Chapter 16 Romantic Songs

Moritz von Schwind: Schubertiade,1868 The Salon Informal concerts in homes where piano was now a common instrument Industrial Revolution created large middle class Family members and children performed Some upper-class families hired musicians Salon concerts often followed by dessert, coffee and tea, and conversation Salon concerts included solo piano works and art songs Moritz von Schwind: Schubertiade,1868

The Art Song In Germany and Austria became known by German word for song(s) lied (lieder) Musical setting of a poem for solo voice and piano accompaniment All strophes (verses) sung to same music Strophic form All verses sung to new music Through-composed form Varies repeated melodies with new melodies for verses Modified strophic form

Franz Schubert (1797-1828) Born and lived in Vienna area Unsystematic musical training Violin lessons from father Piano lessons from older brother Court Chapel choir member School orchestra violinist, conductor Composed first symphony in 1813 Trained to be a primary school teacher and taught briefly at father’s school Left teaching to make a living composing and taking music students Adult life marked with ill health and poverty including a serious illness in 1822 requiring a hospital stay Died in 1828 and buried near Beethoven as he wished

Schubert’s Music Prolific, composed about one thousand works between 1811 and 1828 9 symphonies 50 chamber works and piano sonatas Several short piano pieces Operas and operettas Six masses and other religious works Approximately 100 choral works Best remembered for 600+ lieder Two song cycles (set of related lieder)

Listening Guide: “Erlkönig” (“King of the Elves”) Franz Schubert Lied Solo voice and piano Fast tempo Through-composed Lied based on a dramatic poem by Goethe Legend contends that anyone touched by the Elf King dies Father and son are travelling on horseback Son sees the Elf King and is scared, asks father for help Father discounts son’s fear and repeated pleas At the end of journey (and lied), son is dead in father’s arms Lied Solo voice and piano Fast tempo Through-composed Lied based on a dramatic poem by Goethe Legend contends that anyone touched by the Elf King dies Father and son are travelling on horseback Son sees the Elf King and is scared, asks father for help Father discounts son’s fear and repeated pleas At the end of journey (and lied), son is dead in father’s arms Listening Guide Excerpt from CD 1, track 36, pp. 171-173

Listening Guide: “Erlkönig” (“King of the Elves”) Franz Schubert Pitch range, dynamics, and style varied for dramatic effect Piano introduction sets the mood with pounding of horse’s hooves Listen: Soloist performs four roles Narrator, medium range, steady Father, low range Son, high range, loud, terrified Elf king, high range , soft, gentle Schubert varies pitch range, dynamics, and style for dramatic effect Listen to as piano introduction sets the mood with incessant pounding of horse’s hooves Soloist must perform four roles Narrator, medium range, steady Father, low range - Listen Son, high range, loud, terrified - Listen Elf king, high range , soft, gentle – Listen Listening Guide Excerpt Hear the entire lied CD 1, track 36

Robert and Clara Schumann Robert Schumann German 1810-1856 Prominence as composer, also pianist Best known for lieder and song cycles Composed orchestral works, string quartets, and solo piano pieces Robert helped Clara with orchestration of her piano concerto Both musicians professionally active with large family (8 children) Robert suffered from depression, attempted suicide, and was placed in an asylum and died at age 46 Clara Schumann 1819-1896 Prominence as concert pianist, also composer One of first women to tour internationally Composed lieder, piano music, and chamber music Relationship began with Robert as piano student of Clara’s father Clara became interpreter of Robert’s music Relationship evolved into love and marriage, over the objections of Clara’s father Clara continued her performance career and died at age 76

Listening Guide Excerpt from CD 4, tracks 9-10, pp. 174-175 Listening Guide: “Im wunderschönen Monat Mai” (“In the Wonderfully Lovely Month of May”) Robert Schumann Solo voice and piano accompaniment Strophic form In song cycle, “Dichterliebe” (“A Poet’s Love”) – composed in the year he married Clara Uses rubato Means “robbed” time Fluctuations of tempo occur Translation for First Verse In the wonderfully lovely month of May, When all the buds are burgeoning, Then in my heart did all love arise. Solo voice and piano accompaniment Strophic form In song cycle, “Dichterliebe” (“A Poet’s Love”) – composed in the year he married Clara Uses rubato Means “robbed” time Fluctuations of tempo occur Text Translation In the wonderfully lovely month of May, When all the buds are burgeoning, Then in my heart did all love arise. Listening Guide Excerpt from CD 4, tracks 9-10, pp. 174-175 Listen to the first verse:

Listening Guide Excerpt from CD 4, track 11, pp. 175-176 Listening Guide: “Leibst du um Schönheit” (“If You Love for Beauty’s Sake”) Clara Wieck Schumann Solo voice and piano accompaniment Primarily strophic form Composed for Robert’s 31st birthday Translation of First Two Verses If you love for beauty’s sake, do not love me! Love the sun, she had golden hair! If you love for youth’s sake, do not love me! Love the spring, who every year is young! Solo voice and piano accompaniment Primarily strophic form Composed for Robert’s 31st birthday Text Translation If you love for beauty’s sake, do not love me! Love the sun, she had golden hair! Listening Guide Excerpt from CD 4, track 11, pp. 175-176 Listen to the first two verses: