5 Franz Schubert Songs You Should Know Better

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Music 5 Franz Schubert songs you should know better Baritone Tyler Duncan explains why these hidden gems deserve a double-take Robert Rowat · CBC Music · Posted: May 09, 2019 11:15 AM ET | Last Updated: May 9 Franz Schubert wrote over 600 songs during his short life and, naturally, some have captured the attention of singers, pianists and listeners more than others over the decades. His top-shelf songs include "An die Musik," "Ellens Gesang III" (a.k.a. "Ave Maria"), "Du bist die Ruh," and "Der Erlkönig," as well as the songs included in his beloved cycles Die schöne Müllerin and Die Winterreise. But there are so many more, it's hard to know where to begin searching for the hidden gems. 9 amazing covers of Franz Schubert songs Baritone Tyler Duncan is no stranger to Schubert's songs. In fact he sings them regularly with his piano (and life) partner, Erika Switzer. Duncan, who'll host CBC's This is my Music on Saturday, May 11, selected five under-appreciated Schubert songs that deserve a double-take. Below, he explains why. 'Der Taucher,' D541 "If you think Schubert just wrote sweet little two-minute songs, I have news for you: 'Der Taucher' is one of his epic Schiller ballad settings. This song clocks at over 20 minutes in length, and boasts an impressive fish list. Yes, fish list. Basically, a king throws a golden cup in the water and promises fame, fortune and, eventually, the hand of his daughter in marriage to whomever jumps in after it and describes what he sees in the ocean's abyss. It is really a fantastic song and very fun to perform. (So many words to memorize, though.)" 'Der Zwerg,' D771 "This song is like an entire opera condensed to five minutes — a story about a dwarf and a queen that includes love, devotion, betrayal, heartbreak and murder. Schubert's powerful piano introduction sets the scene, representing in turn the inevitable hand of fate, the choppy water lapping against the small ship, and the beating of a broken heart." 'Memnon,' D541 "Can you imagine only being able to use your voice once a day? There's a song for that: Schubert's setting of Mayrhofer's poem about the legendary Egyptian statue that 'hummed' every morning at dawn. The song's piano introduction seems to catch the first rays of the rising sun warming the waking world. The vocal line expresses the extreme joy and pain that Memnon experiences in this breathtakingly beautiful song." 'Ständchen,' D920 "If just voice and piano is not enough for you, how about we add a men's chorus? This song is about a secret rendezvous. Back in Schubert's day, young lovers were always chaperoned — no dating apps. Lovers had to sneak around quietly to have some privacy. But perhaps bringing a whole choir along with you is not such a great idea!" Drei Gesänge des Harfners, D478 "Instead of a fifth song, how about a mini song cycle? Schubert's three Harfenspieler songs from Wilhelm Meister's Apprenticeship by Goethe are simply amazing. They are not very uplifting; in fact they are super emo. These are songs for leaving the bustle of everyday life, sticking the headphones in, and being in complete solitude. As a bonus, compare the Schumann and Wolf settings of these same texts — Canada's own Daniel Lichti did just that on a beautiful recording with Arlene Shrut." On May 19, Duncan will be a featured soloist in Bach's B Minor Mass with the Bach Society of St. Louis. He'll also perform Bach with the Calgary Philharmonic and Nicholas McGegan at Knox United Church on May 24. Baritone Tyler Duncan and pianist Erika Switzer perform at the 2017 Bard Music Festival. (YouTube screenshot) ©2019 CBC/Radio-Canada. All rights reserved. Visitez Radio-Canada.ca .

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Romantic Listening Key

Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice
A Survey and Guide to the Most Frequently Programmed Lieder In

Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof.
6 a Büchsal Aufm Rücket 8 Abendlied 260 Abends 78 Abschied Vom Dirndel

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Unit 7 Romantic Era Notes.Pdf

The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
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JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures

Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation.
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Durham E-Theses Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism Roe, Ian Frank How to cite: Roe, Ian Frank (1978) Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7954/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Summary After a summary of German Classicism and of Grillparzer's at times confusing references to it, the main body of the thesis aims to assess Grillparzer's use of the philosophy and vocahulary of Classicism, with particular reference to his ethical, social and political ideas, Grillparzer's earliest work, including Blanka, leans heavily on Goethe and Schiller, but such plagiarism is avoided after 1810. Following the success of Ahnfrau, however, Grillparzer returns to a much more widespread use of Classical themes, motifs and vocabulary, especially in Sappho, Grillparzer's mood in the period 1816-21 was one of introversion and pessimism, and there is an emphasis on the vocabulary of quiet peace and withdrawal.
Schubert Heidenroslein for Voice and Guitar Sheet Music

Schubert Heidenroslein For Voice And Guitar Sheet Music Download schubert heidenroslein for voice and guitar sheet music pdf now available in our library. We give you 1 pages partial preview of schubert heidenroslein for voice and guitar sheet music that you can try for free. This music notes has been read 4060 times and last read at 2021-09-29 19:49:24. In order to continue read the entire sheet music of schubert heidenroslein for voice and guitar you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Classical Guitar, Guitar Tablature, Soprano Voice, Voice Solo Ensemble: Musical Ensemble Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar sheet music has been read 5237 times. Heidenroslein franz schubert 1797 1828 for voice and classical guitar arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 10:15:42. [ Read More ] Schubert Heidenroslein A Major Schubert Heidenroslein A Major sheet music has been read 2674 times. Schubert heidenroslein a major arrangement is for Beginning level. The music notes has 3 preview and last read at 2021-09-26 11:45:01. [ Read More ] Schubert Des Baches Wiegenlied For Voice And Guitar Schubert Des Baches Wiegenlied For Voice And Guitar sheet music has been read 2630 times. Schubert des baches wiegenlied for voice and guitar arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-29 18:17:29.
2020 - 2021 Season Digital Concert Hall

2020 - 2021 SEASON DIGITAL CONCERT HALL Schubert TABLE OF CONTENTS SCHUBERT I. Die schöne Müllerin II. Nacht Bonus Concert III. Winterreise IV. Liebe V. Schwanengesang NEW VOICES FESTIVAL: Past/Present/Future I. II. III. TICKETING INFORMATION Schubert FOR ITS 11TH SEASON, Brooklyn Art Song Society celebrates the legacy of the first and greatest composer of Lieder. Six programs of over 100 songs show the brilliance, emotional breadth, and profound beauty of Schubert’s musical voice. TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, OCTOBER 10TH, 2020 | 7:30 PM Schubert One Die schöne Müllerin This groundbreaking story-in-song is a touching meditation on young love and heartbreak – a landmark in the history of Lieder. Franz Schubert: Die schöne Müllerin D. 795 TICKETS & DETAILS » Tyler Duncan, baritone; Erika Switzer, piano AVAILABLE FOR STREAMING SATURDAY, NOVEMBER 14TH, 2020 | 7:30 PM Schubert Two Nacht For Schubert, Night was at once a place of terror and wonder, of passion and repose, and the inspiration for some of his greatest songs. Franz Schubert: Selected songs including Wilkommen und Abschied, Daniel McGrew, Joseph Tancredi, tenor; Die Sterne, and Der Erikönig Mario Diaz-Moresco, Jorell Williams, baritone; Spencer Myer, Michael Brofman, piano TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, DECEMBER 12TH, 2020 | 7:30 PM Schubert Bonus Concert This program includes some of Schubert's greatest hits not featured on the mainstage series. Tickets are pay what you will. Franz Schubert: Selected songs including Ave Maria, Die Forelle, and Auf dem Wasser du singen Sarah Craft Nelson, mezzo soprano; Nils Neubert, tenor; TICKETS & DETAILS » Nana Shi, piano AVAILABLE FOR STREAMING SATURDAY, JANUARY 16TH, 2021 | 7:30 PM Schubert Three Winterreise Schubert's magnum opus is a profound statement on loneliness and human suffering.
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!

LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.
Schubert Lieder

CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3.