DOCSLIB.ORG

A Recital of Selected Repertoire for the Soprano Voice Emily Brennan Florida International University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Recital of Selected Repertoire for the Soprano Voice Emily Brennan Florida International University Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 4-22-2004 A recital of selected repertoire for the soprano voice Emily Brennan Florida International University DOI: 10.25148/etd.FI14051832 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Music Performance Commons Recommended Citation Brennan, Emily, "A recital of selected repertoire for the soprano voice" (2004). FIU Electronic Theses and Dissertations. 1746. https://digitalcommons.fiu.edu/etd/1746 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida A RECITAL OF SELECTED REPERTOIRE FOR THE SOPRANO VOICE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Emily Brennan 2004 To: Dean R. Bruce Dunlap College of Arts and Sciences This thesis, written by Emily Brennan, and entitled A Recital of Selected Repertoire for the Soprano Voice, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. John Augenblick Deborah Conquest Robert Dundas, Major Professor Date of Defense: April 22, 2004 The thesis of Emily Brennan is approved. Dean R. Bruce Dunlap College of Arts and Sciences Dean Douglas Wartzok University Graduate School Florida International University, 2004 ii ABSTRACT OF THE THESIS A RECITAL OF SELECTED REPERTOIRE FOR THE SOPRANO VOICE by Emily Brennan Florida International University, 2004 Miami, Florida Professor Robert B. Dundas, Major Professor Vado, ma dove? W.A. Mozart (1756-1791) Auf dem Strom Franz Schubert (1797-1828) Canciones cldsicas espaiolas Fernando Obradors (1897-1945) Del cabello mis sutil La mi sola, Laureola Al amor INTERMISSION Quatre Poemes Hindous Maurice Delage (1879-1961) I. Madras II. Lahore III. Benares IV. Jeypur Wild Swans Ricky Ian Gordon (b. 1956) The Red Dress Once I Was iii TABLE OF CONTENTS CHAPTER PAGE I. W OLFGANG AMADEUS MOZART......................................1 II. FRANZ SCHUBERT..........................................................3 III. FERNANDO OBRADORS....................................................6 IV. MAURICE DELAGE..........................................................9 V. RICKY IAN GORDON.......................................................12 BIBLIOGRAPHY.......................................................................14 APPENDICES ............................................................................ 15 iv I Wolfgang Amadeus Mozart was a composer of opera, instrumental music, vocal music, and sacred music, and a leading composer of the classical era. He was also a child prodigy. This extraordinary talent was expressed at age four by learning to play minuets flawlessly in a half hour and again by composing at age five. Mozart wrote 56 secular concert arias, most of them voiced for soprano. These arias represent a highly important aspect of Mozart's work but are not widely known. Most of these arias were composed at the height of his fame and are considered to be of the same caliber as his more popular music.' The concert aria is a difficult genre because the singer must convey an entire drama in a short span of time. It is often considered to be theatre in miniature. Vado, ma dove? was intended to be sung as a concert aria, but was originally performed as an insertion aria in another composer's opera. It was not unusual at that time for a singer to replace an aria that did not show off their vocal prowess with that of another composer. Insertion arias were written for specific women to show off their vocal capabilities. The opera in question was Il Burbero di buon cuore by Vincente Martin Soler. It was written for the French soprano, Louise Villeneuve, who sang the role of Dorabella in premiere of Mozart's opera Cosifan tutte. Scholars believe that Mme. Villeneuve was a woman of great charm and style, with perfect coloratura. 2 The text, written by Lorenzo Da Ponte, does not include a recitative section, which is unusual for Mozart's concert arias. Martin's arias are more sentimental in ' H.C. Robbins Landon and Donald Mitchell, ed. The Mozart Companion. New York: WW Norton & Company, Inc. , 1956. 2 G. Schirmer, ed. Twenty-One Concert Arias for Soprano. Milwaukee: Hal Leonard, 1952. 1 nature than buffo. The character, Madame Lucilla, is stunned by the course her love is taking. She pleads to God for a direction and certainty. The first part of the aria is pleasant and conventional with its lilting melody. Part two was originally thought to be simplistic because of its Tempo di Minuetto, however it is full of grace and refinement. 3 The minuet tempo is thought to be of the finest, lyric, singing character. Part three begins in the dominant and incorporates the undulating triplet pattern of Part one's accompaniment in the vocal line. The accompaniment includes an agitation shown through the use syncopated rhythms that may reflect the character's state of uncertainty. The short syncopated rhythms are used as a dramatic device to portray an indecisive and emotionally wounded character.4 3 H.C. Robbins Landon and Donald Mitchell, ed. The Mozart Companion. New York: WW Norton & Company, Inc. , 1956. 4 Alfred Einstein. Mozart:His CharacterHisWork. New York: Oxford University Press, 1945. 2 II Schubert is known as the "Father of the Lied," composing over 600 pieces in this genre. He composed in a very craftsman-like manner and was the first German composer to dedicate a significant amount of time to the Lied. His large output explores the potential of the lied more than any other composer. His compositions elevated the Lied to a major musical form and proved its worthiness as a distinct musical form. During his lifetime, he received criticism for not writing a true German song because his compositions lacked the folk-like material typical of the time.5 His style included an amazing gift for creating beautiful melodies that were, at times, established in as little as two measures. He used text painting in a creative way to make a complete picture. The piano played an active and expressive role in all of his compositions. He considered the piano to be a partner in the performance, enhancing the sung text, not merely serving as an accompaniment. Schubert borrowed from the traditions of Haydn, Mozart, and later Beethoven while developing his own strategies to create a unique and highly expressive musical form. One common characteristic is the extension of the polarized tonic-dominant classical harmonic dialogue to a full range of flat-side relationships such as the subdominant, submediant, but especially the flat mediant.6 The three-key exposition attenuates the pull of dominant. His musical language includes a blurred and intensified 5 Stanley Sadie, ed. The New Grove Dictionaryof Music and Musicians, Second Edition. ."Schubert, Franz." P. 655-690. New York: MacMillan Publishers Limited, 2001. 6 Stanley Sadie, ed. The New Grove Dictionary of Music and Musicians, Second Edition. ."Schubert, Franz." P. 655-690. New York: MacMillan Publishers Limited, 2001. 3 use of major/minor modal system. He frequently converted a major mode theme to the minor creating a systematic language of ambiguity. Nature plays an important role in his songs, serving as a central theme in his compositions. He raised the theme of nature to an almost religious level by attributing feeling and grandeur to it. Elements of nature are personified and serve as additional characters in the music. Schubert's music and text are both extremely expressive and reflect very potent human emotion. Many of his compositions are thought of as intimate diaries of the human soul. The poetry of Aufdem Strom describes the feelings of a man as he leaves his beloved forever. She stands watching him from the shore as he disappears in the distance, floating on a boat down the river. The theme for the second verse of the poem bears a striking resemblance to Beethoven's 'Eroica' Symphony. The melodic contour and the harmonic corroboration show this similarity. The poetry, by Ludwig Rellstab, may have come from Beethoven's estate, which adds more poignancy to the homage to be found in this setting. This piece may also be a metaphorical depiction of death because of the allusion to Beethoven's Funeral March in the second verse.7 In this masterpiece, the horn is used in two ways. It points up the emotional mood of the singer/narrator with the long, sad, yearning introduction. The piano describes the flowing river in a constant triplet rhythm. The horn also serves as a continuation of the unhappy lover by playing phrases that echo the voice part rhythmically or melodically. 7 Brian Newbould. Schubert. The Music and the Man. Los Angeles: University of California Press, 1997. 4 During pauses in the vocal line, it carries the melody forward in a sympathetic way, encouraging the singer to continue sharing his grief. The form is a modified rondo with two alternating melodies, one in major and one in minor. These melodies correspond to the different moods of the poem. After the second repeat of the second melody, the first melody is sung for the last time. The coda then begins with a cannon between the voice and horn. In the progression leading to the end, the voice and horn take on the same emotional personality. The horn plays in octaves with or in the same rhythm as the voice. They become one as they look forward to the time when he may see his beloved again. The tonality changes from major to minor on the text "und so tragt..." and the accompaniment changes from triplet to repeated chords.8 Aufdem Strom was written especially for a high profile public concert on March 26, 1828, at the Austrian Musikverein in Vienna to commemorate the first anniversary of Beethoven's death.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • VAUGHAN WILLIAMS His Broadcasting Career Covers Both Radio and Television
    557643bk VW US 16/8/05 5:02 pm Page 5 8.557643 Iain Burnside Songs of Travel (Words by Robert Louis Stevenson) 24:03 1 The Vagabond 3:24 The English Song Series • 14 DDD Iain Burnside enjoys a unique reputation as pianist and broadcaster, forged through his commitment to the song 2 Let Beauty awake 1:57 repertoire and his collaborations with leading international singers, including Dame Margaret Price, Susan Chilcott, 3 The Roadside Fire 2:17 Galina Gorchakova, Adrianne Pieczonka, Amanda Roocroft, Yvonne Kenny and Susan Bickley; David Daniels, 4 John Mark Ainsley, Mark Padmore and Bryn Terfel. He has also worked with some outstanding younger singers, Youth and Love 3:34 including Lisa Milne, Sally Matthews, Sarah Connolly; William Dazeley, Roderick Williams and Jonathan Lemalu. 5 In Dreams 2:18 VAUGHAN WILLIAMS His broadcasting career covers both radio and television. He continues to present BBC Radio 3’s Voices programme, 6 The Infinite Shining Heavens 2:15 and has recently been honoured with a Sony Radio Award. His innovative programming led to highly acclaimed 7 Whither must I wander? 4:14 recordings comprising songs by Schoenberg with Sarah Connolly and Roderick Williams, Debussy with Lisa Milne 8 Songs of Travel and Susan Bickley, and Copland with Susan Chilcott. His television involvement includes the Cardiff Singer of the Bright is the ring of words 2:10 World, Leeds International Piano Competition and BBC Young Musician of the Year. He has devised concert series 9 I have trod the upward and the downward slope 1:54 The House of Life • Four poems by Fredegond Shove for a number of organizations, among them the acclaimed Century Songs for the Bath Festival and The Crucible, Sheffield, the International Song Recital Series at London’s South Bank Centre, and the Finzi Friends’ triennial The House of Life (Words by Dante Gabriel Rossetti) 26:27 festival of English Song in Ludlow.
    [Show full text]
  • Mélodie French Art Song Recital; Wednesday, April 28, 2021
    UCM Music Presents UCM Music Presents MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students Hart Recital Hall Cynthia Groff, piano Hart Recital Hall Cynthia Groff, piano Wednesday, April 28, 2021 Denise Robinson, piano Wednesday, April 28, 2021 Denise Robinson, piano 7:00 p.m. 7:00 p.m. In consideration of the performers, other audience members, and the live recording of this concert, please In consideration of the performers, other audience members, and the live recording of this concert, please silence all devices before the performance. Parents are expected to be responsible for their children's behavior. silence all devices before the performance. Parents are expected to be responsible for their children's behavior. Le Charme Ernest Chausson (1855-1899) Le Charme Ernest Chausson (1855-1899) Lucas Henley, baritone Lucas Henley, baritone Les cygnes Reynaldo Hahn (1874-1947) Les cygnes Reynaldo Hahn (1874-1947) Anna Sanderson, soprano Anna Sanderson, soprano Lydia Gabriel Fauré (1845-1924) Lydia Gabriel Fauré (1845-1924) Alex Scharfenberg, tenor Alex Scharfenberg, tenor Ici-bas! Claude Debussy (1862-1918) Ici-bas! Claude Debussy (1862-1918) Gabrielle Moore, soprano Gabrielle Moore, soprano Fleur desséchée Pauline García Viardot (1821-1910) Fleur desséchée Pauline García Viardot (1821-1910) Janie Turner, soprano Janie Turner, soprano Le lever de la lune Camille Saint-Saëns (1835-1921) Le lever de la lune Camille Saint-Saëns (1835-1921) Nikolas Baumert, baritone Nikolas Baumert, baritone continued on reverse continued on reverse Become a Concert Insider! Text the word “concerts” to 660-248-0496 Become a Concert Insider! Text the word “concerts” to 660-248-0496 or visit ucmmusic.com to sign up for news about upcoming events.
    [Show full text]
  • Melding Music and Poetry: Teaching German Art Song to English-Speaking College Students
    International Journal for Cross-Disciplinary Subjects in Education (IJCDSE), Special Issue Volume 4 Issue 1, 2014 Melding Music and Poetry: Teaching German Art Song to English-Speaking College Students Leslie Jones Southeast Missouri State University, United States of America Abstract The study of German Art Song is a critical examined, for it plays a vital role in this partnership. component of classical vocal music education. For our purposes here, we will use an art song by Undergraduate college students learn to perform Robert Schumann (1810-1856) to illustrate a songs in German, French, and Italian, as well as possible path to this goal. Our sample for this their native English. However, for many students, examination is ADer frohe Wandersmann@ (Opus 77, this becomes an exercise in memorizing random No. 1). disjointed syllables and perhaps a few key words. Much of the depth of the interpretation is then lost, 2. Musical Mechanics both to the student and to the audience. This paper offers an alternative approach, incorporating literary aspects of learning a song in German along with the strictly musical aspects. These musical aspects, such as pitches, rhythms, and musical phrases, are enhanced by knowledge of historical Figure 1. Beginning of song context, poetic form, rhyme, and interpretive possibilities. Together, a much more complete and First, the meter and basic rhythmic structure is meaningful performance is possible. examined. The metrical marking of Ac@ (common time, or 4/4) is equivalent to four beats per measure 1. Introduction (the structure of the beats), and the rhythm (how those beats are divided and distributed in the Art song literature is a rich treasure, and these are measure) overlies that steady beat.
    [Show full text]
  • The Adventure in the Jewish Tavern: on the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century
    Min-Ad: Israel Studies in Musicology Online, Vol. 13, 2015-16 David J. Buch - The Adventure in the Jewish Tavern: On the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century The Adventure in the Jewish Tavern: On the Theatrical Representation of Jewish and Slavic Music in the First Half of the Nineteenth Century DAVID J. BUCH Musicologists have only recently investigated the musical representation of Jews on the European stage. With the publication of vocal music from the period of 1788-1807 explicitly representing that of Ashkenazi Jews,1 we now have a small repertory that can serve as a point of reference. While some of this music appears to be caricature rather than an accurate portrayal of Jewish musical practices, such caricature is useful in establishing historical context and in assessing other sources that might represent unacknowledged Jewish stereotypes.2 Examining musical theater that purports to represent Jews and their music brings clarity to speculation about putative “hidden” Jewish music in both eighteenth- and nineteenth-century opera, a clarity missing from accounts of German opera from Haydn to Wagner. Although almost entirely forgotten, Petr Semenov’s one-act comic opera Приключение в жидовской корчме, или: Удача от неудачи experienced a long run in Russia, Ukraine, Poland, and German-speaking lands (1817-1856), first in its original Russian (St. Petersburg, Malyj Theater, 1817) and then in Rafael Zotov’s German translation as Das Abendtheuer in der Judenschenke oder Gewin durch Verlust (Adventure in the Jewish Tavern or Profit Through Loss [St. Petersburg, Malyj Theater 1819]).
    [Show full text]
  • An Essay in Carnal Musicology
    Boccherini’s Body Boccherini’s Body An Essay in Carnal Musicology Elisabeth Le Guin UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by Elisabeth Le Guin Library of Congress Cataloging-in-Publication Data Le Guin, Elisabeth, 1957– Boccherini’s body : an essay in carnal musicology / Elisabeth Le Guin. p. cm. Includes bibliographical references and index. isbn 0-520-24017-0 (cloth : alk. paper) 1. Boccherini, Luigi, 1743–1805—Criticism and interpretation. 2. Music—Interpretation (Phrasing, dynamics, etc.) I. Title. ml410.b66l4 2006 780'.92—dc22 2005023224 Manufactured in the United States of America 13 12 11 10 09 08 07 06 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).8 But what do my cold and exaggerated expressions mean, my lines without character and without life, these lines that I have just traced, one on top of the other? Nothing, nothing at all; one must see the thing. Mais que signifient mes expressions exagérées et froides, mes lignes sans caractères et sans vie, ces lignes que je viens de tracer les unes au-dessus des autres? Rien, mais rien du tout; il faut voir la chose.
    [Show full text]
  • Performing Chinese Contemporary Art Song
    Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.
    [Show full text]
  • Accepted Faculty of Graduate Studies
    ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition.
    [Show full text]
  • Musical Theatre – Comedy/Upbeat/Ballad Pop Folk
    Voice Musical Theatre – Comedy/Upbeat/Ballad A selection from modern musicals, Broadway shows or movies. Choreography and costumes are encouraged in Musical Theatre classes. No cabaret selections are permitted. Pop A selection from pop hits repertoire. Choreography and costumes are encouraged in Musical Theatre classes. No cabaret selections are permitted. Folk Song Traditional songs, Spirituals or Ballads where the original composer is unknown. Arrangements are permitted and may be sung in the original language or English translation. Art Song Art songs may be sung in Italian, French, German, English or any of the other languages found in the classical song repertoire. Original languages are encouraged and preferred, particularly at the intermediate and senior levels, however, as previously stated, English translations may be performed. Opera Any aria from the operatic repertoire may be performed for this category. The aria must be sung in the original language and performance of any recitative passage preceding the aria is optional. Oratorio Any aria from the oratorio repertoire may be performed for this category. The aria must be sung in the original language and performance of any recitative passage preceding the aria is optional. Sacred Solo / Oratorio A solo section from a cantata or other similar work or composer of a sacred work. Additional Repertoire Occasionally students will be working on more than one composition from the same category; the Additional Repertoire category provides an opportunity for the competitor to enter a composition that duplicates one of the other categories. e.g. the competitor may enter two popular works; one in the popular category and the other popular selection in the Additional Repertoire class.
    [Show full text]
  • The Lieder of Richard Strauss
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1969 The Lieder of Richard Strauss Gary Dwight Welch Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Musicology Commons Recommended Citation Welch, Gary Dwight, "The Lieder of Richard Strauss" (1969). All Master's Theses. 1244. https://digitalcommons.cwu.edu/etd/1244 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. THE LIEDER OF RICHARD STRAUSS A Covering Paper Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Arts by Gary Dwight Welch July, 1969 ~iltu!G•ll N\ '3mqswua ~00}1103 ~·is U0\1tUNRM J'li108J AJVJ<{n ~ 1111~s ,S" h (YJ I~ '/~~S' 01 APPROVED FOR THE GRADUATE FACULTY ________________________________ John DeMerchant, COMMITTEE CHAIRMAN _________________________________ Wayne S. Hertz _________________________________ Joseph S. Haruda CENTRAL WASHINGTON STATE COLLEGE DEPARTMENT OF MUSIC presents in GARY D. WELCH, Baritone VIVIENNE ROWLEY JOHN DeMERCHANT, pianists PROGRAM Ru ggiero Leoncavallo ........ .... " Prologue" to Pagliacci II Richard Strauss Allerseelen Traum durch die Dammerung Stiindchen Die Nacht Cacilie INTERMISSION Ill Nicholas Flagella ............. .. ...... ........ .............. .. ........ ... ..... .. .The Land The Eagle The Owl The Snowdrop The Throstle Flower in the Cranny IV Giuseppe Verdi ..... .... ... ......... ...... .. .................. ... ... E'Sogno? f rom Falstaff Sidney Homer.. ... ...... ................. ..... .... ....... ... .. .. ........ .. .The Pauper's Drive Jean Sibelius ... ........ .... ..... .. ................. ..... ... ....... .. .......... Come Away Death Howard Hanson ..... .. .. .. .... .. .aOh , 'Tis n Earth Defiled from Merry Mount Myron Jacobson .
    [Show full text]
  • Chopin Research Paper 2
    Leigh Urbschat 5/16/07 Piano in the Age of Chopin Research Paper Viardot’s Adapted Mazurkas: The Link Between Chopin’s Two Styles As a Polish native during the time of revolution, it is no wonder that Chopin’s music expresses nationalistic qualities. His well known mazurkas, polonaises, and ballades are all influenced by traditional Polish folk music. The songs of Chopin, however, are a relatively unknown genre in the composer’s repertoire. It is these songs, especially those that are mazurkas, which exemplify Chopin’s nationalistic feelings to their full extent. In considering Op. 74, however, we find that these songs are not what one would expect of Chopin within this genre. Chopin’s piano music, influenced by 19th century Italian opera, is known for its lyrical quality, chromaticism and complex harmonies. These qualities, which can be heard especially in the piano mazurkas, are significantly diminished in the mazurka songs. In listening to the piano mazurkas and vocal mazurkas one after the other, it seems that if the piano mazurkas were given texts they would become the vocal mazurkas a listener familiar with Chopin’s piano music would expect to hear. This is exactly what Pauline Viardot did with her collection of twelve adapted mazurkas. By fitting texts to Chopin’s piano mazurkas she was able to give listeners the vocal mazurkas that they expected from Chopin. Chopin’s vocal mazurkas, however, stray from the composer’s familiar style in order to stray true to their Polish origins. Chopin follows the guidelines of Józef Elsner’s treatise on vernacular pronunciation and syllabic placement in order to stay true to his Polish roots.1 With the mazurka songs, the importance of metrical structure in the vernacular settings overrides that of harmonic and melodic creativity.
    [Show full text]