Edexcel Aos1: Vaughan Williams's on Wenlock Edge
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Housman Society Newsletter No. 49 (March 2019)
Housman Society Newsletter No. 49 March 2019 Housman Society Members at St John’s College, Oxford, 20 October 2018 From the Secretary’s Desk Contents Page From the Secretary’s Desk 1 The bitter cold of a late January afternoon has A Shropshire Lad spotted in Swanage, driven me in from my motor workshop (as many Dorset 2 of you will know one of my other preoccupations Forthcoming events 3 is with vintage motor cars) and to contemplation Society members visit two Oxford of the Society's updated programme of events. college libraries 3 The Dyson Lecture 6 We begin with the annual Bromsgrove The Ludlow Weekend of Song 7 Commemoration on March 26 when I am The Bromsgrove Summer School: The Housmans of Worcestershire and delighted that Rev. Kelvin Price from St. Gloucestershire 8 Laurence's in Ludlow will be our Guest of the Day The Evesham Festival of Words 8 thus forging a link between our two principal A.E. Housman, the Worcestershire Lad centres of activity. He will, of course, be The Housman Society Book Exchange 9 officiating at the Ludlow Commemoration service on Saturday April 27 which will follow on from 1 the AGM, conforming to the pattern adopted two The recent autumn Library Visits have offered years ago. Details of both celebrations will be insights into Housman's academic life and we are found in the events calendar. hoping that the efforts of our Chairman, Peter Waine, to strengthen the relationship with Trinity Since the demise of our Hay Festival participation College in particular might pave the way for a in 2017 the Committee has been exploring options joint event in Cambridge in October. -
01-Sargeant-PM
CERI OWEN Vaughan Williams’s Early Songs On Singing and Listening in Vaughan Williams’s Early Songs CERI OWEN I begin with a question not posed amid the singer narrates with ardent urgency their sound- recent and unusually liberal scholarly atten- ing and, apparently, their hearing. But precisely tion devoted to a song cycle by Ralph Vaughan who is engaged in these acts at this, the musi- Williams, the Robert Louis Stevenson settings, cal and emotional heart of the cycle? Songs of Travel, composed between 1901 and The recollected songs are first heard on the 1904.1 My question relates to “Youth and Love,” lips of the speaker in “The Vagabond,” an os- the fourth song of the cycle, in which an unex- tensibly archetypal Romantic wayfarer who in- pectedly impassioned climax erupts with pecu- troduces himself at the cycle’s opening in the liar force amid music of otherwise unparalleled lyric first-person, grimly issuing a characteris- serenity. Here, as strains of songs heard earlier tic demand for the solitary life on the open intrude into the piano’s accompaniment, the road. This lyric voice, its eye fixed squarely on the future, is retained in two subsequent songs, “Let Beauty Awake” and “The Roadside Fire” I thank Byron Adams, Daniel M. Grimley, and Julian (in which life with a beloved is contemplated).2 Johnson for their comments on this research, and espe- cially Benedict Taylor, for his invaluable editorial sugges- With “Youth and Love,” however, Vaughan tions. Thanks also to Clive Wilmer for his discussion of Williams rearranges the order of Stevenson’s Rossetti with me. -
Shire Lad in "Inside the Whale,"' an Essay He Wrote in 1940.2 He Was Himself
SHROPSHIRE REVISITED Theodora and Alfred Kroeber, 1959 Our century continues to be much occupied with death, and our creative energies to expend themselves on one aspect or another of death, whether in the waging of war, the invention of implements and devices of war, or in pol- itical and social thinking, or in the plastic arts and literature. Poets are said to speak prophetically. This could mean that, some time before the first World Wiar, their poems had begun to emphasize death over life. Poe, Emily Dickinson, Swinburne, Housman, Kipling, Yeats, and Eliot do indeed use the words death, dead, die, dying, significantly more often than the words life, alive, live, living, and Housman, at the seeming apex of this twentieth- century death-directed interest, is discovered to have employed seventy-one per cent of death words to twenty-nine per cent of life words.1 Since Housman Vrote A Shro shire Lad there has been a world war, and since he published his Last Poems there have been the vertiginous twenties, a depression, and a second World ibr, with their presently complex aftermaths. Reviewing the poetry of the past half-century or so, a style profile, however tentative and incomplete, begins to emerge. We--the English and the Americans--faced what followed on Sarajevo with the bravado and despair of the lads of Housman's balladlike and simple poetry. We volunteered for glory and friendship and death. Never since our immersion in that first world war have values been for us as clear-cut as they were before. It is Housman who gives those lost values their perfect and limited, if astringently negative, voice. -
Hughley, Easthope and Shipton
Hughley, Easthope and Shipton Our visit was inspired by A.E. Housman's poem 'A Shropshire Lad' was spent exploring the churches of Wenlock Team Ministry. Actually, as far as I'm aware, only one church, Hughley, is mentioned by Housman, but it served as a good starting point for discovering the churches in the surrounding area. Within the Team MInistry there are two discrete geographical groupings, one cluster lying north on the road from Wenlock to Shrewsbury, and the other on the road leading south west from Wenlock in the direction of Craven Arms and Church Stretton. St John the Baptist, Hughley The vane on Hughley 'steeple' - in fact it's a half timbered bell tower. Our first church, Hughley, lies north of the Stretton Road (B4371). Its main claim to fame is the mention in A.E. Housman's poem 'A Shropshire Lad' (see below). It's likely that Housman merely picked the name off a map, because it's said that when he wrote the poem he had never actually visited Shropshire, being in fact born in Worcestershire. Indeed, there is no steeple there, and never has been at Hughley, although there is a half- timbered bell tower, albeit with a vane: The Vane on Hughley steeple, Veers bright, a far-known sign, And there lie Hughley people, And there lie friends of mine... Rood screen at Hughley A colourful post-Easter altar cloth at Hughley. Mary and Rabboni stained glass at Hughley Inside, the church is distinguished by an attractive carved rood screen dividing chancel and nave. -
A Dichterliebe by Robert Schumann
,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0. -
Dichterliebe
Schumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe Lauri Suurpaa Heine's Lyrisches Intermezzo and Schumann's Dichterliebe^ Schumann composed Dichterliebe op. 48 - probably die best known of his song cycles - in one week at the end of May 1840.2 The year 1840 has been called Schumann's year of songs. Besides Dichterliebe, he composed the song cycles Myrthen op. 25, Liederkreis op. 39, and Frauenliebe und -leben op. 42. The vast and sudden production of songs is notable, as before 1840 Schumann had composed songs only as a very young man during the years 1 827-28. 3 Vocal music occupied an ambiguous position in the early part of the nineteenth century. The bourgeoisie of the time showed great interest in vocal music: people sang lieder and were active in choral societies. However, the writers of the early Romantic period considered instrumental music superior to vocal music. They claimed that instrumental music could approach the infinite - highly important for early romantic aesthetics - more M wish to acknowledge my gratitude to Professors Edward Laufer and Carl Schachter for their valuable comments during the preparation of this article. 2For a discussion on the compositional history of Dichterliebe, see Rufus E. Hallmark, The Genesis of Schumann's Dichterliebe: A Source Book (Ann Arbor:' UMI Research Press, 1976). ^Reasons for this sudden interest in songs have been sought in an idea, growing in Schumann's mind, that instrumental music would no longer be progressing (see Leon P. Plantinga, Schumann as Critic [New Haven: Yale University Press, 1967], 179-183), and from Schumann's eagerness to raise his social status that he might marry Clara Wieck (see Barbara Turchin, "Schumann's Conversion to Vocal Music: A Reconsideration," The Musical Quarterly [July 1981]: 392-404). -
An Awareness of the Clara Motive in Dichterliebe by Robert Schumann
An Awareness of the Clara Motive in Dichterliebe by Robert Schumann by Jihye Yoo A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Andrew Campbell, Chair Rodney Rogers Russell Ryan ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive. Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819– 1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the happiness-and anxiety-surrounding his love for Clara, and the difficulties leading to their impending marriage. Schumann used the Clara motive (C-Bb-A-G#-A), which incorporates the letters of her name, throughout the song cycle in special moments as a tool of musical expression that alludes to his future wife. Eric Sams (1926–2004), a specialist of German Lieder, has made significant contributions to the research of the Clara motive in Schumann’s music (through his book The Songs of Robert Schumann). However, research into specific locations and transformations of the Clara motive within the Dichterliebe are still insufficient. A further awareness of the Clara motive’s inner working is intended to help performers interpret this song cycle. -
Dv2 Albert Coates Versameling/Albert Coates Collection
ALBERT COATES COLLECTION DOCUMENTATION CENTRE FOR MUSIC (DOMUS) MUSIC LIBRARY STELLENBOSCH UNIVERSITY FINDING AID CONTENTS Introduction i A PERSONAL PAPERS 1 B CORRESPONDENCE 2 C CONCERT PROGRAMMES, LEAFLETS AND POSTERS 10 D NEWSPAPER CUTTINGS 49 E MAGAZINES 58 F NOTES 59 G SCRIPTS, LIBRETTI AND SYNOPSES 76 H COSTUMES AND STAGE DESIGN 85 J PHOTOGRAPHS 87 K MUSICAL COMPOSITIONS 97 L MISCELLANEOUS ITEMS 216 M PHOTOGRAPHIC SPOOLS 217 N SOUND RECORDINGS 219 P MONOGRAPHS 225 Q ARTEFACTS 228 R OBJETS D’ART 228 S DUPLICATES 229 T ADDITIONS 231 Index 232 Collection Summary Title: Albert Coates Collection Dates of creation: 1907–1971 Level of description: Multilevel Extent: ca. 1700 items Repository: Documentation Centre for Music (DOMUS), Music Library, Stellenbosch University, South Africa Creator: Albert Coates Call No. : PDV2 Biographical History1 Albert Coates was born in St. Petersburg in 1882 into a family of English merchants—part of a larger expatriate community that the sea trade routes between northern England and the Baltic had brought to Russia earlier in the 19th century.2 Coates was sent to primary school in London, then to high school and university in Liverpool, where he studied sciences. He was supposed to join his father’s business, but instead turned to music, enrolling at the Leipzig Conservatory in 1902. There, he studied conducting with Nikisch, and thereafter rose rapidly through the ranks. He was a répétiteur for Nikisch, an assistant to Ernst von Schuch in Dresden, and then from 1910 to 1917 he conducted at the Mariinsky Theatre in St Petersburg. He left Russia in 1919, after which he regularly worked with the London Symphony Orchestra; the world premières he conducted with them included the complete Planets Suite by Holst and the revised version of Vaughan Williams’s A London Symphony. -
The Song-Cycle Frauenliebe Und-Leben by Robert Schumann
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1970 The Song-Cycle Frauenliebe Und-leben By Robert Schumann Jocelyn Kaye Jensen Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Jensen, Jocelyn Kaye, "The Song-Cycle Frauenliebe Und-leben By Robert Schumann" (1970). All Graduate Plan B and other Reports. 613. https://digitalcommons.usu.edu/gradreports/613 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE SONG-cYCLE 11 FR~UENLIEBE UND-LEBEN 11 BY ROBERT SCHUM~NN by Jocelyn Kaye Jensen Report of a recital performed in partial fulfillment of the requirements for the degree of M~STER OF MUSIC UT~H STATE UNIVERSITY Logan, Utah 1970 ii TABLE OF C01~NTS Page LIST OF ILLUSTRATIONS iii PROGRAM , , , iv PROGRAl-1 NOTES , v I, INTRODUCTION , , , , , , , • • • , • , , • , • • • • , , 1 II. GENERAL STYLISTIO CHARACTERISTICS Cl" THE ROMANTIC PERIOD OF MUSIC , , , , , , , , • , , • , 2 III, ROBERT SCHUMANN 'III THIN THE ROMANTIC PERIOD 5 IV, THE SONG CYClE °FRAUENLIEBE UNO-LEBEN", , , 8 V, DISCUSSION OF THE POET AND TEXT OF THE ~FRAUENLIEBE UNO- LEBEN", , , , • , , , • , , , , , , •• , • , , • 11 VI, TECHNICAL DESCRIP'l'ION OF ~FRAUENLIEBE UND-LEBS:N" 15 VII, CONCLUSION 27 BIBLIOGRAPHY 29 APPENDIX :50 VITA • , , , ~5 iii LIST OF ILLUSTRATIONS Illustration Page 1. Example of Heaeure 1, Piano Prelude , Se it ich ihn geeehen •• 16 2 . -
A Pianist's Perspective on Song Transposition, Focusing on Robert
A Pianist’s Perspective on Song Transposition, Focusing on Robert Schumann’s Liederreihe nach Kerner, Op. 35 Critical Project submitted by Jinhong Low in partial fulfilment of the requirements of the Master of Music degree in Performance, Royal College of Music, May 2020. Contents Page Introduction 3 Chapter 1 – Context 5 Chapter 2 – Case Study: Schumann’s Liederreihe nach Kerner, Op. 35 15 Conclusion 24 Appendix – Recordings Surveyed 25 Bibliography 27 Discography 30 2 Introduction The study of song cycles has long been a focus of music scholarship.1 Many different topics have been repeatedly discussed regarding cornerstone repertoire like Schubert’s Winterreise (D. 911), or Schumann’s Dichterliebe (Op. 48). Writers have approached these works with focuses on tonal analysis, rhythmic analysis, poetry analysis, thematic relationships, structure and definition of song cycles, and many more.2 Nevertheless, one topic remains relatively elusive in scholarship, although it is commonplace in performance – Transposition.3 Transposition is a musical device where the notation or performance of music is different from which it is originally notated.4 Vocal music, specifically the song genre, is very frequently transposed, so much so that major publishing houses (e.g. Edition Peters, International Music Company, Bärenreiter and more) publish these transposed versions in multiple volumes, for differing voice types, making it easily accessible to the singers and public.5 The idea of transposed songs being accessible to public is not a new one. In a letter dated 1869 to Brahms from his publisher, Fritz Simrock, he mentioned that for a song to be considered commercially successful, frequent performances were needed.6 In the interest of ensuring repeated performances from as wide a range of singers as possible, Simrock regularly published transposed versions of Brahms’ songs to suit different voices during the composer’s lifetime. -
A Shropshire Lad
A Shropshire Lad A. E. Housman The Project Gutenberg EBook of A Shropshire Lad, by A. E. Housman Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: A Shropshire Lad Author: A. E. Housman Release Date: May, 2004 [EBook #5720] [Yes, we are more than one year ahead of schedule] [This file was first posted on August 16, 2002] [Date last updated: February 13, 2005] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK A SHROPSHIRE LAD *** This etext was prepared by Albert Imrie, Colorado, USA A Shropshire Lad by A. E. Housman Introduction by William Stanley Braithwaite 1919 INTRODUCTION The method of the poems in _ A Shropshire Lad _ illustrates better than any theory how poetry may assume the attire of reality, and yet in speech of the simplest, become in spirit the sheer quality of loveliness. -
Schwanengesang CAN ÇAKMUR Piano
LISZT / SCHUBERT Schwanengesang CAN ÇAKMUR piano BIS-2530 LISZT, Franz (1811—86) Schwanengesang 59'34 Vierzehn Lieder von Franz Schubert, S 560 (order devised by Can Çakmur) 1 Liebesbotschaft 3'27 8 Der Atlas 2'38 2 Kriegers Ahnung 6'14 9 Das Fischermädchen 3'22 3 Ihr Bild 2'42 10 Am Meer 4'02 4 Frühlingssehnsucht 2'29 11 Aufenthalt 3'12 5 Abschied 5'26 12 Die Stadt 2'45 6 In der Ferne 6'31 13 Der Doppelgänger 4'29 7 Ständchen 5'46 14 Die Taubenpost 5'08 Quatre Valses oubliées, S 215 19'43 15 Première Valse oubliée 3'21 17 Troisième Valse oubliée 5'40 16 Deuxième Valse oubliée 6'58 18 Quatrième Valse oubliée 3'36 TT: 80'12 Can Çakmur piano Instrumentarium: Shigeru Kawai SK-EX Concert Grand Piano 2 Liszt / Schubert: Schwanengesang, S 560 Seeing a transcription of a full song cycle on the programme, one very obvious reac tion from a music lover might be ‘Why?’ In the age of the Urtext, playing mere imitations of the originals seems like heresy. But this is not the case at all: a master- ful arrangement becomes a work of its own and its fame can often transcend that of the original. Think of Liszt’s First Mephisto Waltz or Liebestraum, or Busoni’s piano version of Bach’s Chaconne for solo violin, which has taken its place in the literature next to the original score. First published in 1840, twelve years after Schu- bert’s death, Liszt’s arrangement of Schwanengesang is his very own work that takes only its core from Schubert’s music.