Twelve Songs, op. 1, no. 3: The Lotus Flower (Die Lotosblume)

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Allegretto moderato Rej. Largo ii. Largo Rej. Scherzo [inc. Largo-Allegro [inc. Sonata No. Andante-Allegro vivace ii. Largo cantabile iii. Allegro Autumn ii. In the Barn iii. The Revival Adagio ii. Adagio cantabile Allegro ii. Largo-Allegro conslugarocko -Andante con spirito-Adagio cantabile-Largo cantabile iii. Adagio-Faster C: Other Works 23 Decoration Day for Violin and Piano From the Steeples and the Mountains Fugue in B [inc. Fugue in D [mostly lost] Fugue in Four Greek Modes [inc.

Hallowe'en In Re Con Moto et al. Largo for Violin, Clarinet, and Piano Largo Risoluto No. An Old Song Deranged Piece in G for String Quartet [inc. Polonaise [inc. Prelude on "Eventide" Scherzo: All the Way Around and Back Scherzo: Over the Pavements Scherzo for String Quartet A Set of Three Short Pieces i.

Largo cantabile: Hymn ii. Scherzo: Holding Your Own! Adagio cantabile: The Innate Trio for Violin, Violoncello, and Piano i. Moderato ii. Adagio con moto-Andante con moto-Allegro risoluto-Adagio cantabile ii a. Allegro moderato-Andante ii b. Allegro-Meno mosso con moto "In the Inn" iii. Largo-Allegro-Largo iv a. Allegro-Presto-Slow v. Andante maestoso-Adagio cantabile-Allegro-Andante Emerson ii. Hawthorne iii.

§ Song: “Les filles de Cadix”

The Alcotts iv. Thoreau Three-Page Sonata B: Studies 19 Study No. The Celestial Railroad Three Improvisations i. II iii. III Invention in D Minuetto, Op. New Year's Dance [inc.? Piece in G Minor [inc. Set of Five Take-Offs i. The Seen and Unseen? Rough and Ready et al. Scene Episode v. Four Transcriptions from "Emerson" i. Slowly ii. Moderato iii. Largo iv. Allegro agitato-Broadly Varied Air and Variations Waltz-Rondo E: Duets 4 Burlesque Storm [inc.? Drum Corps or Scuffle [mostly lost] Three Quarter-Tone Pieces i.

Chorale Ragtime Dances for Two Pianos i. Adagio in F [inc. Burlesque Postlude in B [inc. Burlesque Postlude in C Canzonetta in F Fugue in C Minor [inc.? Fugue in E Interludes for Hymns i. Interlude for an unidentified hymn iv. Melody in E [inc.? Postlude for Thanksgiving Service [mostly lost] Variations on "America" Voluntary in C Minor [inc. Voluntary in F [inc. Multi-movement works 3 The Celestial Country Introduction before No. Prelude, Trio, and Chorus Prelude before No.

Aria for Baritone iii. Quartet Interlude before No. Intermezzo for String Quartet Interlude after No. Double Quartet vi. Aria for Tenor Introduction to No. Chorale and Finale Communion Service i a. Kyrie [I] [inc. Kyrie [II] i c. Kyrie [III] ii. Gratias agimus iii. Gloria tibi iv. Sursum corda v. Credo [inc. Sanctus [I] vi b. Sanctus II vii. Benedictus viii. Agnus Dei Three Harvest Home Chorales i. Harvest Home ii. Lord of the Harvest iii.

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Psalms 10 Psalm 14 Psalm 24 Psalm 25 Psalm 42 Psalm 54 Psalm 67 Psalm 90 Psalm Psalm iii. Others Works for Choral Ensembles 23 All-Forgiving, look on me Anthem: With Hearts Rejoicing Ever [inc. Benedictus in E Benedictus in G [inc. Bread of the World [inc.

Nine Canticle Phrases [inc. For the Lord is a great God ii. O come let us worship iii. For he cometh to judge the earth iv. Magnificat vii. Benedictus Chant, Op. Crossing the Bar Easter Anthem [inc. Easter Carol Gloria in Excelsis [inc. Hymn, Op. I Come to Thee I Think of Thee, My God [inc. Kyrie [inc. Life of the World [inc. The Light That Is Felt [inc. Processsional: Let There Be Light Serenity [mostly lost] Chorus with Instrumental Ensemble 12 December An Election General William Booth Enters into Heaven He Is There!

1840 compositions

Johnny Poe [inc. Lincoln, the Great Commoner The Masses Majority The New River Sneak Thief [inc. They Are There! A War Song March Two Slants Christian and Pagan i. Duty ii. Vita Walt Whitman [inc. Partsongs 12 Age of Gold [inc. The Bells of Yale The Boys in Blue For You and Me! My Sweet Jeanette [inc.? O Maiden Fair [inc. Partsong in A [inc. Partsong in B [inc. Partsong in E Serenade A Song of Mory's Pass the Can Along [inc. Abide with me Aeschylus and Sophocles Afterglow The All-Enduring Amphion Ann Street At Parting At Sea At the River Atalanta [inc.

August Autumn [II] Because of You Because Thou Art Berceuse The Cage The Camp Meeting Canon [I] Canon [II] Chanson de Florian Charlie Rutlage The Children's Hour A Christmas Carol The Circus Band The Collection The Coming of the Day [inc. Country Celestial Cradle Song Disclosure Down East Dream Sweetly [inc. Dreams The Ending Year Evening Evidence -- [Eyes so dark: see Weil' auf mir] Far from my heav'nly home Far in the wood A Farewell to Land La Fede Flag Song Forward into Light Friendship God Bless and Keep Thee Grace Grantchester The Greatest Man Gruss Harpalus Her Eyes Her gown was of vermilion silk His Exaltation The Housatonic at Stockbridge Hymn Hymn of Trust [inc.

I knew and loved a maid I travelled among unknown men Immortality In a mountain spring [inc. In April-tide In Autumn In Flanders Fields In the Alley The "Incantation" Incomplete song [I] Incomplete song [II] The Indians The Innate The Last Reader The Light That Is Felt Like a Sick Eagle Longing [inc. The Love Song of Har Dyal Luck and Work Majority Maple Leaves Marie Memories: a.

Very Pleasant; b. Rather Sad Minnelied Mirage Mists [I] Mists [II] My Lou Jennine My Native Land [I] My Native Land [II] My Task [inc. Nature's Way Naught that country needeth Night of Frost in May A Night Song A Night Thought No More An Old Flame Old Home Day The Old Mother Omens and Oracles On Judges' Walk On the Antipodes On the Counter The One Way The Only Son -- [Over all the treetops: see Ilmenau] Paracelsus Peaks A Perfect Day Pictures Premonitions Qu'il m'irait bien Religion Remembrance Requiem Resolution Rock of Ages Romanzo di Central Park Rosamunde Rosenzweige Rough Wind Runaway Horse on Main Street [inc.

Robert Schumann - Die Lotosblume, op. 25, no. 7

A Scotch Lullaby A Sea Dirge The Sea of Sleep The See'r Sehnsucht September Serenity The Side Show Slow March Slugging a Vampire Smoke [inc. Soliloquy A Son of a Gambolier Song Hear My Prayer, O Lord Song for Harvest Season The Song of the Dead [lost] Song without words [I] Song without words [II] Song without words [III] [inc. Songs my mother taught me Spring Song The Sun shines hot [inc.

Schumann: Lieder

Sunrise [inc. Swimmers Tarrant Moss Thee I Love [inc. There is a certain garden There is a lane The Things Our Fathers Loved Those Evening Bells I admire and feel touched by his radical artistic genius. This achievement should not be underestimated I think this maybe was one of his main merits. The history of Lieder performances reveals an always strongly private and emotional orientation. I would even say that such an approach to singing and interpreting this literature leads to the danger of group sentimentality,.

He dispensed, for example, with the tendency to select particular pieces from an entire song-cycle. Secondly, he sang this literature with a well-known, superb technique that combined perfect pronunciation with a helpful, bright voice-colour. On influential singers: [Of course,] Dietrich Fischer-Dieskau.

There was another Lieder singer. His work and not only for me, is a true, dear treasure.

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Fritz Wunderlich was a wonderful singer. He was and is an inspiration for singers many and varied. His timbre is a perfect example of how much imagination and will are sable to influence the quality and aesthetic value of singing. Last night I had one of the most perfect concert experiences of my life.

I have been attending a conference of music managers and presenters in Budapest. I discovered that baritone Christian Gerhaher was singing an all-Schubert song recital in the Vienna Konzerthaus. It was sold out, but after 33 years in the concert presenting world, I was able to pull strings and, to my utter astonishment, I became a guest of the Konzerthaus. The distance between Vienna and Budapest seems similar to the distance between Vancouver and Seattle.

Except that, of course, one just sails through borders from one country to the next. The Konzerthaus was packed to overflowing. There were seats filled in the hall with an additional 50 seats on stage. I know this because I asked the Intendant of the Konzerthaus. I also enquired about their wonderful piano and he told me that they select and rent a new Steinway from the factory every two years. He inhabits the text and the music he is singing. He simply delivered what Schubert intended when he wrote the songs. Nothing more and nothing less.

His regular pianist is Gerold Huber and the two of them together are as one. Right down to the tiniest nuance. And of course, we, at the VRS are the beneficiaries of this collaboration. We jumped at the opportunity when we heard about it. It is both deeply gratifying and humbling at the same time. A solitary lover seated on a hillside gazes into the distance and longs for the object of his affection. The final song brings the listener full cycle, with passages of both text and music from the opening stanza returning for a fulfilling close.

The songs are heard without breaks, and piano transitions link some of them. The cycle is further unified by a tonal scheme centered around E-flat major. The text is by Friedrich von Matthisson , a much admired German poet in his day. The song is an expansive, impassioned outpouring of emotion as a man wanders about a garden and sees in his beloved Adelaide as a manifestation of the beauties of nature.

Schumann composed more than half of his total song output in a single year, His love affair with Clara Wieck, who was to become his wife in August, provided fertile soil for serious attention to love lyrics. Concurrently, Schumann was beginning to recognize that the larger musical forms symphony, sonata, string quartet were not developing in the direction he had expected, and he was prepared to look elsewhere for the full flowering of romantic music.

Furthermore, Schumann recognized that the piano could play a highly significant role to play in vocal music — not mere accompaniment, but an equal partner. In these sixteen songs, Schumann perfectly captures the psychological atmosphere of each poem. The piano writing, as in Schubert, is of great importance in defining the mood of each song. In Schumann, these moods are often carried to their greatest expressive heights in the piano postludes. All but two of the Dichterliebe songs end with postludes, some of them nearly half the length of the song itself. Another remarkable aspect of these songs is the vocal declamation.

The music, with few exceptions, is perfectly welded to the words of the text with regard to metre, observation of punctuation and emphasis on the right word or syllable. But this love affair is doomed from the beginning, and the cycle traces a progression of regret, pleading, reconciliation and forgiveness. By the final song, the poet is so disconsolate that he prepares to drown his love, his sorrows and his dreams in a coffin in the deep sea.

One can surmise already that the story is filled with repression, frustration, loneliness, bitterness, withdrawal and skeletons in the closet. Haydn was almost fifty before he first turned his attention to song. The reason for this late start is simple: he had had no requests or impetus to write anything of this type. But in he brought out a set of twelve, some of which were expressly meant to show a certain Leopold Hofmann, Kapellmeister at St. A second set of twelve followed a few years later. These early songs in German reflect the simple melodic and harmonic style of the Singspiel German-language stage works with spoken dialogue interspersed with tuneful, folklike songs and are always strophic in design two or more verses set to the same music.

Not until , during his second London visit, did Haydn return to song-writing.

A Day With Robert Schumann | Deep Roots Magazine

Again, he produced twelve this time two sets of six each, published in These are the English Canzonettas. Here the writing is more chromatic, there is more ornamentation, and the emotional range is greater. Orphaned at the age of eleven, Alessandro Stradella went on to lead one of the most colourful lives of any composer who ever lived. He was involved in Mafiaesque schemes, had a reputation for womanizing, got himself wounded by pursuing avengers, and was eventually murdered. In between all this he found time to compose.

In mock-heroic terms, Xerxes, King of Persia addresses an affectionate tribute to the foliage of a plane-tree in the garden of his residence at Abydos, located on the southern shore of the Hellespont. Like Vivaldi, he trained for the priesthood. Rumour has it that he died by poisoning. It is sung by Efestione, a general in the army of Alexander the Great. While many other composers of the mid-twentieth century were jumping on bandwagons, afraid to be left behind by the latest fad, ism or experiment, Samuel Barber remained true to his inner conviction of writing music founded on tonal centers, emotional expression and traditional values.

His music breathes lyricism, heartfelt emotions, nostalgia, and, in some cases, highly dramatic gestures. And draws near, doubled … on our troubled soul. For the Chansons gaillardes , however, he turned to anonymous texts from the seventeenth century. Even the songs about death and fate do not take themselves very seriously. The first is about a fickle mistress, the second is probably the most lugubrious drinking song ever written, the third a paean to a beautiful girl, the fourth a promise to love forever subject to the will of the Fates!

The great French baritone Pierre Bernac gave the first performance on May 2, with the composer at the piano. As Poulenc was a highly accomplished pianist, he wrote lively parts for his instrument. He wrote his first major orchestral work at fourteen premiered by that titan of the podium, Arthur Nikisch, with the Leipzig Gewandhaus Orchestra and two one-act operas at eighteen premiered by Bruno Walter at the Munich State Opera. Initially, the opera was so popular that some eighty theaters produced it.

Paul imagines that the young dancer he has met Marietta is actually the re-embodiment of his late wife Maria. The acting troupe of which Marietta is a member shows up in Act II. Among them is the character Fritz, who plays the role of Pierrot in the troupe. Virtually unique in the annals of opera, it combines low camp with high morals, the comic and the serious, the ridiculous and the sublime, plus generous doses of mischief, satire, theatrical effects, Egyptology and Masonic symbolism in a work of unsurpassed genius. The aria we hear tonight comes from near the end of the opera.

The birdcatcher Papageno, one of the flightiest yet most likeable characters in all opera, is at the end of his rope — literally. He has despaired of ever finding a sweetheart and is about to hang himself. Or so he thinks. I search for powerful, yet intimate drama, based on a conflict of situations which I have experienced and that I feel. It received its first professional production on January 23, a student production had been given two years earlier. Tatiana is in love with Onegin, to whom she pours out her feelings in a long and famous letter.

But the next time they meet, Onegin advises her that he is not the marrying type; he is not even the type for warm affection. It is best that she know this now, he tells her, before any more emotional damage is done. If ever there were a case of art mirroring life, this is it, for less than two months earlier, the composer had found himself in a very similar situation. Tchaikovsky wrote more than one hundred songs spread more or less evenly across his entire creative life, but only a few are well known.

The Op. A young man reflects wistfully on the vision of a beautiful woman he spies in a crowded ballroom. Like Vaughan Williams, Moreno Torroba has a non-hyphenated surname, though one sometimes sees it also spelled with the hyphen. Moreno Torroba made his fame, both as a composer and a conductor, mostly through music for guitar and through zarzuela, the traditional Spanish version of comic opera.