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A Study of Vocal Demands in Selected Early German Romantic Operas / By

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A Study of Vocal Demands in Selected Early German Romantic Operas / By INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Micrcxilms International 300 N /EL B ROAD. ANN ARBOH. Ml 4B100 19 REDEORD ROW. LONDON WC t R 4f-J, E NGLAND SCHILLER# MARY GILLEY A STUDY OF VOCAL DEMANDS IN SELECTED EARLY GERMAN ROMANTIC OPERAS. THE OHIO STATE UNIVERSITY, D.M.A., 1979 University Microfilms InteTTVttiOnAt 300N /SIBHOAD .ANN ARBt>H VI4B106 A STUDY OF VOCAL DEMANDS IN SELECTED EARLY GERMAN ROMANTIC OPERAS DOCUMENT Presented In Partial Fulfillment of the Requirement for the Degree Doctor of Musical Arts in the Graduate School of the Ohio State University by Mary Gilley Schiller, B. Mus., M. Mus. * * * * * The Ohio State University 1979 Reading Committee: Approved by: Professor Mario Alch Professor Paul Hickfang Professor Keith Mixter Adviser School of Music To J o h n , our loving Parents, and my very special "Tante" ii VITA July 6 , 1943.................... Born, Eden, North Carolina 1965...............................Bachelor of Music Degree University of North Carolina Greensboro 1965-68............................Stuttgart, Germany, Hochschule ftlr Musik Fulbright Grant Deutsche Akademische Austauschdienst Stipendium Rockefeller Grant 1968-69 .......................... Ulm Opera, Germany 1970-71 .......................... Concerts and Lieder Recitals, DUsseldorf, Germany 1972-75 .......................... Graduate Teaching Associate The Ohio State University Master of Music Degree 1975-76 .......................... Lyon, France, Study of the French Mdlodie and Concert Performances 197 7 ...............................Visiting Instructor of Voice, Ohio Wesleyan University, Delaware, Ohio 197 8 ...............................Visiting Lecturer of Opera Workshop Capital University, Columbus, Ohio FIELDS OF STUDY Major Field: Voice Performance Studies in Applied Voice: Professor Paul Hickfang Studies in Opera and Oratorio. Professor Mario Alch iii Studies in Music History. Professor Keith Mixter and Professor Alexander Main Studies in Vocal Pedagogy. Professor John Muschick Studies in Vocal literature. Professor Irma Cooper PERFORMANCES Recital I MARY SCHILLER, soprano Graduating Recital Series, 1976-77 Friday, January 28, 1977. 8:00 p.m. Hughes Auditorium MYRA BAKER, piano Supervised by: Professor Paul Hickfang Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. PROGRAM I Bel piacere ..................................................... HANDEL from Agrippina Oh dolce mia speranza ................................................. HANDEL from Floridante Ch * io mai vi p o s s a ..................................................... HANDEL from Siroe II Italienisches Liederbuch ............................................... WOLF Nein, junger Herr iv Auch kleine Dinge kiJnnen uns entzlicken Mein Liebster ist so klein Mein Liebster singt am Haus Ich esse nun mein Brot nicht trocken mehr III Ariettes oublides .................................................. DEBUSSY II pleure dans mon coeur Chevaux de bois Green Noel des enfants qui n'ont plus de maison .......................DEBUSSY INTERMISSION IV Emily Dickinson Songs ............................................. COPLAND I felt a funeral in my brain I've heard an organ talk sometimes Nature, the gentlest mother Why do they shut me out of heaven? V Frauenliebe und Leben ........................................... SCHUMANN Seit ich ihn gesehen Er, der Herrlichste von Allen Ich kann's nicht fassen, nicht glauben Du Ring an meinem Finger Helft mir, ihr Schwestern Susser Freund, du blickest An meinem Herzen, an meiner Brust Num hast du mir den ersten Schmerz getan Recital 2 MARY SCHILLER, soprano Graduating Recital Series, 1976-77 Sunday, May 29, 1977. 8:00 p.m. Hughes Auditorium CAMILLE MORGAN, piano Assisted by: Walt Morgan, clarinet Supervised by: Professor Paul Hickfang This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. PROGRAM I Sechs Deutsche ^ieder. Op. 1 0 3 ............................LUDWIG SPOHR Sei still mein Herz Zwiegesang Sehnsucht Wiegenlied Das heimliche Lied Wach auf vi II Three Songs WILLIAM WALTON Daphne Through Gilded Trellises Old Sir Faulk INTERMISSION III -----Fiancaillest— --— -- -—pour t----- rire--- . FRANCIS POULENC La Dame d'Andre Dans l'herbe II vole Mon cadavre est doux comme un gant Violon Fleurs IV Cuatro Madrigales Amatorios JOAQUIN RODRIGO i Con que la lavare? Vos me matasteis I De donde venis, amore? De los alamos vengo, madre vii Recital 3 MARY SCHILLER, soprano Graduating Recital Series, 1976-77 Friday, August 5, 1977, 4:00 p.m. Hughes Auditorium CARLTON WEBER, piano Supervised by: Professor Paul Hickfang and Professor Mario Alch Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. A Program of Selections from the Italienisches Liederbuch - Hugo Wolf I Nein, junger Herr Gesegnet sei das Griin Du denkst mit einem FSdchen roich zu fangen Wer rief dich denn? II Wir haben beide lange Zeit geschwiegen Ihr jungen Leute Haut' Nacht erhob ich mich Nun lass uns Frieden schliessen Wenn Du, mein Liebster, steigst zum Himmel auf INTERMISSION III Mein Liebster hat zu Tische mich geladen Auch kleine Dinge konnen uns entziicken Ich esse nun mein Brot nicht trocken mehr Wie lange schon war immer mein Verlangen viii IV Mein Liebster singt am Haus im Mondenscheine 0 war dein Haus durchsichtig wie ein Glas Mein liebster ist so klein Man sagt mir, deine Mutter wollt 1 es nicht V Schweig1 einmal still Wohl kenn ’ ich Euren Stand Verschling* der Abgrund meines Liebsten Hutte Ich hab' in Penna einen Liebsten wohnen Recital 4 MARY SCHILLER, soprano Graduating Recital Series, 1977-78, Friday, April 14, 1978, 8:00 p.m. Hughes Auditorium VISCOUNT THURSTON, harpsichord & piano Assisted by: Loral Alberta Cook, flute Supervised by: Professor Paul Hickfang This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. PROGRAM I Eighteenth-Century Shakespearean Songs Under the greenwood tree (As You Like It)...................THOMAS ARNE ix Flower of this purple dye (Midsummer Night's Dream) ...............................................JOHN C. SMITH Hark, hark the lark (Cymbellne) ........................ THOMAS CHILCOT II Liebesbotschaft............................................ FRANZ SCHUBERT An die Nachtigall ..........................................FRANZ SCHUBERT Liebhaber in alien Gestalten..............................FRANZ SCHUBERT Nur wer die Sehnsucht k e n n t ..............................FRANZ SCHUBERT Seligkeit FRANZ SCHUBERT III "Regnava nel silenzio," Lucia di Lammermoor GAETANO DONIZETTI INTERMISSION IV La Courte Paille ............................................. FRANCIS POULENC Le sommeil Quelle aventure! La reine de coeur Ba, Be, Bi, Bo, Bu Les anges musiciens Le carafon Lune d'Avril x V Hans and Grethe ....................................................... GUSTAV MAHLER Erinnerung GUSTAV MAHLER Ich bin der Welt abhanden gekommen GUSTAV MAHLER Scheiden und Meiden .................................................. GUSTAV MAHLER xi TABLE OF CONTENTS Page DEDICATION ............* ........................................ ii VITA .............................................................. lii LIST OF ABBREVIATIONS.......................................... xiv LIST OF TABLES ................................................. xv PREFACE ......................................................... xvi Chapter I. MOZART AND THE CLASSICAL ORCHESTRA................. 1 Vocal Demands in Mozart's Operas................... 1 The Size of the Classical O r c h e s t r a .............. 10 II. HISTORICAL BACKGROUND ............................... 13 III. UNDINE BY E. T.
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