Petersen DMA Document

Russian Repertoire: Developmental Perspectives

D.M.A. Document

A document submitted in partial fulfillment of the requirements for the degree of Doctor

of Musical Arts at The Ohio State University

Katherine Elizabeth Petersen, M.M.

Graduate Program in Music

The Ohio State University

2015

Document Committee:

Scott McCoy, Advisor

Loretta Robinson

Ryan Skinner

Katherine Elizabeth Petersen

2015

Abstract

An examination of almost any university’s collection of programs from past voice recitals would reveal a standard pattern. There may be an aria from oratorio or opera, a set of songs in each the Italian, French, German and English languages and periodically something in Spanish or Latin, but very rarely does an audience have the privilege of listening to songs or a song cycle from the standard Russian repertoire. Furthermore, for all intents and purposes, a standard Russian repertoire does not exist in the United States.

Somehow during the process of recital programming, jury preparation, and song literature course construction, Russian art song gets neglected and left for another time. Certainly, the paucity of Russian repertoire is not due to a lack of appreciation for Russian music; most of the orchestras in the United States program at least one piece by a Russian composer every season. Consequently, almost every musician can name a piece by

Prokofiev, Rachmaninoff, Tchaikovsky, or the members of “The Mighty Handful.” And operatic works including Mussorgsky’s Boris Gudonov and Tchaikovsky’s Eugene

Onegin regularly are heard. But, there is a generation of voice teachers that has limited knowledge of this repertoire and teachers have confined opinions as to how this repertoire should be assigned- perhaps because they were trained during the era of the

Cold War. Not only was it difficult to access manuscripts for Russian music, but it was also taboo to study and/or perform this repertoire. Unfortunately, most teachers assign

ii music with which they are already familiar and that will serve their intended pedagogical purpose; and so Russian repertoire has been ignored. The second reason why this music has yet to be assimilated into the standard vocal repertoire is more obvious: a language barrier. Russian is a difficult language with a completely different alphabet and imprecise application of the International Phonetic Alphabet (IPA). Assigning this music can be difficult and intimidating when the studio teacher is unable to guide pronunciation and language development. Fortunately, there is a growing number of resources to mitigate this process including Emily Olin’s book Singing in Russian and Anton Belov’s website russianartsong.com. Consequently, the purpose of this paper is to acquaint the singer community with Russian music history and to cultivate an appreciation for the repertoire so as to reinstate these songs into the cannon of standard vocal repertoire. Part I of this document looks at the origins and influences of Russian art song and gives a brief narrative of prominent composers’ biographical information and compositional characteristics. Part II gives recommendations for repertoire assignments. Each song included in this section has been subjected to rubric assessment based on the rubrics in

Dr. Christopher Arneson’s book Literature for Teaching: Repertoire for a Developmental

Perspective (2014). The rubric used will provide a guide for difficulty level and notes for specific comments including gender requirements, registration issues, pronunciation caution, and other pedagogical concerns. Part III serves as a quick reference guide for choosing repertoire by listing songs in categories including gender, pedagogic concerns, and subject matter. In addition to the numerous published pronunciation guides and repertoire collections, it is this author’s goal to provide a resource that makes choosing to teach Russian song repertoire less intimidating.

iii

Dedication

Dedicated to the students at The Ohio State University

Acknowledgements

To Ghenady Meirson at The Academy of Vocal Arts,

Thank you for introducing me to this amazing repertoire. I had never felt a truly visceral

connection to art song until I found Rachmaninoff and Rubinstein.

To Scott McCoy at The Ohio State University,

Thank you for the numerous hours spent editing and correcting this document. But more importantly, thank you for all of your time, encouragement, and patience. You helped me

find my voice and reminded me of what a joy it is to sing.

To my mother,

Thank you for the endless encouragement and love. You are my rock.

Vita

2015 Doctor of Musical Arts (ABD) in Voice Performance, The Ohio State University DMA Document: Russian Repertoire: Developmental Perspectives Document Supervisor: Scott McCoy Studies with Scott McCoy, Ryan Behan, and Edward Bak

2013 Certificate, The Russian Opera Workshop in Philadelphia, PA Studies with Ghenady Meirson, Laura Ward and Donald St. Pierre

2011 Master of Music in Voice Pedagogy and Performance, Westminster Choir College MM Document: An Investigation of the Effectiveness of Learning Lyric Diction Rules with the Assistance of Interactive Tutorials Document Supervisor: Scott McCoy Studies with Margaret Cusack and Rochelle Jonck

2009 Bachelor of Music in Voice Performance, State University of New York in Fredonia, NY Studies with Angela Dilkey-Haas

Field of Study

Major Field: Music

TABLE OF CONTENTS Abstract………………………………………………………………………………………….……………ii Dedication…………………………..…………………………………………………………….………….iv Acknowledgements…………….………………………..……………………………………………………v Vita…………………………………………………………………………………………………………..vi

Part One: Historical Perspective………………………………………………………………………….…..1

Part Two: Repertoire Rubrics…………………………………………………………………………….…31 Example 1…………………………………………………………………………………………….……..33 Example 2……………………………………………………………………………………………….…..35 Alyabyev………………………………………………………………………………………………….…38 Balakirev……………………………………………………………………………………………….……50 Borodin………………………………………………………………………………………………….…..60 Cui…………………………………………………………………………………………………….……..69 Dargomyzhsky……………………………………………………………………………………………....77 Glinka……………………………………………………………………………………………………….88 Grachaninov…………………………………………………………………………………………….….101 Medtner………………………………………………………………………………………………….…106 Mussorgsky………………………………………………………………………………………………...112 Prokofiev…………………………………………………………………………………………………...123 Rachmaninoff……………………………………………………………………………………………...128 Rimsky-Korsakov……………………………………………………………………….…………………139 Rubinstein…………………………………………………………………………………………….……146 Tchaikovsky……………………………………………………………………………….……………….156

Part Three: Song Recommendations………………………………………………………………………169 Songs for Lower Level…....……………………………………………………………………...…..……169 Songs for Upper Level….……………………………………………………………………….…………170 Songs for Female Passaggi………………………………………………………………….……………..171 Songs for Male Passaggio………………………………………………………………………….………171 Songs for Breath Management…………………………………………………………………………….172 Songs with Limited Range………………………………………………………………………….……...172

Songs by Theme Love (positive)………………………………………………………….173 Love (negative)…………………………………………………………173 War/Battle………………………………………………………………174 Loneliness………………………………………………………………174 Satire……………………………………………………………………175 Nature…………………………………………………………………...175 Seasons………………………………………………………………….176 Death/loss of a loved one……………………………………………….176

Bibliography………………………………………………………………………………………………177

vii

Part One: Historical Perspective

Scholars agree that the first significant developments of Russian art song appeared during the 18th century. However, the seed was planted during the reign of

Peter the Great (1672-1725) who led a cultural revolution based on the Enlightenment.

The period of the Great Northern War (1700-1721) was particularly important because

Tsar Peter made significant reforms to the church including a law that prevented any man from joining the clergy before age 50 (Dmytryshyn, 1974, p.10-11). Thus began the diminishment of the church’s role in society, which had irreparable effects on the subjects of art in the centuries to follow. With the reign of Empress Elizabeth (1741-1761) the cultural expansion and Westernization of Russia endured (Ivezić, 1997, p.22). This period is particularly significant for art song development due to the availability of Western

European models, specifically Italian opera, which was favored by Elizabeth. Influences shifted slightly during the reign of Catherine the Great (1762-1796) who aspired to the efforts of Peter the Great and brought Russia into its Golden Age (Lentin, 1973, p.1).

Catherine favored French music to the point that she featured a French opera company at court directed by Jean-Pierre Renaud (Ivezić, 1997, p.22).

Strong elements of Italian and French music are found in the Russian songs from this period for two reasons. The first is that the premier composers of Russian songs were in fact foreign musicians hired to serve the Russian court through the composition and staging of European operas. These foreign composers became “acquainted with the folk

song, either through contact with their subordinates, mostly serf musicians and singers or through accidental contact with folk life” (Findeisen, 1993, p.8). Predictably, these composers were intrigued by the exotic qualities of the Russian folk songs and began to incorporate these characteristics within standardized Western European models. As they grew in popularity, these songs were played not only in the drawing rooms of the growing middle class, but also were featured in the concert halls of the elites. Hence, the second reason for the strong Western European influence: early Russian composers modeled their own songs after these pieces. Unfortunately, problems arose in that the

French and Italian composers were poor imitators of Russian folk elements and the

Russian composers had yet to mature artistically. As a result, the onset of this era, which commonly is referred to as the first period in Russian art song, is riddled with songs lacking harmonic interest, declamatory integrity, and genuine nationalistic character

(Findeisen, 1993, p.14). Fortunately, as the music education of the native Russians continued, so too did the sophistication of their compositions.

The literature refers to the composers from this era as dilettantes, as they were recreational musicians with limited music education. They maintained a love for folk songs and continued to publish arrangements in collections for mass consumption. More often than not, there were problems with adapting folk songs to Western European constraints. Russian folk songs exhibited flexible melodic systems that seemed resistant to the European statutes of scale, tonality, and harmonic progression and their natural folk rhythms seemed inhibited by common Western European time signatures.

Regardless, Russia experienced an increase in the publications of folk song collections, such as Trotovsky’s 1776 volume entitled A Collection of Russian Simple Songs with

Music (volume 1 of 4) (Ivezić, 1997, p.18). Other notable champions of folk song from this era were Lvov and Prach whose “collaborative effort would become a reference point for numerous composers in varying genres well into the 19th century” (Ivezić, 1997, p.18). Lvov viewed folk songs as a national treasure, releasing a collection with Prach in

1790. With these songs, Russian composers educated the public and exposed them to native songs that fostered the enthusiasm for nationalism that in turn allowed foreign composers to lose importance.

Simultaneously, there was a growing interest in songs set to Russian poetry, but not of folk origin. Toward the end of the 18th century, Meier released a collection of music set to Russian sentimental poetry titled The Best Russian Songs of 1781-85 (Ivezić,

1997, p.12). These simple songs were set to the maudlin poetry of the day and exploited the couplet form that had become solidly established. Characteristically, these songs were

“performed with considerable affectation and with an almost constant alternation of dynamics” (Findeisen, 1993, p.14). It also was during this period that Russian songs experienced a bifurcation of identity. Briefly, Russians used the term Rossiiskaia pesnia to differentiate their sentimental/non-folk Russian songs from those Western European compositions that featured Russian poetry. As travel became more accessible, cities like

Moscow and St. Petersburg became a juncture for the exchange of rural and urban songs, allowing for a unique integration of traditional and modern styles (Ivezić, 1997, p.14).

However, by the end of the 18th century the French romance was such a popular genre in

Russia that its qualities became synonymous with the Rossiiskaia pesnia, and the genre was given the title Russian romance. The title “Russian song” was reserved for pieces whose melodies were associated with folk music and culture, while the new romance

underwent significant development. The role of poetry began to shift within the genre as well. Previously, it was not uncommon for composers to set translations of foreign texts or adaptations of folk poems. However, Peter the Great’s earlier reforms to the church lessened its significance among the citizens of Russia (Dmytryshyn, 1974, p.10-11). As a result, fewer artists chose sacred subjects as their topics and wrote, painted, or created in the name of more secular themes of love, intimacy, loneliness, or dissatisfaction with oneself and the world. With the publications from that time we can see that “Russian poetry became important to composers who were turning to vernacular works over the more popular foreign texts. Fueled by increased nationalism and an intense desire to express one’s surroundings and existence in Russian art at the time, a new lineage of

Russian poets was born” (Ivezić, 1997, p.35).

Moving into the 19th century, the Russian song and Russian romance were the two most popular forms of vocal repertoire dominating the salons of the ever-increasing

Russian middle class. Titov and Glinka are often considered the founders of Russian art song, but it is clear that they were only continuing the compositional techniques of

Ferdinand Dietz, Iosif Kozlowsky, Aleksey Zhilin, and Danilo Kashin (Findeisen, 1993, p.10). These and other composers exemplify the age of the dilettante in which affluent men with limited music education prolifically composed enjoyable songs for performance at home and during parties. These composers continued to set sentimental poetry in uncomplicated forms including strophic or couplet forms, completely missing the essence of Russian life and emotions. This compositional trend faded as composers like Titov and

Glinka began to experiment with new expressional devices. Some consider Nikolay Titov the “grandfather” of Russian art song, while it is more appropriate to call him the most

widely popular of the dilettantes (Findeisen, 1993, p.18). His first published song, “The

Pine Tree,” was released nearly 30 years after the appearance of the first romances, indicating that he was not the creator of the genre. However, with over 60 published romances, he was the first of the dilettantes to experience success outside of his own city and musical circle. Some of his most notable romances include “Cruel, but dear friend”

(Коварный друг), “The Icon-lamp” (Лампада), “Frenzy” (Исступление), and “Oh, you should know, good people” (Ах! поведайте, люди добрые). In his songs, you will notice a pervading sentimental quality that is achieved through the use of simple and tender melodies. What kept him in the realm of the dilettantes were his clumsy prosody, monotonous melodies, uninspired use of harmony, and banal accompaniments set only to support the singer (see the figure below, the first three measures of Titov’s “The Pine

Tree,” public domain). “Though Titov lacked formal musical training, his study of works written by other composers combined with advice from fellow musicians, particularly

Glinka and Dargomyzhsky, enabled him to compose 60 songs” (Ivezić, 1997, p.42). He was also highly influenced by French song and poetry and frequently composed in the style of Boieldieu.

Other important composers from this period include Aleksandr Gurilev, whose more than 200 songs generally are melancholy and sincere, and Aleksey Verstovsky, whose most famous song, “The Black Shawl,” (Чёрная шаль) exemplifies his characteristic adherence to form and drama. Other contemporaries include Danilo Kashin and Aleksandr Varlamov. Kashin’s influence was important because he was “one of the first kapellmeisters to conduct Italian opera in Moscow” (Findeisen, 1993, p.12). This experience is evident in his 250 songs, which feature beautiful melodies appropriate for salons or concert halls. Varlamov wrote over 225 works for solo voice including songs, ballads, and romances that incorporate a wide range of musical expression. His need for a variety of genres is related to the wide range of poetry that he set. He favored Russian poets and so featured the works of Lermontov, Koltsov, and Tsygarov. He was a renowned singer and voice teacher and his music is characterized by a “richness of melody, influenced by folk music and the music of gypsies” (Ivezić, 1997, p.37). His most famous song “The Red Scarf” (Красный сарафан) employs folk themes, a speech like melody, and shifting tonality between the tonic and its relative minor.

The last of the dilettantes was Aleksandr Alyabyev (1787-1851), whose vocal compositions bridge the gap between the earliest attempts at Rossiiskaia pesnia and the romances of Glinka and Dargomyzhsky. His music bears a Western European stamp and exhibits qualities of contemporary German Lieder. His songs are also the first from a

Russian composer to exhibit a predisposition toward Romanticism. With his songs, we begin to see increasingly successful attempts at text painting and more variety in his accompaniments. The harmonic interest of his romances is derived from frequent shifting of musical mode through alternation of relative major and minor keys, a characteristic use

of augmented seconds, and Weber-like septechords that give his music the idiomatic sonorities associated with Russian harmonies and Orientalism. His musical training began at a young age in the form of piano lessons with John Field. However, his compositional technique was given time to mature during his years of incarceration and exile (Findeisen, 1993, p.20). He was accused of killing a man in a card game and was promptly sent to prison in 1825 for three years and then exiled to Siberia, until he was given permission to return home to Moscow in 1843. Upon his return home, he became well acquainted with Dargomyzhsky, whose salons and circle of musicians provided a forum for Alyabyev’s music. However, his compositional style and predisposition toward themes of loneliness, separation, and homesickness already were well established.

His most famous song, “The Nightingale,” (Соловей) was written in 1826 during his period of incarceration and was not published until 1831. Its popularity has persisted as one of the songs often interpolated into Rossini’s Il Barbieri di Siviglia, sung by

Rosina during the voice lesson scene. As with most of his songs, the subject is isolation and the shifting emotions of the poem are illustrated by shifting tonalities and quick rhythmic changes. Some of his other more famous songs utilizing text painting include

“The Council” (Совет), “Wintry Road” (Зимняя дорога) and “Irtysh” (Иртыш).

Alyabyev’s contemporary Mikhail Glinka (1804-1857) was given slight advantage over his colleagues in regard to musical training. As a child, not only was he familiar with the complicated folk music of his hometown Novospakoe, but he also grew up listening to the family’s serf orchestra play a variety of Western European compositions (Findeisen, 1993, p.30). Glinka’s music also bears the stamp of a composer who repeatedly traveled abroad. In Berlin, he studied theory and composition with Z.

Dehn, and in Italy, he studied voice with Belloli. A melodic sensitivity to the strengths and limitations of the human voice became hallmarks of Glinka’s vocal music (Ivezić,

1997, p.58). Between 1824 and 1857, he wrote over 80 songs for solo voice, and numerous operas including A Life for the Tsar, which was completed after his first trip abroad and earned him the title of “both the father of the Russian Romance and the founder of Russian opera” (Cui, 1993, p.3).

Glinka also travelled widely throughout Russia, participating in the salons of various dilettantes. These encounters became critical to his development, providing exposure to a variety of artists, musicians, and poets, many of whose poems he eventually would set to music. These salons also were a regular venue for his music to be performed, praised and criticized. Cui denounced his early compositions as “primitively simple, lacking originality and interest” (Cui, 1993, p.4). However, the songs of his mature period (1830-1856) display considerable development from his first published song “My

Harp” (Моя арфа) (Ivezić, 1997, p.61). His sophisticated music is characterized by generous use of chromaticism, which is used to create expressive melodies and abrupt shifts in tonality. He incorporated foreign musical styles, such as mazurkas, boleros, and barcarolles, which manifested in more rhythmic variety in his music. Most importantly, he insisted on the fusion of text and music. Not only did he use harmony and rhythm for new text painting gestures, but it is with Glinka that we “first encounter inclinations toward artistic declamation, a tendency which we later find developed to a high degree in

Dargomyzhsky and Mussorgsky” (Findeisen, 1993, p.34). Unfortunately, he often distorted the poem, disregarding its original form and altering it at will in his attempt to achieve high quality declamation. Some of his most notable songs are “I Love Thee, Dear

Rose” (Люблю тебя, милая роза), known for its hint at romantic harmonies, “Midnight

Review” (Ночной смотр), a ballad that requires considerable declamatory and dramatic commitment from its musicians, and “The Lark” (Жаворонок), the most popular from his Farewell to St. Petersburg songs. Though Glinka’s compositions were not always more sophisticated those of his contemporaries, his songs as a whole are characterized by melodies exhibiting greater freedom, ease, and flexibility, an advanced use of chromaticism, and a commitment to accuracy of declamation that inspired the rise of the

Russian art song (Ivezić, 1997, p.85).

Aleksandr Dargomyzhsky (1813-1869) was a friend and colleague of Glinka, and his songs are similarly forgotten or disregarded by most current singers, teachers, and scholars. It is evident from their music that Glinka had the greater sense of musicality and beauty, but Dargomyzhsky’s evolutionary sense of poetry and declamation became the model on which most subsequent composers created their own songs. Dargomyzhsky published over 100 songs for voice and piano throughout his three compositional periods, which, like Glinka’s, correspond with his trips abroad. His commitment to accurate declamation can be traced back to the French education he received as a child. He loved the French language, literature, and music, especially the mélodie for its “suppleness and expressiveness of the vocal line” (Findeisen, 1993, 38). Consequently, the expressivity of Dargomyzhsky’s music is found in delivery of the text rather than lyrical vocal melodies. His respect for poetic forms inspired his use of a variety of compositional forms; because of this, his solo vocal output also includes lullabies, elegies, and folk songs, along with his 54 romances.

His obsession with poetry caused Dargomyzhsky to be selective when choosing poems and to be sensitive to the union of music and text, fostering the maturation of

Russia’s declamatory style. However, this was not his only contribution; his music also contains innovative harmonies and abruptly shifting tonal centers, which serve to assimilate emotion and music. His contributions to melodic development are distinct, not in that he found new ways to create beautiful vaulted melodies, in fact just the opposite.

His preference for a declamatory style inspired recitative-like passages whose brilliance often manifests in short, succinct, phrases. His melodies render strength, expressivity, and passion in his less-regular and freer forms (Cui, 1993, pp.14-17). A charming example of this can be found in the song from his first compositional period “I am in love, beautiful maiden” (Влюблён я, дева-красота), which ends with a sense of breathlessness as the singer urges with short, ascending phrases that the beautiful maiden give her breath to him. Other songs from his first period feature dense accompaniments, experimental forms, and a union of text and music achieved “through the use of an active harmonic rhythm and frequent modulations to related and non-related tonal centers” (Ivezić, 1997, p.88).

His second compositional period, which began in 1845, is marked by a return from his first trip abroad. Continuing his commitment to poetry, Dargomyzhsky began to produce more through composed solo-vocal works that resembled lyric monologues rather than songs. His 23 romances from this period set mostly Pushkin texts concerning love and Russian folklore, utilizing unpredictable chromaticism to better represent the texts’ underlying meanings. One rhythmic gesture that occurs frequently during this period is the militaristic motive, notated as a quarter-dotted eighth-sixteenth note pattern.

He uses this to convey threatening circumstances, confrontation of death or to emphasize a tense mood (Ivezić, 1997, p.125). In his 1851 song “The Miller” (Мельник), he uses an inverted version of that motive to convey the headstrong, yet drunk male character in confrontation with his wife who is depicted by frantic 16th note passages in the treble piano.

During his third and final period beginning in 1857, Dargomyzhsky produced several vocal works, but only 12 actual romances. Many of his best works for solo voice were written during this period and are characterized by “deep feeling and incurable, often repressed sorrow” (Cui, 1993, 14). At the same time, he was able to produce songs with comedic content as well. The most famous of these is his “Worm” (Червяк) published in 1858. This song is set in Dargomyzhsky’s customary declamatory style with a mostly strophic melody and a through-composed accompaniment that serve to convey the character’s unfaltering stubborn blindness to the barrage of men that he and his wife encounter.

Dargomyzhsky’s third period also represents a time during which he was surrounded by a younger generation of composers who were split into factions, trying to improve Russia’s appreciation of music in two distinct ways.

“Instead of cooperating, these representatives divided up into circles and camps,

enticing others to join them. They proved completely incapable of recognizing

that they were all striving toward the same worthy goal, the establishment of new

and truly artistic principals in Russian music” (Findeisen, 1993, p.59).

Critics like Aleksandr Serov and Vladimir Stasov drew the proverbial battle lines between the two major coalitions. A group of classicists, led by Anton Rubinstein was

interested in developing Russia’s music education while the New Russian School, led by

Mily Balakirev, was striving for distinctly Russian nationalistic music. The members of the New Russian School would serve as a bridge between Glinka and the composers of the 20th century.

Anton Rubinstein (1829-1894) led the conservative school in Russian music that also included Karl Davydov (1838-1889), Eduard Napravnik (1839-1916), and Genary

Korganov (1858-1890). Both Napravnik and Korganov were conservatory trained and their compositions contain Western European characteristics, but neither was able to emulate Rubinstein’s beauty in song. Davydov’s 25 songs experienced slightly more popularity, but he is mostly remembered for his violincello compositions. Regardless, his romances contain an innate beauty, characterized by vaulted melodies with large intervallic leaps, and harmonic restlessness with incessant modulations and chromatic turns (Cui, 1993, p.85). What is unfortunate about his vocal music is his frequent disregard for poetry, ignoring form and word stress. His romances are characterized by beautiful cello-like melodies constructed with no regard for the text being set.

Unfortunately, sheet music for his solo voice compositions is rare in the United States.

Anton Rubinstein is best remembered for his reputation as a conductor and for his beautiful performances on and compositions for the piano. His nearly 200 songs for solo voice are characteristically Western European and lyrical, including songs written to texts not only in Russian, but also in English, Italian, German, and French (Cui, 1993, p.29). In fact, Rubinstein “often reminds one of Schubert with his cheerfulness and enthusiasm, but more often he resembles Mendelssohn—refined and melancholy, but sometimes even monotonous and boring” (Findeisen, 1993, p.52). Part of this influence comes from his

early experiences as a musician; he began piano lessons with his mother, herself an accomplished pianist, at the age of 5. He and his brother Nikolai showed prodigious musicianship, and much of their childhood was spent on concert tours throughout

Western Europe. It was during this time that he became acquainted with Chopin, Liszt,

Mendelssohn, and Meyerbeer and received composition and theory lessons from Dehn

(Oron, 2007). It was also during this time that Rubinstein learned to love Western

European music and Western Europeans grew to love his performances. He earned an international reputation as a virtuosic performer and a deeply expressive composer.

In his solo vocal works, the accompaniments are more varied than those by

Glinka and Dargomyzhsky, but often contain the simple, undulating arpeggios utilized by his predecessors (Findeisen, 1993, p.53). What is interesting about his accompaniments is the frequent use of incomplete harmonizations in the keyboard, allowing the vocal line to complete the chord. More often than not, this promotes the vocal line and sustains an independence between the voice and piano. However, the discrepancy of timbre sometimes leaves the harmony to feel incomplete or impoverished (Cui, 1993, p.26).

Critics of his vocal music also complained about his regard for poetry. As a lover of

Classical instrumental music, he strove to impart on his vocal music square and symmetrical forms, usually at the cost of the meter and form of the poem. His insistence on musical, rather than poetic form causes awkward breaks in the text that go so far as to obscure the poems’ original meanings. His greatest redeeming compositional quality is his innate sense of Orientalism, which resulted from his frequent visits to the Caucasus region where he was exposed to entirely different elements of folk music (Findeisen,

1993, p.54). In his 12 Persian Love Songs, original folk melodies are refined into some of

Rubinstein's greatest vocal achievements. His lilting and melismatic melodies maintain their characteristic form and exotic augmented seconds, while the rhythmic integrity is achieved through the use of triplets.

Despite his prolific output, Rubinstein’s greatest legacy in the Russian musical community is the Russian Musical Society, founded in 1859 with the Grand Duchess

Elena Pavlovna. The international reputation that he developed during his Western

European concert tours, earned him the audience of the Grand Duchess and the two founded an institution with the intention of building a stronger classical music culture in

Russia. They hoped this institution would allow for increasing numbers of native composers and musicians to perform at a high enough level to attain international regard

(Warrack, 1973, p.36). The establishment offered music lessons (at a small fee) for non- aristocratic Russians, and frequent concerts featuring music by native Russians and

Western Europeans. With Rubinstein conducting and his friends Aleksandr

Dargomyzhsky and Dmitri Stasov on the board of directors, the Russian Musical Society

“finally opened its first season in November 1859 with a series of ten symphonic concerts in the Hall of the Assembly of the Nobles” (Walsh, 2013, p.69). Enthusiasm for the

Russian Musical Society eventually led to the establishment of the St. Petersburg and

Moscow conservatories.

The Russian Musical Society’s choice of repertoire often was a source of contention between Rubinstein’s conservative school and Balakirev’s Mighty Handful.

Although Rubinstein frequently programmed the works of native composers, Balakirev and his faction did not think that Rubinstein was doing enough to promote Russian music. He despised the fact that Rubinstein continued to feature German composers and

felt as though he was polluting the innate compositional tendencies of Russian composers with Western European expectations. As a matter of fact, Balakirev tried to assume the position of conductor for the Russian Musical Society when Rubinstein stepped down, but he was sorely disappointed when the Grand Duchess insisted that he share the podium with foreign dignitaries (Walsh, 2013, pp.180-181). His short stint ended in 1869 when he was dismissed and replaced by Eduard Napravnik, the Czech-born composer committed to the conservative school of composition.

Although Balakirev (1837-1910) openly and frequently criticized Rubinstein’s conservatory and didactic approach to composition, he did indeed open his own Free

Music School in 1862 (Walsh, 2013, p.74). The music sessions were entirely free and much of the education and concert repertoire was focused on choral music. “The Free

Music School styled itself as the promoter of a distinctly Russian national tradition, unfettered by aristocratic or Western European tastes” (Janick, 2005, p.90). Although

Balakirev’s primary interest was orchestral works, his partner Lomkin’s primary objective was to find a distinctly Russian nationalistic sound through the cultivation of the oldest music tradition in the country, choral singing (Walsh, 2013, p.73).

As a composer and teacher, Balakirev strove to cultivate the raw musical impulses that led to a characteristically Russian nationalistic sound. Those composers whom he guided became known by many titles including The New Russian School,

Moguchkaya Kuchka, and The Mighty Handful. Their compositional style was derived from folk forms and village songs, juxtaposing peasant sonorities with urban harmonic devices. With this movement came the rejuvenation in the appreciation for folk songs.

The New Russian School continued to use Western European notation, but only to

capture the elusive tonal mutability of village songs (Findeisen, 1993, p.64). This also led to the frequent incorporation of parallel fifths, fourths, and thirds, and whole tone, pentatonic, diminished, and octatonic scales. Similarly, they often insisted on shifting, uncommon meters (i.e. 5/4, 7/4, 6/4) to maintain the integrity of declamation in their songs (Taurskin, 200, p.138). Consequently, the “small circle of talented youth, trained in the spirit of [their] national artistic traditions must by rights, be considered the successors to Glinka and Dargomyzhsky” (Findeisen, 1993, p.46). Their fear of the banal emerged in an era of blossoming nationalism and artistic consciousness, leading to a style characterized by harmonic curiosity and directness of expression.

In Balakirev’s music, especially his songs, one sees a continuation of the principals of Glinka. His harmonies and declamation reflect the care and precision idiomatic of the so called “Father” of Russian art song. Unfortunately, it was this precision that caused some to criticize his music as “cold, just like the most accurate and refined water color” (Findeisen, 1993, p.63). He was also slow at completing compositions, resulting in a limited output of less than fifty songs. Balakirev was born into poverty and was never able to bring himself into prosperity. His official education was in Mathematics, but his music education began with piano lessons at the age of four.

During his mid-teens, he studied with Karl Eisrach and was awarded certain conducting and performance opportunities such as conducting a performance of Mozart’s Requiem at age 14 (Campbell, 2015b). An exposure to works by Mozart, Beethoven, Chopin, Glinka, and many other great composers supplemented his lack of formal music education.

Virtuosic piano skills are displayed in his song accompaniments that are like elegant orchestral reductions. His colleague Cui claims that Balakirev “completed the

development of the Romance, having beautified it with charming arabesque accompaniments written with a great knowledge of piano technique and the potential of the instrument” (Cui, 1993, p.35). In fact, Balakirev’s accompaniments are quite often complicated and difficult, insisting on their own significance in relation to the vocal line.

It is finally with this equality of piano and voice that Balakirev maintains a congruity between words, music, and emotion. A few examples of his ability to synthesize words and music can be found in “Barcarolle” (Баркарола) and “Song of the Golden Fish”

(Песня золотой рыбки).

Cesar Cui (1835-1918) was another composer in the New Russian School who was known less for his music and more for his criticism. Like Balakirev, Cui received piano lessons as a child and was forced to enter the education system in the pursuit of a financially stable career. After studying engineering, he joined the Russian Imperial

Army, but never abandoned his love of music. Other than piano lessons, his music education was supplemented with music theory lessons from the Polish composer,

Stanislaw Moniuszko (Norris, 2015). Despite his staunch criticism of Rubinstein’s and

Tchaikovsky’s Western European classicism, Cui’s own songs “scarcely step outside the range of the conventional drawing-room romance; and the rare instances of harmonic daring are apt… to look like poor judgment rather than an adventurous mind” (Walsh,

2013, p.322). He was a composer committed to poetry and form and is renowned for his cult like devotion to declamation. As a result, his songs often appear formulaic, unimpassioned, and possessing the refined lyricism of the French romance (Findeisen,

1993, p.76). Despite his prolific output, few of his songs are performed with any frequency, perhaps because few of them possess qualities of interest beyond their initial

charm. Other than his settings of French poetry, his most beautiful music is found in his

Opus 57, 25 Pushkin Songs and his “Bolero,” which is dedicated to the coloratura soprano Marcella Sembrich (Cui, 1881, p.1). As with most of his music, this song exhibits chamber-like qualities, even with full orchestration (Findeisen, 1993, p.75).

One of the most famous composers of the New Russian School is Modest

Mussorgsky (1839-1881), who also began his musical education at the piano as a young boy. To earn an income, he maintained a career as a civil servant, but Balakirev took

Mussorgsky under his compositional wing in the late 1850’s. Like Glinka, Mussorgsky was a skilled baritone and was highly regarded for his emotive vocal acting (Oldani,

2015). This is evident in his songs, which fluidly link graceful lyricism with

Dargomyzhsky-like commitment to declamation. He was a steward of poetry, not only respectfully setting the poems of others, but often setting much of his own poetry. He rarely hesitated to adapt musical form or use unbalanced meter to suit the poem, sometimes resulting in strange or awkward settings (Cui, 1993, p.46). Harmonically,

Mussorgsky’s technical shortcomings and lack of education become more obvious. It seems true that his lack of education left him “less indoctrinated with the virtues of good practice and [he] was more prepared to trust his own ear and his own hands on the keyboard” (Walsh, 2013, p.303). Consequently his music, though beautiful may often feel harsh, angular, unnatural and monotonous due to his inability to unite chords or small phrases (Findeisen, 1993, p.67).

In regard to subject matter, Mussorgsky favored themes of childhood and peasant life, exploiting youth’s naïveté or the inconsolable grief from the villages. “Not surprisingly, he found the rough and ragged types, the dirty children and gnarled

workers… more interesting and amusing as artistic subject matter than the comfortable bourgeoise and minor aristocracy” (Walsh, 2013, p.160). More importantly, these imperfect subjects seem better suited for his inherent ability to depict exaggerated realism. Mussorgsky’s nearly sixty songs are of a strange and fantastical nature, but it is because he is able to portray the unbalanced and unpredictable fantasy of his characters’ real lives. An example of this is seen in his “Magpie” (Стрекотунья белобока), which was written in the summer of 1867 and is a setting of two short Pushkin poems. There is something endearing about how Mussorgsky is able to juxtapose the sacred with the profane in this strange little song. By setting the Magpie’s chatter to a motive that resembles tolling church bells, the composer conveys what Walsh refers to as the

“definition of folk wisdom” (2013, p.185). His depiction of a child’s world reached its pinnacle with his cycle The Nursery (Dechkaya). Music historian Stephen Walsh indicates in his book Mussorgsky and His Circle (2013) that Mussorgsky had a fondness for and comfortability around children that he was never able to achieve in the presence of the judgmental members of the aristocracy (Walsh, 2013, p.195). His sensitivity toward declamation and the sanctity of childhood are delicately conveyed in this cycle.

The Mighty Handful composer most noted for his depictions of dream-like fantasy was Aleksandr Borodin (1833-1887) who published only sixteen songs. This penurious output was partially due to his devotion to scientific research (Findeisen, 1993, p.70). As a chemistry professor, he seldom prioritized time for composition and when he did, it was an intellectually intensive endeavor fraught with specific compositional choices. His declamation is considered by many to be faultless (Findeisen, 1993, p.71), keeping in mind that he often set his own poetry so as to avoid having to adhere to some

else’s form and syllabic stress. Like Mussorgsky, Borodin is able to convey the mystery and authenticity of folk life through subjects of fantasy and unresolved curious harmonies. Furthermore, the way in which he is able to juxtapose nervous dissonances with lyrical elegance makes Borodin’s music immediately recognizable (Findeisen, 1993, p.71). His most frequent compositional devices include the “distinctive use of the interval of the second; short little chromatic figures, organ points [and] basses which move by a leap” (Campbell, 2003, p.105).

Despite his lack of musical training, Borodin’s accompaniments often resemble those of Schumann in their graceful melodic lines, colorful harmonies, and rich textures

(Oldani, 2015). Examples of this can be seen in his most famous song “The Sleeping

Princess” (Спящая княжна) and “The Song of the Dark Forest” (Песня тёмного леса).

In both of these folk tales, Borodin elicits a dream like state through pedal-points, whole tone scales, and undulating unresolved major seconds. Their folk-like and fantastic nature balances Borodin’s more refined songs including “The False Note” (Фальшивая нота) and “The Sea” (Море).

The youngest member of the New Russian School was Rimsky-Korsakov

(1844-1908) whose sense of harmony was the most advanced and played a key role in developing a national Russian sound. Rimsky-Korsakov credited his piano teacher

Feodor Kanille with inspiring his love for music, and it actually was Kanille who introduced Rimsky-Korsakov to Balakirev in November 1861 (Humphreys, 2015). A long time member of the Russian Imperial Navy, Rimsky-Korsakov continued to compose throughout his life publishing over seventy romances. Balakirev and the other members of the Kuchka influenced him, but his music also bares the influence of Berlioz,

Respighi, Debussy, and Liszt. In fact, according to Rimsky-Korsakov “the variations on

Sadko’s song and his gusli dance melody, which become wilder and wilder as they depict the growing storm, arose partly under the influence of certain passages in Liszt’s

Mephisto Waltz, while the earlier section contains echoes of the waltz in both harmony and figuration” (Abraham, 1939, p.85). In his songs, his natural sense of form is often derived from the poems he sets, though he tended to favor classical forms more so than the other members of the New Russian School (Findeisen, 1993, p.81).

Rimsky-Korsakov was a classicist at heart and when he was appointed to teach at the St. Petersburg Conservatory in 1871, Russia’s two opposing schools of composition began their reconciliation (Humphreys, et. al., 2015). Though Rimsky-

Korsakov’s music contains many Western Classical qualities, predominantly an obsession with correct form, it is the harmonic sonorities that provide the nationalistic flare. His romances tend to be short, but detailed masterpieces incorporating a wealth of color and themes, often built on a whole-tone scale. Some of his greatest examples include “The Rose and the Enslaved Nightingale” (Пленившись розой, соловей) and

“Night” (Ночь). According to Cui, “Night” is one his Rimsky-Korsakov’s “most charming tonal landscapes, having as its advantage over landscapes in oil the fact that not only one scene, but a whole series of them can be depicted” (Cui, 1993, p.80). He uses a series of tremolos and arpeggios throughout the piano to illustrate the towering oaks and babbling brooks depicted in the poem. In “The Rose and the Enslaved Nightingale,” his use of the whole-tone scale creates an exotically haunting melody delivered by the enslaved nightingale.

Tchaikovsky (1840-1893) was not a member of the Mighty Handful, but he became a close friend and colleague with most of the members of Balakirev’s circle later in life. Like most of his colleagues, his music education began at home as a child, but even though he showed great promise as a composer and musician, he was sent off to St.

Petersburg to train as a civil servant. His time in St. Petersburg was critical to his musical development as his regular concert attendance exposed him to works by Mozart, Rossini,

Bellini, Verdi, and others (Wiley, 2015). He continued to take private lessons with

Rudolf Küdinger and acquainted himself with the Russian Musical Society, eventually becoming a member of the St. Petersburg Conservatory’s premiere class when it opened in 1862 (Wiley, 2015).

Tchaikovsky’s compositional style is unique in that it sounds neither predominantly Russian nor Western European, and includes strong elements of classicism resulting from his conservatory training that guided his senses of organization and structure. However, his harmonic sonorities and orchestral textures are Russian in nature. He balanced opposing nationalities in such a way that “Tchaikovsky was one of those fortunate artists whose individuality is so natural that they never have to think about it. The Kuchka’s perpetual agonizing about style and methodology was alien to him”

(Walsh, 2013, p.210). Tchaikovsky avoided the Kuchka’s influence for the better part of his career as he was offered a job at the Moscow Conservatory in 1866 after graduating in

St. Petersburg in 1865 (Walsh, 2013, p.209).

The three criticisms associated with Tchaikovsky's songs are the condescending treatment of poetry, the incorporation of drawn out postludes, and a pervading sad lyricism. The mournfulness of his work is a consequence of his own emotional instability

caused by several traumatic life events. The death of his mother, his failed marriage and struggles with homosexuality are just a few of the crises that left him riddled with the depression and anxiety that translated into songs that are sometimes inadvertently mournful and unbalanced (Wiley, 2015). Many critics believe that his disproportionality is also represented by prolonged and self-indulgent postludes that often “do not complete the mood of the song as we see in the few great postludes of lieder by Schumann.

Tchaikovsky simply drags out the romance, repeating the introduction and melodic line, or giving it a completely unnecessary coda” (Findeisen, 1993, p.86). Part of this is due to the fact that Tchaikovsky placed a premium on music and had little regard for poems.

More often than not, it was his aim to drop poems into music already written (Cui 1993, p.61). This was of course problematic when one considers form, pronunciation, and syllabic stress and so the composer did not hesitate to adapt poems to suit his music.

However in order to absolve himself from guilt, Tchaikovsky tended to choose as his subjects poorly written poems from lesser known poets (Cui, 1993, p.62).

Regardless, Tchaikovsky’s melodies are singable and well written and are some of the better known in the Russia repertoire. Some of his best songs were written in the period preceding the release of his opera Eugene Onegin. These include “We Have Not

Far to Walk” (Не долго нам гулять), “It Happened in the Early Spring” (То было

раннею весной) and “The Darkness Fell Upon the Earth” (На землю сумрак пал).

Another significant collection is his 16 Songs for Children, opus 54. Tchaikovsky intended for these endearing songs to be sung to children, unlike Mussorgsky’s cycle The

Nursery (Abraham, 1960, p.367).

During the approximate 200 years between the reign of Peter the Great and the turn of the 20th century, Russian culture experienced rapid and significant growth in every aspect of the creative and performing arts. “The mood at the turn of the century was one of anticipation of innovation and expectancy of great, new strides in the cultural domain” (Evans, 1971, p.7). Unfortunately, anticipation turned to fear as the threats of domestic revolutions and World War I began to materialize. For the 20th century,

Russia’s artistic community struggled to find its voice amongst events like the Bloody

Sunday Massacre of 1905, 2 world wars, the shifting regimes of Lenin, Stalin and

Kruschev, and cultural decrees like the Zhdavoschina Doctrine of 1946. It is no surprise then that later composers like Prokofiev and Shostakovich lived their lives overwhelmed with anxiety at having to stifle their own compositional voices so as to comply with the government’s agenda.

Sergei Rachmaninoff (1873-1943) was the youngest of these 20th century composers, but had a significant amount of influence over those who followed him. He began his formal music education at the St. Petersburg Conservatory and finished at the

Moscow Conservatory, providing him with a wide range of teachers including

Rubinstein, Tchaikovsky, and Taneyev (Norris, 2015). He was an outstanding pianist, which allowed him to make most of his income performing, and his adult life was inundated with exhausting performance tours throughout Russia and Europe with his first trip to America occurring in 1909 (Norris, 2015). He left Russia permanently in 1917 during the aftermath of the Bolshevik Revolution, settling in Hollywood, California, not long after World War I. Most of the Rachmaninoff family’s material resources were destroyed during the 1917 revolution and the family was unable to salvage what was left.

As a result, Rachmaninoff continued performing to make money for his family and left composition for the rare moments when he could avoid concertizing.

The nomadic life of the expatriate was hard on Rachmaninoff and his compositional output suffered. All of his romances were written before his permanent migration from Russia, the last being Opus 38, written in 1916. All five songs are settings of symbolist poems and one can hear that he was “concerned less with pure melody than with coloring and his almost impressionistic style perfectly matches the symbolists’ mellifluous, elusive poetry in its translucent piano writing, constantly fluctuating rhythms and ambiguous harmonies” (Norris, 2015). His other great songs can be found in opuses

4, 8, and 12. Opus 4 features broad lyrical themes and intricate contrapuntal passages.

One of his most popular song is Opus 14, number 11 “Spring Waters” (Весенние воды) which features his idiomatic piano writing and vaulted melodies.

It should be noted that there were several other composers from this period who wrote beautiful music for the voice, but their popularity was not equal to their profligacy.

Sergei Lyapunov (1859-1924) collected, harmonized, and published 300 folk songs.

Sergei Taneyev (1856-1915) was a professor at the Moscow Conservatory and published

39 romances. Aleksandr Glazunov (1856-1936) wrote nearly 30 songs in the style of the

The Mighty Handful, but played a more important role as Shostakovich’s teacher, while reconciling cosmopolitanism and nationalism in Russian music (Schwarz, 2015).

The works of Aleksandr Grechaninov (1864-1956) and Nikolai Medtner (1879-

1951) were slightly more popular. Grechaninov wrote 250 songs, showing significant influence from Rimsky-Korsakov and Debussy (Barsova, 2015). He was trained at the

Moscow and St. Petersburg Conservatories and eventually worked for the T. Berkman

Music School, for which he produced a significant amount of children’s music (Barsova,

2015). Nikolai Medtner published 106 songs for voice, but only half are in Russian while the rest feature German poems. Born and raised in Russia, he began his studies at the

Moscow Conservatory when he was 13 years old. He was diametrically opposed to modernism and kept his own music firmly rooted in the romantic tradition (Martyn,

2015). His romances feature thematic integration, extravagant cross rhythms, and difficult accompaniments that often are of equal importance with the vocal line.

The last three composers to be discussed in this essay are Igor Stravinsky

(1882-1971), Sergei Prokofiev (1891-1953) and Dmitri Shostakovich (1906-1975). All three men arose during Russia’s “Silver Age,” a time of feverish political climates and stubborn artistic communities. The turn of the century experienced significant political upheaval with a string of revolutions and the collapse of the Imperial House, and the

Bolsheviks began to interfere with artistic output, eventually leading to the exile of many of Russia’s greatest artists. Some composers, including Rachmaninoff and Medtner, left the country never to return. Others like Prokofiev and Stravinsky returned to Russia later in life, whereas Shostakovich who never left, suffered a far worse fate. The effects of fear, anxiety, political agendas, and nomadic lifestyles can be heard in the qualities and stylistic periods of the 20th century Russian composers.

Stravinsky was born into a wealthy family of musicians. He began piano lessons at an early age, but experienced wide exposure to the operas of Tchaikovsky by watching his father (a famous baritone) perform at the Mariinsky Theatre (Walsh, 2015).

He studied law, but also took private compositional lessons with Rimsky-Korsakov. His compositions are marked by stylistic diversity and can be broken down into three periods;

his Russian period, his Neoclassical period, and his serial period. His vocal works from his Russian period include Faun and Shepherdess, Pastoral, and a variety of other songs exhibiting Debussian influence (Walsh 2015). His Neoclassical period began after his

1914 departure from Russia and it includes few chamber songs for solo voice. Instead, his compositional energy was directed toward opera for which he composed The Rake’s

Progress. In the 1950’s Stravinsky turned to serialism and created a few more chamber works for solo voice and a variety of instruments including The Owl and the Pussy Cat and Elegy for J.F.K. Stravinsky’s music suggests that he was a highly adaptive and creative composer who was able to adopt the practices of others while maintaining the integrity of his own (Walsh, 2015).

Prokofiev was exposed to the works of Chopin and Beethoven at a young age by listening to his mother practice at the piano. He himself began taking lessons at the age of 4 and showed a prodigious aptitude, composing his first piano solo in 1896 and his first opera in 1890 at the age of 9 (Redepenning, 2015). He began taking piano lessons with Reinhold Gliere in the summer of 1902 and the saved manuscripts from the following months show that he was already beginning to experiment with shifting time signatures and unconventional harmonies (Redepenning 2015). At the age of 12, he enrolled in the St. Petersburg conservatory where he became close friends with fellow composer Nikolai Miaskovsky (1881-1950). It was Miaskovsky who introduced

Prokofiev to the music of Claude Debussy, Richard Strauss, and Max Reger (Nest′ev,

1960, p.25)

Prokofiev spent a few years of his early adult life abroad. He left Russia after

WWI and spent time in the United States and Paris composing commissioned works

including The Love for Three Oranges and The Fiery Angel. He did not return to Russia until 1936 when his family settled in Moscow. In the years leading up to and during

WWII, Prokofiev’s output took a slight turn toward patriotic and propagandistic music.

During this time he published his Opus 104, arrangements of folk songs for voice and piano. The first two songs from this cycle received governmental praise, but his favor with the censors did not last long (Redepenning, 2015). His music remained deeply invested in Romantic traditions and strayed far from the desired Socialist Realism. He and many other artists fell victim to the Zhdanovschina Decree and were publicly denounced for creating music resembling “formalistic distortions and anti-democratic tendencies as a rejection of the principles of classical music and for the dissemination of atonality” (Redepenning, 2015). Unfortunately, Prokofiev and his contemporaries experienced stunted artistic growth as they were forced to exchange provocative harmonies and complex rhythmic structures for bland, expressive-less simplicity.

Dmitri Shostakovich experienced an equally complicated relationship with government officials, finding himself simultaneously condemned by the Zhdanovschina

Decree and propped up as a cultural ambassador. He was born into privilege and was exposed to the music of Tchaikovsky, Rimsky-Korsakov, and other Russian greats. He received his first tastes of fame with a 1925 premier of his first symphony (Fanning,

2015). His first attempts at song came shortly after with his Opus 4, 2 Krylov Fables.

These songs feature “the arioso style of Dargomyzhsky and Musorgsky, with minimal repetition or recursion in the vocal line and maximal responsiveness to verbal imagery in the accompaniment heightened, naturally, by timbral interest in the orchestral version”

(Fairclough, 2008, p.85). His vocal output includes a handful of operas and 28 works for

solo voice including accompaniments featuring piano, various instruments, and orchestra.

Numerous scholarly works have been devoted to analyzing the artistic repercussions of the political atmosphere in which Shostakovich lived and composed. His music bears the stamp of a curious mind able to reconcile a wide variety of influences including Bach,

Mussorgsky, Berg, Stravinsky, and many others. His chamber works are renowned for their highly emotional and politically subversive gestures, expressed through aggressive rhythms and dissonant harmonies (Fay, 2015). His vocal music does share these qualities, but more importantly, his fusion of text and music creates striking artistic pieces for expression.

In conclusion, Russian art song has experienced dramatic changes over its 200 year development. During the era of the dilettantes, the aim of composers was to create shapely, metrically regular tunes with simple, unobtrusive accompaniments. It was this level of simplicity for which the enforcers of the Zhdanovschina Decree strove, but methods of expression and composition had developed too far for the composers of the

20th century to be satisfied with the characteristic arpeggios, rudimentary text painting, and uninvolved vocal lines. However, the early composers are the focus of this study because it is their music that is most accessible for developing voices and musicians.

Each of the early composers mentioned in this presentation contributed at least one major quality to the development of the genre. As it has already been mentioned, Glinka developed the melodic basis while Dargomyzhsky established a declamatory style.

Balakirev created contemporary accompaniments, Mussorgsky drew new ideas from folk idioms, and Rimsky-Korsakov created descriptive tone pictures from nature. Most importantly, Russian art song maintained a strong commitment to declamation and to

directness of expression that guided its development through a variety of national trauma and social unrest.

Part Two: Song Rubrics

* Indicates that the original text is located on www.recmusic.org ^ Indicates that there is an English translation on www.remusic.org + Indicates that the song is listed on www.russianartsong.com

Each category is graded out of 5 for a total of 55 points being reserved for songs of the greatest difficulty. The scale is inherently somewhat subjective and the scale from 1 to 5 represents varying degrees of increased or decreased complexity.

Accompaniment The lowest score in this category is reserved for songs in which the vocal line is doubled by the accompaniment and harmonic motion is slow and predictable. If the accompaniment figures become contrapuntal or vary rhythmically, the score increases. A score of five is reserved for those accompaniments that are tonally challenging and do little to assist the singer.

Characterization The lowest score in the category is reserved for songs that require limited dramatic capacity; topics of homesickness or unrequited love are given lower scores as they are easily relatable by high school students or college freshman. Higher scores are given to more esoteric poems that relate to nature and the loss of a child, as these require a greater depth of life experiences.

Diction This category presents more challenges in scoring as all of the songs are in Russian, which presents a basic reading and pronunciation challenge in and of itself. However, this category was graded on the assumption that either the teacher or student is capable of reading IPA and is able to access IPA for the given song. Higher scores are reserved for songs that include difficult consonant clusters of three or more consonants on any rhythmic value or songs that include difficult consonants or consonant clusters on short rhythmic values.

Dynamics Higher scores are reserved for songs that contain dynamic markings that do not assist with intonation or registration, while a score of 1 is given to songs that consistently place crescendos on sustained tones or a full dynamic in the upper parts of the register.

Melismatic phrases Because many of the Russian composers featured in this project placed a premium on declamation and composed in the style of the mélodie, melismatic phrases are rare. If the song is completely syllabic, it is given a score of 1 with scores of 4 and 5 being reserved for those with longer melismas containing dotted rhythms and awkward leaps.

Musical Considerations The highest score in this category is applied to songs that contain an advanced harmonic language or are atonal. Through composed songs are also given higher scores.

Range/Tessitura This category is self-explanatory. Songs with a high tessitura and wide range receive higher scores.

Registration Higher scores are given to songs with melodies, dynamics, and text-settings that complicate registration events. For example, if a song for female voice pairs a decrescendo with a stepwise melody up to the top of the staff on closed vowels, the score will increase to a 4 or 5. However if this song is specifically written for a male voice, the score will be lower as this will facilitate certain male registration choices.

Respiration If a song contains long phrases or little time in between phrases, it has been given a higher score.

Text Setting Many of the earlier songs are syllabic and repetitive, set with a consciousness of syllabic stress. These songs are scored lower than those that are through-composed and contain melismas.

Words This category is a combination of Characterization, Diction, and Text Setting. Higher scores are reserved for songs with difficult dramatic themes and seemingly unrelated musical settings that would make memorization and acting difficult.

EXAMPLE 1 “Aleksandr Alyabyev: Complete Songs and Romances” Volume 3, pg. 125 Edited by Boris Dobrokhotov, Moscow: Muzyka (1974-1977) Кабак (Pub) 1843

Song: Кабак* (Pub) 1843 Composer: Alyabyev Poet: Ogarev Key: E Minor Range: D#3-E4 Themes: drinking to forget troubles Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments: The pitch/vowel combinations suggest that this was well written for the male voice. There are several instances where Alyabyev set an unaccented syllable on an ascending pitch with a closed vowel that would allow a male voice to flip into a mix, where as a women would have difficulty with this maneuver at the top of the staff. The use of octaves in the bass contribute to the masculine character of the song by adding weight and breadth to the accompaniment. The phrases are long, but not impossible. This category is given a 3 because there is little time to reset in between phrases of medium length. This would be a great song for an undergraduate male. The melody is not too difficult and approaches to the top of the staff are conducive to working on registration issues. Also, the character of the song is relatable and would be a fun acting exercise.

EXAMPLE 2 “Rachmaninoff: Romansi” pg. 69 Edited by Pavel Lamm, Moscow, Muzgiz (1957) Речная лилея (The Water Lily) Op. 8, no. 1 (1894)

Song: Речная лилея*^+ (The Water Lily) Op. 8, no. 1 (1894) Composer: Rachmaninoff Poet: Heine/Pleshcheyev Key: G Major Range: B3-G5 Themes: nature, bashfulness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments: This difficult song requires a considerable amount of communication and understanding between collaborators.

The restless melody conveys the ever changing gaze of the lily in the scene and the complicated piano figurations fill out the rest of the scenery, blowing breezes, rippling water, etc.

The stepwise motion through the secondo passaggio may create problems for developing voices at the top of the staff.

The phrases that dip below the staff may create opportunities for unifying the chest voice and middle register, but it is more likely that a developing voice will find this section difficult.

Song Rubrics

Song: Иртыш* (Irtysh) 1828 Composer: Alyabyev Poet: Vetter Key: F Minor Range: C3-F4 Themes: separation, flowing water Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments: This song is most appropriate for mid-level, lower male voices. Some unexpected chromaticism in the scalar passages present a moderate challenge for developing ears. The closed vowels at the top of the staff are given various dynamic markings opening up conversations about covering, registration, and vowel modification.

Song: Певец*^ (Singer) 1830 Composer: Alyabyev Poet: Pushkin Key: F Minor Range: E♭4-G5 Themes: love, sadness, forest scenery Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments: One difficult aspect of this song is the frequency of challenging consonant clusters, sometimes requiring four consonant sounds on something as short as a 16th note.

The closed vowels at the top of the staff may present some issues for females, but make this a nice challenge for mid-level male voices.

Some unexpected harmonic shifts and chromatic turns at the top of the staff can provide a tuning challenge for mid-level singers.

A good song for fostering a singer’s independence from the accompaniment.

Song: Зимняя дорога* (Winter Road) 1831 Composer: Alyabyev Poet: Pushkin Key: A Minor Range: D3-F4 Themes: loneliness, winter scenery Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

With a limited range and the melody doubled by the accompaniment, this song looks deceivingly easy.

There are instances when the melody approaches the top of the staff by stepwise motion and the vowel settings may encourage some young singers to carry up extra weight.

The phrase lengths are relatively longer making this song conducive to practicing breath management, however the ascending stepwise motion that occurs at the end of these phrases makes this a very challenging song for any singer who tends to squeeze through the passaggio. I do not recommend this song for most young female voices.

The seven verses can also make this a long winded song that is difficult to memorize. 40

Song: Не говори: любовь пройдёт* (Do not say, love will pass) Composer: Alyabyev Poet: Delvig Key: G Major Range: D4-D5 Themes: unrequited love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 1 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 20 Comments:

The large leaps to the middle of the staff can be help for young females to connect the lower-middle and upper-middle parts of the range.

The subject of unrequited love is something to which most students can relate.

Song: Не скажу никому*^ (I won’t tell anyone) 1844 Composer: Alyabyev Poet: Koltsov Key: D Minor Range: A3-A5 Themes: scorned love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments:

Instances of large leaps are accompanied by accent marks that are helpful for mid-level singers.

The melody is not difficult, but the range is wide and presents some challenges but creates opportunities for working registration with young female singers. Every time the melody drops to A3, it is on an open vowel which allows females to drop into chest much easier and three out of the four times the melody leaps to A5 it is on an open vowel with an accent mark.

Song: Нищая* (The Beggarwoman) 1851 Composer: Alyabyev Poet: Beranger Key: G Minor Range: F4-G5 Themes: lost fortune, an actress fallen from popularity Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments:

Movement to the top of the staff is achieved via leaps or stepwise motion on dotted eighth notes making this a great song for helping singers get into their passaggio without too much weight.

The vowels at the top of the staff are predominantly open vowels, but the variety can be used as a vowel modification exercise for either gender.

The musical aspects of the song create an appropriate challenge for mid level singers. However, the amount of text that a student would have to memorize would present a considerable challenge. Consider reducing the number of verses performed.

Song: Саша* (Sasha) 1832 Composer: Alyabyev Poet: Pushkin Key: F Minor Range: C4-F5 Themes: unrequited love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 26 Comments:

The chromatic turns through the passaggio may present some tuning issues for young females, but the open vowels at the top of the staff make this a great tool for working toward a relaxed tone and onset work.

Phrases of varying length can be used to cultivate breath management.

Similar in feel to a Schubert lied.

Song: Совет* (Council) 1829 Composer: Alyabyev Poet: V. A. Alyabyev Key: D Major Range: C#4-E5 Themes: satire, marriage advice Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

This is a great song for working on breath management. The phrases are of varying lengths and the rhythmic variation allows for moments of rest and easy inhalation, followed by moments requiring a quick catch breath.

The militaristic rhythmic gestures including dotted-eight and sixteenth notes can be used to help young male singers address issues of energy, line, and weight in the voice.

The subject matter itself is relatable to most young men and may help with characterization and acting.

Song: Соловей*^ (Nightingale) 1831 Composer: Alyabyev Poet: Delvig Key: D Minor Range: F4-F5 (depends on ornamentation) Themes: longing, isolation Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

The slippery harmonic language, melismatic passages and tessitura make this a more advanced song for a female. The tessitura is high and many phrases sit at the top of the staff whereas others begin at the top of the staff and descend providing some relief, but will not likely release the tension set at the beginning of each phrase.

The strophic setting of 7 verses allows for improvisatory liberties and ornamentation. Consider limiting the number of verses performed.

Song: Увы! зачем она блистает* (Alas! Why does she shine?) 1832 Composer: Alyabyev Poet: Pushkin Key: A Major Range: E4-F#5 Themes: love, admiration Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 1 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments: The strophic form presents some problems in regard to phrasing and breathing. The melodic phrases and cadences are consistent, but the punctuation of the poetry is not and might lead to awkward breaths or phrasing.

There are both closed and open vowels at the top of the staff creating equal challenges for young males and females.

Much of the melody lingers in the female passaggio and is approached via ascending steps that may create some registration issues.

Song: Я вас любил*^ (I loved you) 1834 Composer: Alyabyev Poet: Pushkin Key: D Minor Range: D4-D5 Themes: lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 1 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 20 Comments: There are some unexpected harmonic turns that add to the interest of the song and would be a moderate challenge for young singers.

Alternation between major and minor sonorities creates opportunities to develop intonation, similar to Schubert’s Ständchen in Schwanengesang.

Song: Я вижу образ твой*^ (I see your image) Composer: Alyabyev Poet: Bistrom Key: A♭ Major Range: E♭4-F5 Themes: love, adoration Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments: The final melismatic passage might present some tuning issues with the chromatic turns. This might be especially difficult for young women who have issues in the upper passaggio.

Song: Баркарола*^+ (Barcarolle) 1858 Composer: Balakirev Poet: Heine/Arsenyev Key: B♭ Minor Range: E♭4-G♭5 Themes: love and the sea Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 26 Comments:

Most of the pitches at the top of the staff are approached by a leap and on open vowels making this a nice song for developing female voices.

The 6/8 meter gives a bouncy feel that can help energize a hypofunctional voice and can lighten up a hyperfunctional voice.

Song: Веди меня, о ночь, тайком*+ (Lead me secretly, oh, night) Composer: Balakirev Poet: Maykov Key: F Minor Range: D♭4-F5 Themes: nighttime, secret love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments: Odd little song, deceptively difficult, requiring advanced musicianship.

Song: Взгляни, мой друг*+ (Look, my friend) 1904 Composer: Balakirev Poet: Krasov Key: D Major Range: D4-F#5 Themes: passing clouds, passing sadness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments:

Frequently shifting tonality can be used for intonation development. Mix of phrase lengths can be helpful for building breath endurance and control.

Song: Запевка*+ (Prologue) 1903 Composer: Balakirev Poet: Mey Key: B Minor Range: B3-A5 Themes: oppression Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

Some of the descending lines are written with crescendos and may be difficult for some developing female voices to execute, but this may also be a good tool for unifying registers and building awareness and strength in the middle voice.

The closed vowels at the top of the staff may make this difficult for women unless they are willing to modify vowels.

The long phrases require significant breath management techniques.

Song: Колыбельная песня* (Cradle Song) Composer: Balakirev Poet: Arsen’yev Key: B♭ Major Range: F4-F5 Themes: comfort, poverty Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

The top of the staff is approached by both leaps and steps, providing opportunities for those who need either strategy for entering the passaggio.

The frequent repetition of the word sleep /spi/ may cause some issues for those who already suffer from breathy onsets and a lack of clarity in the tone.

The phrases are long without much time for breathing in between, this would be a good exercise in breath management.

Song: Песня золотой рыбки *^+ (Song of the golden fish) Composer: Balakirev Poet: Lermontov Key: D Major Range: C4-A5 Themes: The sea, comfort Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

This song features a high tessitura with little relief for voices that do not sit comfortably at the top of the staff. Those types of voices may also experience difficulty creating enough sound when the melody drops below the staff and this song is therefore not recommended for young females with underdeveloped chest voices. Furthermore, the unvoiced consonants at the top of the staff will make it difficult for breathy phonators to get a clear sound in the passaggio.

The difficulties in the vocal line are exacerbated by an accompaniment that suppresses the downbeat and tonic, often working against the vocal line.

This song is not recommended for beginners and should be reserved for advanced singers.

Song: Слышу ли голос твой *+ (I hear your voice) 1865 Composer: Balakirev Poet: Lermontov Key: A♭ Major Range: C4-F5 Themes: longing Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

The closed vowels at the top of the staff make this song more conducive for male voices, but the unvoiced consonants and difficult clusters may cause small problems for younger singers.

The closed vowels on E♭5 and below may actually help get rid of some breathiness in young female voices.

A couple of oddly balanced phrases may be helpful for building breath mindfulness and management.

Song: Сосна*^+ (Pine Tree) 1985 Composer: Balakirev Poet: Lermontov Key: F# Minor Range: C#4-F#5 Themes: trees, longing Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 1 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments: The accompaniment provides a great deal of texture and character, but is not helpful in regard to assisting the melody. There are some interesting rhythmic and harmonic challenges that require the singer to have a solid sense of independence.

The open vowels below the staff will make it easier for developing female voices to access “chest voice” and get a little more amplitude in the bottom. Also, because this starts a little lower, it might make it easier for young females with hypofunctional head voices to carry up some weight and adduction from the bottom. The phrase lengths follow the standard romantic pattern of short-short-long making this a good song for developing breath management. This song would be a great challenge for your singers with an advanced ear and a developing voice.

Song: Спи!* (Sleep) 1904 Composer: Balakirev Poet: Khomyakov Key: D Major Range: C#4-E5 Themes: sleep, dreams Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments: This 5 minute song features a 3 page long prelude so it is important that the collaborative pianist is able to play some of the complicated chromatic lines. It can be difficult to begin the vocal line out of the complicated texture and the counter motion between the vocal line and accompaniment makes this a particularly difficult song. Many of the descending lines are set with crescendos that may help to energize the voice through the line, but there are often decrescendos written on sustained tones creating challenges for intonation and breath management. The melody requires a vast range and clarity throughout the entire voice. Having unvoiced consonants at the bottom of the staff may make it particularly difficult for some young voices to achieve clarity on the word /spi/, especially if it is marked piano.

Song: Шопот, робкое дыханье* (Whisper, timid breath) 1904 Composer: Balakirev Poet: Fet Key: A Major Range: C4-A♭5 Themes: intimacy, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

This song is certainly for a singer with a developed voice and sense of musicianship.

The range is expansive and requires stability in both the primo and secondo passaggi. The accompaniment is somewhat helpful in providing a sense of grounding when the singer is in the highest part of the melody, but there is the risk of being covered at the bottom of the staff by the thick chords of the accompaniment if there is not enough point and amplitude in the singer’s lower register.

Song: Из слёз моих*^ (From my tears grew much) 1873 Composer: Borodin Poet: Heine Key: B Major Range: C#4-D#5 Themes: love, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments:

The accent on beat two and unbalanced phrases give an odd sense of lilt that may challenge breath management and phrasing.

Vowel settings make this song more conducive to low male voice singing and the last couple of phrases provide an opportunity to work on voix mixte in the middle of the staff.

Song: Море*+ (The Sea) 1870 Composer: Borodin Poet: Borodin Key: B Major Range: D♭4-G#5 Themes: the sea, death Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments:

This is a particularly long and difficult song for the male voice. Many of the phrases begin higher in the voice, marked p, creating the potential for excess tension and/or squeezing.

The passages ascending through the passaggio and the part of the melody that sits at the top of the staff may prove exceptionally difficult for a male student who has trouble keeping a low laryngeal position.

The thick and aggressive accompaniment may cause hyperfunctional singers to build excess pressure, but it might also encourage hypofunctional singers to engage and put some satisfactory weight in the voice.

Song: Морская царевна*^+ (The Sea Tsar’s Daughter) 1873 Composer: Borodin Poet: Borodin Key: F Major Range: C4-F5 Themes: the sea, death Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

The accompaniment creates counting challenges for mid-level musicians.

Just like in The Sleeping Princess, the alternating seconds and thirds can make finding one’s pitch difficult, especially with the slippery harmonic language.

This song is not recommended for young females with a weak middle register and the thick accompanimental texture may make it difficult for them to be heard.

Song: Отравой полны мои песни*^+ (My songs are poisoned) 1870 Composer: Borodin Poet: Heine/Mey Key: D Major Range: A2-F4 Themes: poisoned love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

This song, for male voice and piano, has a complicated melody and doesn’t really sit in one specific tessitura, but moves via large leaps and descending whole-tone scales.

The rhythmic disparities between the voice and piano along with the complicated harmonic motion make this a song better for a more advanced musician. Furthermore, the wide ranging melody requires advanced registration capabilities making this song more appropriate for advanced male voices.

Song: Песня тёмного леса*+ (Song of the Dark Forest) 1873 Composer: Borodin Poet: Borodin Key: F# Minor Range: C#3-F4 Themes: nature, strength Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

There are some unexpected accidentals in the vocal line, but the melody is doubled for most of the song.

The changing meter and walking bass line feel a lot like Mussorgsky and add interesting challenges for counting and breath management.

The tessitura may feel high for low bass types.

The melody does approach the top of the bass range, but it does so with open vowels and and powerful dynamics. This would be a fun song for most mid to upper level basses.

Song: Спесь*+ (Arrogance) 1890 Composer: Borodin Poet: Tolstoy Key: F Major Range: B♭3-F5 Themes: arrogance Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments:

The melody is such that a singer can stretch and create long 4 measure phrases or take a catch breath in between making this a great teaching tool for young male voices in developing breath management.

However, the expansive range may be quite difficult for young male voices and it may be more appropriate for mid level singers with a comfortable high range and clear low range.

The two times that the melody is placed on the highest pitch, it is preceded with the consonant /x/, which may create some issues for those who have trouble with breathy onsets.

Song: Спящая княжна*+ (The Sleeping Princess) 1873 Composer: Borodin Poet: Borodin Key: A♭ Major Range: D♭4-F5 Themes: nature, magic Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

There are some closed vowels at the top of the staff, but these are often set with a crescendo or f marking and can be easily modified.

This song is appropriate for mid level singers. The harmonic language is a little more advanced and students may experience problems finding their pitches among the repeating seconds, but the melody itself is not too difficult.

The length of this poem may provide a challenge in regard to memorization.

Song: Фальшивая нота*^+ (The False Note) 1870 Composer: Borodin Poet: Borodin Key: D♭ Major Range: E♭4-F5 Themes: love, lies Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 27 Comments:

This song has a limited range, but the phrases beginning on D♭ with a p dynamic marking may be problematic for some developing baritones who are squeezers.

The climactic F5 is given an accent and a ff marking on the closed vowel /e/ making it seem helpful for young men, but the preceding consonant /n/ may cause problems for developing male voices who already experience problems with nasality at the top of the staff.

This song is also not very long so it is slightly easier in regard to memorization.

Song: Чудный сад*+ (Magic Garden) 1887 Composer: Borodin Poet: Borodin Key: D♭ Major Range: D♭4-D♭5 Themes: nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments: The accompaniment features Borodin’s characteristic alternating seconds that create some interesting harmonic textures, but the melody is often doubled by the right hand making this not too difficult.

With the range of an octave, this song stays in a zone comfortable for most developing voices.

Some longer phrases can be used to work on developing breath management.

This is a great song for developing voices who need some variety in their repertoire.

Song: Болеро*^+ (Bolero) Op. 17 (1881) Composer: Cui Poet: Anonymous Key: B Major Range: D#4-A#5 (Optional cadenzas: B#3-D#6) Themes: love, the sea Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 5 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 5 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 45 Comments: A very challenging song, this would be a great barn burner for a well developed coloratura soprano.

Most of the melody sits at the top the staff, but some reprieve is offered by ascending phrases that begin at the bottom of the staff. These can also help to ground any coloraturas that have trouble keeping a connection with the body or bottom of the voice.

Song: Желание*+ (Desire) Op. 57, no. 25 Composer: Cui Poet: Pushkin Key: B♭ Minor Range: D4-F#5 Themes: bitter love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments:

The melody is almost always doubled by the piano and it sits predominantly in the middle voice, with some phrases beginning in the passaggio.

Some step-wise motion through the passaggio to the top of the staff may be problematic for students who carry up too much weight to the top of the voice.

Open vowels make the passages that sit above the staff manageable for female voices.

Song: Мне бой знаком+ (I know the fight) Op. 66, no. 3 Composer: Cui Poet: Pushkin Key: B♭ Major Range: G4-B♭5 Themes: the glory of battle Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 34 Comments:

The topic and accompaniment might be good for trying to increase a student’s physicality when singing.

Not recommended for students already struggling with a sense of legato.

Song: О чём в тиши ночей*^+ (What am I dreaming about) Op. 7, no. 2 (1867) Composer: Cui Poet: Maykov Key: B♭ Major Range: D4-E♭5 Themes: love, yearning Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments: Other than a few accidentals that might create some tuning issues, this is a suitable beginning level song. The melody is mostly doubled by the right hand and the range is limited.

Song: Сожжённое письмо*^+ (The burn letter) Op. 33, no. 4 Composer: Cui Poet: Pushkin Key: D Minor Range: E4-A5 Themes: lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments: With the constant building of emotion and ascending melody it would be very easy for young singers to build tension throughout this song.

When the melody lingers at the top of the staff, the quiet dynamics make this a good song for helping male voices work on their mixed voice.

A charged poem and beautiful melody that will be rewarding for those who sing it.

Song: Ты и вы*^+ (You and Thou) Op. 57, no. 11 Composer: Cui Poet: Pushkin Key: A Major Range: C#4-E5 Themes: love, plays on grammar (formal versus informal “you”) Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments:

Slippery harmonic motion contribute to the difficulty of this song.

Although this song is often sung by women, the closed vowels at the top of the staff make it much easier for male voices.

More difficult than it looks.

Song: Царскоселькая статуя*^+ (The statue of the Tsar’s Village) Op. 57, no. 17 Composer: Cui Poet: Pushkin Key: D♭ Major Range: D♭4-E♭5 Themes: a woman is forever enshrined as a statue Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 27 Comments: A limited range and easy melody are set with moderately long phrases making this song great for working on breath management.

Song: Я вас любил*^+ (I loved you) Op. 33, no. 3 Composer: Cui Poet: Pushkin Key: D♭ Major Range: D♭4-A♭5 Themes: lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments: Full and steady chords in the accompaniment give a consistent sense of grounding even when the melody arches above the staff.

Song: В крови горит огонь желанья*+ (My Heart is ablaze with desire) Composer: Dargomyzhsky Poet: Pushkin Key: C Major Range: E4-G5 Themes: love, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments:

The vowels used at the top of the staff make this song more conducive for assisting in male registration.

Short phrases followed by long phrases may help will building breath stamina.

Song: Вертоград моей сестры*^+ (My Sister’s Garden) Composer: Dargomyzhsky Poet: Pushkin Key: F Major Range: D4-F4 Themes: fragrance, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 34 Comments:

The slippery harmonic language contributes to the difficulty of the song.

There are some closed vowels at the top of the staff that may be problematic unless replaced with more open substitutes.

The text suggests that this should be sung by women.

Song: Влюблён я, дева-красота *^ (I am in love, beautiful girl) 1834 Composer: Dargomyzhsky Poet: Yazykov Key: F Major Range: E4-F5 Themes: love, admiration Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments: The vocal line maintains a duple feel over an accompaniment with arpeggiated triplets making this a nice exercise in vocal independence and rhythmic integrity. This song presents a variety of ways to approach the top of the staff. The vocal melody begins on a D5 (or D4 for young males) on the syllable /vlu/, which may be helpful for those students who require a “top- down” approach, but may cause issues for most squeezers. More often than not the top is approached via ascending arpeggio, but there are two sections of stepwise/chromatic motion in the passaggio that may create some tuning challenges. Furthermore, the vowels at the top of the staff make this song friendlier for male voices. The varying phrase lengths make this a good song for breath management, but also for discussing character and how breaths can be utilized as a dramatic gesture.

Song: Мельник*^+ (The Miller) Composer: Dargomyzhsky Poet: Pushkin Key: C Major Range: B♭3-E♭5 Themes: satire, marriage problems, drinking Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments:

A fun song, great for characterization and acting.

The variety of characters will allow for experimentation with different timbres and resonance strategies.

Song: Мечты, мечты!*^ (Dreams, dreams!) Composer: Dargomyzhsky Poet: Pushkin Key: G Major Range: D4-F5 Themes: loneliness, lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

The phrases can be long and with the quick pace of the song, there is not much time for a student reset the breath.

With constant arpeggios and large leaps, the melody can feel very angular and ungraceful. This song would present some interesting issues for a student experiencing difficulty with maintaining legato. It would be very useful for young female students with registration issues because it would allow one to continuously reconnect with the chest voice.

Song: Паладин (Paladin) 1859 Composer: Dargomyzhsky Poet: Uhland/Zhukovsky Key: D Minor Range: D4-E♭5 Themes: revenge, drowning Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments: This through-composed narrative ballad is a great exercise in recitative and declamation. The actual words are not difficult, but the speed and clarity with which they must be delivered can be a helpful incentive to lighten up consonants and articulation. The running triplets and dotted rhythms may help with lightening up and energizing the voice as well.

The militaristic character would be particularly interesting for young men and might be helpful for inducing physical engagement in singing and characterization.

Most of the vowels at the top of the staff are an [ɔ] and can help with registration issues and laryngeal positioning. Some of the phrases are very long with little time to breath in between, which may set up some young singers for tension and/or stacking of the breath.

Song: Титулярный советник*^+ (Titular Councilor) Composer: Dargomyzhsky Poet: Vainberg Key: B♭ Major Range:B♭3-E5 Themes: satire, love, drinking Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 1 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 20 Comments: The story and melody are accessible and make this a good introduction to the language for young learners.

Song: Ты и вы*^+ (You and Thou) Composer: Dargomyzshy Poet: Pushkin Key: B♭ Major Range: F4-F5 Themes: love, plays on grammar (formal versus informal “you”) Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments: The melodic contour ebbs and flows like the accompaniment, but on a much slower scale allowing a singer to rest after time spent in the upper passaggio.

Song: Червяк*^ (The worm) 1858 Composer: Dargomyzhsky Poet: Kurochkin (Beranger) Key: C Major Range: C4-E5 Themes: satire, cheating wife, a daft husband Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

This song is set in the declamatory style to highlight the song’s text and emphasize the sharp satire. The overall arch of each phrase is a descending line as if to indicate the character’s bow to each of the other men that he encounters.

This would be a fun song for young bass baritones who make great Leporellos, but are not quite ready for the arias.

The vocal line and accompaniment have some repetitive motives, but there is enough variation to consider this song through composed to serve the narrative nature.

Song: Я вас любил*^+ (I loved you) Composer: Dargomyzhsky Poet: Pushkin Key: G Major Range: D4-C5 Themes: lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments:

The limited range may appear conducive to young singers, but some slippery harmonic language may present a challenge for singers with an under developed ear.

Song: Элегия: Я помню, глубоко (Elegy: I remember the deep) Composer: Dargomyzhsky Poet: Denis Davydov Key: C Minor Range: C4-F5 Themes: nature, unrequited love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

This is a nice key for young baritones or mezzos, but upper voices would really benefit from the opportunity to sing it up a minor third and bloom on an A♭5 rather than the F5.

Most of the higher pitches are accessed via leaps, making it incredibly helpful for those students who struggle with squeezing and carrying weight up in the voice.

This song is often sung by men, but the open vowels at the top of the staff and the closed vowels in the middle would also make be conducive for young female voices.

Song: Адель*+ (Adele) 1849 Composer: Glinka Poet: Pushkin Key: A Major Range: E4-F#5 Themes: comforting Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 5 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 43 Comments:

The melody sits primarily in the passaggio and a sparse accompaniment gives little to no support.

Phrases can feel unbalanced and awkward.

Notes at the top of the staff are often indicated as p.

Reserve for most advanced singers!

Song: Бедный Певец*+ (The Poor Singer/Poet) Composer: Glinka Poet: Zhukovsky Key: E Minor Range: D4-G5 Themes: being miserable, unhappy Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments: Phrases sitting at the top of the staff and beginning above the staff contribute to the difficulty of this song and may make it very uncomfortable for some singers.

The song utilizes a wide range with considerable agility as some phrases extend the width of a 10th in less than 2 measures.

Dynamics are friendly to phrasing and registration.

Song: Болеро*^+ (Bolero) Farewell to St. Petersburg, no. 3 (1840) Composer: Glinka Poet: Kukolnik Key: E♭ Major Range: C4-G5 Themes: Obsessive love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments:

The rhythmic motives and gestures can make this a deceivingly difficult song for someone who has trouble counting.

A variety of leaps and scales used to approach the top of the staff can be used to help students with a variety of passaggio issues.

The vowels at the top of the staff make this a suitable song for working tenors up through the passaggio.

Song: В крови горит огонь желанья*^+ (My blood is ablaze with desire) Composer: Glinka Poet: Pushkin Key: B♭ Major Range: D4-F5 Themes: physical desire Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments: The limited range and flowing melody make this look like a beginner song, but the slippery harmonic language may present problems for young singers.

Long phrases can help develop breath endurance.

The nasal consonants and forward consonants can help keep the tongue forward as the singer ascends to the top of the staff.

Song: Жаворонок*^ (Lark) 1840 Composer: Glinka Poet: Kukolnik Key: E Minor Range: E4-F5 Themes: Mysterious voice, past love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

This song is commonly sung by men and women, but young males will find the closed vowels at the top of the staff less fatiguing than mid-level female singers. However, each E5 and F5 are approached from a leap below and may help to reduce the amount of weight carried into the passaggio.

Song: К Молли*+ (To Molly) Farewell to St. Petersburg, no. 11 (1840) Не требуй песен от певца (Do not demand songs from a singer) Composer: Glinka Poet: Kukolnik Key: A♭ Major Range: E♭4-F5 Themes: muse, inspiration Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments:

The tessitura sits rather high with many closed vowels and may be helpful for some tenors, but will likely be tiring for many young singers.

Long, but manageable phrases make this a good song for working on breath endurance.

Song: Люблю тебя, милая роза* (I love you, dear rose) 1843 Composer: Glinka Poet: Samarin Key: D Major Range: G4-G5 Themes: adoration, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

At first glance this song looks simple, but it is deceivingly difficult. The sparse accompaniment can make the tricky harmonic language difficult to anticipate.

The large leaps at the beginning of phrases seem like they would be helpful for young voices working on registration issues, but having to leap again at the end of each phrase when a young student may be out of breath may cause pinching and squeezing at the top of the staff.

I would not recommend this song for developing female voices unless it is one that naturally sits quite high. Much of the melody sits at the top of the staff and can induce perching and squeezing. The closed vowels at the top of the staff would make this a better song for male voices, but only if they are comfortable with a higher tessitura. 94

Song: Не пой красавица при мне*^+ (Oh, never sing to me again) 1828 Composer: Glinka Poet: Pushkin Key: B♭ Major Range: F4-F5 Themes: Isolation, longing, homesickness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 1 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 25 Comments:

Phrases often descend and higher notes are approached from a leap below making this a friendly song for students who might carry too much weight up to the top of the staff.

Depending of the key, the tessitura may make this difficult or uncomfortable for some students.

Overall an easy introduction to singing in the language.

Song: Ночной смотр *^ (The midnight review) Composer: Glinka Poet: Zhukovsky Key: F Minor Range: B♭3-D♭4 Themes: graveyard, magic, music, battle Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 1 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments: This is similar in style in texture to Schumann’s Der Beiden Grenadiere, but it requires far less from the top of the voice and far more in regard to memorization and dramatic delivery. The character will be helpful when trying to get developing male voices to sing with more presence and power.

Depending on the key, this will certainly not challenge the student’s upper register but it might be a bit too low for developing baritones. There are mostly short phrases with adequate time for inhalation, making this a song that will not challenge breath management.

There are many phrases that begin with a consonant cluster and a closed vowel very low in the range making this a good challenge for young musicians, forcing them to think about starting the pick up early and with enough voice that it will be heard. 96

Song: Северная Звезда*+ (Northern Star/ A Wedding Song) Composer: Glinka Poet: Rastopchina Key: D Major Range: E4-G5 Themes: abandoned bride, longing Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments: Appoggiaturas assist in the sensation of “touching” the top of the staff before running down.

Closed vowels at the stop of the staff may prove difficult for sopranos, but helpful for tenors if they choose to sing this song.

Long phrases can help build breath endurance.

The melody is based off of a Russian folk melody, but the form is Italianate.

Song: Сомнение*^+ (Doubt) 1838 Composer: Glinka Poet: Kukolnik Key: D Minor Range: A3-D5 Themes: jealousy, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments: The majority of the melody is stepwise and lyrical, remaining in the middle voice.

Higher notes are approached via leaps on open vowels and are not sustained for long, which may help students with difficulty approaching and gaining confidence in the top. These melodic gestures are set to the words “suffer” and “weep,” which may also help students connect to visceral expressive gestures.

Song: Я здесь, Инезилья*^ (I am here Inesilla) 1834 Composer: Glinka Poet: Pushkin Key: G Major Range: D4-G5 Themes: love, courtship Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 24 Comments:

Arpeggiated approaches to the top of the staff can help prevent students from carrying up too much weight.

The subject matter and the closed vowels at the top of the staff make this song more appropriate for male singers, though some young baritones may find the tessitura slightly fatiguing.

Song: Я помню чудное мгновенье*^+ (I remember that magical moment) 1840 Composer: Glinka Poet: Pushkin Key: F Major Range: E4-F5 Themes: loss of a loved one Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 34 Comments:

Several phrases have repeated vowels between a variety of consonants and will help with articulatory problems.

Closed vowel at the top of the staff will be helpful for male voices and present challenges for female voices.

100

Song: Казачья Колыбельная*^+ (Cradle Song) Op. 1, no. 5 (1894) Composer: Grechaninov Poet: Lermontov Key: E Major Range: D#4-G#5 Themes: to comfort, sleep Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments: Neither the accompaniment nor vocal line are difficult, but the piano line is sometimes a third below the voice, which is often expected to complete the chord and may be difficult for some young singers.

The character of the song and piano dynamic markings may cause under-singing and tuning issues in less developed singers.

The passages at the top of the staff are generally approached via octave leap with some closed vowels.

101

Song: Ночь* (Night) Op. 47, no. 7 Composer: Grechaninov Poet: Solovyova Key: D Major Range: B3-D5 Themes: night, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 27 Comments:

The vocal line is doubled by the melody the entire time, but the song itself is a bit unusual with interesting harmonic sonorities and chromatic neighbor tones.

This is a beautiful, but obscure poem that may be difficult for some young singers to convey.

102

Song: Подснежник* (Snowdrop) Op. 47, no. 9 Composer: Grechaninov Poet: Solovyova Key: E Major Range: B#3-F#5 Themes: nature, springtime Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

A fun, but challenging song with an endearing text.

The sparse accompaniment may leave singers feeling exposed or create intonation issues.

Some closed vowels at the top of the staff may feel easier for male singers.

103

Song: Степью иду я унылою*^+ (Over the steppe) Op. 5, no. 1 Composer: Grechaninov Poet: Pleshcheyev Key: B Minor Range: C#4-G5 Themes: loss of a loved one, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

There is a resistance in the stepwise harmonic motion that conveys the mournful desperation of the text.

Even though the melody is generally doubled by the piano, the range, subject matter, and chromaticism are too advanced for developing singers.

This song contains some difficult consonant clusters.

104

Song: Узник*+ (The Prisoner) Op. 20, no. 4 Composer: Grechaninov Poet: Pushkin Key: C# Minor Range: B#2-F#4 Themes: imprisonment, freedom, flying birds Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

A great song for young bass/baritone types to facilitate sense of strength and declamation in the voice.

Between the declamatory sections and vaulted melody at the end, this song feels like a mini-aria.

Shifting meters and harmonic sonorities require a more advanced musician.

105

Song: Бабочка*+ (Butterfly) Op. 28, no. 3 Composer: Medtner Poet: Fet Key: G♭ Major Range: D♭4-G♭5 Themes: effortlessness, flying Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 36 Comments:

The thought of being a flighty butterfly with an accompaniment that provides little grounding may exacerbate problems for singers who already have trouble keeping a low larynx or low inhalation.

The melody moves quickly through a poem with a lot of difficult consonant clusters and may cause some articulatory issues.

106

Song: Испанский романс *+ (Italian Romance) Op. 52, no. 5 Composer: Medtner Poet: Pushkin Key: A♭ Major Range: C#4-G#5 Themes: satire, love triangle Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 5 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 5 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 41 Comments:

This is a fun story about a love triangle and the playful nature is depicted in the energetic rhythmic gestures throughout the accompaniment and vocal line.

The sheer amount of text is just one of the reasons why this song is not suitable for anyone who is not an advanced musician and linguist.

107

Song: Роза*+ (Rose) Op. 29, no. 6 Composer: Medtner Poet: Pushkin Key: F Major Range: A3-E♭5 Themes: loss of a child, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments:

The gravity of the text is portrayed in the heavy descending line of the left hand.

The death of a child is a difficult event to comprehend and thus this song requires a singer with advanced experiences and emotional depth.

Requires strength and warmth in the middle voice.

108

Song: Серенада* (Serenade) Op. 46, no. 3 (1926) Composer: Medtner Poet: Benedikt von Eichendorff Key: A Minor Range: E4-A5 Themes: summer, nature, singing Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

The tessitura is high and may be fatiguing for some developing singers.

The accompaniment can feel dense and thus requires a singer with some amplitude and point in the middle voice.

The syllabic setting gives the pace a fleeting sense and with long phrases there is little time to reset in between.

109

Song: Цветок*+ (Flower) Op. 36, no. 2 Composer: Medtner Poet: Pushkin Key: E Minor Range: D4-A5 Themes: withered flower, uncertainty, lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 41 Comments:

This is a beautiful song, but it presents some challenging harmonic language.

The sections where the melody rises above the staff with a p or pp marking may present real challenges for most singers.

The range is expansive and shifting tonalities create challenges with intonation.

110

Song: Что ты клонишь над водами*+ (Willow bending forever) Op. 24, no. 2 Composer: Medtner Poet: Tyutchev Key: F# Minor Range: C#4-G#5 Themes: water, embarrassment Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

There is a passage that ascends stepwise through the secondo passaggio written with a decrescendo and ritard that may cause some tension issues for underdeveloped singers. Otherwise, the range and tessitura are not unfriendly.

111

Song: Где ты звёздочка *^ (Where are you Little Star) 1857 Composer: Mussorgsky Poet: Grekov Key: F# Minor Range: D4-F#5 Themes: nature, loss of a loved one Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

The song does not look difficult, but the sparseness of the accompaniment and delicate meandering of the melody require an advanced ear and sense of delivery.

The folk-like setting is evocative and may allow for a more visceral connection to singing if one thinks about moaning out of loneliness and pain.

The text setting allows for the creation of small or long phrases with plenty of liberty in between for breathing.

112

Song: Детская песенка*^ (Little Children’s song) 1868 Composer: Mussorgsky Poet: Mey Key: A Major (E tonicized) Range: C#4-F#5 Themes: nature, childhood, happiness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

The vocal melody is often included in the accompaniment, but there are some tricky sections when the right hand of the piano is a major second above or below the voice.

Some unexpected chromatic turns and shifting meters require more advanced musicianship. This would be a fun challenge for a singer with a developed ear and an underdeveloped voice, but a lower key might be required.

Shifting meters create an extra challenge for phrasing and breath management.

113

Song: Дуют ветры, ветры буйные *^+ (Stormy breezes, breezes blowing) 1864 Composer: Mussorgsky Poet: Kol’tsov Key: C# Minor Range: A2-E4 Themes: natures, yearning for love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 36 Comments:

The vocal line is often included in the accompaniment, but it may be difficult to find amongst the thick textures and fleeting scales.

A great song for inspiring a baritone to energize his singing.

There is not always time to reset after long phrases, which may lead to excess tension and stacking the breath.

114

Song: Козëл*^+ (Goat) 1867 Composer: Mussorgsky Poet: Mussorgsky Key: A Major Range: B#2-E4 Themes: satire, arranged marriage Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

Generally men sing this song and the variety of dynamics and character can encourage singers to play with different colors and tone qualities in the voice. However, the range and tessitura may be a challenge for many developing male voices.

The long phrases may also present challenges, but the phrases marked piano at the top of the staff would provide an opportunity to work on the upper register and mixing.

115

Song: Над рекой *^+ (By the River) Sunless, no. 6 (1874) Composer: Mussorgsky Poet: Golenishchev-Kutuzov Key: B Major Range: C#4-D5 Themes: water, mystery Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

The vocal line is often found in the right hand of the accompaniment, but the triplets in the left hand of the piano present considerable counting challenges for the singer.

A skilled actor with developed vocal technique would better represent the deeply somber and intimate subject matter.

Depending on the tempo taken, some of the phrases can be long and difficult.

The low range of this song may present problems for females with underdeveloped low register.

116

Song: Пирушка*+ (A Little Feast) 1867 Composer: Mussorgsky Poet: Kol’tsov Key: E♭Major Range: B♭2-D♭4 Themes: beautiful scenery, eating Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

Fleeting tonalities and sparse accompanimental figures make this a more challenging song.

Shifting meters create awkward challenges for counting and breath management.

117

Song: По грибы*+ (Mushroom hunting) 1867 Composer: Mussorgsky Poet: Mey Key: D Major Range: D4-D5 Themes: nature, identifying mushrooms Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 24 Comments:

The melody spans a limited range and would be comfortable for developing singers. However, the accompaniment is thick and developing female voices may experience difficulty being heard in their lower range in this key.

Some chromatic stepwise motion may present tuning challenges, but these are usually doubled by the piano.

The bouncy melody and moderately short phrases make this a great song for a beginner as long as it is sung in an agreeable key.

118

Song: Светик Савишна*+ (My Darling Savishna) 1866 Composer: Mussorgsky Poet: Mussorgsky Key: C Major Range: C3-E4 Themes: scorn, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 5 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

A mood of desperation is depicted by a melody that does not stop for several pages. There are literally no rests written into the vocal line and the quick pace gives little to no time for the singer to reset in between phrases.

When the melody rises above the bass clef, developing male voices may experiences difficulties in regard to articulation, tuning and a sense of legato.

119

Song: Сиротка*+ (Little Orphan) 1868 Composer: Mussorgsky Poet: Mussorgsky Key: B♭ Minor Range: C3-F4 Themes: hunger, abandonment, pleading Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments: The desperation of the character can be used as a dramatic tool for inspiring dramatic commitment.

Some harmonic play between alternating major and minor keys can be helpful in ear development.

The song does not look overly difficult, but the range may be problematic for some developing voices, especially with some difficult consonant clusters preceding the tones at the top of the staff.

A mix of long and short phrases can be used as a tool to address breath management.

120

Song: Стрекотунья белобока*+ (Magpie) 1867 Composer: Mussorgsky Poet: Pushkin Key: F Major Range: C4-F#5 (optional C6) Themes: nature, gypsy songs Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 5 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments:

Slippery harmonic motion creates some tuning issues throughout the entire song.

The quirky character and beautiful poetry create opportunities for a variety of vocal colors and registration choices.

Higher voices may want to take the melody an octave up during the gypsy song so as to be heard above the accompaniment, but this then creates high C’s that may create a different set of problems. Also, taking this section the octave up can be very fatiguing for most voices, especially when there is little time to breath in between phrases.

121

Song: Что вам слова любви*^ (What to you are words of love) 1860 Composer: Mussorgsky Poet: Ammosov Key: D Minor Range: C#4-E5 Themes: unrequited love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

A nice song for building a sense of line in the middle voice and uniting the registers.

At the end of the song, the melody approaches the top of the staff with a piano dynamic marking creating an opportunity to talk about mixing with developing male voices.

122

Song: Op. 35, no. 1: пять песен без слов (5 Songs without words) 1920 Composer: Prokofiev Poet: NA Key: C Major key signature Range: F4-A5 Themes: NA Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 1 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 5 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

The first song from the cycle written in 1920 for soprano Nina Koshetz.

The melody consistently moves up through the passaggio via step wise motion that may create some tension issues for less developed singers. However, the dynamic markings often help energize these passages.

The rich harmonic language and shifting meters require an advanced sense of musicality.

The categories of Acting and Words are both given a 4 rating due to the fact that it can be difficult for young singers to engage dramatically and commit to a character without a designated set of texts.

123

Song: Op. 35, no. 4: пять песен без слов (5 Songs without words) 1920 Composer: Prokofiev Poet: NA Key: A Major key signature Range: B#3-A5 Themes: NA Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 1 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

There is a lot of meandering and step wise motion at the top of the staff that may cause intonation issues for less developed singers.

Slightly longer phrases than #1 in the cycle.

The dynamics can be a little unfriendly at the top of the staff from time to time.

124

Song: Память о солнце* (Memory of the Sun) Op. 27, no. 3 (1916) Composer: Prokofiev Poet: Akhmatova Key: C Major key signature Range: D#4-G5 Themes: loss of a loved one, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

The accompaniment can feel bare and unsupportive and it can be difficult to sing such a delicate melodic line without squeezing or having intonation problems.

A beautiful song with some very interesting harmonic sonorities.

125

Song: Снежки белые* (White snowflakes) Op. 104, no. 5 Composer: Prokofiev Poet: unknown, folksong arrangment Key: B Major Range: C#4-E5 Themes: winter, grieving Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments:

This is not a difficult song, but it does require considerate coordination between the pianist and vocalist and an advanced sense of musicality and phrasing.

A good song for working with developing female voices, encouraging them to open up and mix in some chest voice as the melody descends.

126

Song: Солнце комнату наполнило* (The sun filled the room) Op. 27, no. 1 (1916) Composer: Prokofiev Poet: Akhmatova Key: C Major key signature Range: E4-G5 Themes: excitement, visiting loved ones Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

The fleeting accompaniment offers little assistance in regard to finding notes for the vocalist

There is an overall marking of p and decrescendos as the vocal melody ascends creating some challenges for any soprano.

In combination with the dynamics, the tessitura may fatigue some singers.

127

Song: Вокализ (Vocalise) Composer: Rachmaninoff Poet: NA Key: C# Minor Range: C#4 - C#6 Themes: NA Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 1 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 5 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 5 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 5 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 43 Comments:

This song requires significant musicianship and dramatic capabilities to keep the audience engaged for 8 minutes.

The wide range, difficult melody, and unpredictable harmonic sonorities are just a few of the demands that make this song more appropriate for singers with an advanced sense of musicianship and vocal agility.

128

Song: Здесь хорошо*^+ (Here, its nice) Op. 21, no. 7 Composer: Rachmaninoff Poet: Galina Key: A Major Range: E4-B5 Themes: calm, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 5 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

The pianissimo B5 that seems to appear out of nowhere makes this song notoriously difficult, but the text /da/, gives the singer some assistance. Otherwise, most ascending lines are given a crescendo that can help with vibrancy and tuning.

The melody begins in a difficult section of the voice, but there is reprieve after the first four bars when the melody sits in the middle of the staff.

This is a challenging miniature requiring advanced performers.

129

Song: Какое счастье*^+ (What Happiness) Op. 34, no. 12 (1912) Composer: Rachmaninoff Poet: Fet Key: A Major Range: C#4-B♭5 Themes: love, desire Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 5 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 5 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 5 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 5 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 43 Comments:

This song requires advanced musicianship and skill from both the singer and pianist.

There are many difficult consonant clusters and the tempo moves at such a fleeting pace that it can be exceptionally difficult to get all of the sounds out.

A very exciting song, but difficult.

130

Song: Маргаритки*^+ (Daisies) Op. 38, no. 3 Composer: Rachmaninoff Poet: Severyanin Key: F Major Range: F4-A♭5 Themes: nature, joy of summer Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 41 Comments:

This is a more difficult song requiring considerable independence from the singer. The accompaniment rarely assists the vocal line participating in its own projection of the scenery.

The unpredictable harmonic motion and chromaticism can make tuning very difficult, especially in the middle section.

The song is marked lento with repeating p and pp that may cause problems for underdeveloped and hypofunctional voices who tend to squeeze.

131

Song: Она, как полдень, хороша*^+ (She, like noon, is beautiful) Op. 14, no. 9 (1896) Composer: Rachmaninoff Poet: Minsky Key: E♭ Major Range: B♭2-G♭4 Themes: adoration, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

The accompaniment is sparse for a great deal of the song leaving the singer to feel unsupported and exposed.

This is a great song customarily sung by men that can be used to further develop a sense of legato

The passages up to the top of the staff are generally set with vowels /e/ and /ɔ/ to ease registration issues.

132

Song: Островок*^+ (The Island) Op. 14, no. 2 Composer: Rachmaninoff Poet: Balmont Key: G Major Range: E♭4 - G5 Themes: beauty, nature, isolation Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

The tessitura of the vocal line is high with little in the accompaniment to provide a sense of grounding that may create problems for voices who tend to “perch” at the top of the staff.

The combination of dynamics and vowels at the top of the staff make this a difficult song recommended for more developed singers.

133

Song: Полюбила я на печаль свою*^+ (The soldier’s wife) Op. 8, no. 4 Composer: Rachmaninoff Poet: Pleshcheyev/Shevchenko Key: G Minor Range: F#4-G5 Themes: loneliness, separation from a loved one Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments:

This is one of Rachmaninoff’s less complicated accompaniments.

The folk-like setting, the vocalise at the end, and the character of the poem make this a great song for integrating visceral sounds (crying/moaning) and feelings with singing.

There is some stepwise motion through the passaggio at the top of the staff that may create some tension issues for some singers, but these passages also feature open vowels that will mitigate some of the tension issues.

It is not a difficult song and would be a nice song to develop an evocative emotional performance.

134

Song: Сирень*^+ (Lilacs) Op. 21, no. 5 Composer: Rachmaninoff Poet: Beketova Key: A♭ Major Range: E♭4-G♭5 Themes: nature, happiness, isolation Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

This melody sits mostly in the middle voice approaching the top of the staff by small leaps. The variety of vowels on F5 and G5 provide equal opportunities for successes and challenges for either gender.

The mixtures of short and long phrases make this a great tool for teaching breath management.

The pp marking at the top of the staff on the last page may create some issues for some developing female voices, but it also provides a great opportunity to work with developing males voices on registration and mixing.

Overall, this is a great song for introducing developing voices to Russian repertoire.

135

Song: Сон*^+ (Dream) Op. 38, no.5 Composer: Rachmaninoff Poet: Sologub Key: D♭ Major Range: F4-B♭5 Themes: repose, weightlessness, sleep Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 5 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 44 Comments:

This is a very difficult song that requires both the vocalist and pianist to be skilled musicians.

The song has a high tessitura and when the melody rises above the staff singers may find the open vowels helpful, but the p and pp dynamic markings create vocal challenges.

The accompaniment is very difficult with a long postlude requiring a skilled musician at the keyboard who is able to play the complicated figurations while following the rubato in the vocal line.

136

Song: У моего окна*^+ (At my window) Op. 26, no. 10 Composer: Rachmaninoff Poet: Galina Key: A Major Range: E4-B5 Themes: nature, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

This wide ranging song presents many challenges and requires significant musicianship and collaboration between the vocalist and pianist.

This song is often sung by men and women, but the p dynamic markings and closed vowels at the top of the staff make this song more conducive for the male voice.

This song is recommended for singers with more advanced musicianship and vocal agility.

137

Song: Уж ты нива моя*^+ (Harvest of Sorrow) Op. 4, no. 5 (1893) Composer: Rachmaninoff Poet: Tolstoy Key: D Minor Range: G5-B♭5 Themes: unfulfilled desires and efforts, grave sadness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 43 Comments:

The dramatic text and melismatic passages may help engage some passive singers.

The consonant cluster /str/ on the first A5 may cause problems for women who have trouble with complete adduction at the top of the range.

Toward the end, the tessitura may sit a bit high for some developing voices.

Shifting meter creates some long phrases and counting challenges.

The gravity of the subject matter and large leaps make this song more appropriate for developed musicianship and vocal skills. 138

Song: Для берегов отчизны дальной*^+ (From the shores of your distant fatherland) Op. 26 no. 3 (1882) Composer: Rimsky-Korsakov Poet: Pushkin Key: E Major Range: D4-F#5 Themes: homesickness, abandonment Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments:

Long phrases can be used to work on breath management.

Accidentals and chromatic motion can be used as a means to develop intonation and musicianship.

The tessitura sits mostly in the lower middle voice, using a variety of open and mixed vowels for passages that ascend to the top of the staff.

This song includes a lot of text and may be difficult for some to memorize. Also with the chromatic passages and long phrases, this song would be better reserved for upper level musicians.

139

Song: Не пой красавица при мне*^+ (Oh, never sing to me again) Op. 51, no. 2 (1897) Composer: Rimsky-Korsakov Poet: Pushkin Key: G Major Range: D#4-A5 Themes: isolation, longing, homesickness Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 5 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments: This song presents many challenges and requires a developed singer. The singer must have an expansive range and ability to count accurately.The sparse accompaniment in the first section requires the singer to have a developed ear and comfortable independence.

The stepwise motion though the top of the staff may be dangerous for singers who are already guilty of carrying too much weight up in the voice.

The vowels at the top of the staff suggest that this song would be easier sung by a male/baritone voice than a female voice.

140

Song: О чём в тиши ночей*^+ (What I am dreaming about) Op. 40, no. 3 (1897) Composer: Rimsky-Korsakov Poet: Maykov Key: B♭ Major Range: D4-F5 Themes: love, yearning Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 24 Comments:

With a limited range and accessible harmonic language, this song is suitable for young singers in the first years of voice lessons.

The large interval leaps at the end of the song can help with female registration issues.

141

Song: Пленившись розой соловей*^+ (The nightingale and rose) Op. 2, no. 2 (1866) Composer: Rimsky-Korsakov Poet: Kolstov Key: F# Minor Range: F#4-F#5 (C#4-C#6) Themes: longing, unrequited love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 5 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments: It is customary for the final piano melody to be sung on an /a/, this song was graded with that in mind.

The song features a shifting tonal center that attribute to the chromaticism in the written vocal line. This, coupled with inconvenient vowels at the top of the staff makes it difficult as written.

The song increases in difficulty if the singer chooses to sing the melody at the end. A very high tessitura and advanced rhythmic gestures are beautiful, but challenging.

142

Song: Редеет облаков летучая гряда*^+ (The chain of clouds is thinning) Op. 42, no. 3 Composer: Rimsky-Korsakov Poet: Pushkin Key: B Minor Range: E4-A5 Themes: love, adoration, stars Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

The top of the staff is approached by both leaps and ascending scales making this a good song for working out passaggio issues, identifying the student’s successful approach and assimilating sensations.

143

Song: Сновиденье*+ (A Dream) Op. 55, no. 3 (1898) Composer: Rimsky-Korsakov Poet: Pushkin Key: F Major Range: E3-A4 Themes: loss of a loved one, joy in dreams Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 40 Comments:

The tessitura is not impossible, but the frequent use of p at the top of the staff will likely result in excessive tension in less developed singers.

Written for tenor and piano, the vowels and text make this song more appropriate for male singers and may function as a tool for developing use of falsetto or mixed voice.

144

Song: Ты и вы*^+ (You and Thou) Op. 27, no. 3 (1883) Composer: Rimsky-Korsakov Poet: Pushkin Key: A♭ Major Range: C4-A♭5 Themes: love, plays on grammar (formal versus informal “you”) Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Words: Is this accessible poetry? 3 Poetry/Lyrics/Librett Is the story age appropriate? o Will the text make the memorization process difficult? Total Score 39 Comments: The melody moves through an expansive range and can be used to help women struggling with either the primo or secondo passaggio. The melody stays mostly on the staff with only one high climactic note (A♭) at the very end of the song. The melody is not often stepwise and may cause problems or be used as a tool for students struggling with legato. There are some unfriendly vowels for female singers at the top of the staff.

145

Song: Азра*^+ (Azra) Op. 32, no. 6 (1856) Composer: Rubinstein Poet: Heine/Tchaikovsky Key: F Minor Range: D3-A♭4 Themes: love, exoticism, death Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments:

The arpeggiated approaches to the top of the staff can help young men sing without too much weight in the voice.

The closed vowels at the top of the staff will also be helpful with registration in developing male voices.

Some long phrases toward the end help create the character’s sense of desperation, but may present breath management challenges for younger singers.

146

Song: Жажда свободы* (Thirst for freedom) Op. 57, no. 5 (1860) Composer: Rubinstein Poet: Krylov Key: E♭ Major Range: E♭4-A♭5 Themes: nighttime, freedom Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 32 Comments: The dotted rhythms at the top of the staff can help energize vocal production without adding weight to the voice.

The combination of /mn/ may create problems for developing singers on the final A♭5 if there are already problems with tight articulation or nasality. Also, this is preceded by chromatic movement through the passaggio that may create some tuning of registration issues.

This song contains a lot of difficult consonant clusters, but most of these occur when the melody is set in the middle voice so there may be opportunities to discuss legato and articulation. Long, ascending phrases may create issues with breath management and squeezing at the top of the staff.

147

Song: Желание*^+ (Desire) Op. 8, no. 5 (1850) Composer: Rubinstein Poet: Lermontov Key: E♭ Major Range: B♭2-F4 Themes: masculinity, power, glory Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments: The dotted rhythms and dense accompaniment may help to energize the voice without adding too much weight.

The poem’s subject of adventure would also help young men to energize their sound by connecting with a strong character.

The octave leap at the end with a piano dynamic marking provides a lovely opportunity for working on mixing in developing male voices.

There are a lot of words, making memorization difficult.

148

Song: Зулейка *^+ (Suleika) Op. 34, no. 1 (1854) Composer: Rubinstein Poet: Bodenstedt/Tchaikovsky Key: F Major Range: C3-D4 Themes: adoration, beauty, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 2 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 29 Comments:

This very gentle and beautiful melody can become boring with its strophic setting if the singer is not a skilled actor.

Some longer phrases can be used to work on breath management.

149

Song: Как увижу твои ножки*^+ (When I see your little feet) Op. 34, no. 3 (1854) Composer: Rubinstein Poet: Bodenstedt/Tchaikovsky Key: E Major Range: C#3-E4 Themes: adoration, love, beauty Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 2 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 2 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 2 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 26 Comments:

This simple song is written in the dilettante tradition and contains few challenges in regard to rhythmic or harmonic sonorities. However, there are several verses making memorization difficult. For developing singers, one or two verses might be enough.

A mix of long and short phrases make this a good exercise for breath management

150

Song: Клубится волною*^+ (The Waves of Turbulent Kurag) Op. 34, no. 9 (1854) Composer: Rubinstein Poet: Vazeh/Tchaikovsky Key: G Major Range: B2-E4 Themes: water, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

This strophic setting presents a few more harmonic and melodic challenges than the other songs mentioned in this project.

The delicate melody reflects the intimacy of the poem that might be difficult for young singers to convey without seeming passive or boring.

Some long phrases may present challenges for developing singers.

151

Song: Мелодия* (Melody) Op. 3 Composer: Rubinstein Poet: Razmadze Key: A♭ Major Range: D♭4-G5 (B♭5) Themes: yearning, music, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 1 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 30 Comments:

This was originally an instrumental work written in F Major so the text setting and phrasing feels a bit awkward from time to time.

In this key, the melody sits in the middle voice and usually approaches the top of the staff via leap.

152

Song: Над морем солнце блещет*^+ (Above the sea the sun shines) Op. 34, no. 10 (1854) Composer: Rubinstein Poet: Bodenstedt/Tchaikovsky Key: B♭ Major Range: G3-G4 Themes: nature, music, adoration Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments:

A beautiful prelude and postlude bookend a short, folk-like melody.

This tessitura of this song may be a bit more difficult than the others in this cycle for younger bass/baritone types. There are also more counting challenges in this song, but taking the allegretto tempo on the slower side makes it a bit easier to count and sing.

153

Song: Нас по одной дороге *^+ (I feel your soul’s dear presence) Op. 34, no. 6 (1854) Composer: Rubinstein Poet: Bodenstedt/Tchaikovsky Key: F Major Range: F3-F4 Themes: love, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 2 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 33 Comments:

The pp dynamic marking may cause some developing singers to under-sing and have issues tuning through the stepwise melody at the top of the staff.

Depending on the key, some young bass/baritones may find the combination of tessitura and dynamics to be fatiguing.

154

Song: Узник*^+ (Prisoner) Op. 78, no. 6 (1868) Composer: Rubinstein Poet: Pushkin Key: C Minor Range: G2-E♭4 Themes: imprisonment, freedom, flying birds Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

Consistent recitative like passages may energize the voice, but do very little assist in building a sense of legato in young singers.

A variety of rhythmic gestures and harmonic sonorities require a singer with a more advanced sense of musicianship.

155

Song: Забыть так скоро* (To forget so soon) 1870 Composer: Tchaikovsky Poet: Apukhtin Key: F Minor Range: E4-A♭5 Themes: lost love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 36 Comments: There is some step wise motion in the passaggio that may create tension for some singers, but this is accompanied by open vowels and helpful consonants that may reduce the tension and weight for some female singers.

Also, the ascending steps in the passaggio are often accompanied by a crescendo, adding to the possible tension relief.

156

Song: И больно и сладко*+ (In pain and sweetness) Op. 6, no. 3 Composer: Tchaikovsky Poet: Rostopchina Key: A Major Range: B3-A5 Themes: separation, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 5 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 5 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 5 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments: This song requires nearly 2 octaves and manages to hang in either the female primo or secondo passaggio.

The quick shifts between registers requires advanced agility and coordination.

157

Song: Колыбельная песня*^+ (Lullaby) Op. 16, no. 1 (1872) Composer: Tchaikovsky Poet: Maykov Key: A♭ Minor Range: D#4-A♭5 Themes: sleep, dreams, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 5 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 4 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 5 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments:

This song begins in the passaggio, on a closed vowel, at a p dynamic level.

The accompaniment gives little sense of support and the tessitura is quite high, making this probably uncomfortable for some singers.

158

Song: Не верь, мой друг*^+ (Do not believe, my friend) Op. 6, no. 1 (1869) Composer: Tchaikovsky Poet: Tolstoy Key: C# Minor Range: C#4-F#5 Themes: longing, love, separation Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

This haunting melody spans a wide range and includes many large leaps.

The closed vowels at the top of the staff may prove difficult for some females.

159

Song: Нет, только тот кто знал*^+ (None, only a lonely heart) Op. 6, no. 6 (1869) Composer: Tchaikovsky Poet: Mey/Goethe Key: D♭ Major Range: C4-F5 Themes: longing, isolation, love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

The large leaps will require agility and coordination between registers.

The closed vowels at the top of the staff may present problems for some women who will need to substitute vowels.

160

Song: Ни слова, о друг мой*^+ (Do not say a word, my friend) Op. 6, no. 2 (1869) Composer: Tchaikovsky Poet: Pleshcheyev/Hartman Key: E Minor Range: D#4-G5 Themes: lost love, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 31 Comments:

The closed vowels used at the beginning of some descending passages may be unfriendly and cause developing singers to squeeze.

161

Song: Новогреческая песня*^+ (The Neo-Greek Song) Op. 16, no. 6 (1872) Composer: Tchaikovsky Poet: Maykov Key: E♭ Minor Range: D♭4-F5 Themes: Hades, suffering Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 4 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments: The use of vowels at the top of the staff make this a good song for baritones looking to work on covering.

The amount of text required for memorization and tricky coordination between the piano and voice make this song better for more advanced singers.

162

Song: О, спой же ту песню*^+ (Oh, sing me that song) Op. 16, no. 4 (1872) Composer: Tchaikovsky Poet: Pleshcheyev/Hemans Key: G Major Range: D4-G5 Themes: music, death Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 2 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 35 Comments: The moderately long phrases may help build breath endurance, but the unfriendly vowels at the top of the staff may make this a difficult song for young singers.

There are several phrases that sit in the passaggio and may be uncomfortable for some singers, but these are followed by moments of reprieve when the melody returns to the middle of the staff.

163

Song: Отчего?*^+ (Why) Op. 6, no. 5 (1872) Composer: Tchaikovsky Poet: Mey/Heine Key: D Major Range: D4-A5 Themes: lost love, abandonment, nature Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 3 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 2 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 2 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 2 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 28 Comments: The octave leap at the end may be challenging for some developing singers, especially females who have trouble focusing the /a/ vowel in that part of the voice.

The stepwise motion in the upper passaggio may also be problematic for some who already exhibit tension in that part of the voice.

164

Song: Погоди*+ (Wait!) Op. 16, no. 2 (1872) Composer: Tchaikovsky Poet: Grekov Key: A Minor Range: D#4-F#5 Themes: love, intimacy, repose Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 5 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 4 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 3 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 42 Comments: The vowels at the top of the staff make this song friendlier for male singers than female singers.

The tessitura and harmonic sonorities add to the difficulty of this song.

165

Song: Пойми хоть раз*+ (Understand once) Op. 16, no. 3 (1872) Composer: Tchaikovsky Poet: Fet Key: C Minor Range: B2-F4 Themes: love Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 4 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 3 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 3 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 39 Comments:

The appoggiaturas might help young baritones avoid carrying too much weight above the staff.

The range may be a bit difficult for some younger baritones.

166

Song: Слеза дрожит*^+ (A tear is trembling) Op. 6, no. 4 (1869) Composer: Tchaikovsky Poet: Tolstoy Key: G♭ Major Range: D♭3-F♭4 Themes: love, the sea Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 4 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 2 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 2 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 4 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 4 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 38 Comments:

This is a highly demanding song for male voice that requires significant stamina, especially in the upper register.

16 7

Song: Так что же?*+ (So What?) Op. 16, no. 5 Composer: Tchaikovsky Poet: (P. I.) Tchaikovsky Key: F# Minor Range: E4-A5 Themes: unrequited love, desperation Technical Issue Problem Solving Questions Scale Addressed 1-5 Accompaniment Is the accompaniment utilitarian, supportive, independent, etc? 4 Is the accompaniment part of the story line? Is the accompaniment descriptive (e.g. water figures, spinning wheel)? Characterization/ Is the character appropriate to the student’s dramatic capacity or 3 Acting life experiences? Will the student benefit from portraying this type of character? Diction/Articulation Consideration of challenging consonant clusters. 3 Closed position or difficult consonants on challenging pitches? Dynamics Is the singer expected to sing a pianissimo high note? 3 Are the markings pedagogically helpful (e.g. crescendo on held notes to assist in breath energy and/or vibrancy)? Melismatic Phrases Beginning or advanced melismas/melismatic phrases present? 3 Appoggiatura? Dotted Rhythms? Musical Through composed? Strophic? Accessible harmonic language? 4 Considerations Tonal? An enjoyable melody? Range/Tessitura How are high notes approached? Is the range too vast? 4 Is the tessitura too low or high? Can a young singer sit in that particular part of the voice for that longs without fatiguing? Registration Does the piece assist in working through passaggio issues? 4 Will the student carry weight up? Helpful vowels in an underdeveloped part of the student’s voice? Respiration Are phrase lengths accessible? 3 Will the breaths allow for renewal of positioning? Text Setting Syllabic, Patter, Lyric? 3 Does the text setting assist in memorization? Words: Is this accessible poetry? 3 Poetry/Lyrics/ Is the story age appropriate? Libretto Will the text make the memorization process difficult? Total Score 37 Comments:

This song requires a wide range and jumps around between registers, requiring a moderate amount of coordination and agility.

168

Part Three: Song recommendations

Title (English) Composer/Rubric Score

Songs for Lower Level

Female Voices only

Не говори: любовь пройдёт (Do not say, love will pass) Alyabyev/20 Не скажу никому (I won’t tell anyone) Alyabyev/28 Саша (Sasha) Alyabyev/26 Баркарола (Barcarolle) Balakirev/26 Вертоград моей сестры (My sister’s garden) Dargomyzhsky/34 Мелодия (Melody) Rubinstein/30 Отчего? (Why?) Tchaikovsky/28 О, спой же ту песню (Oh, sing me that song) Tchaikovsky/35 Забыть так скоро (To forget so soon) Rubinstein/36

Male Voices only

Певец (Singer) Alyabyev/33 Кабак (Pub) Alyabyev/24 Совет (Council) Alyabyev/29 Слышу ли голос твой (I hear your voice) Balakirev/30 Песня тёмного леса (Song of the dark forest) Borodin/29 Спесь (Arrogance) Borodin/25 Мельник (Miller) Dargomyzhsky/31 Паладин (Paladin) Dargomyzhsky/35 Болеро (Bolero) Glinka/35 К Молли (To Molly) Glinka/35 Северная Звезда (Northern Star) Glinka/31 Я здесь, Инезилья (I am here, Inesilla) Glinka/24 Я помню чудное мгновенье (I remember that magical moment) Glinka/34 Она, как полдень, хороша (She, like noon, is beautiful) Rachmaninoff/32 Азра (Azra) Rubinstein/32 169

Желание (Desire) Rubinstein/29 Нас по одной дороге (I feel your soul’s dear presence) Rubinstein/33 Иртыш (Irtysh) Alyabyev/31 Из слёз моих (From my tears grew much) Borodin/28 Фальшивая нота (False note) Borodin/27 Червяк (The worm) Dargomyzhsky/30 Пирушка (A litle feast) Mussorgsky/30 Сиротка (Little orphan) Mussorgsky/30 Она, как полдень, хороша (She, like noon, is beautiful) Rachmaninoff/32 Зулейка (Suleika) Rubinstein/29 Как увижу твои ножки (When I see your little feet) Rubinstein/26 Над морем солнце блещет (Above the sea the sun shines) Rubinstein/33

Songs for Upper Level

Female Voices only

Болеро (Bolero) Cui/45 Op. 35, no. 1 Prokofiev/38 Op. 35, no. 4 Prokofiev/38 Сон (Dream) Rachmaninoff/44 Пленившись розой соловей (The nightingale and the rose) Rimsky-Korsakov/43 Вокализ (Vocalise) Rachmaninoff/43 И больно и сладко (In Pain and sweetness) Tchaikovsky/42 Речная лилея (Water lily) Rachmaninoff/40

Tenors

Отравой полны мои песни (My songs are poisoned) Borodin/40 Козёл (The goat) Mussorgsky/37 Сновиденье (A dream) Rimsky-Korsakov/40

Baritones/Basses

Море (The sea) Borodin/42 Отравой полны мои песни (My songs are poisoned) Borodin/40 Узник (The Prisoner) Grechaninov/37 Дуют ветры, ветры буйные (Stormy breezes, breezes blowing) Mussorgsky/36 Козёл (The goat) Mussorgsky/37 170

Светик Савишна (My darling Savishna) Mussorgsky/38 Не пой красавица при мне (Oh, never sing to me again) Rimsky-Korsakov/40 Клубится волною (The waves of turbulent Kurag) Rubinstein/37 Пойми хоть раз (Understand once) Tchaikovsky/39

Songs for Female Passaggi

Не говори: любовь пройдёт (Do not say love will pass) Alyabyev/20 Не скажу никому (I won’t tell anyone) Alyabyev/28 Нищая (The Beggarwoman) Alyabyev/31 Баркарола (Barcarolle) Balakirev/26 Запевка (Prologue) Balakirev/40 Сосна (Pine Tree) Balakirev/28 Сомнение (Doubt) Glinka/33 Что вам слова любви (What to you are words of love) Mussorgsky/29 Снежки белые (White snow) Prokofiev/35 О чём в тиши ночей (What I am dreaming about) Rimsky-Korsakov/24 Мелодия (Melody) Rubinstein/30 И больно и сладко (In pain and sweetness) Tchaikovsky/42 Нет, только тот кто знал (None, only a lonely heart) Tchaikovsky/37

Songs for Male Passaggio

Нищая (The Beggarwoman) Alyabyev/31 Запевка (Prologue) Balakirev/40 Сожжённое письмо (The burnt letter) Cui/38 В крови горит огонь желанья (My heart is ablaze with desire) Dargomyzhsky/28 Паладин (Paladin) Dargomyzhsky/35 Бедный Певец (The poor singer/poet) Glinka/42 Болеро (Bolero) Glinka/35 Я помню чудное мгновенье (I remember that magical moment) Glinka/34 Подснежник (Snowdrop) Grechaninov/37 Что вам слова любви (What to you are words of love) Mussorgsky/29 У моего окна (At my window) Rachmaninoff/39 Не пой красавица при мне (Oh, never sing to me again) Rimsky-Korsakov/40 Новогреческая песня (The Neo-Greek song) Tchaikovsky/38 Погоди (Wait!) Tchaikovsky/42

171

Songs for Breath Management

Зимняя дорога (Winter road) Alyabyev/30 Саша (Sasha) Alyabyev/26 Соловей (Nightingale) Alyabyev/39 Взгляни, мой друг (Look, my friend) Balakirev/33 Колыбельная песня (Cradle song) Balakirev/32 Спесь (Arrogance) Borodin/25 Чудный сад (Magin garden) Borodin/25 Царскоселькая статуя (The statue of the Tsar’s village) Cui/27 В крови горит огонь желанья (My heart is ablaze with desire) Dargomyzhsky/28 Влюблëн я, дева-красота (I am in love, beautiful girl) Dargomyzhsky/28 В крови горит огонь желанья (My heart is ablaze with desire) Glinka/30 К Молли (To Molly) Glinka/35 Северная Звезда (Northern Star) Glinka/31 Op. 35, no. 4 Prokofiev/38 Сирень (Lilacs) Rachmaninoff/30 Для берегов отчизны дальной (From the shores of your distant fatherland) Rimsky-Korsakov/33 Зулейка (Suleika) Rubinstein/29 О, спой же ту песню (Oh, sing me that song) Tchaikovsky/35

Songs with Limited Range: Octave or less

Не говори: любовь пройдёт (Do not say, love will pass) Alyabyev/20 Я вас любил (I loved you) Alyabyev/20 Колыбельная песня (Cradle song) Balakirev/32 Чудный сад (Magic garden) Borodin/25 Соловей (Nightingale) Alyabyev/39 (w/out Ornamentation) Ты и вы (You and thou) Dargomyzhsky/31 Я вас любил (I loved you) Dargomyzhsky/25 Люблю тебя, милая роза (I love you, dear rose) Glinka/32 Не пой красавица при мне (Oh, never sing to me again) Glinka/25 По грибы (Mushrooming) Mussorgsky/24 Пленившись розой соловей (The rose and nightingale) Rimsky-Korsakov/43 (w/out Ornamentation) Над морем солнце блещет (Above the sea the sun shines) Rubinstein/33 Нас по одной дороге (I feel your soul’s dear presence) Rubinstein/33

172

Songs by Theme

Love (positive)

Певец (Singer) Alyabyev/33 Увы! зачем она блистает (Alas! Why does she shine?) Alyabyev/25 Я вижу образ твой (I see your image) Alyabyev/25 Баркарола (Barcarolle) Balakirev/26 Веди меня, о ночь, тайком (Lead me secretly, oh night) Balakirev/31 Шопот, робкое дыханье (Whisper, timid breath) Balakirev/40 Болеро (Bolero) Cui/45 О чём в тиши ноче (Of what I am dreaming) Cui/25 Ты и вы (You and thou) Cui/33 В крови горит огонь желанья (My heart is ablaze with desire) Dargomyzhsky/28 Влюблён я, дева-красота (I am in love, beautiful girl) Dargomyzhsky/28 Ты и вы (You and thou) Dargomyzhsky/31 Люблю тебя, милая роза (I love you dear rose) Glinka/32 Я здесь, Инезилья (I am here, Inesilla) Glinka/24 Какое счастье (What happiness) Rachmaninoff/43 Она, как полдень, хороша (She, like noon, is beautiful) Rachmaninoff/32 У моего окна (At my window) Rachmaninoff/39 О чём в тиши ночей (Of what I am dreaming) Rimsky-Korsakov/24 Редеет облаков летучая гряда (The chain of clouds is thinning) Rimsky-Korsakov/39 Ты и вы (You and thou) Rimsky-Korsakov/39 Зулейка (Suleika) Rubinstein/29 Как увижу твои ножки (When I see your little feet) Rubinstein/26 Клубится волною (The waves of turbulent Kurag) Rubinstein/37 Слеза дрожит (A tear is trembling) Tchaikovsky/38

Love (negative)

Не говори: любовь пройдёт (Do not say, love will pass) Alyabyev/20 Саша (Sasha) Alyabyev/26 Не скажу никому (I won’t tell anyone) Alyabyev/28 Я вас любил (I loved you) Alyabyev/20 Отравой полны мои песни (My songs are poisoned) Borodin/40 Фальшивая нота (False note) Borodin/27 Желание (Desire) Cui/31 Сожжённое письмо (Burnt letter) Cui/38 Я вас любил (I loved you) Cui/29 Мечты, мечты! (Dreams, dreams!) Dargomyzhsky/32 Я вас любил (I loved you) Dargomyzhsky/25

173

Элегия: Я помню, глубоко (Elegy: I remember the deep) Dargomyzhsky/32 Сомнение (Doubt) Glinka/33 Цветок (Flower) Medtner/41 Светик Савишна (My Darling Savishna) Mussorgsky/38 Что вам слова любви (What to you are words of love) Mussorgsky/29 Забыть так скоро (To forget so soon) Rubinstein/36 Ни слова, о друг мой (Do not say a word, my friend) Tchaikovsky/31 Так что же? (So what?) Tchaikovsky/37

War/Battle

Мне бой знаком (I know the fight) Cui/34 Ночной смотр (Night watch) Glinka/28 Узник (The prisoner) Grechaninov/37 Жажда свободы (Thirst for freedom) Rubinstein/32 Желание (Desire) Rubinstein/29 Узник (Prisoner) Rubinstein/38

Loneliness/Separation

Иртыш (Irtush) Alyabyev/31 Зимняя дорога (Winter road) Alyabyev/30 Соловей (The nightingale) Alyabyev/39 Слышу ли голос твой (I hear your voice) Balakirev/30 Сосна (The pine tree) Balakirev/28 Мечты, мечты! (Dargomyzhsky) 32 Жаворонок (The Lark) Glinka/29 Не пой красавица при мне (Oh, never sing to me again) Glinka/25 Северная Звезда (Northern star) Glinka/31 Я помню чудное мгновенье (I remember that magical moment) Glinka/34 Сиротка (Little orphan) Mussorgsky/30 Островок (The island) Rachmaninoff/38 Полюбила я на печаль свою (The soldier’s wife) Rachmaninoff/28 Для берегов отчизны дальной (From the shores of your distant fatherland) Rimsky-Korsakov/33 Не пой красавица при мне (Oh, never sing to me again) Rimsky-Korsakov/40 Пленившись розой соловей (The nightingale and rose) Rimsky-Korsakov/43 И больно и сладко (In pain and sweetness) Tchaikovsky/42 Не верь, мой друг (Do not believe, my friend) Tchaikovsky/39 Нет, только тот кто знал (None, only a lonely heart) Tchaikovsky/37

174

Satire

Совет (Council) Alyabyev/29 Кабак (Pub) Alyabyev/24 Мельник (Miller) Dargomyzhsky/31 Титулярный советник (Titular Councilor) Dargomyzhsky/20 Червяк (The worm) Dargomyzhsky/30 Испанский романс (Italian Romance) Medtner/41 Козёл (The goat) Mussorgsky/37 Стрекотунья белобока (The magpie) Mussorgsky/41

Nature

Певец (Singer) Alyabyev/33 Зимняя дорога (Winter road) Alyabyev/30 Баркарола (Barcarolle) Balakirev/26 Взгляни, мой друг (Look, my friend) Balakirev/33 Песня золотой рыбки (Song of the golden fish) Balakirev/37 Сосна (Pine Tree) Balakirev/28 Шопот, робкое дыханье (Whisper, timid breath) Balakirev/40 Из слёз моих (From my tears grew much) Borodin/28 Море (The sea) Borodin/42 Морская царевна (The sea princess) Borodin/32 Песня тёмного леса (Song of the dark forest) Borodin/29 Спящая княжна (The sleeping princess) Borodin/29 Чудный сад (The magic garden) Borodin/25 Болеро (Bolero) Cui/45 В крови горит огонь желанья (My heart is ablaze with desire) Dargomyzhsky/28 Вертоград моей сестры (My sister’s garden) Dargomyzhsky/34 Элегия: Я помню, глубоко (Elegy: I remember the deep) Dargomyzhsky/32 Люблю тебя, милая роза (I love you, dear rose) Glinka/32 Ночь (Night) Grechaninov/27 Подснежник (Snowdrop) Grechaninov/37 Степью иду я унылою (Over the steppe) Grechaninov/40 Роза (Rose) Medtner/35 Детская песенка (Little children’s song) Mussorgsky/29 По грибы (Mushrooming) Mussorgsky/24 Стрекотунья белобока (The magpie) Mussorgsky/41 Память о солнце (Memory of the sun) Prokofiev/38 Снежки белые (White snow) Prokofiev/35 Здесь хорошо (Here, it’s nice) Rachmaninoff/40 Маргаритки (Daisies) Rachmaninoff/41 175

Островок (Island) Rachmaninoff/38 Речная лилея (Water lily) Rachmaninoff/40 Сирень (Lilacs) Rachmaninoff/30 У моего окна (At my window) Rachmaninoff/39 Уж ты нива моя (Harvest of sorrow) Rachmaninoff/43 Слеза дрожит (A tear is trembling) Tchaikovsky/38

Seasons

Зимняя дорога (Windter road) Alyabyev/30 Подснежник (Snowdrop) Grechaninov/37 Серенада (Serenade) Medtner/39 Снежки белые (White snow) Prokofiev/35 Маргаритки (Daisies) Rachmaninoff/41

Death/Loss of a loved one

Морская царевна (The sea princess) Borodin/32 Море (The sea) Borodin/42 Паладин (Paladin) Dargomyzhsky/35 Степью иду я унылою (Over the steppe) Grechaninov/40 Роза (The rose) Medtner/35 Где ты звёздочка (Where are you little star?) Mussorgsky/30 Память о солнце (Memory of the sun) Prokofiev/38 Сновиденье (A dream) Rimsky-Korsakov/40 Азра (Azra) Rubinstein/32

176

Bibliography

Abraham, G. (1936). Studies in Russian Music: Critical Essays on the most important of Rimsky-Korsakov’s operas, Borodin’s “Prince Igor,” Dargomuzhsky’s “Stone Guest,” etc., with chapters on Glinka, Mussorgsky, Balakirev, and Tchaikovsky. Freeport, New York: Books for Libraries Press Inc, 1936.

Abraham, G. (1939). On Russian Music: Critical and historical studies of Glinka’s operas, Balakirev’s Works, etc., with chapters dealing with compositions by Borodin, Rimsky-Korsakov, Tchaikovsky, Mussorgsky, Glazunov, and various other aspects of Russian music. New York: Charles Scribner’s Sons.

Abraham, G. (1960). Russia. In D. Stevens (Ed.), A History of Song (pp.338-375). New York, NY: Norton & Company.

Arneson, C. (2014). Literature for Teaching: Voice Repertoire from a Developmental Perspective. Columbus, Ohio: Inside View Press.

Bakst, J. (1966). A history of Russian-Soviet music. Dodd, Mead.

Barsova, I. & Abraham, G. (2015, April 16). Grechaninov, Aleksandr Tikhonovich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/11692.

Belov, Anton. (2014, May 2). Russian Art Song. Retrieved from http://russianartsong.com/index.html.

Campbell, S. (2003). Russians on Russian music, 1880–1917: An Anthology. Cambridge University Press.

Campbell, S. (2015a, March 3). Glinka, Mikhail Ivanovich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/11279.

Campbell, S. (2015b, April 2). Balakirev, Mily Alekseyevich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from 177

http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/40685.

Cui, C. (1881) Opus 17, Bolero. (Musical Score). St. Petersburg: W. Bessel & Company.

Cui, C. (1993). The Russian Romance. In Classical essays on the development of the Russian art song, and twenty-seven outstanding Russian romances of the eighteenth- and nineteenth-centuries. Translated by James Walker. MN: Nerstrand. (Original work published in 1896). Dailey, S. S. (2013). Songs of the Mighty Five: A Guide for Teachers and Performers. (DMA dissertation). Jacobs School of Music.

Dmytryshyn, B. (1974). Modernization of Russia Under Peter I and Catherine II (Vol. 61). John Wiley & Sons.

Dunlop, C. (2013) Russian Court Chapel Choir: 1796-1917. Routledge.

Evans, R. (1971). The Early Songs of Sergei Prokofiev and their Relation to the Synthesis of the Arts in Russia. (Doctoral Dissertation). The Ohio State University.

Fairclough, P., & Fanning, D. (Eds.). (2008). The Cambridge Companion to Shostakovich. United Kingdom: Cambridge University Press.

Fanning, D. & Fay, L. (2015, April 14). Shostakovich, Dmitry. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/52560.

Findeisen, N. (1993). The Russian Art Song. In Classical essays on the development of the Russian art song, and twenty-seven outstanding Russian romances of the eighteenth- and nineteenth-centuries. Translated by James Walker. MN: Nerstrand. (Original work published in 1905) Franke, M. (1988). Glinka’s Contribution to the Development of Russian Art Song. (MM Thesis). Bowling Green State University. Garden, E. (2015, March 17). Five, The. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/09765.

Humphreys, Mark, et al. (2015, March 2). Rimsky-Korsakov. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/52074pg1.

178

Ivezić, P. E. (1997). Alexander Sergeyevich Dargomyzhsky 1813-1869: a study of his solo vocal works. (Doctoral Dissertation). University of Kentucky.

Janik, E. (2005). Recomposing German Music: Politics and Musical Tradition in Cold War Berlin. (Vol. 40). Brill.

Joukova, E. (2007). The Songs and Song Cyles of Sergey Prokofiev, (1930-1950). (Doctoral dissertation). University of Illinois at Urbana-Champaign.

Katok, D. (2007). Tracing the transformation of the Russian folk song into the popular Russian romance of the late twentieth century through five great composers: Dargomyzhsky, Tchaikovsky, Rimsky-Korsakov, Rachmaninoff, and Shostakovich. (BM thesis) The Pennsylvania State University.

Lentin, A. (1973). Russia in the eighteenth century: from Peter the Great to Catherine the Great (1696-1796). Barnes & Noble.

Maes, F. (2002). A history of Russian music: from Kamarinskaya to Babi Yar. University of California Press.

Martyn, B. (2015, April 20). Medtner, Nicolas. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/18517.

Nest′ev, I. V. (1960). Prokofiev. Translated from the Russian by Florence Jonas; with a Foreword by Nicolas Slonimsky. Stanford University Press.

Norris, G. (2015, March 17). Rachmaninoff, Serge. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/50146.

Norris, G., & Neff, L. (2015, April 2). Cui, César. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/06938.

Oldani, R. (2015, April 2). Borodin, Aleksandr Porfir′yevich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/40687.

Oldani, R. (2015, March 2). Musorgsky, Modest Petrovich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from

179

http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/19468.

Olin, E. (2012). Singing in Russian: A Guide to Language and Performance. Lanham, MD: Scarecrwo Press, Inc.

Oron, A. (2007). Anton Rubinstein: Composer, Arranger. Bach Cantatas Website. Retrieved from http://www.bach-cantatas.com/Lib/Rubinstein-Anton.htm.

Redepenning, D. (2015, March 17). Prokofiev, Sergey. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/22402.

Schwarz, B. (2015, April 30). Glazunov, Aleksandr Konstantinovich. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/11266.

Seaman, G. (1986). An Outline of Eighteenth-Century Russian Music. Man and Nature/L'homme et la nature, 5, 165-176.

Sylvester, R. (2003). Tchaikovsky's Complete Songs: A Companion with Texts and Translations. Bloomington: Indiana University Press. Sylvester, R. (2014). Rachmaninoff's Complete Songs: A Companion with Texts and Translations. Bloomington: Indiana University Press. Taruskin, R. (2000). Defining Russia musically: Historical and hermeneutical essays. Princeton University Press.

Walsh, S. (2013). Musorgsky and His Circle: A Russian Musical Adventure. New York: Alfred A. Knopf. Walsh, S. (2015, April 2). Stravinsky, Igor. Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/52818.

Warrack, J. H. (1973). Tchaikovsky. Charles Scribner's Sons.

Wiley, R. (2015, April 2). "Tchaikovsky, Pyotr Il′yich." Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved from http://www.oxfordmusiconline.com.proxy.lib.ohio- state.edu/subscriber/article/grove/music/51766.

180