening:
←
← Fanny M.
←    Nachtwanderer  
←
← Clara Schumann (1819- 1896)
29 songs
born in Leipzig
 bgan performing at 9 years, she remained for over 60 years
gave her last performance in 1891
maiden name: Clara Weick
her father had resolved before she was born she was going to be a
child prodigy
her father tried to prevent the marriage, but when she turned 21, legal
age, she got married to Robert
father thought Robert would be distraction
filed lawsuit, won, but out of spite got married day before 21
had 8 children
met Brahms in 1853
Schumann requested to be admitted to asylum 1854 after suicide
attempt 
1857 clara moved to Berlin, where she performed, taught, and edited
Roberts works and letters
was a champion interpreter of Schumann and Brahms, and was direct
influence on their music
her playing was characterized by technical master
Robert always wanted her music to be published right beside his- very
supportive
← Listening in Class:
←
← Am Strande- gave to Schumann as Christmas present in 1840
← picked love poems by Ruckert and were going to set them in a
collection called Liebesfruhling. But she was pregnant and never got to
finish it, so Robert secretly printed, and later published them and
presented 12 published songs to her on their one year anniversary. so
there IS no Liebesfruhling, just those songs
←
hard life- Schumann went crazy
4 of her eight children died before she did
←
← Luise Reichardt (1797-1826)
she did not receive any musical instruction in school
 her father was J.F. Reichardt, so he taught her.
as young woman. she was involved of close high literary circles
she was a singer, and sang for very prestigious circle
← Josephine Lang (1815- 1880)
she sang for Felix Mendelssohn and was enthusiastic about him
she ended up marrying a poet, Christian Kostlin
she was composing by the age of 13
her father court musician and mother was a singer
Sally Olson is going to sing Lang November 11
BRING THREE SONG EVALUATION SHEETS
←
←
← Hugo Wolf
he wrote 20 MATURE LIEDER out of 244 songs
44 were written when he was young- 13, 14, 15
********:):):):) SONGS ARE CONSIDERED THE CAVIARE OF GERMAN
LIEDER********* Represent the highest poetic musical synthesis of the
century
relationship of poetry is very important- Brahms is atithesis of this
Violent anti-Brahmsian because of this- disliked his musical approach
to words and insesitive delamation
Enthusiastic Wagnerian
Admired Schumann the most because of his attention to text
the poem controlled the broad musical format and the particulars
declamation- setting of words, sought the proper setting of words,
syllabic--to much of a musician to let you see how he constructed the
melody to be syllabically correct.  Very careful to keep you from seeing the
song being written around the flow of the words
deep understanding of the poem
he had correspondence with detailed meaning of the poem, thought he
was in the poets mind, NSYNC
← 11/4
←
← Hugo Wolf
← 1. check notes from LP!
← 2.
← 3.
← 4. the flow of the rhythm in the poetry is freer than the setting in the
music 
← 5. could accomodate w/o resorting to too much meter change (when it
does occur, more common at the final cadence)
← 6. predominance of duple meter (generally)
← 7. his restraint came from within himself in the relationship to metrical
restrictions - pulled himself back, being careful w/ metrical restrictions-
battle of words & poetry (his genius) how did he do it?  accomplished in
the piano in 3 ways: repetition of a short motive, pedal points, rhythmic
motives
← 8. often several melodic strands in the accomp. as well as the voice
← 9. a contemporary of Brahms (hated him)
← 10. had a rich harmonic vocabulary- reminiscent of Wagner
← 11. harmonies also within the service of the poetry, knelt down in front
of the poet!
← 12. everything he does in his techniques comes from the poetry!
← 13. uses a very different approach than has ever been used before
← 14. 
←
← general characteristics:
← -forms: strophic, binary, ternary, thru composed
← -most are thru composed
← -unified by melodic or rhythmic motives OR reoccurring figurations in
the accomp.
← -wrote in spurts: set a poet by immersing himself in their works and
no one else
← -for example: Morike: 53 songs in 1888 (read the poems over and
over and then composed, like Schubert) then never used him again
← -Eichendorff: 20 song output
← -Goethe: 51 songs
← -even when he was using forms, always guided by poetry
← -a shift to a new section in the form always coincided a shift in the
mood of the poem
← -chose a great range of subject matter: MATCHED SCHUBERT
← -rhythmically diverse in 3 ways: extensive use of syncopation, cross
rhythms (hemiola), rests- even in the melodic line
← -phrasing was very regular, but not the rule
← -irregular, almost rhapsodic phrases of irregular length (very
expansive)
← -text illustration ranged from very simple to that of a psycholocigal
type
← -did not write song cycles, but collections
← -a great depictor of the mood of the text
← -*********** his significance lies mainly in what his compostions
MEAN: total synthesis of word and music ***************
←
← -as he continued to wriote, he continues to evolve
← -1876-1888: young lieder
← -1888 going forward: 200 mature lieder (Morike are first)
← -Lieder aus der Jungenzeit (collection) "Morgentau"- one of his best
earlier songs, shows influence of Schumann
← -some of his other earlier works, used poets: Reinick, Heine
← -Morike (1804-1875)
← -Poet and Protestant master
← -one of the great lyric poets- his poems are downto earth
← -brought forth a melodic response
← -duple time corresponds to the meter of this poetry very easily
←
← ))) Das Ver lassene Magdelein
← -rhythmic motives, yet sparse piano
← -commanding melody in the voice
←
← ))) Auf ein altes Bild
←
←
← ))) Er ist's 
← -3 vs. 2
← -rhthmic motive
← -heart beating
← -she has found a man, hes' the one!
← -
←
← Eichendorff songs
← - best known poems are Schumann's Liederkreis
←
← ))) Seeman's Abschied
←
←
← ))) Vershweigene Liebe (Secret Love)
←
←
← Goethe: 1888-89
← first 10 songs from Wilhelm Meister
← West.... showed the influence of the Orient
← Prometheus, Ganymed - showed the influence of the universal
←
←
← Spanisches Liederbuch
← -not the best poetry
← -1889-90
← -main idea w/ one songs
← -sets the pattern harmonically and rhythmically
← -triple meter appears for the first time
← -10 Geistliche Lieder (Sacred)
← -34 Weltliche (Secualr)
← -from 15th and 16th C Spanish poetry
← -Heyse and Gieble: translations of poems in 1852
←
← ))) In dem Schatten meine Locken
←
←
←
← Italianisches Liederbuch 
← 1896-1901
← -represents the final refintement of his art
← -finally a culmination of melody and harmony
← -49 songs total
← -can all be performed in one evening
← -songs talk about everyday aspects of life
← -Heyse was the sole translator: superimposed more German
soulfulness in place of the Italian carefreeness
← -skillful declamation
← -meaning of the poem can be changed with what words you TAKE OUT
(careful to keep everything in)
← -pitches are at the same melodic level as words in the poem
← -lifted words out with 2 devices: syncopation or pitch change (higher)
← -2 unifying figures of Wolf: ostinato bass, use of rhythmical sameness
in the accompanimental bass
←
)))) Auch Kleine Dinge

← 11/6
←
← Gustav Mahler 1860-1911
←
← characteristics:
← -developmental manipulation of voice and accomp.
← -very careful with declamation
← -superb orchestrator
← -interplay btw. voice and accomp.
← -wide range of expressiveness that is complimentary to the subject
matter
← -illustrative devices
← -some motives
← -Romantic tendencies: most of his songs are orchestrated
←
← -groups of songs
← "Lieder und Gesang aus der Jugendzeit:
← -for voice and piano
← -3 books, 
← 1: contains 5 songs - composed1880 - published 1885
← 2:contains 4 songs - composed 1880, published 1892
← 3: contains 5 songs - composed?, published 1892
←
← - books 2 and 3 uses Des Knaben Wunderhorm poetry
← -music is characterized or typified by a close correspondence
with Austrian popular melody
←
← "Eines fahrenden Gesellen" - Song of a Wayfarer
← -for voice and orchestra
← -used material from the first symphony- interrelated
← -falls in Schumann's concept of song
← -began 1883, finished in 1885
← -4 diff. versions
← -1884: first version, symphonic orchestration - difference in keys from
final
← -1896: 2nd, tweaked it, he conducted
← -1895: 3rd, discovered this version in Amsterdam
← -characteristics: show melodic simplicity similar to previous works, but
more flexible in terms of rhythm, more contrpuntal writing
← -cohesion by the consistency of the mood of these poems
←
← ))) "Ich hab ein gluhend messer"
← -dramatic
←
← "Ging heut morgen ubers Feld" (found in first symphony)
←
←
← Das Knaben Wunderhorn
← -12 song cycle
← -songs iterrelated to sym. 2,3,4
← -similar to Schumann, Schubert
← -composed 1888-1899
← -on a larger scale and more dramatic than any song composed until
then
← -collection of poetry by Brentano/Arnim
← -composed these songs after a hiatus of nearly 10 years
← -emerged as a matured song composer
← -determined change of mood from song to song adds to the charm of
the complete song cycle
← -set in 3 other cycles: 9 in one, 12 here, 2 in Sieben Lieder aus letzer
Zeit and one more - - all diff. poems
←
← ))) "Lob des hohen Verstandes"
← -nightengale and cuckoo
← -2 birds competing
← -donkey is the judge
←
← ))) "Das irsdiche Leben"
← -narrator, child and mother
← -the child is starving, mother says they are getting ready to plant the
wheat
← -the bread is baked but the child is already dead
←
← Sieben Lieder aus letzer Zeit 
← -1900-1911
← -more sublte and art form related
← -accomp is fastidiously scored and continuing increasing rise on
contrapuntal techniques
← - after 1900, stylistic change: does away with popular influences
← -typified by the 5 Ruckert songs (not part of this cycle) written during
this time period though
←
← ))) Liebst du un Scho
←
← 11/11
←
← Mahler
←
← "Das Lied von der Erde"
←
← -last 3 years of his life were affected by several events:
← 1. let go from vienna opera
← 2. oldest daughter (age 7) died
← 3. discovery of his diseased heart
← -traveled to America, conducted some of his symphonies
← -changed his mode of life and his outlook, also changed his music
← -broke into a new world
← -felt that this piece was the most personal thing he had created until
then
← -symphony #9 - A Symphony of Songs
← -avoided mention of the number
← died after 9th symp: Beethoven, Schubert, Bruckner, Dvorak
← -did not reflect the spiritual and emotional integration with which this
work is imbued
← -poems are selected from several Chinese poems translated by Hans
Bethge "Die Chinesische Flote" 1908
← -selected 7 of these for the cycle
← -here we find greater textual and spiritual unity than in previous
symph. w/ text
← -unifying spiritual motif that permeates every phase of the work
←
← "Von der Jungend"
← -motifs
← -contrapuntal
← -
←
← "Von der Schonheit"
←
← -legacy of Beethoven: dramatic gesture and steely determination
← , Schubert: lyric jubilation
←  and Bruckner: Baroque solemnity, inspired use of Austrian romantic
folk songs and dance tunes
← -has a subconscious affinity for classic continuity
← -use of classic devices- even in a time when the term symphony was
far removed from classic models
← -his musical/religious affinity was primarily with Catholicism
← -use of the chorale (hymn of Protestantism)
← -military march influence
← -affinity to an identification with nature
← -Jewish/Slovanic heritage present despite his Western- still shows up!
Hungarian 
← **********-great and most enduring personal achievement:
PERSONAL COUNTERPOINT**********
←
← Richard Strauss (1864-1949)
← -songs were composed before 1900
← -1899-1901: most productive song period
← -produced 6 diff collections containing 31 songs (Op. 10-49)
← -most publiized composer of earlier 20th C
← -followed the line est. by Brahms
← -musical idea took over: words were less important (tried to find
poetry to match his musical idea)
← -wider range of the voice than before
← -accomp is principal tool in expressing the mod behind the text
← -tipified by 4 things:
← 1. repeated chrods
← 2. repeated patterns
← 3. elaborate scoring with thick harmonies and rapid modulations
← 4. bold polyphony
←
← -influence of Wagner with his type of declamation
← -harmony moves text forward w/o text illust.
← -lyricism of some of his songs shows the influence of Schumann
← -songs have a tendency to be a little less sensitive and braoder with an
exhilirating sense
← "Standchen"
← -only 19th C composer to be successful at both song AND opera
← "Zueignung"
← "Ophelia Lieder" #3
←
← Max Reger
← -conservative composer with some restlessness
← -more opulanet with an immense wealth of harmonic detail
← -writes better on a small scale
← -perpetually shifting harmony
← -leads to asnese that the composer is trying to break new ground
← -only ultimately creates arestlessness that leads to nowhere
← -esp. the case in quicker, more energetic songs
← -in slower songs, harmony has more time to mean something
← "Traume am Kamin"
←
← Alban Berg
← -pupil of Schoenberg
← -82 songs and duets
← -musically self taught
← -early songs in the style of Schumann: show influence of Debussy and
imressionism than the techniques of his teacher
← -chose texts from poets: Heine, Goethe, Hofmannstal, Wilke
← -hisfame rests w/3 distinct works:
← 1. Sieben fruhe Lieder (7 early songs) 1908
← -strongly under Schoenberg's influence
← -1928: pub for voice and orchestra
← -poet: Carl Hauptmann
← "Die Nachtigall" #3
← ****KH loves this set*******
←
← op. 2 - 1909
←
←
← Kindertotenlieder
← -Ruckert wrote over 300 poems about the loss of his son
← -composed several before he married
← -attraction to death as a result of the loss of many of his family
members
← -his wife believed the death of their daughter was fate's vengeance for
him using this topic
← ))) Wenn dein Mutterlein
← -orchestrated
← -sad
-oboe is prominent
← 11/13
←
← Alban Berg
←
←
← -
←
← op.2 -1909
← -poets: Hebbel adn Mombart
← -4 songs
← -mystical, sensuous
← -moves away from early trad. vocal style--closely tied, based on
speech rhythms
← -blurs tonality
← -all 3 songs progress naturally to the 4th
← -
←
← op. 4 comp. 1905-08
← -songs on picture postcard texts
← -Altenberg Lieder
← -for voice and orchestra
←
← -characteristics:
← -influenced by Mahler and Strauss
← -love of lit influenced musical aesthetic
← -dense textures
← -stacked harmonies
← -contrapuntal techniques
← -use of constructive rhythms- patterns from which the structure could
evolve
← -find of using formal patterns from earlier musical styles as designs for
his own forms
← -interval of a 4th- used as a decisive factor in melodic shapes and
chordal structures
← -utilizes Schoenberg's principal of perpetual motion
← -interval of a 7th- use of continual tension to provide motion
← -conscious deliberate weakening of the tonal effect of cadences
← -compensation for loss of tonality by creating for the listener an
established form
← -adopted 12 tone principals as the basis for his compositions
← -uses techniques less rigidly and with greater imagination than his
teacher
← -most of the rows would have triadic outlines and tonal references
← -his serialism is easier to comprehend due to his lyricism and romantic
expressiveness
←
← Arnold Schoenberg
←
← -composed 29 songs 1897-1933
← -3 style periods:
←
←
← 1. similar in style to the later works of Wagner 1897-1907
← ))) Brettl-lieder - "Mahnung"
← -cabaret songs, 1901
← -poets declaim their verses to the accomp. of music
← -simple symmetircal forms with 2 and 4 bar patterns
← -supported by idiomatic accomp.
← -
←
← 2. general intensity emphasized by wide leaps in the vocal line 1907-
1909
← -most important writings for voice and piano
← -Das Buch der Hangenden Garten - op. 15 
← -no key sig.
← -ona small scale
← -still possible for a common chord to appear occasionally and not seem
out of place
← -style is not markedly different from the preceding songs
← -on poems by Stefan George
← -a conscious departure form late romantic poetry
← -highly symbolic, elegant, tinged with exoticism
← -15 poems in all
← -story is basically a love story with a good description of hanging
gardens
← -the man in the cycle is introduced in the 3rd song and hislonging for
the woman is made known at that time
← -the relationship is final by the 11th song, and then she's gone
← #8 ))) Wenn ich heut nicht deinen lieb beruhe
←
← ))) Pierrot Lunaire
← -song cycle for voice and small combo
← -vocal part is written in sprechengesang
← -in which the singer is concerned with rhythm and interval but not
exact pitch
← -highly concentrated and melodically angular and fragmentary
← -entirely suited to the words
← -whole work shows an amazing sense of color in a macabre 
← "Mondestrunken"
←
←
←
← 3. 1912-1924
← -12 tone tech
← -10 yrs before there were hardly any works
← -only 4 songs in this period
← -rigid avoidance of trad harmony
← -more consistent melodic angularity took little into account the ease of
the voice and instruments
←
←
← -aspects of his style:
← 1. absence of key signature
← 2. transparent piano texture reduced to the essentials and free of all
conventions
← 3. independent development of the piano
← 4. melodic line is characterized by diff. btw small and wide intervals
← 5. major/minor scales and triads are avoided at all costs
← 6. octaves still occur often as a doubling reinforcement of the melodic
bass
← 7. entire phrases contained w/in a 6th or 7th (frequent)
← 8. voice is fairly limited in range, piano tambre is limited as well
← 9. short range repetition of pitches and vowel sounds are avoided
← 10.  after adopting a 12 tone style, his comp became less colorful and
less consciously concerned with form- followed 12 to
← e technique
←
← Josef Marx
← -continued Wolf and Struass' trad with his 158 songs
← -choice of texts:
← -trad French poetry
← -trad verses in Japanese and Chinese
← -German poets
← ********also set the 17 poems from Italianichesliederbuch that Wolf
didnt***********
←
← stylistic traits:
← -shares his style with Wolf, Korngold and Zemlinsky
← -lieder's high quality has been compoared to Wolf (about text)
← -thichlkly textured accomp. that are at times orchestral in conception
← -broad vocal phrases- often operatic in style
← -mostly conservative in vocal comp.
←
← ))) Wofur
← -
←
← Hindemuth
 ←
←
← -symbolism:
← order w/in a musical comp. is symbolic of a higher order within the
moral and spiritual universe
← ))) Das Marienleben
←
From Laura:
← Berg Continued
←
9. blurs tonality so each song progresses naturally to the next
← AltenBerg Lieder Opus 4
1905-08
songs are on picture postcard texts
←
← Style and Characteristics
←
influence my Mahler and Strauss
love of literature influenced his style and aesthetic
dense textures
stacked harmonies
constructive rhythms, patterns from which structure could evolve
fond of formal patterns from early musical style to design his own
forms
interval of 4th was decisive factor in melodic shapes and chordal
structures
he utilizes Schoenberg's principle of perpetual motion
 use interval of 6th as continual tension to provide motion
conscience  and intentional weakening of tonal effect of cadences
compensation for loss of tonality by creating for the listener a
structured form
adapted the 12 tone principles for basis of composition- uses
techniques with greater imagination and rigidity than his teacher- most of
rows had triadic outlines and tonal references- his serialism is easier to
comprehend because of his lyricism, and romantic expressiveness.
THIS MAKES HIS TRANSITIONAL!!!!!
← Arnold Schoenberg
29 songs from 1897-1933
there are three style periods
← First Perid:
← 1893-1907
← similar in style as later works of Wagner
← general intensity emphasized by WIDE leaps in vocal line
←
← *Mahnung-  from "Brettl- Lieder" cabaet (1901) in class listening of
the first period
← poets claim accompaniment to the music
← text from Deutsche Chansons published in 1900
← simple symentrical forms with two and four bar patterns
← suported by idiomatic accompaniment
←
← Second Period:
←  1907-1909
← this was the most important voice and piano writing times
←
← "Das Buch der Hangenden Garten" Op. 15
← Tonality is abandoned
← there is no key signature
← they are on a small scale
← still possible for common chord to appear occasionally and not seem
out of place
← stlye is not marketably different from preceeding songs
← poems by Stefan George
← POETRY:
← were concious departure from late romantic poetry
← highly symnollic, tinged with exoticism, symbolism, elegant
← 15 poems in all
← story is basically a love story with descriptions of hanging gardens
← the MAN is introduced in the third song, and is longing for woman
made known at that time.
← relationship is final by the 11th song, and then she is GONE! : (
←
← #8 Wenn ich heut nicht deinen...
←   
← Pierre Lunaire
← the vocal line is Sprechengesang, which singers consider rhythm and 
← the songs are fragmentary and high concentrated and melodically
angular
← the style entirely suited to words
← whole work shows amazing color and atmosphere of the macabre
←
← *Listening: Mondestrunken
←
 ← Third Period:
← 1924- death
← twelve tone technique
← only wrote three songs in this period
← avoidance of traditional harmony and would not make it happen, and
even more consitent melodic angularity, didn't take into consideration the
inconvenience of the instrument. HE DIDN'T CARE!  
←
← Style:
absence of key signature
transparent piano texture reduced to the essentials and free of all
conventions
independant development of the piano
melodic line consists of small of wide intervals
major minor scales and triads are avoided at all costs!
octaves still occur often, as doubling reinforcement of melodic base
entire phrases contained with 6th or 7th very frequent intervals-
melody in between these intervals
piano timbre limited, as well as vocal range
short range repetition of pitches and vowel sounds are avoided
after adapting 12 tone style, less colorful and concerned with problems
of form, fixed it with systematic application of 12 tone technique
← Joseph Marx
←
← Wolf and Strauss- wrote 158 songs
← choice of texts- traditional french poetry Verlein 
← traditional verses in Japanese and Chinese
← German poets
← : ) ALSO SET THE 17 POEMS FROM HEISSE ITALIANISCHES
LIEDERBUCH THAT WOF DID NOT SET
 ←
← Style and Characteristics:
←
shares style with Wolf, Korngold, and Zimlinsky
lieder is high quality like Wolf
thick texture accompaniments and occasional orchestral in conception
broad vocal phrases which are operatic in style
for the most part he is conservative in his vocal compositions.
← In Class Listening:
← Wofur
←
← Paul Hindemith
←
the Das Marienleben- The Life of Mary
originally written in 1922, drastically revised in 1944
← Style:
never been atonal
greater smoothness of melodic line and greater sense of tonality
less constant rely on counterpoint
musical philosophy: communication wiht listener, craftsmanship,
tonality is as inevitable as law of gravity in the physical world
symbolism, the order of music is symbolic of higher order within the
moral and spiritual universe 
← In Class Listening:
← Gebert Maria